My name is Kara Gordon and I am a Preserve WV AmeriCorps Member at the Cockayne Farmstead in Glen Dale, WV. Since I am originally from Wheeling, WV, I love that I get to help preserve the history of my own local area. So far, I have stayed relatively local pretty much my whole life, graduating with a bachelor’s degree in history from Wheeling Jesuit University and a master’s degree in history from West Virginia University. While in school, I also worked, volunteered, or interned at several museums and archives, including the Archives of the Diocese of Wheeling-Charleston, the Mansion Museum at Oglebay Institute, and the West Virginia and Regional History Center.
I love studying everyday history in many forms, but I am especially interested in material culture, and most especially, clothing and textiles. In the summer of 2017, I got the opportunity to intern at Colonial Williamsburg in the Margaret Hunter Millinery Shop and it was truly a dream come true! I love to sew and recreating historical garments has been a favorite hobby of mine for many years. When you try on the clothing worn by people from another time – literally stepping into their shoes – I feel like that connection to the past becomes even more real.
Cockayne Farmstead is a bit of a diamond in the rough in many ways. The house itself is rough inside, since it has been preserved but not restored, left as it was found by its last, reclusive owner. Sometimes the “shabby” appearance shocks visitors at first, but it is a glimpse into the passage of time that simply takes a little bit of time to appreciate. Like so many small, volunteer-led historic sites, the house only exists at all because of passionate, dedicated individuals working with very limited resources. This is the story for so many small sites in West Virginia and across the country, and serving with AmeriCorps allows me to help preserve this important local resource. Though its smallness may seem like a disadvantage to some, I look forward to taking on the greater challenges and responsibilities that come with working in a place where my ideas and actions can truly make a difference, instead of being lost in the crowd. It’s a place and a story you can truly become attached to, and I look forward to serving here for the coming year.
Architecture, at its best, creates an environment that is both functional and beautiful. In a world devoid of any concern for aesthetics, we lose our ability to revel in the beauty that surrounds us, confounds us, and inspires us. I spend a lot of my time looking up and around, enjoying the built and natural environment. This is how I’ve come to know that Wheeling, WV is the right place for me. If you’ve never visited Wheeling, you’re missing out on an architectural gem. Throughout my time in the Friendly City, I have never lived in any building younger than 100 years old.
My name is Kellie White, and I am a historic preservationist in training. I am originally from Virginia Beach, VA. I moved to Fairfax, VA in 2012 to pursue my undergraduate degree at George Mason University. I completed my BA in Art History and Anthropology with a minor in Women and Gender Studies in 2016. After I graduated, in the Fall of 2016, I decided to move to Wheeling and attend Belmont College to study Building Preservation.
Except I didn’t always want to study historic preservation; it took me a while to reach that decision! During middle and high school I was a dedicated musician, and I wholeheartedly believed I would study music. And yet I entered college as an Environmental Studies major. In retrospect, I see that I started down this path in high school. Mrs. Reich’s AP Art History was the most influential class I took in high school; it eventually lead me to study a combination of Art History and Anthropology in college. And Art History lead to the greatest summer of my life.
During the summer of 2014, I was offered to opportunity to study archaeology and preservation at George Washington’s Mt. Vernon. I spent that time smeared in dirt and happier than I could have imagined. There’s something mesmerizing about interacting with history in such a gritty, substantial way. That summer was decisive in determining the path I have traveled for the past 2 years. That summer is when I learned about Belmont College and its hands-on Building Preservation program; it planted the seed for where I am now. In my current Plaster course, I am learning to “run” a cornice and cast the decorative elements in plaster.
I currently attend Belmont College studying Building Preservation, and I am immersed in the Wheeling community. I am a board member of the Wheeling Young Preservationist, a group of like-minded individuals who take stock of preservation activities and needs within our community. I am also a member of the Wheeling Arts and Cultural Commision; we help encourage creativity in Wheeling. I take pride in my community, in our community. I want to see tangible change in Wheeling, in the whole of West Virginia. This is why I’ve chosen to serve as the Americorps member for the West Virginia Association of Museums.
By preserving and educating others about our communal heritage, I hope to help us all recognize the humanity we share. Museums are a space to explore this cultural inheritance.. Standing in a museum, examining a display, for a moment we are sharing an experience. We are all being presented the same information, being confronted with the same truths, being shown our heritage and history. Have you ever experienced wonder or delight in a museum, standing in front of a painting, a historic flag, or a suit of armor? I have. I hope that feeling never fades. Through my service at the West Virginia Association of Museums, I aim to encourage people to visit museums, to experience that wonder, and to bond over our communal heritage.
By Pamela Curtin
According to Greek mythology, Clio was the muse of history, one of a number of muses who protected the arts and sciences. It follows that a modern website and mobile app named Clio would have strong ties to the arts. As an AmeriCorps member with Clio, a nonprofit digital platform that connects the public to historic and cultural sites, I have had the pleasure of working with arts organizations to share public works of art, galleries, and studios.
Last year, I worked with Sally Deskins, Exhibits and Programs Coordinator at WVU Libraries, to create a Clio tour of Morgantown art. Sally has helped turn WVU’s extensive library system into showcases for art. With her leadership, WVU Libraries hosts art exhibits featuring modern and historic photography, paintings, and multimedia pieces, often focusing on West Virginia and Appalachia. This spring, Sally received a Grant for Community Engagement from the WVU Research Office to create a public art guide of Morgantown. In addition to a printed guide, Sally was interested in creating a digital version that would be accessible online. This is where Clio enters the story.
Clio lends itself well to collaborative projects. Anyone can find historic and cultural sites in their area that would contribute to Clio’s growing database. It is easy to make contributions to the website – no different than filling out an online form – which helps users like museums and students devote their time to doing research and writing. As a free platform, Clio allows grantees to put funds toward scholars, student interns, or printed materials. Clio entries and tours can also be integrated with exhibits, programs, and printed walking tours. Earlier this year, I created Clio tours as part of a WVU Libraries photography exhibit on Sunnyside, a historic neighborhood in Morgantown.
I was excited when Sally reached out about using Clio to create a digital Morgantown Public Art Guide. There are more than thirty public works of art around Morgantown created by everyone from student volunteers to world-renowned professionals. A number of these works, however, have no accompanying label or significant online presence. With print and digital guides, we could document and better engage the public with art in their backyard. Sally said of this endeavor, “By first digging deeper into the historical context of the sites and works, we really understand more fully the significance of each work individually, and of this project as a whole.”
Each work of art, along with local arts institutions, received a Clio entry. The Clio entry includes a narrative, images, sources, links to related content, and a pin connected to GPS coordinates. If you are in Morgantown, Clio’s website and mobile app will pick up your location and show the entries closest to you; or, you can simply search “Morgantown, WV” from anywhere in the country and the entries will appear. These entries are then strung together in a digital tour that follows a route using Google Maps.
We started developing entries in Clio’s flexible and collaborative platform. “Clio helped us visualize how the print guide might be organized and the tours arranged by seeing them on the map,” Sally explained. “It has served as a ‘home base’ for the project, where all of the information is organized nicely and we can see our progress. With limited resources, as well, Clio allowed us to do all of this for free! How amazing is that.”
Works of art range from a sculptures of basketball players at the Coliseum to mosaics along the Rail Trail to murals curated by the Friends of Deckers Creek. The entries explore the history and artistic styles of these pieces, their development and placement in certain locations, and biographies of artists and project leaders. Sites like libraries and university buildings are also included on the tour, as many of them house indoor paintings, sculptures, murals, textiles, and rotating exhibits. A number of arts institutions including art centers, museums, galleries, and studios are identified along with a discussion of their respective history and mission. Clio entries can also link readers to ways to get involved with these organizations.
Sally worked with student interns and volunteers to develop the Clio entries. “It has been a great experience for the several students working on the project as well as for myself,” she said. Other important collaborators include the Greater Morgantown Convention and Visitors Bureau, Arts Monongahela, the Art Museum of WVU and the College of Creative Arts.
“Clio has been kind of like the back bone of the Morgantown Public Art Guide project,” Sally said.
The print and digital versions of the Morgantown Public Art Guide are set to launch this fall.
As an AmeriCorps member, it has been wonderful working with Sally on the Morgantown Public Art Guide. I am grateful that my AmeriCorps site could provide her with the tools to realize her vision for this project.
AmeriCorps members serving with the Preservation Alliance of West Virginia will hold a Civic Service Project in honor of Dr. Martin Luther King Jr. at the Mount Hope Community Center on January 21st, 2019.
The primary goal for this service project, A Clean City Starts with You, is to remove unused equipment and debris from the community center in order to help prepare it for future use. The historic Loup Creek YMCA, now commonly known as the Mount Hope Community Center houses an operational commercial kitchen, a large conference space commonly referred to as the Band Room, and operates as a sports complex for 25% of the year. Other local nonprofits and organizations including Harmony For Hope, Dubois on Main, volunteers from West Virginia University, and Sarah Soup’s will be participating during the event as well. Projects will begin at 8am and will continue throughout the day.
“As AmeriCorps members, our civic service projects often turn out to be some of our most significant projects during the service year. Through these projects we are able to connect with communities and local volunteers to come together and really make a difference.” explains co-organizer Kyle Bailey.
If you are interested in volunteering for this event, contact Kyle Bailey at email@example.com.
My name is Alanna Natanson, and I am excited to be the 2018-2019 Preserve WV AmeriCorps member serving at the West Virginia and Regional History Center at West Virginia University in Morgantown, West Virginia. While engaging with a collection related to historic structures in the Mountain State, I hope to understand how the natural environment and built landscape affected the lives of people in West Virginia across the 19th and 20th centuries. I know those histories still influence the state I can’t wait to explore today.
From the age of five, all my family road trips from our home in the suburbs of Washington D.C. involved visits to historical landmarks and museums. While we worked our way across centuries and up and down the East Coast, I developed a deep passion for learning about U.S. history, both its proudest moments and its most terrible. After an internship in high school with Historic Takoma Inc. researching hometown heroes of
World War II through yearbooks and census records, I realized the behind-the-scenes stories of telling history fascinated me even more than the history itself. I love knowing how archives make materials accessible to historians, and how the limits of collections at historical institutions ultimately shape the arguments a researcher can create. By the end of my first year of college, I knew I wanted to pursue a career making historical collections available to researchers.
I’ve been lucky enough to explore my interest in archives while processing collections in all kinds of research institutions: the Stetten Museum of Medical Research at the National Institutes of Health in Bethesda, Maryland, the Forsyth County Public Library’s North Carolina Room in Winston Salem, North Carolina, the Salem College Library and Archives also in Winston Salem, and the Kentucky Historical Society in Frankfort, Kentucky. Now, I’m excited to apply all my experiences while processing the Emory Kemp Collection at the West Virginia and Regional History Center.
Emory Kemp founded the Institute for the History of Technology and Industrial Archaeology at West Virginia University while also serving as a faculty member in the School of Engineering and College of Arts and Science. His collection not only documents his own life, but also records key information about many of West Virginia and Appalachia’s oldest bridges, canals, dams and man-made waterways. After we make his collection available to the public, scholars will have the opportunity to understand the way past West Virginians honed the natural terrain to build transportation and industry in the state.
For me, the project is going to be a wonderful way to learn about West Virginia (a trip to Harper’s Ferry made up the whole of my West Virginia experience prior to Preserve WV AmeriCorps). Not only do I look forward to scouring through photographs and blueprints of West Virginia’s structures; I also want to pay attention to how these industrial remnants tell stories about the labor, politics and daily life of generations of West Virginians. Buildings are the physical manifestations of people, and this collection houses the stories of a wide range of humans embedded among the state’s bricks and steel. Digging up those stories is going to bring out characters who show sides of West Virginia the world may not yet know.
I chose to serve with Preserve WV AmeriCorps because I want to use my love of behind-the-scenes history to feature stories that don’t usually appear in historical scholarship. This year, I also want to learn to shape a high-quality historical picture of West Virginia while leaving my biases out of the collection as much as possible. Preserve WV AmeriCorps will help me grow, just as I hope that I can facilitate a small part of the history of the preservation movement in West Virginia.
By Lauren Kelly
Part of the mission of the Jefferson County Historic Landmarks Commission is educational outreach. The county has a rich history that spans from the early settlement period in the 1730’s and into the modern era. This history drives our heritage tourism industry, which, in a study conducted for the West Virginia Tourism Office in 2017, earns Jefferson County over $900 million per year. The landmarks commission understands the importance of sharing our history to encourage local preservation now and in the future.
We are interested in what tourists are looking for when they visit the area. To that end, we rely on people like Marianne Davis, the director of the Shepherdstown Visitors Center (SVC), to tell us how we can help to promote areas that are of interest to visitors but often overlooked in favor of more familiar stories like that of John Brown, who looms so prominently in the area. Last year, we received a mini-grant to produce two brochures from the West Virginia Humanities Council: “The Battle of Shepherdstown” and “The Shepherdstown Cement Mill.” These brochures complete the story of Antietam and promote a landmarks commission site, the cement mill ruins. The battle links Shepherdstown to the siege of Harpers Ferry and the wider story of the Lee’s 1862 Maryland Campaign. Ms. Davis says, “The Historic Landmarks Commission has allowed us to tell the story of Shepherdstown beyond our borders. We are not an island, but a foundational part of a regional history.”
Shepherdstown, established in 1762, is the oldest town in the county, and if you aren’t asking someone from Romney, the oldest town in the state. Both the landmarks commission and the SVC are interested in increasing awareness of the county’s colonial history in addition to its Civil War history. We reached out to Marianne Davis again this year to find out what stories need to be told, so we’re drafting a new brochure for the Beeline March, in which 100 men set out from Morgan’s Spring outside Shepherdstown to join Washington at the siege of Boston in the summer of 1775. Shepherdstown was a major mustering point during the war and dispatched seven companies between 1775-1783. It is a beautiful, well-preserved town that has retained many of its 18th century structures.
Ms. Davis says, “Good stewardship of historic buildings and sites, coupled with research-based interpretation, has made Shepherdstown attractive to visitors, and has enriched the lives of residents.” Our hope is that increasing awareness of our local story will promote future preservation and help to ensure that Shepherdstown is a great place both to live and visit well into the future.
By Kiersten White
When I served a year at Carnegie Hall, visitors commonly ask the following questions:
I spent most of my service year researching these questions and many more to uncover as much as I can about Carnegie Hall’s past. Many people have contributed research over the years including Dr. John Montgomery (President of Greenbrier College from 1954 - 1972), Vivian Conly (Executive Director of Carnegie Hall from 1989 - 2004), and Mary Montgomery Lindquist (Alumnae of Greenbrier College and daughter of Dr. John Montgomery). Thanks to their valuable efforts and funding from the Carnegie Hall Guild and a West Virginia Humanities Council Mini Grant, I have been able to curate a permanent historic exhibit to be displayed on the second floor of Carnegie Hall. Due to the volume of historical materials, I have also been developing an archive that will be available to the public for research and general inquiries. This is something I had little to no experience prior to serving in this AmeriCorps position. However, I have learned so much about research, archiving, preservation, and exhibit creation that will help me in whatever I choose to pursue in life.
On May 4, Carnegie Hall hosted the historic exhibit opening for Arts from the Ashes: The History of Carnegie Hall. We had 37 people attend the opening including local alumnae from Greenbrier College and former board and staff members of Carnegie Hall. In addition to the exhibit, visitors also have the option of requesting a guided tour and/or utilizing an informative pamphlet providing a brief history of the Hall. For more information about Carnegie Hall’s history and its events, please visit carnegiehallwv.org or call (304) 645-7917. To learn more about the exhibit, please visit http://www.carnegiehallwv.org/exhibitions-films/arts-from-the-ashes-the-history-of-carnegie-hall
Larry Davis, a West Virginia School of Osteopathic Medicine faculty member and local tour guide, attended the exhibit opening. Larry stated that he “...was pleased with the results of her diligent research on the topic and the quality of her presentation. I could tell that others in attendance were appreciating it.
“Having lived in Lewisburg for forty-one years as a medical school faculty member, I have spent an enormous amount of time in Carnegie Hall. I am a professional tour guide in Lewisburg, and Carnegie Hall is always included in my tours. Her excellent exhibit will now be a most helpful part of the tours. Her collection of photos, performance posters, newspaper articles, and explanatory text combine quite well to lay out the story of Carnegie Hall and the educational institutions that have been connected with it.”
This project is presented with financial assistance from the West Virginia Humanities Council, a state affiliate of the National Endowment for the Humanities. Any views, findings, conclusions or recommendations do not necessarily represent those of the West Virginia Humanities Council or the National Endowment for the Humanities.
By Brian Stroinski
When Jackson’s Mill was gifted to the state of West Virginia in 1921, the only intact building on the site was the grist mill itself. The next building to be brought to the property was the McWhorter Cabin. Originally built by Henry McWhorter in 1794, the cabin was given to Jackson’s Mill by the McWhorter family in 1927 and has been a feature of Jackson’s Mill ever since. The McWhorter family has been coming back to cabin for 92 years to have a family reunion at the cabin and enjoy their family’s heritage and pay homage to the first McWhorter who settled in the area--Henry.
As with any building that has been around for as long as the McWhorter cabin, the elements and constant foot traffic can cause problems with the structure. We encountered such problems this spring and summer when some of the logs on the back side of the cabin started to rot, causing the back half of the cabin to sink and start to collapse. Wanting to preserve the cabin for future generations to visit, something had to be done.
One might think that replacing the logs in a 1794 cabin makes the cabin lose some of the historical value, but in talking to Bob McWhorter, he expressed how important the cabin was--not only to himself and his family--but the entire story of West Virginia. The cabin itself shows the ingenuity and tireless work of the people who lived here and it is important to preserve that for generations to come. Now the hard part was actually replacing the logs.
The process of replacing the logs actually started in May when the television show Barnwood Builders came to Jackson’s Mill to make a new building for us. During the taping of that show we had Mark, the show’s host, take a look at the cabin and give us a game plan to try and fix the problem. They also left us some rough cut lumber to use as replacement logs.
After we had a plan it was still a difficult process to get the old logs out without totally collapsing the wall. The first thing we had to do was nail the existing logs together to give the building some structural support. We did this both on the interior and exterior walls. We also had to remove the window sill and anchor the window to the log above it. Next, the old logs had to come out. This process included pry bars, hammers, and a chainsaw. What we did was crack the chinking and start to pull it out from between the logs. Once the chinking was removed we used the pry bars to slowly get the logs out. While this was all happening we had to make sure our supports were holding and the building would not come down. After the logs came out, we cut new logs from the rough cut timber and slid them into place, making adjustments to the size and shape as we went along. After we got three logs done, we realized the log underneath also needed replacing and had to do the whole process one last time.
After the logs were set into place, we needed a temporary way to hold up the building and weather proof it while we got ready to make the new chinking. Using a two-ton jack and some blocks of wood we were able to position the new logs so that they were straight. We placed the blocks of wood in between each of the logs to hold them there and got the window sill back into place. We then covered the gaps with some 2x6 boards and are now ready to make some chinking and mortar.
It was a lot of work and a lot of heavy lifting, careful measurements, and a few pinched fingers, but after we completed the project we are confident the McWhorter cabin will be in great shape for the next 200 years of its existence.
By Ian Gray
Amid the soft (albeit electric) candlelight the decorations seemed to sparkle as the faint sound of enchanting caroling streamed in from outside. Surrounded by a plethora of red and green, visitors were taken back over 100 years into the past when Victorian America was inventing our modern Christmas. At the end of the evening families left having formed fond memories of melodious music, captivating storytelling, sumptuous sweets, and pleasing aesthetics while learning a bit about where and how our unique American Christmas originated. All the while, yours truly was thinking one thing—I pulled it off!
Shortly after starting my time with the Cockayne Farmstead planning for our annual Christmas event began and I was put in charge. Throwing myself into the season well before the first snowfall, I proceeded to become an encyclopedia on the holiday and how our modern celebration came about. An intriguing journey, I became familiar with the tale of how an ancient pagan festival morphed and evolved thru several thousand years until it took the form we know today. Over several weeks my journey took me thru the forests of ancient Scandinavia, the streets of the Roman Empire, westward thru Europe and the Middle Ages, and across the Atlantic to the shores of America before arriving in the Victorian Era where the Christmas we all know took form.
Arriving at my historical destination, the next challenge was to recreate an authentic Victorian environment for the front half of the Farmstead. I knew the traditions and their history, now I just needed to recreate them. Thankfully, I was not the first to figure out decorating the Victorian Era house for a Victorian Era Christmas event was a good idea. An afternoon rummaging around unearthed an attic full of trees, tinsel, candles, and other goodies to make the rooms come alive with Christmas cheer. About a week in total spent decorating, and a few trips to local stores for the reaming pieces, completely transformed the house as if it were just adorned by the Cockayne’s themselves. However, little time could be spent admiring the handiwork as the real preparation for the event was just beginning.
While the house was decorated, I knew more needed to be offered than just house tours if we were to have a well attended event. After some thought, it was settled that live carolers and storytelling would perfectly round out the evening while the offer of hot coco and sweets was bound to (pun intended) sweeten the pot. Reaching out to area churches and, more importantly, school choral groups produced spectacular, if not speedy, results. Three groups were booked for the evening to provide a soothing atmosphere for the attendees. Lastly, our volunteer base answered the call to provide a storyteller and baked goods for the evening. With everything, theoretically, put together on paper it was time to spread the word and wait for the night of the event to take place.
Having marketed events before, advertising went out smoothly and the night of the event soon approached—and it was successful. Despite our last choral group bowing out due to a sick director, the night went off as planned. The house and grounds shone bright clothed in their Christmas regalia and the crowds flowed as expected. Visitors smiled while listening to the school groups perform outside before heading indoors to tour the house, listen to a resuscitation of “Twas the Night Before Christmas,” and craft an authentic Victorian Era ornament. While, not every aspect of the evening went exactly according to plan (for example junking the script for the house tour within the first 10 minutes), our little over 100 visitors were thoroughly entertained and left knowing the Farmstead is a vital part of the community. About two and a half hours after it started, it was finished. The evening event had ran its course, the house was put back into order, and it was time to move onto the next task. However, while the evening only lasted a handful of hours, its lessons and memories have lasted far longer.
While I don’t anticipate a career switch to event planning, the experience has reinforced that I’ve become proficient in this very necessary skill for small historic sites. Seeing all my research, planning, coordination, balancing, and advertising efforts pay off was another in a series of small revelations over the past several months that I have indeed stepped outside my comfort zone and gained skills that are against my own reclusive nature. In the end, that is what the AmeriCorps experience should all be about, and has for myself over the past two years. Serving with small organizations such as the Farmstead has forced me to tackle challenges that I normally wouldn’t and equipped me well for the next step of moving onto the larger stage of a fulltime career within the field of public history (whenever that is supposed to happen). And, if I manage to inspire some people along the way to pursue their own passion for history all the better. However, that is yet another story for yet another day.
Written by Charlie Hughes
Sometimes a site’s success brings with it new challenges. The Pocahontas County Opera House will soon be 20 years out from its original restoration. The Opera House was built in 1910 by J. G. Tilton. The original glory days of this grand facility were short lived. Mr. Tilton ran into financial trouble and the building was sold in 1914. Over the years, it was variously used for church services, as a gymnasium, a roller skating rink, for car sales, and finally for many years as lumber storage. After a huge community effort and a seven year process the rehabilitation of the building from a dilapidated warehouse to its original glory was completed in 1998.
Today the Opera House is Pocahontas County’s preeminent performing arts center, part of the West Virginia Historic Theatre Trail, listed on the historic register, and brings more than two dozen performances to its stage each year, ranging from bluegrass to jazz, folk to world, to musical theater, and everything in between. Additionally, the site brings in funding as a rental for weddings and community events. The facility continues to grow in its mission! This year the Opera House Foundation began kids and teens after-school theater clubs and held its first Kids Theater Camp in July. The extensive use of this historic space has made it vital and relevant to the community. But it sure leads to a lot of ware and tare!
Recently, I looked up at a lighting fixture and noticed a giant green paper clip bent around its decorative tip, remnant of some renter’s decoration rigging. As I looked more closely I found fishing wire, and every sort of banned tape forgotten along pillars, molding, and bead board edges.
18 seasons of touring musical and theatrical groups have signed the walls of the dressing room, a wonderful tribute to the art that has happened within our walls. Unfortunately, more than a few other names have crept in over the years.
The roller shades hung on the 32 windows no longer all roll up. Scuffs on the stain have marred the apron of the stage and ware has left the stage and steps to the balcony with patches of unsealed spongy wood.
Additionally, because the community has come to associate music and theater with this space, donations of everything from pianos to fur coats come to us and our balcony over flows with boxes of items people thought might be useful to the space.
As I pull down tape and tacs, paint away graffiti, and mothball donated costumes of every type, I am thankful for the problems my site grapples with. After a year of service with the Opera House I have come to see how important this space is to the people. Their thoughtlessness in removing décor or thoughtfulness in donating items happens because they think of the space as theirs. So many historic structures won’t be saved and renovated, many more won’t be revitalized. Having completed a list of tlc projects and presented them to the board, I’ve decided to sign on for another year of service here at the Opera House. I am looking forward to reorganizing, touching up paint and stain, and replacing the shades, precisely because this is a place that will continue to be used until it is worn.
Preserve WV Stories