The town of Deadwood is cradled in a narrow gulch between pine-covered bluffs in the Black Hills of South Dakota. Main Street (see Pl. III), the principal commercial thoroughfare, snakes down the ravine cut by the Whitewood and Deadwood creeks. Overlooking it are the residential streets that were carved from the precipitous slopes. Forest Hill on the west and Ingleside on the east. Crowning the eastern slope is Mount Moriah Cemetery where James Butler Hickok, better known as Wild Bill Hickok (Pl. I), and Martha Jane Cannary Burke, whose sobriquet is Calamity Jane (Fig. 1), are buried (see Pl. II).

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Wild Bill is the local hero, but it was Lieutenant Colonel George Armstrong Custer (1839-1876) who was inadvertently responsible for the creation of Deadwood. In the summer of 1874, he led ten companies of cavalry and two of infantry into the Black Hills, then part of the Great Sioux Reservation, to find a site for a military post. When his men discovered gold in the creeks that course through the hills, Custer reported to the adjutant general of the Dakota Territory that "gold was obtained in numerous localities." (1)

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Custer's report triggered a gold rush. As news of plentiful gold deposits spread across the nation, easterners impoverished by the financial panic of 1873 and midwestern farmers suffering from a devastating drought, as well as frontiersmen and veteran prospectors, began pouring into the Black Hills. The Sioux understandably resented the invasion of their territory, and the United States Army made largely ineffectual efforts to deter the horde of gold seekers. During the first year of the gold rush, makeshift settlements materialized along many of the creeks in the hills, but by early 1876 the richer deposits in Deadwood gulch lured most of the prospectors there. Indeed, it is estimated that by summer the population of the previously uninhabited gulch was between five and ten thousand. (2) These pioneer prospectors practiced surface mining, obtaining gold from the alluvial deposits called placers. Their essential equipment included pick and shovel, a pan for separating gold particles from gravel and sand, rubber hip boots, and a strong back.

Most of the miners lived in canvas tents, some of them large enough to accommodate several men, and there were a few log cabins. Wood was abundant, and, after a sawmill was established in Deadwood in 1876, the commercial buildings--stores, hotels, saloons, and domiciles for compliant ladies--were frame structures with wood sides and shingle roofs. The gable ends faced the street, and some of them had false fronts and wooden canopies over the sidewalk (see Fig. 2). The Ladies' Illustrated Newspaper described Deadwood as "a city of a single street.... The buildings which grace its sides are a curiosity in modern architecture, and their light construction is a standing insult to every wind that blows." (3)

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When Wild Bill Hickok arrived in Deadwood in the summer of 1876 with several disreputable companions, possibly including Calamity Jane, he was a national celebrity. His exploits had been lauded, if exaggerated, by the journalist Henry Morton Stanley (1841-1904) in dispatches to the New York Herald. (4) Hickok's friend Lieutenant Colonel Custer rhapsodized that he was "the most famous scout on the Plains. Whether on foot or on horseback, he was one of the most perfect types of physical manhood I ever saw." (5) According to Custer, Hickok always carried two handsome ivory-handled revolvers, and Custer was especially impressed that on one occasion, after dispatching a miscreant in a duel, Hickok paid for his funeral. "What could be more thoughtful than this?," Custer asked, "Not only to send a fellow mortal out of the world, but to pay the expenses of the transit." (6) Estimates of the number of adversaries Hickok killed as a Union soldier, Army scout, and United States marshal range from fifteen (not counting Confederate soldiers or Indians) to seventy-five.

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Calamity Jane was also a well-known character when she lurched into Deadwood wearing buckskin trousers and a fringed jacket in the summer of 1876. Lewd, alcoholic, and rambunctious, she was a terror around the mining towns and military forts on the western plains. (7) Few of the stories told about her are verifiable, least of all those she told herself in a seven-page pamphlet published a few years before her death. Describing the murder of Wild Bill Hickok she wrote:

On the 2nd of August, while setting at a gambling table ... he was shot
in the back of the head by the notorious Jack McCall [c. 1851-1877], a
desperado.... I at once started to look for the assassian [sic] and
found him at Shurdy's butcher shop and grabbed a meat cleaver and made
him throw up his hands. (8)

Only the fact of Wild Bill's murder in 1876 is accurate. He was indeed shot by McCall while playing poker in a Deadwood saloon (see Pl. IV), holding what is known as a deadman's hand--aces and eights. However, McCall was hardly a notorious desperado and his motive for the killing is unknown. McCall was captured, though not by Calamity Jane, tried in Deadwood by a makeshift court, and acquitted because he falsely claimed that Wild Bill had killed his brother. A few months later, when he drunkenly bragged about the feat, he was arrested, tried again, and hung on March 1, 1877.

Hickok's grave in Mount Moriah Cemetery is adorned with a bronze bust (Pl. II) and the inscription "J B HICKOK/DIED Aug 2, 1876/BY PISTOL SHOT/AGED 39 years/CUSTER/WAS LONELY/WITHOUT HIM." In fact, Custer had been killed at Little Bighorn in the Montana Territory five weeks before the murder. Another friend of Hickok's, an army scout, commemorated his burial with a poem that closed: "Under the sod in the land of gold/We have laid the fearless Bill;/We called him Wild, yet a little child/Could bend his iron will." (9) When Calamity Jane died in 1903, at her request, she was buried a few feet from the grave of her hero.

In 1876 the Black Hills still epitomized the Wild West. There were skirmishes with Indians, and masked brigands, the so-called road agents, held up stagecoaches and sometimes murdered the occupants. Reminiscing about Deadwood, a longtime resident wrote that it was "hog-wild; duels and gunfights in the streets, and often one had to duck or fall flat on the ground to escape a shower of lead." (10) At the same time, the Wild West was becoming a feature of show business. Effete easterners were eager to pay in order to experience vicariously the hardships and dangers of the fearless frontiersmen. In the summer of 1874 Wild Bill himself had a brief fling with playacting. As a favor to his friend William Frederick "Buffalo Bill" Cody (1846-1917), who characterized him as "the most deadly shot with rifle and pistols that ever lived," (11) he appeared with Cody and John "Texas Jack" Omohundro (1846-1880) at Niblo's Garden in New York City in the play The Scouts of the Plains, by Ned Buntline (Edward Zane Carroll Judson; 1823-1886). In the opening scene Buffalo Bill, Texas Jack, and Wild Bill were sitting around a campfire swapping tall tales and passing what appeared to be a whiskey jug from one to the other. When Hickok took a swig he spurted the liquid onto the stage exclaiming, "Any damn fool would know that was cold tea." (12)

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On August 1, 1876, the day before Hickok's murder, the western pioneer Seth Bullock (Fig. 3) came from Helena, Montana, to Deadwood and was appointed the town's first sheriff. In February of the following year the Sioux, under duress, relinquished their claim to the Black Hills. Miners now had a legal right to inhabit the hills and file their claims, and federal courts were organized. In October 1877 Granville Gaylord Bennett (1833-1910), an associate justice with jurisdiction over the Territory of Dakota, arrived in Deadwood to hold the first legal court there. The two stalwart lawmen, Bullock and Bennett, are credited with bringing at least a semblance of law and order to the rowdy town.

Bullock, a merchant, banker, and rancher as well as the sheriff, was a man of extraordinary authority and presence. One of Judge Bennett's daughters, Estelline (d. 1948), described him as

Tall, lean, with drooping mustache, keen gray eyes, a whimsical humor, a
soft voice ... and always, even when he went to Washington as a guest of
the President [Theodore Roosevelt], wearing a soft white Stetson. (13)

Continued from page 1.

In his autobiography Roosevelt called Bullock "one of my stanchest and most valued friends." (14) When Roosevelt went to London in 1910 he cabled Bullock to join him there. As he later explained to Estelline Bennett, "I wanted those Britishers to see my ideal typical American." (15)

When Judge Bennett arrived in Deadwood in 1877 many of the buildings, unlike the earliest ramshackle structures, had second stories with decorative balconies and more elaborate trim. According to the architectural historian Mark S. Wolfe:

By 1877, sash and molding mills had come to town, and buildings began to
dress up in typical Victorian millwork. Cornices became more ornate.
Window surrounds varied from simple rectangular trim to arched and
pedimented designs. Several building owners ... scored wide wooden
siding to look like cut stone.... Some even painted their buildings in a
veined pattern, intending to simulate stone. (16)

Since stone and brick were difficult to obtain, wood was still the material of choice. For the fly-by-night surface miners, permanence was not a criterion. In August 1877 the New York Times reported: "The stores and saloons are put up in sections, ready to take apart at a day's notice and cart off to be set up again for like service in the newest mining town." (17)

In September 1879 Deadwood, like the phoenix, was consumed by fire. A blaze that started in the Empire Bakery on Sherman Street quickly spread to Main Street, and when eight kegs of gunpowder in Jensen and Bliss's Hardware Store blew up, the conflagration engulfed the whole town. Some three hundred buildings were razed with a property loss estimated at three million dollars. Before the end of the day Deadwood was effectively destroyed.

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At the time of the fire, the placer deposits of gold in the river were dwindling, and miners were necessarily turning to lode mining in the hard rock of the hills. Far more complex and costly than surface mining, the lode mines required heavy machinery to dig the open cuts and tunnels and manpower to work in them. Claims with seductive names like Golden Reward, Double Rainbow, Hidden Treasure, and Gilt Edge Maid lured speculators to the hills, and soon there were hundreds of lode mines and dozens of mills for processing the ore. Deadwood had metamorphosed from a gold rush camp to a mining city. Although few of the mines were actually within the town limits, Deadwood was the center for supplies, banking, and entertainment.

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The fires were still smoldering when the men of Deadwood--the miners, merchants, bankers, and saloonkeepers--began to rebuild, and within months, again like the phoenix, a new town had risen from the ashes. Although some of the wood frame structures were rebuilt, many of the buildings, especially on Main Street, were made of brick and stone. A brickyard was established the year of the fire, and limestone and sandstone were quarried from the cliffs above the town. Daniel McLaughlin (b. 1831), the mayor, erected what was probably the first major new building on Main Street. It was brick and, significantly, was called the Phoenix Block (Pl. V). The architect was Patrick Power, an Irishman who came to Deadwood from Chicago in 1878 and also designed several other buildings after the fire. He is remembered as a devout Catholic and a heavy drinker.

In the quarter century after the great fire, Deadwood experienced an extraordinary building boom, and the gold-rich town created a sparkling gallimaufry of late nineteenth- and early twentieth-century styles. There are eye-catching versions of the Italianate, Richardsonian Romanesque, Second Empire, Queen Anne, and classical revival. Many of the saloons, gaming houses, and hotels on Main Street have Italianate features, and some of the facades suggest the false fronts that decorated the earlier, less substantial structures. The Phoenix, for example, has the typically Italianate prominent cornice with overhanging eaves supported by outsized brackets. The narrow roundheaded windows on the third floor and the segmental-arched windows on the second floor, all trimmed with stone, are also typical. Like many of the Main Street buildings, the Phoenix has not only an impressive front door but also a single side door providing access to the upper floors. In 1881 the first meeting of the city council was held in a large room on the third floor of the Phoenix.

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The Bullock Hotel (Pls. VIII, IX), built by the former sheriff Seth Bullock in 1896, also has elements of the Italianate style, including the facade of rough-faced stone, elegant arcade, and ornamental iron balcony extending the length of the building. The curious pagoda-like turret perhaps suggested the proximity of Deadwood's Chinatown at the lower end of Main Street. The hotel is at the corner of Main and Wall Street on the site of a hardware store established soon after Bullock's arrival. According to the historian Watson Parker, "one of the first shipments of goods ... included a large assortment of chamber pots 'of various shapes and colors,' which Bullock auctioned off the evening they arrived." (18)

The Fairmont Hotel (see Pl. IX), across Main Street from the Bullock, was built in 1898 by the Toledo, Ohio, architect John W. Gibbs. Made of brick with stone trim, its most prominent feature is the round tower suspended above the entrance and crowned with a conical roof. Originally known as the Mansion House, it was patronized for the Turkish bath and barbershop in the basement and for rooms designed for amorous dalliances upstairs.

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A striking example of Richardsonian Romanesque is the massive three-story edifice F. D. Smith built on Deadwood Street (Pl. VII). The stone came from the nearby Whitewood quarry. The style was inspired by the grand reinterpretation of the Romanesque by Henry Hobson Richardson (1838-1886), which was imitated in such public buildings as city halls, schools, libraries, churches, and jails all over the country. In its scale and some of its details Smith's building has an affinity to Richardson's 1875-1876 Hayden Building in Boston. The round arched windows, robust cornice, and capitals with foliate carving (see Pl. VI), all duplicate features of Richardson's work. It is believed that Smith designed the building himself. He had opened a feedstore in a one-story brick building in 1893. He prospered, and in 1896 he replaced the store with this exercise in the Richardsonian style. The handsome horse's head with a hungry look that projects above the entrance gives a clue to the merchandise. Over the years, the building has also functioned as a library, a cafe, and now a hotel.

Washington Street, on the western slope called Forest Hill, is distinguished by two charming miniature versions of the Second Empire style, both built around 1880. The house shown in Plate XIII was acquired in 1888 by Dr. Flora Stanford. A woman of iron will, she abandoned her husband in Pennsylvania and took her two young children to Boston, where she graduated from Boston Medical College in 1878. In Deadwood her practice involved not only the treatment of the usual maladies but also the frequent removal of bullets--in one instance three at once--from the bodies of unfortunate combatants.

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Judge Granville Bennett moved his family into a house almost identical to the one in Plate XIII when they joined him in the early 1880s. His daughter Estelline effectively described both houses when she wrote:

We lived on Williams Street ... in a story and a half frame house with a
mansard roof, a square bay window, and a scrap of a porch reached by
steps that started for the bay window and then changed their mind and
tumed and led to the front door. (19)

In her reminiscences of the town in the 1880s and 1890s, she chronicled events in the so-called badlands of lower Main Street, which Watson Parker characterized as "the raucous, flashy, shabby home of Deadwood's life of sin." (20) In a ladylike style Estelline Bennett wrote about the deviltry, the drunkenness, the brawls and murders, and especially the plight of the "lovely light ladies--pretty, beautifully gowned, and demure mannered," (21) whose allure soon faded and some of whom took their own lives. She reported the bizarre wedding on the stage of Al Swearengen's (d. 1899) notorious Gem Theater; when a singer and her accompanist were married beside the corpse of the singer's husband; and she tolerantly described rowdies with names like Buckshot Bill, Slippery Sam, Swill Barrel Jimmy, and Gold Deck Johnny. Somewhat incongruously she also described the amusements of the respectable ladies and gentlemen of Deadwood, happily recalling picnics, tennis games, church socials, sleighing parties, and balls. She wrote: "We danced all the time on any excuse or no excuse." (22) It seems extraordinary that a proper Victorian society flourished in proximity to the nefarious activities of the badlands.

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The Bennetts and the Bullocks belonged to what was called the stagecoach aristocracy, that is, the pioneers who settled in Deadwood some time between September 25, 1876, when the first stagecoach arrived, and December 28, 1890, when the last stagecoach rolled out of town. On December 29, with the Deadwood band playing and flags flying, the entire population of the gulch turned out to welcome the first through train from Chicago, which finally connected Deadwood with the rest of the world. While conceding the benefits that derived from the advent of the railroad, Estelline Bennett wrote: "The essential qualities that made Deadwood a flaming frontier town went out with the old stagecoach or were ground to dust under the wheels of the incoming train." (23)

In 1893, at the same time the railroad was taming Deadwood, the respected historian Frederick Jackson Turner (1861-1932) read a paper at a meeting of the American Historical Association at the World's Columbian Exposition in Chicago asserting that "now, four centuries from the discovery of America ... the frontier has gone, and with its going has closed the first period of American history." (24) After the 1890s the lawless, violent frontier was perpetuated and romanticized in the Wild West extravaganzas of Buffalo Bill, Annie Oakley (1860-1926), and many others, in paintings and eventually in the movies.

In 1892, prompted by the boost the railroad gave to Deadwood's economy, Harris Franklin, a successful liquor distributor, built a notable house for himself and his wife, Anna, on Van Buren Street in the Ingleside neighborhood (Pl. X). He chose the Chicago architect Simeon D. Eisendrath, who had worked in the office of Dankmar Adler (1844-1900) and Louis Sullivan (1856-1924) when Frank Lloyd Wright (1869-1959) was employed there as a draftsman. In his autobiography Wright describes Eisendrath as "apparently stupid." (25) Wright notwithstanding, Eisendrath was an accomplished architect who created a delightful residence for the Franklins in the Queen Anne style. Imported from England at the time of the Philadelphia Centennial Exhibition in 1876, the Queen Anne style was widely employed for domestic architecture in the 1880s and 1890s. The Deadwood house has a typical asymmetrical composition with a steeply pitched hipped roof and a front-facing gable. Also typical are the round tower with its conical roof, the fish-scale shingles, the rough red sandstone, and the one-story porch with its spindle ornament.

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Franklin's son Nathan (1870-1940) acquired the house in 1904, and in 1920 William E. Adams, who operated one of the largest mercantile businesses in the state, bought it from Nathan for $8,500. Adams's second wife, Mary (1898-1993), closed the house after her husband died but insisted that the contents remain intact. In 1992 the Deadwood Historic Preservation Commission acquired the house, and from 1998 to 2000 it was meticulously restored at a cost of $1.5 million. On July 1, 2000, it was opened to the public as the Adams House Museum.

Most of the furnishings date from the years of the Adamses' occupancy, but the architectural features have been largely restored to their appearance when the Franklins owned the house. Like most houses in the Queen Anne style this one has an open plan with an oak staircase, parlor, dining room (Pl. XI), and breakfast room accessible from the reception hall (Pl. XII). The floors of the principal downstairs rooms are oak inlaid with walnut strips, while the upstairs floors are maple. The walls in the reception hall and dining room are covered with glazed Egyptian cotton canvas. In the dining room the ceiling decoration is painted on canvas, reproduced from a remnant of the original found in the attic. The plaster frieze with cartouches and swags of fruit and the luminous stained-glass panels over the windows give the room a baroque glamour.

In 1902 the Deadwood Business Club raised $150,000 to build a hotel "suitable to the dignity of the burgeoning city." (26) Harris Franklin was the principal subscriber and stockholder, and the hotel was named for him. A local architect, Otho C. Jewett, won the design competition but died three days later. Charles A. Randall, who had taken second place, was hired to refine Jewett's plans. The Franklin Hotel (Pl. XIV) is a pleasing, if hybrid, composition. The imposing entrance portico supported by six fluted Doric columns was probably the first exercise in classicism in Deadwood. The rough-faced stone of the ground floor, the rectangular windows with stone lintels, and the wide rounded arch with decorative surround on the fourth floor, all echo the Romanesque revival style. However, the symmetry of the three brick upper stories and especially the columned portico foreshadow the classical revival.

With eighty guest rooms, half of them with baths, a restaurant, a cigar store and newsstand, an elevator, and two ladies' private parlors, the Franklin was the grandest hotel in Deadwood. It opened on June 4, 1903, with a banquet for 250, and for the past century it has accommodated an impressive grab bag of celebrities including Buffalo Bill Cody, Presidents Theodore Roosevelt and William Howard Taft, George Herman "Babe" Ruth, Jack Dempsey, Pearl S. Buck, John Wayne, Kevin Costner, and Cecil B. DeMille.

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In the first decade of the twentieth century, following the lead of the Franklin Hotel, a number of major public edifices were built in the full-blown classical revival style, which perhaps symbolized for the citizens Deadwood's new era of civic rectitude. In 1902 a grant of fifteen thousand dollars from Andrew Carnegie's Library Building Program enabled the town to erect a splendid new library in the classical style (Pl. XV). Charles Randall, who was in charge of the Franklin Hotel, won the design competition for the library. The structure is brick with a stone foundation and stone trim over the windows. The entablature and pediment of the portico are supported by two pairs of massive Ionic columns. The small columns that stylishly frame the entrance are set in antis. The library was completed in 1905 and opened with 4,353 volumes. In addition to being a lending library it is today a repository for hundreds of historical photographs.

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For several years the Deadwood Business Club lobbied for an appropriation to build a suitably grand federal courthouse and post office, and finally in 1902 Congress approved $200,000 for a federal building on Sherman Street (see Pl. XVI). During the years of construction, from 1904 to 1907, James Knox Taylor was the supervising architect for the federal government, and the local newspapers designated him as the official designer. However, since Taylor had a multitude of architects working under him, it is impossible to know who actually designed the building. The local architect chosen to oversee the project was Fremont C. Ward (1863-c. 1920). The town fathers chauvinistically insisted that local materials be used. Consequently, the foundation stone was quarried in Deadwood, and the sandstone for the walls came from nearby Hot Springs. Like other classically inspired buildings of the period, this one is symmetrical with a smooth surface. Its most prominent feature is a projecting central pavilion with a pediment and four Doric columns. The federal courthouse and post office has an austere beauty that is exceptional in Deadwood.

Continued from page 3.

Dominating the town--and providing a striking counterpoint to the federal building a block away--is the Lawrence County Courthouse (see Pl. XVI). It was completed in 1908 on the site of an earlier county courthouse at a cost of $100,000. The architect was Charles E. Bell of Minneapolis. In his long career he designed several other county courthouses in South Dakota as well as the state capitol in Pierre. The Lawrence County Courthouse, composed of stone and brick, has three stories surmounted by a massive tower in two stages capped by a segmental dome and cupola. The juxtaposition of the two distinguished courthouses strikes a surprising note of sophistication in the old gold-rush town.

There was little building of distinction between the two world wars. By the 1950s, due to the falling price of gold and the depletion of the deposits, many of the Black Hills mines were closing. The Homestake Mine in nearby Lead, which was by far the most lucrative of all the mines and a major source of the Hearst family's wealth, survived until 2002, but long before its closing Deadwood was in the economic doldrums. Like so many of the western mining towns, Deadwood was gradually deteriorating.

Mark Wolfe describes the architectural depredations of the 1950s and 1960s when frequently "all remaining gingerbread, window trim, and even porches were removed" to accommodate steel siding. He continues:

Incremental changes, hardly noticeable individually, were slowly turning
Deadwood into every other city in America.... Neglect joined forces with
remodeling, and one of the nation's most treasured landmarks was almost
lost. (27)

In the past fifteen years Deadwood has found the means not only of survival but of renewal, justifying Watson Parker's assertion that whenever the town was threatened the populace "acted vigorously to restore themselves to the status to which their past successes and present virtues alike entitled them." (28) In 1989 a group of concerned citizens successfully petitioned the state to pass a constitutional amendment legalizing gaming in Deadwood. A substantial percentage of the revenue from gaming goes to the Deadwood Historic Preservation Commission. It exercises strict control over the restoration and maintenance of the historic buildings and administers a revolving loan fund to assist the owners in restoring their properties. Once again Deadwood embraces at least two of its three traditional venues for entertainment--saloons and gaming houses; and once again it has risen from potential ruin to become a pristine treasure trove of eclectic American architecture.

Many kind residents of Deadwood facilitated the preparation of this article. Especially helpful were Jim Wilson, historic preservation officer, and Deborah Gangloff, assistant director of the Adams Museum and House; and Mark S. Wolfe's excellent architectural survey Boots on Bricks was invaluable. In Georgia, Jimmy Davenport's interest in history was the source of useful information.

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(1) Quoted in Watson Parker, Deadwood: The Golden Years (University of Nebraska Press, Lincoln, 1981), p. 6.

(2) Ibid., p. 32.

(3) Quoted in Mark S. Wolfe, Boots on Bricks (Deadwood Historic Preservation Commission, Deadwood. South Dakota, 1996), p. 4.

(4) Stanley won fame for himself in Africa in the 1870s, most notably for leading the expedition to find the missionary and explorer David Livingstone (1813-1873).

(5) George Armstrong Custer, My Life on the Plains, ed. Milo Milton Quaife (Lakeside Press, Chicago, 1952), p. 69.

(6) Ibid., p. 71.

(7) A late nineteenth-century memoir of Deadwood includes a more favorable opinion of Calamity Jane, telling how she nursed smallpox victims and distributed candy to children (Estelline Bennett, Old Deadwood Days [1928; University of Nebraska Press, Lincoln, 1982], pp. 217-243).

(8) Life and Adventures of Calamity Jane by Herself (Billings, Montana, [1895]), pp. 4-5.

(9) Quoted in Frank J. Wilstach, Wild Bill Hickok, the Prince of Pistoleers (Doubleday, Page and Company, Garden City, New York, 1926), p. 288.

(10) Ibid., p. 267.

(11) Quoted ibid., p. 1.

(12) Jay Monaghan, The Great Rascal: The Life and Adventures of Ned Buntline (Little, Brown, Boston, 1952), p. 32.

(13) Bennett, Old Deadwood Days, p. 54.

(14) Theodore Roosevelt, an Autobiography (Charles Scribner's Sons, New York, 1920), p. 118.

(15) Bennett, Old Deadwood Days, p. 54.

(16) Wolfe, Boots on Bricks, p. 4.

(17) Quoted ibid., p. 3.

(18) Parker, Deadwood, p. 71.

(19) Bennett, Old Deadwood Days, p. 21.

(20) Parker, Deadwood, p. 186.

(21) Bennett, Old Deadwood Days, p. 6.

(22) Ibid., p. 256.

(23) Ibid., pp. 287-288.

(24) Frederick Jackson Turner, The Frontier in American History (1947; University of Arizona Press, Tucson, 1986), p. 38.

(25) Frank Lloyd Wright, An Autobiography (1932; Horizon Press, New York, 1977), p. 117.

(26) Parker, Deadwood, p. 76.

(27) Wolfe, Boots on Bricks, p. 9.

(28) Parker, Deadwood, p. 229.

WILLIAM NATHANIEL BANKS writes about historic towns and houses.

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