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From YouTube: Montgomery Historic Preservation Commission (2/12/19)
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A
Our
procedure
for
conducting
business
is
the
petitioner
for
each
item
will
be
asked
to
come
forward
state
his
or
her
name
for
the
record
and
present
his
or
her
request.
The
ball
will
ask
any
question
the
board
may
have
once
the
public
testimony
and
discussion
for
a
particular
item
have
concluded.
The
members
of
the
board
will
deliberate
and
render
their
decision
members
with
a
personal
or
financial
interests
in
any
request,
are
required
to
accuse
themselves
from
voting.
I.
C
C
D
A
D
A
A
So,
with
that
being
said,
I
like
to
open
our
meeting
this
afternoon
for
deliberation
and
because
I
have
another
engagement.
I
have
asked
our
vice
chairperson,
miss
Carole
King.
If
she
will
conduct
business
in
my
absence
this
afternoon,
so
I
now
turn
our
meeting
over
to
our
vice
chairperson,
miss
Carole
King.
Thank
you.
E
First
on
our
agenda
tonight
we
have
a
special
presentation:
I
want
to
introduce
Kelly,
Hall,
Berg
and
Kelly
will
do
a
presentation
on
some
of
the
happenings
at
Landmarks
foundation.
She
is
our
curator
of
education
for
landmarks
foundation,
a
total
obama
town
which
operates
old,
Alabama
town
for
the
city
of
Montgomery,
so
Kelly
well,.
F
Our
mission
is
to
preserve,
interpret
and
present
central
Alabama
architecture,
history
and
culture
through
collaborative
efforts
with
the
city
of
Montgomery.
Over
50
19th
and
early
20th
century
structures
have
been
authentically
restored,
which
are
located
along
six
blocks
in
the
historic
downtown
Montgomery.
F
Okay,
on
the
ordem
and
Mitchell
Shaw
house,
which
is
located
on
the
corner
of
North
Hole
in
Jefferson.
This
was
the
first
acquisition
it
was
purchased
in
1967.
The
top-left
photograph
is
what
it
looked
like.
It's
the
time
of
purchase.
The
top
right
photograph
is
the
out
building
behind
the
house
and
then
the
bottom
photograph
shows
the
restoration
in
progress.
You
can
also
see
there's
a
structure
in
the
front
contract.
Archeology
firm
was
brought
out
and
they
found
evidence
of
outbuildings.
They
found
a
brick
foundation.
F
They
also
found
the
location
of
a
60-foot
well
behind
the
house
as
well.
So
that's
part
of
our
preservation
efforts
for
this
particular
building.
What
we
are
currently
working
on
now
is
what
is
called
an
interpretive
plan.
This
is
our
interpretive
our
interpretation
and
how
we're
presenting
part
of
our
mission,
so
an
interpretive
plan
is
a
long-range
plan
that
serves
as
a
guide
for
interpretation
that
outlines
museum,
content,
audience
and
methods
of
presentation.
F
The
reason
we're
doing
this
is
to
fully
integrate
and
to
expand
on
the
history
of
all
people
who
lived
and
worked
in
central
Alabama
in
the
nineteenth
century.
Our
ultimate
goal
is
to
increase
the
quality
of
our
visitor
experience,
using
material
culture,
interactive
learning
and
allowing
for
personal
connections
to
be
made.
F
F
Now,
when
this
building
opened
to
the
public
in
1971,
the
interpretation
was
based
on
Charles
orderman,
who
was
the
arc
German
architect
who
designed
this
Italianate
style
building,
and
today
the
Dyke
guided
tour
starts
outside
again
talking
about
Charles
ornament,
the
Analia
tallien,
eight
style
day,
things
that
go
into
why
it
is
an
Italianate
style
building
you
go
inside
the
house.
We
talk
about
the
Mitchells,
which
were
the
first
owners
to
actually
live
in
the
home,
from
1854
to
1858.
F
All
of
the
exhibits
inside
the
home
represent
that
time
period
and
then,
when
you
walk
out
the
back
door,
you
notice
that
we
have
the
what
we
call
the
work
yard.
We
have
the
two-story
slave
dwelling.
We
had
the
barn,
the
carriage
house
and
the
out
buildings
that
have
been
reconstructed.
So
what
we're
currently
working
on
is
expanding
our
narrative
and
talking
more
about
the
enslaved
community,
who
once
lived
and
worked
at
the
ordem
and
Mitchell
shawl
town
house.
F
Now
some
of
the
questions
that
we
often
get
or
how
many
enslaved
people
is
the
Mitchell's
own.
What
were
their
names?
Things
like
that?
Well,
we've
been
doing
some
research
and
one
of
the
research
things
that
we
found
was
we
looked
into
the
1850
census.
Now,
what
it
lists
is
the
names
of
the
owners,
but
it
does
not
list
the
actual
names
of
enslaved
persons.
F
What
it
does
list
is
whether
they're
male,
a
female
gives
their
age
and
at
the
time,
if
they
were
considered
black
or
mulatto,
but
further
research
has
actually
showed
us,
the
prenuptial
agreement
between
Julius
Caesar,
Mitchell
and
Rebecca
Murdoch,
and
in
this
prenuptial
agreement
we
transcribed
that
we
found
the
names
of
at
least
eleven
enslaved
persons
who
actually
were
considered
property
of
Rebecca
and
came
into
the
marriage.
So
there's
a
possibility
that
one,
some
or
all
of
those
names
listed
there
could
have
at
one
point
been
at
the
ordem
and
Mitchell
shawl
townhouse.
F
Now
this
is
a
the
picture
of
the
kitchen,
the
two
stories
slated
when
we
had
the
kitchen
on
one
side,
the
scullery
on
the
other
side
downstairs
and
the
living
spaces
upstairs
which
I'll
get
to
in
just
a
moment,
because
we
were
expanding
our
narrative
with
the
enslaved
community.
We're
also
expanding
our
vocabulary
that
we
are
used
notice,
I've
been
saying
the
enslaved.
You
see.
We
want
our
visitors
to
understand
that
slavery
was
something
that
happened
to
individuals,
it's
not
who
they
were
as
people.
F
A
person
who
was
enslaved
was
somebody
who
is
forced
to
work
without
pay
to
obey,
commands
and
had
no
freedom,
but
we
want
our
visitors
to
understand
that
these
people,
while
they
were
enslaved,
they
were
more
than
their
circumstances
allowed.
Now,
because
we
currently
don't
have
any
specific
stories
on
any
specific
person,
we
are
focusing
on
the
tasks
that
would
have
been
done.
F
Now
that
these
two
pictures
are
upstairs
in
the
living
quarters
now,
the
thing
is:
is
that
part
of
our
interpretive
plan
is
that
we
want
to
move
away
from
speculation
and
conjecture
and
go
more
towards
documentation
as
of
right
now,
this
is
set
up
as
our
interpretation
of
what
could
have
been
in
this
space.
Now
we
have
all
different
kinds
of
visitors
who
come
through
and
they
have
different
levels
of
interests
and
learning
styles,
so
some
people
they
like
to
see
the
space
with
something
in
it.
F
It
gives
them
a
visual,
and
because
of
this
we
often
get
asked
how
many
people
could
occupy
this
particular
area.
One
of
the
things
that
we
would
like
to
do
is
to
create
sort
of
an
open
space
for
our
visitors
and
make
it
an
interactive
experience.
So
one
of
the
rooms
we're
going
to
take
all
the
artifacts
out
of
that
room.
F
We
would
also
like
to
create
sort
of
a
memory
wall,
not
only
listing
the
names
of
the
enslaved
people
that
we
believe
could
have
once
been
at
Thornton,
mitchell,
shaw
of
town
house,
but
also
in
montgomery
county,
so
we're
keeping
a
running
list
as
we
come
across
those
names
and
actually
on
the
picture.
There
I
have
the
names
of
the
people
that
were
listed
in
the
prenuptial
agreement
along
with
their
ages.
F
Now
this
gentleman
here
on
the
beach
pictured
on
the
left.
This
is
Joseph
Miguel
he's
the
founder
of
the
slave
dwelling
project.
If
you're
not
familiar
with
this,
he
started
this
where
he
would
go
and
stay
in
different
slave
dwellings
and
cabins
all
along
the
East
Coast
and
he's
actually
opened
him
up
to
the
public,
and
you
can
see
there's
a
group
of
students
down
below.
F
He
has
actually
come
to
old,
Alabama
town
twice
once
he
stayed
overnight
in
the
slave
dwelling
by
himself
and
then
the
second
time
he
has
the
group
of
students
who
came
and
they
wrote
about
their
experience.
This
particular
photograph
of
him
with
his
fingers
on
the
wall
was
taken
at
the
Hermitage
Andrew
Jackson's,
home
and
Carole.
F
King
and
I
were
at
the
slave
drawing
project
conference
in
October,
and
this
was
one
of
our
destinations
we
had
to
go
to
and
what
he's
doing
is
he's
got
his
fingers
on
the
bricks
it's
kind
of
hard
to
see.
But
if
you
look
at
the
top
picture,
there's
indentions
of
where
there's
fingerprints
from
the
persons
who
actually
made
that
break
and
that's
something
that
we're
currently
looking
at
as
well
as
to
see,
if
maybe
we
can
find
evidence
of
fingerprints
in
the
bricks
in
our
structures.
F
I
also
want
to
say
that
we
are
excited
to
be
able
to
work
closely
with
their
joseph
mcgill
and
he's
actually
scheduled
to
come
back
to
have
an
overnight
visit
in
September
of
2019.
So
keep
keep
looking
for
more
information
about
how
you
can
possibly
be
a
part
of
that
now
we're
not
just
talking
about
the
enslaved
community
in
old,
Alabama
town,
we're
going
to
also
continue
the
story
into
the
other
buildings
that
we
have,
and
these
are
just
two
examples.
We
continue
the
story
of
after
emancipation
and
after
the
13th
amendment.
F
So
we
have
the
shotgun
house
which
a
grant
Fitzpatrick
who
was
born
up
from
a
former
enslaved
and
he
was
around
three
to
five
years
old
during
the
time
of
emancipation,
and
we
want
to
talk
about
his
life
and
his
family
and
how
they
progressed
from
there.
And
then,
of
course,
we
had
the
first
presbyterian
colored
church,
which
was
built
around
1885.
So
we
have
a
large
story
to
tell
this
interpret
plans
going
to
take
some
time,
but
we're
really
excited
about
the
research
and
the
things
that
we've
learned
so
far.
F
C
F
Really
glad
you
asked
that
question,
because
when
we
started
the
interpretive
plan,
we
actually
had
no
idea
what
exactly
the
interpretive
plan
was.
There
actually
isn't
a
one
set
definition
for
one
so
I
kind
of
created
it.
We
were
doing
research
and
what
other
museums
are
doing,
the
national
historic
museums
like
Monticello
and
Montpelier
they're,
actually
in
the
final
stages
of
completing
their
interpretive
plan
to
completion,
meaning
they
have
also
created
an
exhibit
so
we're
looking
at
what
they
are.
F
What
they've
done
and
we've
collaborated
with
some
of
the
people
who
have
been
a
part
of
that
so
in
working
with
the
people
themselves,
doing
the
research
online
and
also
just
kind
of
seeing
what
other
people
have
done
on
the
small
scale.
Obviously
those
are
larger
historic
sites.
So
just
doing
the
research
of
what
other
people
other
like
content
like
museums
are
doing
is
what
we're
based
on
what
we're
doing
on
and.
C
I
noticed
too
in
your
presentation
that
one
of
the
goals
obviously
is
to
be
a
little
more
faithful
to
some
of
the
stories
that
happen
or
things
that
possibly
occurred
there,
but
another
goal
I
saw
was
to
meet
some
target
audiences
a
little
bit
better.
Can
you
speak
a
little
bit
to
who
you're
trying
to
engage
with
in
terms
of
audience.
F
F
That's
and
because
we're
in
our
beginning
stages,
we
are
those
are
all
things
that
we
are
planning
on
doing.
We
want
to
reach
out
to
descendants
of
maybe,
if
any
of
the
enslaved
descendants
that
may
still
be
in
the
area
or
outside
we'd
like
to
make
them
as
much
involved
in
what
we're
doing,
because
it
is
a
part
of
their
legacy
as
well,
and
so
that's
it's
something
that
we
are
looking
into.
We're
also
kind
of
using
our
interpretive
plan
when
we
have
school
groups
or
certain
groups
come
in.
F
We
talk
about
what
we're
doing
and
seeing
how
its
received
seeing
if
it
may,
if
it
you
know,
makes
sense
or
anything
that
we
can
improve
on,
because
when
you're
staring
at
something
so
long,
you
see
it
in
one
way.
But
you
have
somebody
with
fresh
eyes
and
they
can
give
you
a
perspective.
So
we
want
to
make
sure
that
we're
on
the
right
track
and
we've
gotten
positive
feedback
from
so
many
different
groups
of
people
who
have
come
through
with
what
we're
doing
so.
B
E
D
E
C
Mean
I
guess
I'll
take
in
and
the
rest
of
the
Working
Committee
can
jump
in
when
they
feel
they
need
to.
So
last
week
the
committee
met
at
Huntington
to
examine
the
space
that
we're
going
to
use
for
the
class
and.
D
C
C
And
you
have
I
guess
a
preview
at
your
station.
Let's
see
what
else
we've
got
the
binder
materials
coming
together,
more
or
less
speakers
are
being
booked
as
time
goes.
G
D
C
G
We
have
got
corporate
sponsorships
from
marshal
mill
works,
john
lee
paint,
southern
sash
and
sandra
nickel
realtors,
and
then
we
have.
We
have
not
gotten
money
from
everyone,
but
we
have
commitments
from
all
of
the
historic
districts
as
well.
So
we
were
able
to
take
what
we
had
budgeted
for
in
the
city
budget
and,
I
think,
come
up
with
a
nice
bag
option.
We're
gonna
be
able
to
do
a
t-shirt
for
the
registrants
and
I'm.
I
think
we
should
probably
offer
a
bag
and
a
t-shirt
to
each
of
the
speakers.
D
G
C
Awards
that
we
give
out
every
May
June
somewhere
in
there
and
May,
and
so
those
who
complete
the
preservation
workshop,
will
receive
a
certificate
at
the
awards
banquet
and
so
obviously,
that's
what
we're
talking
about
using
some
of
the
funds
for
to
help
fund
the
banquet
or
not
the
banquet,
I
should
say
but
the
reception
and
as
I
understand
it.
The
application
has
gone
out.
Oh
we're.
G
G
A
G
G
E
F
G
D
C
G
E
G
D
D
Thought
about
something
you
know
if
they're
round
from
my
office,
the
back
of
the
Ashley
guild.
G
E
F
G
E
G
G
Was
really
a
question
for
y'all
the
press
release
that
that
Griff
Waller
put
together
to
announce
the
program
actually
states
that
Montgomery
recognizes
may
is
historic
preservation
month,
so
I
said
well,
I!
Guess
we'd
better!
Do
it!
It's
really
a
question
of
whether
or
not
I
should
put
this
on
the
agenda
for
March
or
April
I'm,
gonna,
guess
and
I
will
check
with
Mack
McLeod.
If
we're
going
to
guess
that
they
probably
want
to
put
it
on
the
may
council
agenda
and
not
mid-april,
be.
E
C
I
have
something
so
Alabama
State
University
on
February
28th
from
9
a.m.
to
3
is
hosting
a
Black
History
Month
program,
that's
focusing
on
a
number
of
things,
but
in
general
African
American
agency,
in
terms
of
resisting
slavery.
So,
basically
celebrating
efforts
by
the
enslaved
to
resist
the
very
institution
that
you
know
held
them
in
bondage
myself
and
our
presenter
night,
Kelly
Hallberg
as
well.
Steve
Murray,
the
director
of
the
Alabama
State
Archives,
will
be
presenting
in
the
afternoon
session.
So
I
urge
you
to
get
on
the
web
and
check
that
out.
C
I'm
and
I
say
that
because
I'm
not
sure
if
they
have
a
registration
fee,
but
it
would
be
an
ideal
opportunity
to
learn
a
lot
about
I
think
a
portion
of
Montgomery's
history
that
definitely
deserves
a
little
more
attention
than
it
gets.
So
that's
February,
28th
now
I
am
to
three
p.m.
Oh
in
terms
of
site.
The
right
now
it's
gonna
be
an
academic
but
I
that
location
has
not
been
100%
firmed
up
just
yet
so
so.
E
G
G
D
G
A
D
G
G
G
G
G
Anybody
has
a
suggestion,
please.
Let
me
know.
Qualifications
are
in
the
code
for
this
particular
body.
In
addition
to
having
a
demonstrated
knowledge
in
the
fields
of
architecture,
architectural
history,
history,
planning,
law,
archaeology,
probably
something
else,
I
can't
remember.
It
also
includes
being
a
resident
of
a
historic
district.