HOUSES OF THE PRESIDENTS offers a unique tour of the houses and day-to-day lives of America's presidents, from George Washington's time to the present. Author Hugh Howard weaves together personal, presidential, and architectural histories to shed light on the way our chief executives lived. Original photography by Roger Straus III brings the houses and furnishings beautifully to life. From Jefferson's Monticello to Reagan's Rancho del Cielo, with fascinating and surprising stops between and beyond, HOUSES OF THE PRESIDENTS presents a fascinating alternative history of the American presidency.

Pre-eminent historian David McCullough and noted artist Adam Van Doren unite for an excursion to the celebrated homes of fifteen American presidents, past and present.

All the presidents of the United States have had at least one home outside of the White House, and many have had libraries and museums built to commemorate their careers. This volume offers a comprehensive, illustrated guide to the almost one hundred homes, libraries, and museums that honor the American presidents - from George Washington to George W. Bush.

Houses of the Presidents offers a unique tour of the houses and day-to-day lives of America's presidents, from George Washington's time to the present. Author Hugh Howard weaves together personal, presidential, and architectural histories to shed light on the way our chief executives lived. Original photography by Roger Straus III brings the houses and furnishings beautifully to life. From Jefferson's Monticello to Reagan's Rancho del Cielo, with fascinating and surprising stops between and beyond, Houses of the Presidents presents a fascinating alternative history of the American presidency.

A thought-provoking tour of the eighteenth-century houses belonging to some of America's most important early leaders looks inside the domestic world of the Founding Fathers to chronicle the private lives, families, culture, interests, and aspirations of Jefferson, Washington, Adams, Hamilton, and others in each of the original thirteen colonies.

Perhaps not southerners in the usual sense, Franklin D. Roosevelt, Harry S. Truman, and Lyndon B. Johnson each demonstrated a political style and philosophy that helped them influence the South and unite the country in ways that few other presidents have. Combining vivid biography and political insight, William E. Leuchtenburg offers an engaging account of relations between these three presidents and the South while also tracing how the region came to embrace a national perspective without losing its distinctive sense of place. According to Leuchtenburg, each man "had one foot below the Mason-Dixon Line, one foot above." Roosevelt, a New Yorker, spent much of the last twenty-five years of his life in Warm Springs, Georgia, where he built a "Little White House." Truman, a Missourian, grew up in a pro-Confederate town but one that also looked West because of its history as the entrepôt for the Oregon Trail. Johnson, who hailed from the former Confederate state of Texas, was a westerner as much as a southerner. Their intimate associations with the South gave these three presidents an empathy toward and acceptance in the region. In urging southerners to jettison outworn folkways, Roosevelt could speak as a neighbor and adopted son, Truman as a borderstater who had been taught to revere the Lost Cause, and Johnson as a native who had been scorned by Yankees. Leuchtenburg explores in fascinating detail how their unique attachment to "place" helped them to adopt shifting identities, which proved useful in healing rifts between North and South, in altering behavior in regard to race, and in fostering southern economic growth. The White House Looks South is the monumental work of a master historian. At a time when race, class, and gender dominate historical writing, Leuchtenburg argues that place is no less significant. In a period when America is said to be homogenized, he shows that sectional distinctions persist. And in an era when political history is devalued, he demonstrates that government can profoundly affect people's lives and that presidents can be change-makers.

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.