In the Early 1900s this sculpture was made at the request of the Major Robert Speer, Mayor of Denver. Alexander Phimister Proctor was commissioned to make this along with the Broncho Buster statue. They are displayed in the Civic Center Park. On the War Trail was presented by Stephen Knight in the 1922.Proctor lived in Colorado as a boy and grew to be an acclaimed American Sculptor. He studied in Paris and New York. He quickly became a leading animalier. He was known for mixing the French Beaux-Arts style with American qualities of simplicity and dignity.<blockquote>“I am eternally obsessed with two deep desires— one, to spend as much time as possible in the wilderness, and the other, to accomplish something worthwhile in art.”</blockquote>Many of his sculptures came from drawing studies at the Pendleton Round-up Rodeo in Oregon. Proctor became close with the town. He secured an art studio on the grounds of the Rodeo, and a pass that allowed him access to roam. For this particular piece he drew inspiration from Jackson Sundown (Nez Perce), Gray Eagle (Blackfoot) and Eddie Beaver of Browning Montana.On the War Trail depicts an American Indian riding bareback on a horse with a spear in his hand. With a spear thrust outward, it shows the Native American’s strength. This along with the Broncho Buster tell of two distinct lineages merging in Colorado.

This is one of two statues dedicated to the city. The other is the Broncho Buster. They depict the foundation of Colorado. On the War Trail was presented to the city in 1922. It is positioned across from the Broncho Buster. It is a memorial to the western roots of the state. The statue is known for its erect stance, ready for battle. 

On the War Trail 

This short walking tour includes Civic Center Park and numerous monuments past and present as it winds towards the state capital. The tour includes several historic buildings, markers, and museums in Denver's Capitol Hill neighborhood. The tour concludes at the city's public library, which offers an outstanding collection of items related to Denver's history. 

In 1868, the land that is now home to Denver's Civic Center became the property of the state of Colorado, with construction on the capitol building beginning in 1886. Mayor Robert W. Speer, elected in 1904, spearheaded civic beautification and public projects as a part of the City Beautiful Movement, aiming to increase the city's appeal to newcomers and tourists. Speer created Civic Center Park, designed by Frederick MacMonnies, with the city's first public library (now the McNichols Building), designed by Albert Ross and funded by Andrew Carnegie, as its first building, completed in 1910.Over the following decade, the park gained the French Beaux Arts Pioneer Monument sculpture (1911), which was also designed by MacMonnies; the open-air Greek Theater (1918), designed by Marean &amp; Norton of Denver in collaboration with Edward H. Bennet of Chicago; the Voorhies Memorial Gateway (1919), funded by John Voorhies and designed by Denver Architects Fisher &amp; Fisher; and sculptor Alexander Phimster Proctor's pair of bronzes, "Bronco Buster" (1920) and "On the War Trail" (1922). The models for these statues were Slim Ridings (a horse rustler for whom Proctor paid bail in order to finish "Bronco Buster") and Jackson Sundown (Nez Perce), Gray Eagle (Blackfoot), and Eddie Beaver (from Montana). Denver artist Allen True was commissioned to paint murals at the Greek Theater, the Voorhies Memorial Gateway, the State Capitol Rotunda, and the nearby Brown Palace Hotel lobby. In 1932, the City and County Building, designed by Edward H. Bennett, was completed. For a time, the Denver Art Museum was temporarily housed in parts of the public library and the City and County Building [1].Colorado was the first state to celebrate Columbus Day; in recognition, Civic Center Park received the bronze and stone monument to Christopher Columbus (1970), sculpted by William F. Joseph and donated by Alfred and Anna Adamo. In 1989, anti-Columbus Day protestors covered the sculpture in fake blood but did no permanent damage. The Civic Center Historic District was listed on the National Register of Historic Places in 1974 and was designated a local landmark in 1976. In 2012, the National Park Service designated the Civic Center as Denver's first National Historic Landmark. Civic Center Park is also home to several military monuments, memorials, and a historical marker dedicated to streetcar transportation.In 1955, Denver's Civic Center public library had been relocated and the 1910 building became home to the Denver Water Board and, later, other municipal offices. In the 1990s, it was renamed the McNichols building in honor of Colorado Governor Stephen McNichols, and from 2010-2012, it was renovated to remove non-historic elements and restore the interior and exterior. The building hosted the Biennial of the Americas in July of 2010, dedicated to the art and cultures of North, Central, and South America, and was officially reopened in 2012 by Denver Arts &amp; Venues as a cultural center and public event space. Programming includes music, dance, and other cultural performances; lectures, workshops, and seminars; art, fashion, design, and film exhibitions; and other public events.

Denver's Civic Center was established in 1868 and was designated a National Historic Landmark in 2012. The Civic Center includes the grounds of Civic Center Park, the Federal Revival Colorado State Capitol Building, the Georgian Revival Denver City and County Building, the Greek Revival McNichols Building (once the Carnegie Library), and the park's historic monuments and statuary.

Civic Center Park

In the Early 1900s this sculpture was made at the request of the Major Robert Speer, Mayor of Denver. Alexander Phimister Proctor was commissioned to make this along with the Broncho Buster statue. They are displayed in the Civic Center Park. On the War Trail was presented by Stephen Knight in the 1922. Proctor lived in Colorado as a boy and grew to be an acclaimed American Sculptor. He studied in Paris and New York. He quickly became a leading animalier. He was known for mixing the French Beaux-Arts style with American qualities of simplicity and dignity. <blockquote>“I am eternally obsessed with two deep desires— one, to spend as much time as possible in the wilderness, and the other, to accomplish something worthwhile in art.”</blockquote> Many of his sculptures came from drawing studies at the Pendleton Round-up Rodeo in Oregon. Proctor became close with the town. He secured an art studio on the grounds of the Rodeo, and a pass that allowed him access to roam. For this particular piece he drew inspiration from Jackson Sundown (Nez Perce), Gray Eagle (Blackfoot) and Eddie Beaver of Browning Montana. On the War Trail depicts an American Indian riding bareback on a horse with a spear in his hand. With a spear thrust outward, it shows the Native American’s strength. This along with the Broncho Buster tell of two distinct lineages merging in Colorado.

In the Early 1900s this sculpture was made at the request of the Major Robert Speer, Mayor of Denver. Alexander Phimister Proctor was commissioned for this piece and the On the War Trail statue. They were to be displayed in Civic Center Park. The Bronco Buster was presented by J.K Mullen in the 1920s. Proctor lived in Colorado as a boy. He grew to be an acclaimed American Sculptor. He studied in Paris and New York. He quickly became a leading sculptor of animals and is known for mixing the French Beaux-Arts style with American qualities of simplicity and dignity. Many of his works came from drawing studies at the Pendleton Round-up Rodeo in Oregon. Proctor became close with the town. He secured an art studio on the grounds of the Rodeo, and a pass that allowed him access to roam. He had pull with the local authorities too. When his favorite cowboy, Bill 'Slim' Ridings was under arrest, Proctor had the help of friend and Sheriff, Til Taylor. Taylor allowed 'Slim' to continue to pose for the artist despite his charges. This ensured the artwork wouldn’t be stalled. <blockquote>“Bill ‘Slim’ Ridings, idol of thousands of Roundup Spectators and the model for, if not the inspiration of “The Buckaroo” the latest of A. Phimister Proctor’s sculptured works which has created a sensation in Portland and Seattle as the most typical of all artists depictions of the Western spirit is in the Umatilla County jail this afternoon facing a charge of horse stealing.”</blockquote> The Bronco Buster tells the story of Colorado as a thriving western hub. The monument exhibits the Wild West roots instilled in the “cow town.” More of Proctors sculptures are on view at the Denver Art Museum, as well as the Portland Art Museum.

This statue was a donation to the city in the early 1900s and was given along with the On the War Trail statue which is located nearby. Both are meant to provide context for Colorado's foundation but only present one perspective. The famous American artist, A. Phimister Proctor, had roots in Colorado and the Cowboy life. Proctor's favorite cowboy model Bill 'Slim' Ridings, provided a true American tall tale to back this bronze sculpture.

The Bronco Buster 

The statue was donated to the City of Denver in 1970. Presenters Alfred and Anna Adamo explained their intent to honor Colorado as the first state to recognize Columbus Day as a holiday. The statue was created by William F Joseph, a prominent sculptor in the region. Due to Christopher Columbus' actions against Native peoples, many Denver residents in the past fifty years have not seen this monument as representative of the inclusive community Denver should aspire to become. Others have expressed mixed feelings, appreciating the potential value of statues like this as a reminder that historical figures like Columbus have been lauded while many others who have had a more direct impact on Denver remain largely unknown. As demonstrated by public debates and counter-protests in 20202, some residents of the city hope the monument will be restored and rededicated.The monument was crafted by William F Joseph, a Colorado artist known for his work in Denver. Joseph mixed bronze, steel, concrete, and marble for the Christopher Columbus sculpture. The statue was intended to partially resemble Da Vinci's "Vitruvian Man" and in 1975, a marble bench was added to allow for introspection and contemplation. The monument was a stylistic interpretation of the navigator, as noted by Denver Public Arts.<blockquote>“Each human form has their two arms and four faces extending in the four directions – North, South, East and West. The statue is encircled by three spherical stainless steel rings strategically placed outlining the planet earth.”</blockquote>For decades, Columbus Day in Denver has been met with protests against the celebration of the holiday and more emphasis on the way Columbus and those who sponsored his voyages viewed and treated the indigenous peoples of the Americas. In the late 19th century, Columbus was viewed as a heroic figure and celebrated. A century before, however, the explorer was largely unknown. The early 1970s saw another change in his perception by many Americans. While some continued to celebrate Columbus, each decade of the late 20th and early 21st century brought less emphasis on Columbus as an explorer and his "discovery" of America and more attention to the treatment of Native Americans. For Native groups and many of their supporters, statues like this became ground zero to protest a historical narrative that failed to include Columbus' active support for actions that would be considered genocide in the present day. In 1989, Russell Means, an American Indian Movement (AIM) activist, led a protest where he defaced the statue with fake blood. He was found not guilty of a crime as his actions did not cause permanent damage and was considered a form of free speech.In the early morning hours of June 25th, 2020, the bronze portion was toppled during a wave of nationwide debate and protest about the meaning of monuments. Similar to previous waves of protest against monuments viewed by many Americans as unrepresentative of the history America aspires to, this protest followed the murder of a citizen by the police. In this case, the victim was George Floyd who was killed by a police officer who knelt on Floyd's neck for nine minutes. Protestors engaged in the larger Black Lives Matter movement and started protests that led communities across America to remove statues. Following the action against the statue, the city began talks with the artist's son Tim Joseph, about how to proceed. It was suggested that the bronze be used to create a different statue, especially as his father did not originally intend to create a Christopher Columbus statue.<blockquote>His father wanted it to be called “Man of All Nations,” Tim Joseph wrote, but “after much debate, Adamo insisted the sculpture be named ‘Christopher Columbus’ because of his Italian heritage and the important role Columbus played in his life.”</blockquote>

This monument was erected in Civic Center Park in 1970 and stood until protests in 2020 led to its removal. Colorado artist William F Joseph created the sculpture which was met with increasing criticism at various points in the past five decades as Colorado residents have asked if the statue reflected the values and aspirations of their community. In 1989, the statue was defaced with fake blood by American Indian Movement (AIM) activist, Russell Means. Means was found not guilty of the crime of vandalism because he was expressing an act of free speech. On Thursday, June 25th, 2020, this statue was toppled by a group of unnamed protestors. This Denver protest was part of a larger response to the death of George Floyd and other minorities at the hands of police. The violence against minorities led to conversations about the meaning of monuments, along with isolated examples where monuments accross the country were the sites of protests.

Christopher Columbus Statue (1970-2020)

<h4>History of the Smoky Hill Trail</h4>In 1859, prospectors found gold along Cherry Creek in modern-day Denver, and as quick as the word spread, thousands of prospectors began traversing the Rocky Mountains to seek their fortunes. However, there was no official path crossing Kansas, connecting the East to Denver. The westernmost traveling point at that time was in Salina, part of the Oregon Trail. To quicken the route to Denver and make it safer, surveyors and frontiersman began taking the ancient trail along the Smoky Hill River that was used by Native Americans. Although the trail was substantially harder and more dangerous than other prairie trails from the Missouri River to the Rockies, thousands of would-be prospectors, homesteaders, and soldiers traveled the Smoky Hill Trail between 1859 and 1865. Among the dangers included attacks by local tribes and scarce water supplies. Many survived the trip nonetheless, traveling in covered wagons or on foot pushing carts and wheelbarrows. Others, however, were not so fortunate.  Stagecoach transportation to Denver was established by 1865, and during the trail’s heyday, many famous individuals followed its route to Denver, including Wild Bill Hickock, Wyatt Earp, and Buffalo Bill Cody.1Marker Inscription:This tablet is the Property of the State of ColoradoHere was the end of the famousSmoky Hill TrailImmigrant and stage road extendingfrom the Missouri River to Denver.Traversed by pioneers in 1858.Surveyed by W.G. Russell in 1860.Route of Butterfield's OverlandDespatch and Wells Fargo Express.The trail took its human toll -Death by thirst and Indian raids.2 History of the Pioneer MonumentDenver business leaders hired prominent sculptor Frederick MacMonnies to sculpt a decorative fountain for the growing city in 1904. But when the artist’s design for the Pioneer Monument appeared in local newspapers, it sparked public outrage. Many believed it inverted what they assumed to be a God-given racial hierarchy. The sculptor explained that his<blockquote>“idea in the design has been to make a gradual transition from civilization to savage life ... First, the Pioneer Settlers, Miners, Cowboys; then the Wild Animals; finally the Savage and the Buffalo (which are even now almost myths!), sacrificed to civilization and about to disappear forever into the Happy Hunting Grounds.”3</blockquote> MacMonnies’ assumption that Native peoples and bison were dying off to make room for white settlement was typical of his era and accepted in local press coverage. The problem was that critics read the monument in the traditional manner, expecting the pinnacle of American Progress to appear atop the colossal central column, as it did in San Francisco’s 1894 Pioneer Monument. Instead, MacMonnies seemed to glorify the “savages” displaced by white settlers by placing a nude Plains Indian seated on a rearing horse at the pinnacle of the thirty-foot monument. An editorial in the Rocky Mountain News insisted,<blockquote>“We have no prejudice against the noble red man. But history hath it that he faded away before the advance of the pioneers. . . . [W]e don’t want the Indian dominating a structure erected to the men whose business was getting rid of Indians.”4</blockquote>Viewers found it unacceptable for an indigenous warrior to be glorified over the sacrifices of white hunters, prospectors and pioneer mothers. And that warrior’s martial pose contradicted popular notions of Indians necessarily yielding to dominant white culture. Local newspapers focused on the controversy. When the secretary of the Western Federation of Miners stood trial for his life, he used his notoriety to champion replacing MacMonnies’ Plains Indian warrior with a Pony Express rider. The Rocky Mountain News complied with his request that its staff sketch such a monument and compose a poem supporting his proposal. Under pressure from the Colorado Society of Pioneers, MacMonnies ultimately replaced the heroic Indian figure with a sculpture of renowned frontiersman and Indian fighter Kit Carson. Carson was the grandson of frontiersman and folk hero Daniel Boone. The finished monument featured Carson on horseback towering above three other bronze figures representing frontier life: a prospector, a hunter, and a Pioneer Mother with child. MacMonnies thus gave in to the public’s expectation that white Progress would stand proudly and unchallenged atop the massive pillar. MacMonnies’ finished monument met with widespread approval. The 1911 dedication was celebrated by<blockquote>“Hundreds of aged men who carried civilization into the Rockies . . . and aided in wresting what is now the great state of Colorado from the domain of ‘savage beasts and still more savage men,’”</blockquote>along with Colorado’s governor and members of the Pioneer Society, the Sons of Colorado, and the Grand Army of the Republic. So important was it for aging settlers, including those “unable to acquire a competency under the conditions of civilization which they helped to bring about,” to attend the dedication of the monument in their honor that local newspapers and other “public spirited institutions” paid to bring them to Denver and give them “the time of their lives.”5 The Pioneer Monument and other Civic Center monuments became controversial once more in 2020 amid nationwide Black Lives Matter protests. Protesters tore down a monument dedicated to Christopher Columbus and a Civil War monument that included a commemoration of the Sand Creek Massacre. On June 26, 2020, city officials removed the statue of Kit Carson from the Pioneer Monument to prevent its destruction by protesters.

The 1911 Pioneer Monument marks the end of the Smoky Hill Trail, which crossed the great plains from Kansas to Denver and served as the principal route for prospectors seeking their fortunes during the Pike’s Peak Gold Rush. Artist Frederick MacMonnies' original design sparked public controversy because it did not sufficiently celebrate white "civilization" replacing supposed Native savagery. MacMonnies compromised by replacing the Plains Indian warrior at the top of the pillar with a statue of Kit Carson. In 2020, the monument again sparked controversy, this time because it celebrated white cultural dominance.

Pioneer Monument and the Smoky Hill Trail

<h4>History of the Sand Creek Massacre</h4><div>Ever since the first Americans arrived in the Colorado Territory, there have been hostile tensions between the settlers and local tribes. Nonetheless, the U.S. Government tried appeasing tribe leaders through various treaties, such as the Larimer Treaty of 1851, which gave local tribes extensive territory. But with the Pike’s Peak gold rush beginning in 1858, as well as other factors, the U.S. Government renegotiated the terms of the treaty. By 1861, the Treaty of Fort Wise took much of this land away, reducing the size of Southern Cheyenne and Arapaho land by 1/13th.&nbsp;</div><div> </div><div>To preserve peace and the security of their people, many tribal leaders accepted the terms of the treaty. Of course, some were not happy with the decision, especially the Dog Soldiers comprised of Cheyenne and Lakota. By 1864, under the blessing of Colorado governor John Evans, Colonel John Chivington and his forces began attacking Cheyenne camps. The Cheyenne retaliated and furthered the aggression of U.S. Troops. But two chiefs, Black Kettle and White Antelope, continued working for peace by trying to establish a truce. The chiefs decided to fly American flags over their villages.&nbsp;</div><div> </div><div>Despite the calls for peace, on November 29th, 1864, Colonel Chivington and a 700-man army attacked Native American campsites near Fort Lyon. Many of the villages’ men were out hunting, but Chivington attacked nonetheless, even with the American flag flying overhead and a white flag that was raised once the attack began. Most of those killed were women and children.1</div><h4>Inscription on the Historical Marker</h4><div>The controversy surrounding this Civil War Monument has become a symbol of Coloradens' struggle to understand and take responsibility for our past. On November 29, 1864, Colorado's First and Third Cavalry, commanded by Colonel John Chivington, attacked Chief Black Kettle's peaceful camp of Cheyenne and Arapaho Indians on the banks of Sand Creek, about 180 miles southeast of here. In the surprise attack, soldiers killed more than 150 of the village's 500 inhabitants. Most of the victims were elderly men, women, and children.</div><div> </div><div>Though some civilians and military personnel immediately denounced the attack as a massacre, others claimed the village was a legitimate target. This Civil War Monument, paid for by funds from the Pioneers' Association and the State, was erected on July 24, 1909, to honor all Colorado soldiers who had fought in battles of the Civil War in Colorado and elsewhere. By designating Sand Creek a battle, the monument's designers mischaracterized the actual events. Protests led by some Sand Creek descendants and others throughout the twentieth century have since led to the widespread recognition of the tragedy as the Sand Creek Massacre.2</div>

The Sand Creek Massacre historical marker, located in front of the Civil War monument near the Colorado State Capitol, details one of the most controversial events in Colorado history. In essence, the Sand Creek Massacre was a massive atrocity during the American Indian Wars in 1864 that consisted of the killing and mutilation of between 70 and 163 Native American women, children, and elderly people by a 700-man force of Colorado Territory militia. Some civilians immediately denounced the attack, recognizing it as a massacre, while many others thought of the destruction of the peaceful villages of Cheyenne and Arapaho as legitimate targets in a war. 

The Civil War monument was built in 1909 and funded by the Pioneers’ Association and the State to honor Colorado soldiers who fought in battles in the Civil War. However, as Sand Creek was considered a battle, it was listed on the monument, mischaracterizing the nature of the attack. The monument caused protests and, consequently, greater recognition of the Sand Creek Massacre. 

Sand Creek Massacre Historical Marker

The building, designed by architect Elijah E. Myers, is similar to the United States Capitol and as such is in Federal Revival Style. Myers is also credited for designing the Capitol buildings in Michigan, Texas and Utah. Construction began in 1886. It was completed in 1894 at a cost of $2,500,000. The 270-foot dome was finished in 1898. It was initially covered in copper, which didn’t age well and began to turn Black. After 10 years, it was decided that gold should be used in order to reflect the gold rush that helped create the state. The dome was regilded in 1949, 1980 and 1991.The dome was gilded again recently after a piece of the cast iron enclosure fell and inspection crews determined that it was in such disrepair that people were in danger. Funding for repairs came from a number of sources including Colorado State Historical Fund, the General Assembly and a public donation campaign. The latest gilding was completed in 2013. The gold bullion used for the project was donated from a local mine and was valued at the time at an estimated $125,000. It was milled into golf leaf in Florence, Italy. Other repairs on the dome included portions of the cast iron dome enclosure as well as restoring the windows and interior balcony area.The building, which was built with Colorado white granite, continues to undergo restorations in the House and Senate chambers. Notably, the chandeliers in both chambers are being restored. The inside of the building features Colorado Rose Onyx, a rare rose marble from a quarry near Beulah, Colorado. White Yule Marble, also from quarries in Colorado, was used for the floors.Other highlights of the building include many stained glass windows, quilts, paintings, sculptures, artifacts, plaques, memorials and portraits of the United States Presidents. The west steps feature the official measurement marking Denver as the Mile High City. Three separate measurements with increasingly modern tools made for three different markers. The 15th, 18th and 13th steps are all noted as being one mile above sea level. The 15th step includes the engraved words “One Mile Above Sea Level.” A brass cap was set in 1969 by Colorado State University engineering students on the 18th step. Professional land surveyors, using more modern equipment, added the third marker on the 13th step in 2003. The Capitol is part of Denver’s Civic Center Historic District, was listed on the National Register of Historic Places in 1974, and became part of a National Historic Landmark District in 2012.

The Colorado State Capitol is home to the Colorado General Assembly. The offices of the state’s governor, lieutenant governor and treasurer are also located in the building. Visitors can stand 5,280 feet, or officially one mile high, above sea level on the building's west steps. The building’s dome offers a panoramic view of the Rocky Mountains. It’s even against state law to block the view. Free Capitol tours are available and allow the public to see the Allen True water murals, Women’s Gold Tapestry, and Colorado General Assembly Chambers with Rose Onyx wainscoting.

Colorado State Capitol

On April 24,1982 a joint resolution commemorated the day as “Colorado Day of Remembrance of the Armenian Genocide." The U.S. House of Representatives would not formally recognize as a genocide under its own resolution until 2019. The Armenian Genocide is the name recognized by historians for the Ottoman Empire’s annihilation of 1.5 million Armenians. Long discriminated against as a religious minority, the Armenians were Christians and viewed as a threat by the new rulers of what became the nation of Turkey as the Ottoman Empire crumbled during World War I. Armenians suffered episodic violence in the decades before World War I. Records of state-sanctioned pogroms against Armenians occurred as early as 1894 by Turkish Sultan Abdul Hamid II when hundreds of thousands of Armenians were murdered and villages destroyed. The worst episode of violence began on April 24, 1915 and lasted through 1922. In honor of the lives that were lost during this seven-year period, this memorial was constructed at the Colorado State Capitol. The memorial consists of a Khachkar stone, a reflection of Armenian culture. The memorial also includes a memorial plaque, and gardens, although the stone was vandalized during the George Floyd protests in May of 2020. Armenians lived in the Caucasus region of Eurasia for 3000 years. In 4th century AD, it became the first nation to make Christianity the official religion. During the 15th century, Armenia was absorbed into the Ottoman Empire, who were Muslims. They labeled the Christian Armenians "infidels," forcing them to pay higher taxes, and providing them less political rights. Despite this, the Armenians flourished, as they were wealthy and educated. In addition to the resentment this caused, the Turkish feared Armenians would become loyal to Christian governments such as Russia, who shared an unstable border with Turkey. This led to the first massacre of Armenians from 1894-1896, with Sultan Abdul Hamid II declaring he would solve the "Armenian question" once and for all. In 1908, the “Young Turks” came to rule the Ottoman government and overthrew Hamid II. With their nationalistic agenda, their goal was to cleanse the population of all non-Turks, with Armenians being their number-one target. In 1914, the Ottoman empire sided with Germany in World War I. Simultaneously, they started a holy war against all Christians except their allies. In 1915 the genocide began, as Ottoman authorities believed Armenians would fight with their enemy, the Allied Powers, if they believed their victory could bring about independence for Armenians. After arresting intellectuals, many were sent on death marches through the Mesopotamian desert without food, water, or clothing, and were shot if they stopped to rest. “Killing squads” or “butcher battalions” made up of murderers and ex-convicts were sent out to kill the Armenians. They drowned people in rivers, threw them off cliffs, crucified, and burned them alive. They kidnapped children, converting them to Islam and giving them to Turkish families. Women were raped, forced into Turkish "harems," or enslaved. Around 1.5 million Armenians were massacred. To this day, the Turkish government still does not recognize the events as a genocide, instead declaring the Armenians were an enemy and it was a necessary war measure. This memorial features three elements: a garden, a Khachkar, and a plaque. The Khachkar is located in the northeast corner of the capitol building. The additional plaque is located just north of that below a blue spruce. The gardens surround this corner. The area is maintained by the Armenians of Colorado (AOC), a nonprofit established in 1980 with the aim of spreading awareness of the Armenian Genocide, while also eliminating fear and hatred from social communities. The plaque under the blue spruce reads: IN MEMORY OFONE AND ONE HALF MILLION ARMENIANS.VICTIMS OF THE FIRST GENOCIDE OFTHE TWENTIETH CENTURY. The Khachkar is an elaborate red cross-stone constructed of volcanic ash. It is a replica of a medieval cross-stone from the Djulfa cemetery, a cemetery regarded as one of the wonders of Caucasus. Djulfa's residents were forced to leave by Shah Abbas in 1604, but the cemetery remained as the largest Armenian graveyard in the world, with around 10,000 headstones made of carved khachkars. It was partly destroyed to lay railroad tracks in 1903, then in 1921, the Azerbaijan government began using the headstones as building material, leaving about only 2,000 headstones in 1988. In 2005, the Djulfa cemetery was destroyed completely by the Azeris with sledgehammers in an act to erase Armenian history. Thus the original is lost.   In May 2020, the Khachkar stone was vandalized during the protests of the killing of George Floyd. Graffiti was sprayed over the stone and around the base of the memorial. People were told not to attempt to clean the stone, as it had to be cleaned by a specialist because of the material used. However, as of June 2, 2020, people who had attempted to clean the stone caused further damage.

Dedicated in 2015, this memorial at the state capitol was dedicated to recognizing the victims of the Armenian Genocide, an atrocity that saw the deaths of millions from 1915 to 1922. The memorial consists of a Khachkar stone made of volcanic ash to commemorate the resiliency of the Armenian people, a religious minority who were castigated as a threat by the new ruling power in what became the nation of Turkey as the Ottoman Empire crumbled. The Armenian Genocide was recognized as a genocide by the U.S. officially until 2019, and still is not recognized as such by the Turkish government. In May of 2020, the Khachkar stone was vandalized during a series of protests that began to draw attention to police brutality in the wake of George Floyd's death. 

Armenian Genocide Memorial

This historic statue is located on the eastern side of the State Capitol Building. Donated by the Colorado Woman of the “Fortnightly Club,” it was originally presented at the World’s Fair Exposition in Chicago in 1892. Designed and sculpted by University of Denver art teacher Preston Powers, the statue was meant to represent the overall end to the way of life that had been so important to Native American history and the rise of western expansion. When the club bought the statue for the purposes of installing it near the state capital, they requested that the face of the previously plain Native American man be adjusted to reflect the face of Native American Chief Ouray. To purchase the statue the leaders of the club, Mrs. Eliza Routt and Mrs. E.M. Ashley planned to raise $10,000 to purchase the statue. Chief Ouray lived between the years 1833 and 1880, living to the age of 47. He was the leader of the Tabeguache band of Ute Indians in Colorado. However, he held no true authority over the Colorado Utes. The U.S. Government, despite Ouray’s actual status, assigned him the title of Chief of all Utes in Colorado and made him the primary contact for all treaty negotiations. Ouray’s early childhood was as an indentured servant to Padre Martinez, a large landowner in the New Mexico region, preparing him for high society. For seven years Ouray and his brothers were servants to the Martinez family, becoming familiar with Ute, Spanish, and English during this time. Eventually, he would return to his home town in 1850 and in the following year would move to Colorado. Chief Ouray’s given status caused him to be the middleman negotiator between the U.S. Government and the regional tribes of Colorado. Unfortunately, many of the treaties he negotiated were for the forced removal of Ute Natives from Colorado. Sometimes these deals were under shady or slight-handed pretenses by the U.S. Government. After many incidents involving violence and conflicts between U.S. agents and aggressors and resilient Native American Nations, violence was high and Ouray was forced into assisting an agreement to move White River Utes to northern Utah. By the summer of 1880 few Utes had agreed to relocate and Ouray made one final attempt to appeal to his people. In August of 1880, he traveled to southwest Colorado to meet the Utes who refused to relocate. Unfortunately, the journey would prove to be too much. Ouray suffered from Bright’s disease, a kidney ailment that caused high blood pressure, and perished on the Southern Ute reservation on August 24, 1880. Artist Preston Powers created the monument to represent the pre-settlement life in Colorado and to commemorate the way Native American life was before western expansion. As part of the sculpture, a commissioned poem by John Greenleaf Whittier reads: The mountain eagle from his snow-locked peaksFor the wild hunter and the bison seeksIn the chang’d world below; and find aloneTheir graven semblance, in the eternal stone  <h3> </h3>

Nestled on the east side of the State Capitol Building rests the Closing Era Statue, a bronze monument honoring a dying race and telling a tale of westward expansion. A Native American man stands next to a bison, dying from a shot of his bow. Donated by the Fortnightly Club in 1893, the statue was originally exhibited at the World’s Fair Exposition in Chicago. When the sculpture was being prepared for installation, the Club asked sculptor Preston Powers to have the face of the man resemble Native American Chief Ouray. Chief Ouray had been a primary contact for treaty negotiations between the Ute Indians and the U.S. Government.


Closing Era Statue 

Baptists missionary Walter McDuffie Potter established First Baptist Church on May 2, 1864, six years after Denver was founded. He and his sister, Lucy, had arrived in December 1863 after the American Baptist Ministry Society appointed him as a missionary to Denver and the Colorado Territory. He held his first service on December 27. The first church was never completed; only the basement was built and was covered. As a result, it was given the nickname the "Holy Dug Out." The second church was built at 18th and Curtis Street in 1873. The congregation remained there until 1883 when the third church was built on Stout Street between 17th and 18th Streets. President Warren G. Harding (in office 1921-1923) attended services in the church during a tour of the western United States (sadly he died of a heart attack on August 2, 1923 in San Francisco).The congregation started to consider building the present church in 1911. It bought the property in 1917 but World War I and the onset of the Great Depression stopped the project from moving forward until the early 1930s. Under the leadership of Newly appointed minister Dr. Charles Kemper, who spearheaded the effort to raise additional funds and hire Musick, construction began on June 23, 1935. The work was completed in 1938 and the first service was held on November 27, 1938. First Baptist was added to the National Register of Historic Places in 2005. In 1974, it was named a contributing property of the Civic Center Historic District, which is also listed on the Register.

Situated prominently across the street from the state capitol building, the First Baptist Church of Denver was built in 1938 and is one of the city's finest examples of Georgian Revival architecture. Highly respected local architect G. Meredith Musick designed the church with a tall 160-foot tower, a grand portico with granite Corinthian columns, Indiana limestone trim, main entrance doors with limestone pediments, and pilasters at the corners of the building. Rev. Dr. Martin Luther King, Jr. preached at First Baptist on April 16, 1962.

First Baptist Church of Denver

Alma Bridwell White was born in Kentucky in 1862 and
converted to Methodism at a schoolhouse revival meeting while still in her
teens. &nbsp;She followed relatives west to
what was then the Montana Territory, teaching school there and in Utah. She
became deeply involved in the Holiness Movement, an offshoot of Methodism
emphasizing the personal experience of “sanctification”. As a new religious
movement, the Holiness Movement offered greater opportunities for women than
established churches and featured a woman, Phoebe Palmer, among its founding
thinkers.

White married Methodist revivalist Kent White in 1887, and
began leading her own revivalist meetings in 1893. In 1901, in Denver, they
founded what was then called the Methodist Pentecostal Union (the name was
later changed to distinguish the church from Pentecostal denominations). In
1909, they separated and White continued to build a national and international
role for her church, preaching and evangelizing in New York and even London. &nbsp;White was consecrated as a bishop by a
Methodist evangelist in 1918, making her the first woman to use that title in
the United States, In 1919 her movement was officially renamed The Pillar of
Fire, a reference to the Biblical story of Moses. The church’s official
headquarters was at its self-sustaining community of Zarephath, in New Jersey,
but it maintained a strong presence in Denver.

White believed in equality of opportunity – for white
Protestant women. She bitterly attacked the Catholic church, also speaking
poorly of Jews and non-whites.&nbsp; Her years
of greatest prominence coincided with the years in which the second Ku Klux
Klan, founded in 1915, made itself into a political force – in Colorado and
elsewhere -- by exploiting nativist, anti-immigrant, and anti-Catholic
sentiments. During the 1920s, White spoke favorably of the Klan and apparently
allowed Klan events on church properties. The church has since disavowed these
links.

Construction of the Alma Temple on Sherman Street was
overseen by John H. Kubitz, a former mining engineer who had been converted by
White at a revival meeting in Butte, Montana. The work was largely carried out
by volunteers, and materials were purchased through donations. Construction
began in 1923 but was not completed until 1937, when its grand opening was
attended by Denver Mayor Benjamin Speer and White herself. The Greek Revival
building was designed by the Denver firm of Marean &amp; Norton,&nbsp; also responsible for the Greek Revival
structures in the nearby Civic Center. The temple’s modern frame of steel and
reinforced concrete is clad in pale Turkey Creek sandstone quarried near Pueblo.

Today, Alma Temple still functions as a church. As a performance
space, the temple was home for many years to the community-based Denver
Philharmonic Orchestra (<a target="_blank" rel="nofollow" href="http://denverphilharmonic.org/">http://denverphilharmonic.org/</a>; not be confused with the Colorado Symphony
Orchestra – <a target="_blank" rel="nofollow" href="http://www.coloradosymphony.org/">http://www.coloradosymphony.org/</a>). KPOF AM, now called AM91: The Point of Faith, continues to
broadcast from the historic “Westminster Castle”, purchased by the church in
1920 and located in Denver’s northwestern suburbs.

At the western edge of Capitol Hill stands the Alma Temple, an imposing Greek-Revival building fronted by eight Corinthian columnns and topped by four neon letters, KPOF. These are the call letters of The Pillar of Fire Church radio station KPOF 910 AM, which started broadcasting in 1928. The Pillar of Fire International, founded in Denver in 1901 by Alma Bridwell White, began as part of the Holiness Movement, an offshoot of the Methodist Church. The controversial White believed in women’s emancipation but also espoused anti-Catholic, antisemitic and and anti-immigrant views (since disavowed by the church she founded). The temple, designed and constructed by church members between 1923 and 1937, is also used today as a music and performance venue.

KPOF Hall (Alma Temple of the Pillar of Fire Church)

Joseph Creswell was one Denver's leading businessmen of the late 19th century. He served as president of the Colorado Marble and Mining Company, which mined and produced marble products. He was also president and treasure of the Davis-Creswell Company, which manufactured and installed steam heating equipment in Denver and between Chicago and San Francisco. Creswell promoted Denver as a manufacturing hub and became the president of the Manufacturer's Exchange. It appears various businesses occupied the house until 2013 when the law firm that helped write the marijuana law, Vicente Sederberg LLP, moved in. Colorado voters approved the law on the November 6, 2012 election day and it became an official amendment in December. Governor Hickenlooper created a task force to devise the policies regulating marijuana production and consumption. Vicente Sederberg LLP was a member of the task force. Residents could begin using, selling, cultivating and processing cannabis on January 1, 2014. In 2018, the city denied a request submitted by a cannabis lobbyist to open the house into a marijuana-themed spa since it would have been too close to a childcare facility. The current owner bought it in 2019 and converted it into its current iteration. It was added to the National Register of Historic Places in 1977.

Prominent businessman Joseph Creswell built this historic home in 1889. Denver-based architect John J. Huddart, who was born in England, designed it combining elements of the Queen Anne and Richardsonian Romanesque styles. It was built of rough red sandstone and features arched windows, two porches (one of which is a semi-circle), gables, and carved stonework. The house is now known as Marijuana Mansion for its association with Colorado's marijuana industry. Vicente Sederberg LLP, one of the law firms that authored Colorado Amendment 64 which legalized cannabis in the state, moved into the house in 2013 and helped develop the policies to implement the new law. An organization called the National Cannabis Industry Association moved in as well. The house is now a cannabis-themed museum and private event venue.

Creswell Mansion (Marijuana Mansion)

The building's ornate façade features sandstone from Longmont while the interior of the church is best known for its high ceilings with support beams that travel to the columnar piers of the five pointed arches. The interior's paneled oak and Black ash trim add to the aesthics of the building along with columns made of dark red Kemmuir sandstone.The exterior originally featured a tower and turret at the front entry, but in the 1950s the tower fell owing to disintegration of the outer wall surfaces. There were also structural failures in the square corner where the bell was housed.The church served Denver for 86 years. In 1975, the congregation was moved to a new location in Washington Park. For nearly twenty years the building sat empty until the Sanctuary club opened. They kept the original church pews and had musical acts use the altar as the stage. Soon the Sanctuary was renamed The Church of Seven Candles or simply The Church Nightclub.

This historic Gothic Revival church building was designed by Denver architect William Lang in 1889, the same architect who designed the nearby Molly Brown House. Owing to poor maintenance, the church's original tower fell in the 1950s. This church served the Denver community for 86 years and was converted into a nightclub in the 1990s. Since that tie, the venue has welcomed a variety of music guests.

St. Mark’s Parish Church; The Church Nightclub

This sculpture of a traveling Victorian-era western woman depicts new opportunities for western women. Artist Veryl Goodnight has sculpted western women for decades. The first casting of this sculpture was purchased by Cheyenne, Wyoming, to celebrate Wyoming entering the Union as the first woman suffrage state. Colorado became the first state to give women the right to vote in a popular election in 1893. But this casting of the statue was donated by James J. Volker to honor Colorado educators. Volker views the sculpture as a teacher who has come to Colorado to train a new generation of students. Volker also donated T. D. Kelsey’s On the Wind, a bronze bison that used to stand at the Colorado History Museum. It was later relocated to History Colorado Center’s Broadway entrance. Volker is a businessman who has served on History Colorado’s board since 2007. Since the 1980s, a number of western history museums have placed bronze monuments near their entrances. These statues serve to emphasize the historical content displayed within new, modern museum buildings.

Colorado became the first state in the Union to give women the right to vote in a popular election in 1893. "A New Beginning" represents western women's empowerment women in the 1890s. It was sculpted by Veryl Goodnight and placed outside History Colorado Center in time for the center's opening in 2012.

A New Beginning

History Colorado Center is a museum and civic hub where Colorado’s past meets the present and shapes its future. It is designed to provide exhibits and programming that offer a unique and rich experience for visitors. The key is a blend of technology, media, environments and artifacts. The high-tech, hands-on exhibits began opening in 2012 and have since opened in phases. They are based on three broad themes – Dreams and Aspirations, Enduring Communities, and People and the Environment.

Combined, these interactive exhibits tell the story of Colorado and its people. The events and people that shaped the state are brought to life with unique activities and exhibits. Many of the temporary exhibits offer the same depth of experience.

The Center is located in Denver’s Golden Triangle Museum District near several other key visitor attractions and restaurants. The bright and welcoming building, designed by Tryba Architects, boasts LEED Gold Certification, utilized a variety of recycled and Colorado materials.&nbsp;The museum also has a cafe and gift shop.

The largest history museum in the state of Colorado, the center includes dozens of permanent and rotating exhibits as well as lecture series and a research library. Notable exhibits include decade reviews, Colorado history, and local celebrities. The Center is operated by the Colorado Historical Society, which was established in 1879.

History Colorado Center

The Kirkland Museum features the original studio and works of Vance Kirkland (artist, educator, and collector), 6,000 works by Colorado and regional artists dating from 1820-1990, and an international decorative art collection dating from 1875-1990. Curator Hugh Grant's salon style approach to display makes the museum vibrant and unique. Though the museum is closed from May 2016 through Fall of 2017 for relocation, the original studio will be moved intact to the new Bannock Street facility in Denver's Golden Triangle Museum District [1]. Vance KirklandVance Kirkland (1904-1981) was born in Convoy, Ohio, and attended the Cleveland School of Art, the Cleveland School of Education, and Western Reserve University, studying painting, art history, and art education until 1928. In January of the following year, he moved to Denver to take a position as the founding Director of the University of Denver's School of Art at Chappell House. Kirkland left the university in 1932, establishing the Kirkland School of Art (1932-1946) at 1311 Pearl Street and gaining course accreditation through the University of Colorado. Over a hundred students were enrolled. Kirkland was offered a massive salary in 1946 if he would return to his position as Director of the School of Art at University of Denver; he accepted and stayed until 1969. During his term as Director, the School of Art became the university's largest undergraduate school. Kirkland continued to use the building at Pearl Street as his painting studio throughout his career as an educator and afterward, until his death in 1981. His 1,200 paintings are divided into five major periods (Designed Realism, Surrealism, Hard Edge Abstraction, Abstract Expressionism, and Dot Paintings) and over 33 series. He was also active in the local art community, helping establish Denver's Modern Art movement. He revealed his texturing techniques—mixing watercolor with denatured alcohol, mixing oil paint and water, and placing dots of oil paint with wooden dowels over oil and water mixtures—only shortly before his death. Kirkland had a condition known as synesthesia, which causes a person to experience one sense through another; in Kirkland's case, sensing color from hearing music. In 1981, Kirkland died childless and preceded by his wife, Anne Fox Oliphant. He left his estate to his friend Hugh Grant, who curated exhibitions for the artist in his later years [1]. The Studio Kirkland's Arts and Crafts style studio and art school building were constructed in 1910-1911 as Denver's oldest commercial art building by architects Maurice Biscoe and Henry Hewitt. Originally, the studio was built for English artist Henry Read (1851-1935) as an art school. Read helped found the Denver Artists' Club (later the Denver Art Association and now known as the Denver Art Museum) in 1893. The Club used the Pearl Street studio for meetings from 1911-1922, until they moved to Chappell House (1300 Logan, razed in 1970). The building features northern-facing skylight windows throughout to allow in natural light. It had no running water, used only coal and wood burning stoves for heat, and had electricity in only one room (which became Kirkland's workroom). The rest of the building was lit only with gaslight, oil lamps, and candles. In 1980, Kirkland added three lions (made by the Denver Brick and Terra Cotta Company c. 1900) rescued from the Flatiron Building during its remodel of 1950 [1]. The MuseumAs executor of Vance Kirkland's estate, Hugh Grant continued exhibiting Kirkland's work (among others) through the 1980s and 1990s. In 1996, Grant established the Kirkland Foundation to preserve and promote the artist's work and display his collections of decorative art and Colorado fine art. A nearly 9,000 square foot addition designed by Chip Melick and Rachel Rouiller was constructed, and the Kirkland Museum opened on April 2, 2003. The museum's collections now comprise more than 30,000 objects, including 6,000 paintings by 600 different Colorado artists, 200 of them women. The decorative art collection features Arts &amp; Crafts, Aesthetic, Art Nouveau, Galsgow Style, Wiener Werkstätte, De Stijl, Bauhaus, Art Deco, Modern, Pop Art, and Postmodern works. Over 125 architects are represented in the collections. Grant's displays have earned the museum a reputation as a unique experience. He explains his theory on presentation in several key points—the use of salon style display, in which fine art and decorative art are shown together in one room, often with pieces displayed close together (the way they would be in a home); study collection displays, where more objects are displayed per square foot; vignettes of period pieces grouped together (again, as they would be in a period home); and comparative display, in which several styles of design are shown in the same gallery [1].In 2013, it became apparent that a larger facility was needed to house the Kirkland Museum. The new building (designed by Seattle architect Olson Kundig) at 12th and Bannock in the Golden Triangle Museum District is 38,500 square feet, and set to open in the fall of 2017. With the assistance of Historic Denver, the original studio and art school building will be relocated to the new facility and oriented in the same direction in order to maintain the lighting from the north through the skylight windows [1].

The Kirkland Museum features the original studio and works of Vance Kirkland (artist, educator, and collector), 6,000 works by Colorado and regional artists dating from 1820-1990, and an international decorative art collection dating from 1875-1990. Curator Hugh Grant's salon style approach to display makes the museum vibrant and unique. Though the museum is closed from May 2016 through Fall of 2017 for relocation, the original studio will be moved intact to the new Bannock Street facility in Denver's Golden Triangle Museum District [1].

Kirkland Museum of Fine & Decorative Art

The Clyfford Still Museum opened in 2011 and is the newest addition to Denver’s burgeoning Cultural Arts District. It is located adjacent to the Denver Art Museum in the city’s Civic Center Cultural Complex. The two-story, 28,500-square-foot building was designed by Brad Cloepfil of Allied Works Architecture specifically to display Still’s work. The museum allows visitors the unique experience to understand the legacy of Clyfford Still, an artist whose life has been shrouded in mystery and the bulk of whose work has been hidden from public view for more than 30 years.
The Mission of the Clyfford Still Museum is “to advance the understanding and appreciation of Clyfford Still’s art and legacy through the presentation, research, interpretation, preservation, and stewardship of its unique collections.”
After Clyfford Still’s death in 1980, the Clyfford Still Estate was sealed off from public and scholarly view. His will stipulated that the estate be given in its entirety to an American city willing to establish a permanent museum dedicated solely to his work, ensuring its survival for exhibition and study. In August 2004, the City of Denver, under the leadership of then Mayor John W. Hickenlooper, was selected by Still’s wife, Patricia Still, to receive the substantial Still collection.&nbsp;
In 2005, Patricia Still also bequeathed to the city her own estate, which included select paintings by her husband as well as his complete archives. The Still Museum collection, which represents 95 percent of Still’s lifetime output, includes approximately 3,125 works created between 1920 and 1980.

Born in North Dakota, Still attended Spokane University. His first solo show was in 1943 at the San Francisco Museum of Art. He taught at several institutions and moved back and forth across the country a number of times before finally settling on a farm in Maryland. In 1972, he was given the Award of Merit for Painting from the American Academy of Arts and Letters. In 1975, he got the Skowhegan Medal for Painting.

The Clyfford Still Museum is a minimalist showcase for the large-scale paintings & archives of Clyfford Still, who is considered one of the most important painters of the 20th century. Clyfford Still (1904–1980) was among the first generation of Abstract Expressionist artists who developed a new and powerful approach to painting in the years immediately following World War II. The museum opened in 2011. 

Clyfford Still Museum

The mission of the Denver Art Museum is “to enrich the lives of present and future generations through the acquisition, presentation, and preservation of works of art, supported by exemplary scholarship and public programs related to both its permanent collections and to temporary exhibitions presented by the museum.”
The Denver Art Museum’s collection of more than 70,000 works of art is divided between ten permanent collections including African, American Indian, Asian, European and American, modern and contemporary, pre-Columbian, photography, Spanish Colonial, textile, and western American art. The holdings reflect Denver and its surrounding region, providing invaluable ways for the community to learn about cultures from around the world.
Founded in 1893 as the Denver Artists' Club, the Denver Art Museum had a number of temporary homes. In 1971, the museum opened the 24-sided, two-towered North Building. Over one million faceted, shimmering gray tiles, developed by Dow Corning, provide cladding for the radical seven-story structure. This architectural icon remains the only completed project in the United States by Gio Ponti, an important Italian master of modern design.
This bold tradition continued when the Hamilton Building opened 2006. The 146,000-square-foot Frederic C. Hamilton Building, a joint venture of Daniel Libeskind and Denver-based Davis Partnership Architects, is situated directly south of the North Building. Libeskind's design, referential to the original Ponti building, recalls not only the mountain peaks that provide a powerful backdrop for the city, but the intricate and geometric rock crystals found in the foothills of the Rockies.
The Frederic C. Hamilton Building included new galleries for its permanent collection, three temporary exhibition spaces, art storage, and public amenities. It houses modern and contemporary collections as well as architecture and oceanic pieces. This building serves as the main entrance for the entire complex. 
The Denver Art Museum has been a leader in educational programming for more than two decades. The family-friendly approach is fully integrated into the galleries through a unique partnership between curators, designers, and educators for each discipline.

The Denver Art Museum is an art museum located in Denver, Colorado. Founded in 1893, the museum is one of the largest art museums between the West Coast and Chicago. It is known for its collection of American Indian art, and its other collections of more than 70,00 diverse works from across the centuries and world.

Denver Art Museum

The Byers-Evans House was built in 1883 for William N. Byers. It was a stately Italianate-style home that reflected its owner’s standing in the community. Byers printed Denver’s first newspaper, the&nbsp;Rocky Mountain News, on April 23, 1859. It is still in print today. As editor, Byers used his paper to promote Denver and the surrounding region. Byers became close friends with John Evans, Colorado’s second territorial governor.&nbsp; These men - along with their wives Elizabeth Byers and Margaret Evans - played pivotal roles in Denver’s early growth by helping to establish religious, educational, legal, and social institutions.William G. Evans, the oldest son of former governor John Evans, bought the home in 1889. William and his wife Cornelia moved in with their two young children, John and Josephine.&nbsp; During the next five years, daughters Margaret and Katharine were born. An important business and civic leader in his own right, William headed the Denver Tramway Company and helped develop the Moffat Tunnel.&nbsp; Piercing the Continental Divide, the 6.2 mile tunnel culminated efforts to link Denver to Colorado’s western slope and solidified the city’s place as the region’s commercial hub. The family became instrumental in the Denver arts community, as well. The home has been restored to the period between 1912 and 1924. It includes most of the home's original furnishings. The house was added to the National Register of Historic Places in August of 1970. Today the home is a museum which features an art gallery and offers school programming and many special events. It also houses a gift shop featuring lots of unique Colorado-made items.

This historic Italianate-style house served as a home for two prominent Denver families. It was built for William N. Byers, the owner of the Rocky Mountain News, in 1883. William G. Evans, the head of the Denver Tramway Corporation and oldest son of former governor John Evans, bought the home in 1889. The house is operated by History Colorado and features an art gallery which showcases works reflecting the history of Denver and the Mountain West. 

Byers-Evans House Museum

In 2005, the art installation known as Wheel was dedicated to the city of Denver thanks to the efforts of the Denver Art Museum. Artist Edgar Heap of Birds designed this sculpture which consists of ten forked poles with information about Native American History. In 2018, the art installation was taken down during a renovation of the Gio Ponti North building. This decision was initially met with anger by the artist who was not informed of the decision. The art installation was created to be a gathering place for the community and serves as the end of the Sand Creek Massacre Spiritual Run-Walk in honor of the victims Sand Creek Massacre of 1864. In this tragic chapter of Colorado history, soldiers massacred 230 Cheyenne and Arapahoe at Sand Creek. The route represents the 173 miles used by the soldiers when they returned to Denver where paraded into the city with dismembered body parts of the Native people they had killed. The circle, formed by the red metal birds, is reminiscent of the Big Horn Medicine Wheel. The ten poles align with the summer solstice that happens on June 21st. The sun rises in an opening to the east between the first and last poles. Each pole recounts stories of the American Indian people in Colorado and surrounding regions. Behind the work on the old North Building were the words “nah-kev-ho-eyea-zim” which can be translated to “turning back around to where we came from” or “we are always returning back home again.” Until 2018, the sculpture sat on the land directly in front of the Denver Art Museums North (Ponti) Building. As the Denver Art Museum planned a major renovation to the building, they intended to move Wheel to another location. However, they failed to disclose the move to the artist which resulted in a heated exchange between the museum and artist Heap of Birds. The two parties have since resolved the dispute and the Denver Art Museum has approval from the artist about where to reinstall Wheel. Additionally the Denver Art Museum agreed to move 12 inches of soil from the original location to the new site. Heap of Birds stated about the relocation,<blockquote>“We’ve all deepened our understanding, and the mission of art is to deepen our understanding.”</blockquote>

Located between the Denver Art Museum and The Denver Library, this modern outdoor sculpture symbolizes the Big Horn Medicine Wheel. The public art installation consists of ten red poles topped with abstract birds flying in a circle. The circle is astrologically positioned to receive the summer solstice on June 21st. Stories of American Indians adorn the cultures and the art installation is utilized as an ending place for the Sand Creek Massacre Spiritual Run-Walk. In 2018, Wheel was taken down during a renovation of the Denver Art Museum with the intent of being rededicated along with soil from the original site.

Wheel Public Art Installation 

The Denver Public Library traces its origins to 1889, when it opened within a room inside Denver High School. Andrew Carnegie funded the library's first building at Civic Center Park, as well as some of its original branch locations. As the city grew, so did the need for a bigger central library. The second building, known to many Denver residents as the “Old Main” library, served the downtown area between 1950 and 1995. That building was replaced with this modern building, completed in 1995 after voters approved a bond project in 1990.This new Central Library is 540,000 square feet. It was designed by Michael Graves and the Denver firm of Klipp Colussy Jenks DuBois. New branch sites have been added in recent years with an additional bond. Michael Graves has had projects all over the world. He is widely credited for spearheading multiple design movements in architecture.Other notable features of the Denver Public Library including a public art sculpture from Mark di Suvero outside the building in a neighboring plaza. The piece, called Lao Tzu, is bright orange, made of steel, and is 30 feet tall and weighs 16 tons. The Denver Summit of the Eight took place in 1997 and featured eight world leaders. They met at the Legacy Table in the Central Library.The Denver Public Library offers a wide range of resources, classes, events and education for everyone. The Library offers special services to students, businesses, and immigrants, among others. It is the largest library between Chicago and Los Angeles, and serves a million people each year.

The Denver Public Library traces its origins to 1889, when it opened within a room inside Denver High School. Andrew Carnegie funded the library's first building at Civic Center Park, as well as some of its original branch locations. As the city grew, so did the need for a bigger central library. The second building, known to many Denver residents as the “Old Main” library, served the downtown area between 1950 and 1995. That building was replaced with this modern building, completed in 1995 after voters approved a bond project in 1990.

Civic Center Park and Capitol Hill

On the War Trail

Introduction

Images

Backstory and Context

Sources