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29-486: The Stone Jug is a historic house at the corner of NY 9G and Jug Road in Clermont , New York, United States. It dates to the mid-18th century and is largely intact, although it has been expanded somewhat since then. It was built by Konradt Lasher, a Palatine German immigrant to the area who first farmed as a tenant of Robert Livingston . Unusually in an area where brick was the favored material, he chose stone. In

58-425: A barn, and the remaining foundations of two other stone houses. All are considered contributing properties to its historic character. The Stone Jug is a 1 + 1 ⁄ 2 -story house consisting of a main block faced mostly in stone with a gabled roof. The west gable end is in brick, as is the chimney that rises from that side. The north wing, added more recently, is of concrete block faced in fieldstone on

87-442: A historic home significant is often its architecture or its importance to the culture or history of the area. There are some organizations that offer services to research the history of a home and others that provide repositories for users to document the history of their homes. Historic homes may still be inhabited, and thus should not be confused with historic house museums . Houses are increasingly being designated as historic in

116-534: A historic house museum derives from a branch of history called social history that is solely based on people and their way of living. It became very popular in the mid-twentieth century among scholars who were interested in the history of people, as opposed to political and economical issues. Social history remains an influential branch of history. Philip J. Ethington, a professor of history and political science, further adds to social history and its relationship to locations by saying – Following this historical movement,

145-440: A look at the importance of collective memory and how it is embedded in culture and place. Thus, collective memory does not only reside in a house or building, but it also resonates in outdoor space – particularly when a monumental event has occurred, such as war. Problematic creation of collective memory occurs within historic house museums when the narrative of non-family members is dismissed, ignored, or completely rejected. Within

174-457: A scheme to produce naval stores for the crown. The scheme failed because many of the crops required could not survive the harsh winters of the region. In 1713 Livingston released the Germans, and many settled elsewhere in the area. Their impact can be seen today in placenames like Germantown and Rhinebeck and the many Lutheran churches in the area. One of them, Bastian Lasher, stayed on

203-452: Is often made up of the inhabitants' belongings and objects – this approach is mostly concerned with authenticity . Some museums are organised around the person who lived there or the social role the house had. Other historic house museums may be partially or completely reconstructed in order to tell the story of a particular area, social-class or historical period. The " narrative " of the people who lived there guides this approach, and dictates

232-505: The International Council of Museums . Houses are transformed into museums for a number of different reasons. For example, the homes of famous writers are frequently turned into writer's home museums to support literary tourism . Historic house museums are sometimes known as a "memory museum", which is a term used to suggest that the museum contains a collection of the traces of memory of the people who once lived there. It

261-485: The 1950s the north wing was added. In the process of doing so the original staircase's steps were replaced with wider ones. There have been no other changes to the house. Historic house Houses were first thought of as historic rather than just old or interesting , during the early nineteenth century. Government protection was first given during the late nineteenth century. Historic homes are often eligible for special grant awards for preservation. What makes

290-600: The Southern United States, plantation museums (the former homes of enslavers) constitute a significant portion of the museum community and contribute to the racialized collective memory of the United States. Because museums are responsible for "the building of identity, cultural memory and community", neglecting to include the narrative of all people who lived there is dangerous. While some plantation museum narratives have changed following an outcry from

319-426: The United States as a way to resuscitate neighbourhoods and increase the economic health of surrounding urban areas. Designating a house as historic tends to increase the value of the house as well as others in the same neighbourhood. This can result in increased development of nearby properties, creating a ripple effect that spreads to surrounding neighbourhoods. In some cases, fees are assessed of homeowners during

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348-419: The actual structure belongs to the museum collection as a historical object. While some historic home museums are fortunate to possess a collection containing many of the original furnishings once present in the home, many face the challenge of displaying a collection consistent with the historical structure. Some museums choose to collect pieces original to the period, while not original to the house. Others, fill

377-401: The concept of " open-air museums " became prominent. These particular types of museums had interpreters in costume re-enact the lives of communities in earlier eras, which would then be performed to modern audiences. They often occupied large wooden architecture buildings or outdoor sites and landscapes, that were true to the era, adding to authenticity. Collective memory is sometimes used in

406-401: The designation process, so there is not necessarily an economic benefit to doing so. Historic house museum A historic house museum is a house of historic significance that is preserved as a museum . Historic furnishings may be displayed in a way that reflects their original placement and usage in a home. Historic house museums are held to a variety of standards, including those of

435-406: The east and weatherboard on the north and west. Original Dutch doors are on both entrances, at the south of the basement and east of the first story. The lintel above the east entrance has the year 1752 and "K.B.L & J." carved into it. The lower one opens into a large room with a 7-foot (2.1 m) hearth built into the west wall. The staircase is original except for the steps. Upstairs,

464-591: The establishment of the country's first historic site in 1850, Washington's Revolutionary headquarters in New York, Americans have found a penchant for preserving similar historical structures. The establishment of historic house museums increased in popularity through the 1970s and 1980s, as the Revolutionary War's bicentennial set off a wave of patriotism and alerted Americans to the destruction of their physical heritage. The tradition of restoring homes of

493-506: The home with replicas of the original pieces, reconstructed with the help of historic records. Still other museums adopt a more aesthetic approach and use the homes to display the architecture and artistic objects. Because historic homes have often existed through different generations and have been passed on from one family to another, volunteers and professionals also must decide which historical narrative to tell their visitors. Some museums grapple with this issue by displaying different eras in

522-465: The land he had originally settled. He and his three sons were able to work it as tenant farmers , and by 1752 Konradt had built his house near his brothers George and Johannis, using stone rather than the brick more popular with the Palatinate settlers. The family kept the farm, and in 1846 Philip Lasher was able to buy an 85-acre (34 ha) parcel and build the frame farmhouse across the road. In

551-470: The lives of everyday people. Historic house museums usually operate with small staffs and on limited budgets. Many are run entirely by volunteers and often do not meet the professional standards established by the museum industry. An independent survey conducted by Peggy Coats in 1990 revealed that sixty-five percent of historic house museums did not have a full-time staff, and 19 to 27 percent of historic homes employed only one full-time employee. Furthermore,

580-460: The main room is also mostly intact except for a small entry hall partitioned off to the east. Most of the windows are original except for the double casement on the west wall. On the top is a garret with exposed rafters . Across Route 9G is a five- bay , 1 + 1 ⁄ 2 -story frame farmhouse. South of Jug Road is an L-shaped frame barn. West of the house on either side of Jug are the remains of two other 18th-century stone houses. A garage on

609-440: The majority of these museums operated on less than $ 50,000 annually. The survey also revealed a significant disparity in the number of visitors between local house museums and national sites. While museums like Mount Vernon and Colonial Williamsburg were visited by over one million tourists a year, more than fifty percent of historic house museums received fewer than 5,000 visitors per year. These museums are also unique in that

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638-461: The manner in which it is completed. Another alternative approach, deployed by nonprofit organization House Museum , includes contemporary art integration, where artists are invited to respond to the physical and conceptual history of a site, thus injecting contemporary perspectives and value into historic places. In each kind of museum, visitors learn about the previous inhabitants through an explanation and exploration of social history . The idea of

667-697: The mid-19th century his descendants bought the land and built a farmhouse, now across the street. It, the stone house and several other buildings from the Lasher family farm were listed on the National Register of Historic Places in 1978. Later, in 1992, it became a contributing property to the Hudson River Historic District , a National Historic Landmark . The house is part of a 9.7-acre (3.9 ha) former farm property on both sides of Route 9G. It includes another farmhouse,

696-478: The past and designating them as museums draws on the English custom of preserving ancient buildings and monuments. Initially homes were considered worthy of saving because of their associations with important individuals, usually of the elite classes, like former presidents, authors, or businessmen. Increasingly, Americans have fought to preserve structures characteristic of a more typical American past that represents

725-399: The public and the academy, "plantation museums reflect, create, and contribute to racialized ways of understanding and organizing the world" by limiting or eliminating the narrative of the enslaved inhabitants. A degree of authenticity is also to be considered in the restoration and creation of a historic house museum. The space must be authentic in terms of truly replicating and representing

754-434: The resurrection of historic house museums; however, not all historic house museums use this approach. The notion of collective memory originated from philosopher and sociologist Maurice Halbwachs , in "La Memoire Collective" ("On Collective Memory", 1950). This extended thesis examines the role of people and place, and how collective memory is not only associated with the individual but is a shared experience. It also focused on

783-588: The southeast corner of the intersection is modern and non-contributing. In the early 18th century, several thousand Palatine refugees from the War of Spanish Succession were temporarily housed in London . Britain decided in 1710 to resettle them to the lands of Robert Livingston in the Hudson Valley , lands now making up northwestern Dutchess and southwest Columbia counties. They were to work for Livingston on

812-557: The way individual memory is influenced by social structures, as a way of continuing socialisation by producing memory as collective experience. An example of a site that utilizes collective memory is the Hiroshima Peace Memorial Park in Japan. It was restored and is based on the dialectics of memory, however it also has the inclusion of joyous festivals to mask the turmoil. The Hiroshima Traces (1999) text takes

841-413: The way it once stood in its original form and appear to be untouched and left in time. There are three steps when declaring if a space is authentic: The earliest projects for preserving historic homes began in the 1850s under the direction of individuals concerned with the public good and the preservation of American history, especially centered on the first U.S. president, General George Washington. Since

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