**APPLICATION FOR INCLUSION OF A PROPERTY**

**IN THE U.S. WORLD HERITAGE TENTATIVE LIST**

**Name of Property: Olana**

### 

**Prerequisite 1 - Legal Requirements:**

**A. National Significance:**

Has the property been formally determined to be nationally significant
for its cultural values, natural values, or both (in other words, has it
been formally designated as a National Historic Landmark, a National
Natural Landmark, or as a Federal reserve of national importance, such
as a National Park, National Monument, or National Wildlife Refuge)? If
not, are there on-going processes to achieve any of the above
designations and what is their status? *(Listing in the National
Register of Historic Places is [not]{.underline} equivalent to National
Historic Landmark status.)*

YES: \_\_\_\_[X]{.underline}\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: Olana received the designation of Registered National Historic
Landmark from the U.S. Department of the Interior, National Park Service
in 1966.

**B. Owner Concurrence:**

**Are all the property owners aware of this proposal for the inclusion
of the property in the U.S. Tentative List and do all of the property
owners agree that it should be considered? If any agreement is uncertain
or tentative, or if the ownership situation** **is disputed, otherwise
complicated, or unclear, please explain the issues briefly.**

YES: \_\_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: New York State Office of Parks, Recreation and Historic
Preservation, as the owner, fully supports inclusion of Olana in the
U.S. Tentative List.

**C. Willingness to Discuss Protective Measures:**

**If the property is nominated to the World Heritage List, it will be
necessary for all of the property owners to work with the Department of
the Interior to document fully existing measures to protect the property
and possibly to devise such additional measures as may be necessary to
protect the property in perpetuity. Are all the property owners willing
to enter into such discussions?**

YES: \_\_[X]{.underline}\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: New York State Office of Parks, Recreation and Historic
Preservation is prepared to work with the U.S. Department of the
Interior to fully document all existing measures that afford protection
to Olana State Historic Site as well as consider any additional actions
that can be taken to insure Olana's preservation in perpetuity.

**D. Scheduling:**

**If you wish a property to be nominated to the World Heritage List in a
particular year during the period 2009-2019, please indicate the
reason(s) why and the earliest year in which you feel it will be
possible to meet all requirements for nomination*. (Please review this
entire Questionnaire before finally answering this question.)***

Preferred Year: 2016

Reasons: The year 2016 will mark the 50th anniversary of the saving of
Olana.

**Prerequisite 2 - Specific Requirements for Nomination of Certain Types
of Properties:**

**E. Serial (multi-component) Properties:**

**If you are proposing a nomination that includes separate components
that could be submitted separately over several years, do you believe
that the first property proposed would qualify to be placed on the World
Heritage List in its own right?**

*Explanation: There will be a very limited number of sites nominated
over the next decade. Owners of similar properties likely will be
encouraged to work together to present joint proposals for serial
nominations. An example would be a proposal to nominate several
properties designed by the same architect. It is critical to note that
the first property presented in a serial nomination must qualify for
listing in its own right.*

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_\_\_

Comment:\_\_\_\_\_\_[N/A]{.underline}\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**F. Serial (multi-component) Properties:**

**Are you proposing this property as an extension of or a new component
to an existing World Heritage Site?**

YES: \_\_\_\_\_\_\_ NO \_\_[X]{.underline}\_\_

Name of Existing Site:
\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Prerequisite 3 - Other Requirements:**

**G. Support of Stakeholders**

**In addition to owners, please list other stakeholders and interested
parties who support the property's proposed inclusion in the Tentative
List. Also note any known to be opposed.**

*Explanation: The purpose of the Tentative List is to propose candidate
properties that are likely to be successfully nominated during the next
decade. It is clear that a consensus among stakeholders will be helpful
in nominating a site and later in securing its proper protection. Thus,
only properties that enjoy strong, preferably unanimous, support from
stakeholders will be recommended for inclusion in the U.S. Tentative
List.*

*In addition to owners, stakeholders primarily include:*

*\--Governors, Members of Congress and State legislators who represent
the area where the property is located,*

*\--the highest local elected official, or official body, unless there
is none,*

*\--Native Americans, American Indian tribes, or other groups and
individuals who possess legally recognized claims or privileges in the
area or at the site being proposed (e.g., life tenancy or hunting and
fishing rights),*

*\--organizations established to advocate for protection and appropriate
use of the property proposed for nomination.*

*If definitive information is not available at the time you filled out
this Questionnaire, please so indicate.*

Supporters: Senator Charles Schumer, Congresswoman Kirsten Gillibrand,
Town of Greenport Town Board (letters of support are enclosed). Senator
Hillary Clinton (letter to be sent directly).

Opponents:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

Comment:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Information Requested about Applicant Properties**

**(The numbers of the sections and subsections below are in the same
order as and correspond to sections of the World Heritage Committee's
official [Format]{.underline} used for the nomination of World Heritage
Sites. This is to allow easy reference to and comparison of the
material.)**

**1. IDENTIFICATION OF THE PROPERTY OR PROPERTIES**

**1.a. Country:**

**If it is intended that the suggested nomination will include any
properties in countries other than the United States, please note the
countries here.**

*Explanation: Please note that the United States can nominate only
property under U.S. jurisdiction. You are not expected to contact other
governments and owners abroad, although you may do so if you wish. Each
national government must nominate its own sites, although the United
States will consider forwarding your suggestion to another government
for that government to consider as a joint nomination with the United
States.*

Names of
countries:\_\_\_\_\_[N/A]{.underline}\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**1.b. State, Province or Region:**

**In what State(s) and/or Territories is the property located? Also note
the locality and give a street address if one is available.**

Olana is located at 5720 State Route 9G in the Town of Greenport in the
City of Hudson in Columbia County in the State of New York in the United
States of America.

The latitude of Greenport is 42.230N. The longitude is -73.795W.

**1.c. Names of Property:**

**What is the preferred or proposed name of the property or properties
proposed for nomination? If the site has multiple names, explain why you
chose the primary choice or choices.** (*The name should not exceed 200
characters, including spaces and punctuation.)*

Olana (The name Olana is understood to be a variation on the Greek word
*Olane*, which refers to a fortress treasure house in ancient Persia.)

***Popular and Historic names***

**What are any popular or historic names by which the property is also
known?**

Historically, the property that Church purchased in 1860 was called
"Wynsant Brezie Farm." "The Farm" and "The Hill" are both names that
appeared on Church family stationery. "Sienghenburgh," a Dutch word
meaning "The Long Hill," is the name of the slope on which the main
house at Olana was built. The name "Frederic Church's Olana" was
selected in 2006 with the goal of linking the site's identity directly
back to the artist that created it. Today, the official name of the
property is "Olana State Historic Site." Additional names used to refer
to the site include "Church's Hill" and "The Castle."

***Naming of serial (multiple component) properties and transboundary
sites*.**

**Try to choose brief descriptive names. In the case of serial
nominations, give an overall name to the group** (e.g., *Baroque
Churches of the Philippines*). (*Give the names of the individual
components in a table that you insert under **1f.)***

Group or Transboundary
Name:\_\_\_\_\_[N/A]{.underline}\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

***Other names or site numbers***

*Explanation: If a site has multiple names, explain why you chose the
primary choice or choices. If the site has no common name or is known
only by a number or set of numbers, please explain.*

\_\_\_\_\_\_\_[N/A]{.underline}\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**1.d.-e. Location, boundaries, and key features of the nominated
property**

Include with this **Application** sketch maps or other small maps,
preferably letter-size, that show:

\- the location of the property

\- the boundaries of any zones of special legal protection

\- the position of major natural features and/or individual buildings
and structures

\- any open spaces (squares, plazas) and other major spatial
relationships (the space between buildings may at times be more
important than the buildings)

**Please provide here a list of the maps that you have included.**

\- Site Survey, March 2007

\- Catskill/Olana Scenic Area of Statewide Significance

\- Landscape Restoration Projects (including property boundary,
structures, and natural features

\- 2006 Protected Land in Columbia County, New York \[PLEASE NOTE: THE
INFORMATION CONTAINED IN THIS MAP IS NOT FOR PUBLIC DISSEMINATION.\]

**1.f. Area of nominated property (ha.)**

*Explanation: State the approximate area proposed in hectares (1
hectare=2.471 acres). Give corresponding acre equivalents in
parentheses. Insert just below this question a table for serial
nominations that shows the names and addresses of the component parts,
regions (if different for different components), and areas.*

151 hectares (373 acres) constituting Olana State Historic Site.

**2. DESCRIPTION AND HISTORY OF THE PROPERTY**

**2.a. Description of the Property**

(select the one following category that best fits the property)

###### Cultural property

**Briefly describe the property and list its major components. A summary
in a few paragraphs or pages should be all that is required.**

*Explanation: This section can describe significant buildings, their
architectural style, date of construction, materials, etc. It can also
describe the setting such as gardens, parks, associated vistas. Other
tangible geographic, cultural, historic, archeological, artistic,
architectural, and/or associative values may also merit inclusion.*

Olana is the Persian-inspired home, studio and artist-designed landscape
of the painter Frederic Edwin Church (1826-1900). The house, the
landscape, and the views that comprise Olana were developed by Church as
a three-dimensional work of art, a total environment intended to be both
a major aesthetic statement and a home for his family. Built in 1870-72,
the house was conceived as the centerpiece of a 250-acre property.
Overlooking 60 miles of the Hudson River Valley, the towered stone
house, with its Oriental flavor, symbolizes the spirit and vitality of
one of America's most extraordinary 19th-century artists.

Cosy Cottage (built to the design of Beaux Arts-trained architect
Richard Morris Hunt) and the main house and studio (on which Church
collaborated with architect Calvert Vaux) are both extant on the site,
which now encompasses an additional 123 acres. The carriage barn
(current orientation center), coachman's house, and three existing
historic barns in the farm complex will be restored, and two missing
barns in the farm complex will be reconstructed, by 2008. Fields, an
orchard, meadows, a lake, and five miles of carriage roads and trails
are also maintained on the property.

The main house at Olana is an expansive, 16,000-square-foot masonry
building containing five floor levels and several towers, bays and
balconies. The principal facades are built of un-coursed rubble stone
that is accented with dressed bluestone and several types and colors of
brick. Much of the woodwork is made of carved, turned or built-up
sections and is decorated with lead strips, rope, and ceramic tile. The
windows are also ornamented; there are painted designs on glass and
cutout paper patterns sandwiched between panes of clear or amber glass.
This wide array of materials was combined in unusual and unorthodox ways
to create Church's idiosyncratic and painterly design.

Not only does the preserved site itself serve as a final testament to
Church's creative process, but the hundreds of oil and pencil sketches
for his design of the house and landscape, and the letters which contain
his own thoughts about the design and decoration of his property, still
exist in Olana's archival collections, resulting in an unparalleled
opportunity for the contextual understanding of this extraordinary
artistic achievement.

**Which features or aspects of the property do you believe qualify it
for the World Heritage List?**

The landscape, house and collections that comprise Olana are the
features that qualify Olana for the World Heritage list. Together, they
are a masterpiece conceived and executed by the preeminent mid
19th-century American landscape painter.

**What are the important present or proposed uses of the property and
how do they compare with the traditional or historic uses of it?**

Olana serves some 125,000-150,000 visitors annually as a historic house
museum and picturesque landscape. Of this total, 12% travel to the site
from outside the U.S.

Following the May 2002 Comprehensive Plan for the Fully Restored Olana,
renovations are in progress to restore the house and property to the
period of interpretation 1880-1900, with original paintings, prints,
furniture, decorative arts and architectural elements on display. With
the completed installation of climate control and fire suppression
systems (spring 2007), the second floor of the house, which includes Mr.
and Mrs. Church's bedroom suite and guest rooms as well as a central
hall opening onto the grand staircase, will be opened to the public for
the first time in the history of Olana State Historic Site.

In many ways, the property is used in much the same fashion as it was in
Church's time---as a place for inspiration and enjoyment of
architectural and natural beauty. Whereas the site was originally the
private property of an artist and his family, today the property is
available as a historic house museum to the public at large. The main
floor is open to the public for tours, as is the 250 acres of the
historic property. (In 2007, the second floor will also open to the
public for the first time.) While carriages would have traversed the
drives during Church's time, today visitors use the drives for walking,
snowshoeing and cross-country skiing.

**2.b. History and Development of the Property**

*(select the one following category that best fits the property)*

**Cultural property**

**When was the site built or first occupied and how did it arrive at its
present form and condition? If it has undergone significant changes in
use or physical alterations, include an explanation.**

*Explanation: If the property was built in stages or if there have been
major changes, demolitions, abandonment and reoccupation, or rebuilding
since completion, briefly summarize these events. For archeological
sites, the names of archeologists and dates of their work should also be
noted, especially if the site is regarded as important in the history of
archeology as well as for its intrinsic merits.*

In 1860, Frederic Church bought 126 acres of land that overlooked the
Hudson River, Catskill Mountains and Berkshire Mountains, and
consciously set out to organize nature to create a harmonious backdrop
for his family's home.

In 1861, construction of Cosy Cottage, his family's first home on the
property, was completed. Church added 30 acres to the west of the
original piece in 1864, and he erected a wood frame studio on what was
then the highest point of land he owned. In 1867, he purchased 18 acres
of wooded area that included the summit of the dominant ridge called the
Sienghenburgh. This would become the site of his second home on the
property, the "main house." In 1868 Church added a six-acre strip of
land that provided access from the north. Construction on the main house
began in 1870 and by 1872 the family had moved into the upper floor. In
1877 a nine-acre piece at the southwest corner of the property became
the south entrance. The 50-acre north meadow was added in 1878.

Much as he would create a painting, Church methodically worked out his
concepts in pencil and later in more finished colored drawings. Though
he hired architect Calvert Vaux, Church appears to have been the
principal designer of the main house. His correspondence and sketches in
Olana's collections attest to his personal involvement in the details of
design and construction oversight of the house, its interior decoration,
and with his wife, the furnishing of its rooms. The collection also
illuminates the artist's layout of a carefully planned system of roads
and carriage drives.

Alterations to the property by Church include 60 acres that were
transformed into a lake by 1880 and myriad roads and carriage drives,
most of which were developed in 1880-1891. The property remained a
producing farm; crops included lima beans, corn, peas, eggplant, apples,
peaches, pears, and cherries. After Church's death in 1900, his youngest
son, Louis, became the owner of Olana. During his tenure farming slowed;
some outbuildings were removed and a formal garden was added to the east
lawn (removed by New York State in the 1980s), but the property remained
for the most part unaltered.

Olana Preservation was formed in 1964 with the intent of saving and
preserving Olana. On June 27, 1966 Olana became a New York State
Historic Site. Since 1989 over \$20 million has been raised to preserve,
restore and maintain this national landmark. The evolution of the
original friends group, The Olana Partnership, is now an organization
with a staff of 12 dedicated, professional employees who work to make
Olana the most visited artists' studio in the country.

**2.c. Boundary Selection**

**Propose a boundary for the property and explain why you chose it. Is
the boundary reasonable on logical grounds, such as if it conforms to
topography or landforms or (for natural areas) to the range of wildlife
or (for cultural properties) to any historical boundary or defining
structures (such as walls)?**

**Are all the elements and features that are related to the site's
significance included inside the proposed boundaries?**

*Explanation: Careful analysis should be undertaken to insure that the
proposal embraces the internationally significant resources and excludes
most, if not all, unrelated buildings, structures and features.*

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_[X]{.underline}\_\_\_\_

If no, please explain:

Olana's significance lies not only in the structures and surrounding
landscape that constitute the designated boundary but in the panoramic
views from the property, which stretch many miles in each direction.
Church developed his property with the views in mind, composing various
three dimensional landscape "paintings" with a vegetated foreground of
great variety framing a middle ground containing open pastures and water
elements such as a pond and winding creeks, and a deep background
encompassing majestic rivers and distant mountains.

The regional landscape surrounding Olana is defined by several dominant
features -- the Hudson River at its center, the Catskill Mountains as
its western boundary, and the Berkshire Mountains as its eastern
boundary. The area between these two mountain ranges is characterized by
gently rolling landscape. The area around Olana may be described as
predominantly pastoral landscape of forests, orchards and fields. In the
vicinity of Olana land uses range from rural agricultural and
residential to educational, commercial and industrial.

While it would be impractical to include these views in the boundary of
the designation, it must be recognized that they are a crucial part of
Olana's significance. It is fortunate that many of these views retain
much of their original character, having been protected by conservation
easements or outright purchases by New York State or land protection
organizations.

**Are there any enclaves or inholdings within the property and, if so,
do they contain uses or potential uses contrary to the conservation or
preservation of the site as a whole?**

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_[X]{.underline}\_\_\_\_

If yes, please explain:
\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**3. JUSTIFICATION FOR INSCRIPTION IN THE WORLD HERITAGE LIST**

**3.a. Criteria under which inscription is proposed**

From the World Heritage criteria listed below, identify each criterion
that you believe applies to your property and briefly state why you
believe each criterion you have selected is applicable.

*Explanation: You may find the discussion under this heading in
"Appendix A" to the **Guide to the U.S. World Heritage Program** to be
helpful in completing this section. Please refer to a paper copy or
follow the hyperlink.*

*To be included on the World Heritage List, a site must be of
outstanding universal value and meet at least one of these ten selection
criteria in a global context:*

i.  *represent a masterpiece of human creative genius;*

> \_\_[X]{.underline}\_ This criterion applies to the property I am
> proposing

Reason: The Hudson River School of landscape painters was based in New
York in the mid-19th century and has proven to be one of the most
important cultural developments in the history of the United States. The
paintings produced by The Hudson River School are America's first truly
American art form, and paved the way for international recognition of
American art. As a reviewer for *The Scotsman* reported in 1859: *"As
the work of a young American artist we hail this picture (The Heart of
the [\<]{.mark}Andes[\>]{.mark}) with great satisfaction, affording as
it does a convincing proof that our Transatlantic brethren are worthy
rivals of the old country in a department of art hitherto considered
peculiarly the province of the latter."*

The Hudson River School painters shared an interest in pure and natural
landscape and a belief in a common set of philosophic and religious
ideas. As a new nation attempting to define itself, America celebrated
in its art the novelties of its landscape---scale, freshness and
variety. The wilderness was by the early-19th century considered to be
America's most distinctive feature---a symbol of the nation's potential
as well as its history. America's landscape represented even more---it
represented God's blessing on the new nation.

Church was the first of only two known pupils of the widely acknowledged
founder of the Hudson River School Thomas Cole (1801-1848). Church was
most influenced by Cole and by the writings of the German naturalist
Alexander von Humboldt. Humboldt encouraged landscape painters to study
nature, and then to compose a painting that captured the spirit of the
place instead of being a rendering of a view. Humboldt also advocated
for landscape painters to depict exotic locations for the enlightenment
of the public. For Church, the thoughts of Cole and Humboldt became
guiding principles as he strove to show the grandeur and beauty of
American nature, and thought that depiction a glimpse of the divine.

In 1857, Church's *Niagara* made him the most famous painter in America
and established an international reputation for American Art. *"The
artist*---*Mr. Church, the American*---*has already established a high
reputation in this country by his extraordinary painting of the
\[[\<\<]{.mark}Falls[\>]{.mark} of\] [\<]{.mark}Niagara[\>\>]{.mark}.
Never before had the majesty of that scene, with all its infinite
variety of toiling, foaming, eddying, glancing, crushing, broken
water-surface, been so impressively presented to the eye,"* wrote the
*[\<\<]{.mark}London[\>\>]{.mark} Daily News*. In addition to Church's
receiving a gold medal at the *Paris Exposition Universelle* for the
painting, the *Illustrated London News* claimed, "*Mr. Church will be
remembered as having painted \[the Falls of\] Niagara, a stupendous
achievement, which won unqualified praise.*"

Olana is the masterpiece of Frederic Church's creative genius; his
creative vision translated into the physical world through each element
of the property---the farm, studio, landscape, main house, and the
collections he amassed within it. In the individual components of
Olana---the views composed throughout the property, the painted
decoration designed for both the exterior and interiors of the main
house and the visual landscapes created through the display of the
decorative objects---lie the underpinnings of the artistic philosophies
that dictated the creation of any one of Church's great panoramic
landscape paintings. To examine Olana is not only to view a great work
of art, but to further understand the artistic genius behind
masterpieces such as *Niagara*.

Church began his conception for Olana in 1860, only a year before he had
executed his painting, *The Icebergs*, of which the *London Observer*
wrote, *"...it may be safely said that there are not many scenes on
terra firma that can in any way rival the delicate and fascinating
beauties of the ice bays, ice valleys, and ice mountains which Mr.
Church has so truthfully and so wonderfully depicted...It may be pretty
safely anticipated that his icebergs will become the summer resort of
all London.*" Church, a successful painter of commissioned works for
discerning patrons, undertook an intensely personal artistic journey at
the very height of his artistic career, a journey that evolved over the
next forty years until the end of his life. The culmination of this
journey is the complete integration of landscape design, architecture
and interior decoration as the reflective idea of one the greatest
artistic minds in American art history.

The brilliance of Church's design of Olana is first apparent in the
interplay and harmony between the main house and the hundreds of acres
that comprise its landscape. Church took the bare bones of a
hardscrabble farm and, through planting tens of thousands of trees and
creating miles of carriage drives, he physically composed specific
views---forcing the eye to highlights of the natural landscape both on
and beyond his own property boundaries. The very philosophy of Hudson
River School painting---to not just imitate nature but to create a
composition with quintessential elements---was translated by Church into
the landscape at Olana.

The composition of the landscape is crowned with the main house at
Olana, which sits high on a promontory of the property, overlooking the
landscape wrought by Church's own hands. The stone fortress is designed
so that every window commands a beautiful natural landscape "painting."
The house serves as a means by which to actively experience the
landscape composition Church created, and was a conscious aspect of
Church's artistic process in his designing the building.

The house did not merely serve as a viewing device, but as a blank
canvas on which Church impressed his personal vision. There is no aspect
of the design or decoration of the building that does not bear his
artistic imprint. The myriad of surviving floor plans, palette swatches,
decorative brick schematics, and hundreds of sketches for everything
from balustrade carvings to painted stenciled cornices that find
correlation in the finished building, bear witness to Church's complete
involvement in its creation.

Church traveled extensively: to Colombia, Great Britain, Jamaica,
Ecuador, Mexico, France, Italy, Germany, Greece, the Holy Land (present
day Jordan, Syria and Israel), Canada and Labrador. He helped to bring
the foreign world back to his home country through his paintings and his
home, which was often written about in national and international
newspaper and magazine accounts. His travels not only influenced his
artwork (many of the grand landscapes that brought him success include
scenes from these locales) but drove and inspired the creation of his
second home on the property, the main house at Olana.

Much of the decoration for the main house was inspired by architecture
seen on Church's extended trip to the Middle East and a series of
publications on Persian architecture (which the artist owned and that
still reside in the Olana collection). The process by which Church
worked on decoration for the house mirrors the artistic process he
followed in creating his finished painted canvases. Church would start
with pencil sketches for a decorative element, refine the idea in a
series of oil studies and then the idea would be completed in its final
form on the building. By tracing back the inspiration for an idea to
either a sketch made in the Middle East, or a lithographic print in one
of his books on Persian architecture, it is clear that Church did not
merely imitate these decorative elements any more than he merely
imitated nature in his paintings. Instead, the initial inspiration
passed through his artistic prism multiple times, resulting in a new and
unique vision truly his own.

Church's artistic genius is further apparent in the objects he
personally selected to display in his house; the collection and display
of objects were integral to the artistic concept of the main house at
Olana. Such diverse objects as his own paintings, Persian brass work,
Italian old master paintings, Southwestern baskets, and Colonial-Revival
furniture all found their way into the tableaux that Church created for
his interior. Historic photographs of individual rooms over time and
archival receipts for the purchase of many objects trace Church's
personal involvement with the display and redisplay of objects within
his home. Selected for their visual and associative effects, placed in
groupings, these objects often create foregrounds, middle grounds and
backgrounds akin to the landscape Church executed just outside the walls
of the house. Together with the decorative elements of the building,
these objects create a unified interior reflective of a distinctive
artistic point of view. Their importance to the overall artistic vision
of Olana was recognized even in Church's lifetime.

Olana's place as a signature example of artistic genius is captured by
the comments of Franklin Kelly, Senior Curator of the National Gallery
of Art: *"To say that Olana is the single most important artistic
residence in the United States and one of the most significant in the
world, is only to state the obvious. To say that it is a place of the
rarest, most profound, and most moving beauty and complexity and that it
is a place that must be experienced to be fully understood and
appreciated, is more to the point. In the end, though, one can only say
that Olana is unique."*

ii. *exhibit an important interchange of human values, over a span of
    time or within a cultural area of the world, on developments in
    architecture or technology, monumental arts, town-planning or
    landscape design;*

> \_[X]{.underline} This criterion applies to the property I am
> proposing

Reason: Though Church's primary significance is as the leading American
landscape painter of the mid-19th century, his artistic career also
demonstrates an important interchange of human values on an
international scale. Church's paintings of New York, New England, South
America, Jamaica, the Polar regions, and the Middle East were often the
first visual representations that the viewing public ever saw of these
locales. In this sense, Church was one of the first artists in the world
to present international landscapes to Americans, Europeans and others.

During his early career, Church steadily shifted his landscape interests
from purely American locales to other geographical situations and
regions---the Andes of South America (e.g., *The Andes of Equador*,
1855; *Heart of the Andes,* 1859; *Cotopaxi*, 1862); the Polar regions
(e.g., *The Icebergs*, 1861; *Aurora Borealis*, 1865), and the Middle
East (e.g., *Jerusalem from the Mount of Olives*, 1870; *Syria by the
Sea*, 1873; *El Kashné, Petra*, 1874). These pictures, in their depth of
visual detail and sweeping portrayal of regional character, demonstrate
Church's vast range of geographical awareness and his extraordinary
artistic skill.

Church studied Alexander von Humboldt's writings and came to regard his
landscape paintings as an illustration of the panoramic art that
Humboldt advocated. In 1853 and 1857, Church went to Ecuador and
retraced parts of Humboldt's South American travels through the rain
forest and the Andes. Like Humboldt, he was deeply moved by the tropical
vegetation and the volcanic mountains of Chimborazo and Cotopaxi. In
time, he painted sixteen pictures dealing with tropical environments, of
which the most famous was *Heart of the Andes*, first exhibited in 1859
in New York and shortly after in London. At five-and-a-half by ten feet
wide, *Heart of the Andes* portrayed a complete Andean landscape, from
tropical valleys through temperate zones to Arctic pinnacles.

In evocative paintings like *Niagara* (1857), *Twilight in the
Wilderness* (1860) and *Cotopaxi* (1862), Church created a kind of
heroic landscape that was not only innovative in its expression of
American values and concerns but also able to reach beyond national
ambitions and appeal to a broader international audience. In this sense,
Church's work can be seen within the broader context of romantic
landscape painting that flourished internationally in the mid-19th
century. The situations and needs that stimulated Church were uniquely
American, but much of his creative vision and painterly results were
driven by larger artistic, philosophical, and scientific currents that
transcended national boundaries.

It can be said that Church's life and work demonstrate, perhaps more
clearly than any other painter of the time, how the mores and values of
the era shaped artists' points of view. Church's career is one of the
most instructive examples of how the major international scientific,
philosophical, and artistic concerns of the first half of the
19th-century made their way into landscape painting. Indebted to such
important contemporaneous figures as Thomas Cole, John Ruskin and
Alexander von Humboldt, Church sought to create a new style of heroic
landscape painting that was exact in its physical details yet profound
in its portrayal of the majesty of nature.

Church's creation of Olana can be seen as his most fully expressed---and
his most personally felt---statement of human beings' place in the
natural world. The creative way in which Church integrated landscape,
architecture, and views at Olana is immediately understandable to any
visitor from anywhere in the world. In his creation, Church left to the
world something extraordinary in its originality but also reassuring in
its familiarity. Olana is a place where visitors can both feel their
connection to the world at large and sense their own place in it. It is
a place where the past is palpably alive but where the present and the
future are made special and inviting.

vi. *be directly or tangibly associated with events or living
    traditions, with ideas, or with beliefs, with artistic and literary
    works of outstanding universal significance. (The Committee
    considers that this criterion should preferably be used in
    conjunction with other criteria);*

> \_\_[X]{.underline}\_ This criterion applies to the property I am
> proposing

Reason: Frederic Church's Olana is more than an artist's home or
personal artistic creation. As an incredibly intact site, Olana serves
as an excellent bridge between certain ideas of the past, and their
relevance to issues in our world today.

Olana can be described as a living landscape painting, one that conveys
the universally significant ideals about nature explored in the canvases
produced by Church and other painters of the Hudson River School in the
19th century. These paintings sought to assert nature's significance
beyond the purely physical and link it with greater spiritual and
aesthetic meaning. Through their sweeping panoramic paintings, artists
of the period illustrated the divine order of the universe as expressed
through nature, and the harmony that can and should exist between human
civilization and nature.

In addition, paintings created by this group of artists thrust forward a
national identity for an emerging America forever linked with sprawling
majestic landscapes and natural landmarks, which rivaled the historic
sites of more established nations. Finally, the artistic tenets and
processes set out by this group of painters to establish a first truly
American school of painting are still resonant with and inspirational to
landscape painters throughout the world to this day. All of these
universally significant concepts find corollaries in the physical site
that is Olana.

In the 19th century, nature was viewed as a manifestation of the divine,
and landscape painters provided the means to not only record all its
wonder, but to distill the quintessential attributes of the natural
world into composed canvases that would convey deeper meanings to the
viewer. Sketching directly from nature, these artists would choose
certain elements and combine them to create a new and more cohesive
representation of the world focusing on three major attributes: the
beautiful, the picturesque and the sublime. These paintings often
contained highly detailed foregrounds of botanical or geographical
features, pastoral middle grounds and bombastic backgrounds of
theatrical sky effects, dizzying mountains or rushing water---asserting
at once the power, beauty and order of the natural world. The implicit
message of these works was that nature represents a divine plan and
order, and that science and faith are linked. The desire to promote the
emerging nation as a *tabula rasa*, imbued with an untainted and
inspiring landscape, and a reflection of its virtue and promise was made
manifest in the landscape paintings created by Church.

Ultimately, Olana serves as a place where artists and other visitors can
come to be inspired by unparalleled natural beauty. The artists of the
Hudson River School reveled in and glorified the wonders that existed in
their immediate surroundings---in their own backyards. In Olana, this
statement becomes quite literal. For close to four decades, Church was
inspired artistically by his own property. His surroundings were crafted
by his creative genius, and served to inspire his paintings and other
artistic pursuits. In his property, the ideals of the Hudson River
School become manifest, and serve as a bridge to the past. In its
preservation, Olana serves as a modern-day muse for artists and other
visitors who continue to be moved by its beauty and grandeur.

**3.b. Proposed statement of outstanding universal value**

Based on the criteria you have selected just above, provide a brief
**Proposed Statement of Outstanding Universal Value** summarizing and
making clear why you think the property merits inscription on the World
Heritage List. If adopted by the World Heritage Committee, the statement
"will be the key reference for the future effective protection and
management of the property."

*Explanation: This statement should clearly explain the
**internationally** significant values embodied by the property, **not**
its **national** prominence.*

*"**Outstanding Universal Value**" **is formally defined as "...
cultural and/or natural significance which is so exceptional as to
transcend national boundaries and to be of common importance for present
and future generations of all humanity. As such, the permanent
protection of this heritage is of the highest importance to the
international community as a whole."***

**Cultural property**

*For example, a cultural World Heritage Site may be a unique survival of
a particular building form or settlement or an exceptional example of a
designed town or the best work by a great internationally recognized
architect. It may be a particularly fine or early or rich survival and
it may bear witness to a vanished culture or way of life, or ecosystem.
Elements to consider for inclusion in the statement may be such cardinal
facts about the site as:*

> *- Historic Context*
>
> *- Period of International Significance*
>
> *- Internationally Significant Dates*
>
> *- Internationally Significant Groups, Persons, Events*
>
> *- Cultural Affiliation*

In the 1850s and 1860s, Church was the most famous artist in the United
States of America. His landscape paintings portrayed international
vistas from areas such as the Polar regions, the Andes and the Middle
East, and received widespread international praise. His lifework and
legacy possess outstanding universal value, and Olana---a
three-dimensional artwork in landscape, architecture, and interior
design that is the embodiment of Church's artistic genius---merits
inscription on the World Heritage List.

Frederic Church was exceptional in his ability to express in his art a
range of content that arose from and spoke to the central beliefs and
values of his time. With Olana, Church gathered and presented the values
and worldview of a confident and hopeful mid-19th-century world that
believed art and science as a reflection of God's plan, in fruitful
association, would promote human progress and well being. The site
serves as a testament to a historic continuum that is still today
universally attentive to issues related to human endeavor versus the
natural environment.

While the property is truly of Church's creation, the result is achieved
through a manipulation and enhancement of the existing natural
attributes, similar to the method employed by Church and his peers to
create any one of the great paintings that record the American landscape
of the nineteenth century. The universal significance of Olana remains
in its remarkable power to retain---and to serve its visitors with an
experience of---that sense of optimism and belief in the wonder of
nature on which it was built.

**3.c. Comparison of proposed property to similar or related properties
(including state of preservation of similar properties)**

Please provide a statement explaining how the property being proposed
compares with all other similar or related properties anywhere in the
world, whether already on the World Heritage List or not..

*Explanation:* *Examples of questions that may be useful to consider
include whether the proposed property is part of a series or sequence of
similar sites belonging to the same cultural grouping and/or the same
period of history. Also, are there features that distinguish it from
other sites and suggest that it should be regarded as **more**,
**equally** or **jointly** worthy than they are? What is it that makes
this property intrinsically better than others and qualifies it for the
World Heritage List? For example, does it have more features, species or
habitats than a similar site? Is the property larger or better preserved
or more complete or less changed by later developments?*

*It will be especially helpful if specific reference can be made to a
study placing the property in a global context. The absence of
comparative information may indicate that the property is either truly
exceptional (a difficult case to prove) or that it lacks international
importance. If the results of the comparative review reveal that
multiple sites possess roughly comparable merit and may possess
international significance as a group, you may wish to recommend that
more than one site be proposed, as a serial nomination or as a joint
nomination by the United States and another country.*

*Also please make note of any major works that evaluate the property in
comparison to similar properties anywhere else in the world.*

Olana may be unique as an artist-designed home that was resided in by
the artist himself; an artist-designed landscape; and the source of
artistic inspiration for the artist himself, an internationally
recognized painter.

In the 20th and 21st centuries, Church's international significance as
an artist has been documented in exhibitions that look beyond American
art or which place American art in a world context. The exhibition (and
the catalogue) *New Worlds From Old: 19th Century Australian & American
Landscapes,* a joint venture of the National Gallery of Australia and
the Wadsworth Atheneum in Hartford, Connecticut, compared Frederic
Church and other Hudson River School artists to the 19th century
landscape painters of Australia.

This groundbreaking exhibition explored the differences and similarities
of these traditions that grew from European landscape painting, but then
developed further, reflecting the natural wonder of the two countries.
Numerous Church paintings were selected for inclusion: *Niagara* (1857),
*Natural Bridge, Virginia* (1852), *Coast Scene, Mount Desert* (1863),
and *West Rock, New Haven* (1849). Church was also very well represented
in *American Sublime: Landscape Painting in the United States
1820-1880*, organized by Tate Britain, because of the importance of this
period in American painting. This exhibition was met with rave reviews.

Today, Church is represented internationally in such major museums as
the Thyssen-Bornemisza, Madrid; *South American Landscape* (1856) and
*Tropical Landscape* (1855) and the National Gallery of Scotland,
Edinburough; *Niagara Falls, from the American Side* (1867).

Olana is the creation of Church's extraordinary artistic mind. It allows
the visitor to enter Church's world*. "Artists' houses that have
survived the vicissitudes of history and the neglect of time more or
less intact are all too rare,"* comments Gerard-Georges Lemaire in his
book Artists' Houses. Olana stands out in Lemaire's book of European
artists homes as the one example chosen to represent the United States
of America.

Arguably, the most renowned artist's home and studio in the world is
Claude Monet's Giverny. The gardens at Giverny fully represent Monet's
vision and keen interest in gardening; and most importantly still today
allow the visitor to experience Monet's painted landscapes by standing
in them or by standing in the very spot from which he painted. In
contrast to Olana, the house was purchase by Monet---not designed and
built to reflect his thoughts on architecture. The concept for Olana
grew in Church's mind as he traveled in Europe and the Middle East: *The
Dwellings are often quite grand. They have a large room called the court
in the center often 30 x 50 feet or larger---and perhaps 30 feet high
and smaller rooms on each side...I have got new and excellent ideas
about house building since I came abroad,* wrote Church in Beirut. While
Calvert Vaux was the consulting architect, Church's approximately 600
architectural drawings attest to his interest and vision, as do his
letters: *I designed the house myself. It is Persian in style adapted to
climate and requirements of modern life---the interior decorations and
fittings are all in harmony with the external architecture*.

Frank Lloyd Wright was an architect, not an artist, but like an artist
his studio and his home reflected his aesthetic. The Frank Lloyd Wright
Home and Studio in Oak Park was the home and studio Wright built and
designed, and lived in from 1889 to 1909. Beginning with a blank lot,
Wright creates a compact house, adding a dining room and then an
architectural studio. After returning from his 1909-1911 trip to Europe,
Wright remodels the Oak Park property for the first time -- transforming
the studio into living space for his family and the home into rental
space, while he moves to Wisconsin. That is only the first of numerous
modifications---but aside from the changes that were reversed to some
extent during preservation---here we have an architect working in his
medium, not an artist. For an artist to build is different. Church's
medium is paint, not stone or wood. At Olana we have an artist creating
something in three dimensions.

Other homes designed by artists, architects or designers are no longer
extant. Laurelton Hall, Louis Comfort Tiffany's home on Long Island, is
being featured in an exhibition at the Metropolitan Museum of Art *Louis
Comfort Tiffany and Laurelton Hall:* *An Artist's Country Estate*. This
exhibition helps to recreate the magic of Laurelton Hall, which
contained so many of Tiffany's designs, and collections. Unfortunately,
Laurelton Hall is no longer extant---it was destroyed by fire. In the
catalogue Olana is compared to Laurelton Hall: *"Few artists'
houses---even in comparison with Frederic Church's Olana, overlooking
the Hudson River or Frank Lloyd Wright's early house in Oak Park,
Illinois*---*more fully express a single artistic vision than does
Tiffany's estate."* But Olana can be experienced today---the home, the
landscape and the collections are intact. Laurelton Hall only exists in
a few architectural fragments, scattered collections and old
photographs. Like Laurelton Hall, Olana reflects Church's interests in a
myriad of cultures: Mexican Baskets, Japanese scrolls, a pre-Columbian
matate, a society of the Cincinnati plate, Indian painted chairs from
Kashmir, Persian metal work, Old Master paintings and Shaker rockers all
work together in Olana to demonstrate Church's international interests
and taste.

While other homes of artists and designers and architects exist -- it is
the confluence of factors that make Olana unique. Church's vision---a
Persian castle on a landscape of his design, which was manipulated to
resemble nature much in the fashion of his paintings, and a collection
that reflects his diverse interests.

**3.d. Integrity and/or Authenticity**

*Explanation: As with a site's international significance, the clear
intent of this requirement is that a World Heritage Site's authenticity
or integrity must rise to a superlative level. Thus, for example, it is
quite important to understand that reconstructions of historic
structures or sites or largely restored ecosystems will usually be
disqualified from inscription in the World Heritage List.*

**Cultural property**

**[Authenticity]{.underline}: Does the property retain its original
design, materials, workmanship and setting?**

YES: \_\_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: Olana's collection contains hundreds of sketches and drawings
done by the artist to perfect his vision for the house. These sketches
also document the process by which he adapted his ideas *in situ* during
construction. Olana also has in its collection first-person accounts of
the construction process as well as visitor letters and articles from
newspapers and magazines of the day.

Church's heirs made only minor changes to the house and property during
their time of ownership. Since entering the stewardship of New York
State in 1966, many significant projects have been undertaken to reverse
these changes and to restore the house to Church's original vision. In
every circumstance possible, original material has been preserved. Where
replacement is necessary, every effort is made to use appropriate
materials.

**[Integrity]{.underline}: Do the authentic material and spatial
evidence inside the proposed boundaries remain in sufficient quantity to
convey the full significance of the site? To tell the full story of why
the site is outstanding? Is the integrity weakened by the intrusion of
discordant and/or abundant elements or buildings that are unrelated to
the significance and detract from the visual unity of the place?**

YES: \_\_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: All restoration and preservation projects at Olana are guided
by the Secretary of the Interior's Standards for the Treatment of
Historic Properties. The main tenet of the approach is the retention of
historic fabric. Replacement is avoided at all costs unless it is deemed
absolutely necessary for the continued life of the building.

Every aspect of Olana's preservation and public interpretation is
governed by comprehensive research into its collections, 11 historic
structures and landscape. Studies undertaken by the New York State
Office of Parks, Recreation and Historic Preservation (OPRHP) and The
Olana Partnership (TOP) staff and their consultants include: Frederic
Edwin Church: Catalogue Raisonne of the Works of Art at Olana State
Historic Site (Gerald Carr, Oxford University Press, 1994), Olana
Historic Landscape Report (Robert Toole, 1996), The Historic Furnishings
Report for Olana: A History of the Interiors, Thoughts on Their
Significance, and Recommendations for Their Restoration (Karen Zukowski,
2001), Olana Historic Structure Report (John G. Waite Associates, 2001),
Olana Landscape Restoration Plan (Robert Toole, 2002), Special
Architectural Studies in Support of the Olana Historic Structure (Jan
Hird Pokorny Associates, OPRHP and TOP, 2002), NYS Building Code
Assessment for Olana (Marilyn Kaplan Preservation Associates, 2003) and
Olana Farm Complex Inventory (OPRHP and TOP 2004). In May 2002, OPRHP
and TOP formally adopted the Comprehensive Plan for Olana incorporating
all restoration plans for the site. Since the adoption of the
Comprehensive Plan, OPRHP and TOP have raised more than \$10 million for
the following restoration projects at Olana:

**Main House:**

[Exterior]{.underline} [Begun]{.underline} [Completed]{.underline}

Cornice Restoration (re-painting) Project 2001 2004

Masonry Restoration Project 2002 2004

Exterior Woodwork Restoration Project 2003 2005

Chimney Restoration/Reconstruction Project 2003 2005

Studio Tower Restoration Project 2003 2005

[Interior]{.underline}

Climate Control System Installation Project 2005 2007

Fire Suppression System Installation Project 2005 2007

Court Hall Stencil Consolidation Project 2006 2007

Second Floor Restoration Project 2006 2009

**Carriage Barn/Coachman's House:**

Exterior Restoration Project 2005 2007

Coachman's House Reconstruction Project 2007 2008

**Farm Complex:**

Cosy Cottage Restoration Project 2004 2005

Farm Stable/Wagon House Project 2005 2007

Main Barn Restoration Project 2005 2008

**Landscape:**

Cutting Garden Restoration Project 2002 2007

Viewshed Restoration Project 2004 2010

Meadow Restoration Project 2006 2015

Forest/Replanting Project 2002 2015

Viewshed Preservation 2002 ongoing

**[Repairs:]{.underline} If repairs have been made, were they carried
out using traditional materials and methods? If yes, please discuss. If
not, please explain the methods used and why.**

YES: \_\_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: Extensive research has been conducted and study reports
assembled for each major project undertaken at Olana and the list above
outlines these many studies. To isolate a specific project as
representative of the preservation work at Olana, we present the recent
project of restoring the exterior of the main house. This three-phase
project involved thousands of hours to research, document, and prepare
for the work, which was conducted from April 1, 2001-November 20, 2005.
The work was supported by the Getty Grant Program (historic structure
report and implementation grants), Save America's Treasures federal
grant program, and private donations.

The final Historic Structure Report (HSR) for Olana provides historical
background on Frederic Church's intentions with respect to the masonry
and information about maintenance history, and identifies the extent of
damage to the various components (brick, stone, tile and mortar). As
outlined in the HSR, Church used three main colors of brick: black (red
brick painted black), red, and yellow. In addition, he chose at least
three different types of red brick, which vary in color, size, texture,
and joint width, and used them to create visual hierarchies on certain
wings and floors.

The repair process was a challenge due to the elaborate patterns and the
rich use of color. Door and window openings throughout the structure are
edged with brick (as they are in many stone buildings), but for
aesthetic reasons, Church chose to simply stack the brick, one on top of
the other, rather than tooth them into the stonework and stagger the
joints. The resulting top-to-bottom joint between brickwork and stone is
weak and prone to failure, allowing water penetration and accelerated
deterioration. Other non-traditional use of brick for visual effect has
caused similar problems.

In addition, their many colors made efforts to repair the brick, by
finding the correctly colored grout or mortar, or to replace them, more
complicated. Inappropriate pointing and other improper repairs to the
brick and stone over the years had led to further deterioration.
Finally, problems relating to the roof and flashings have accelerated
the failure of the masonry.

A special study of the brick masonry involved creating a detailed brick
typology as well as a "brick-by-brick" conditions survey to identify
types and levels of deterioration. Recommendations called almost
exclusively for the conservation and repointing of the brick, at an
estimated cost of over \$500,000. The reasons for the study's
recommendation are threefold. First, it is Olana's policy to preserve
whenever possible rather than replace. In addition, the unique
colorization of the bricks, due to aesthetic decisions made by Frederic
Church, make replacement more complicated for this project. Finally, as
the patina of the building remains virtually untouched, replacement of
the bricks would have created a serious visual impact on the structure.

As a result, three conservation efforts were sought, based on the type
of damage to the brick: (1) grout injection of cracked brick; (2) ethyl
silicate consolidation of powdered, or disaggregated, brick; (3)
composite patching of spalled units.

This is a most innovative approach to brick conservation. Usually, when
there is significant damage to the brick masonry, historic building
program recommendations call for replacement. In this case, it is
estimated that up to 98% of the damaged bricks in the main building can
be conserved rather than replaced.

A masonry conditions study was performed by the architectural firm of
Jan Hird Pokorny Associates (JHPA), who also generated drawings and
specifications for the conservation of the exterior of Olana. JHPA
specializes in preservation and conservation; they have served as
consultants to the World Monuments Fund and worked on Brancusi's column
in Romania, as well as projects in the Southern Czech Republic and
Southern Moravia.

The conservation of the brick masonry at Olana is but one example of the
painstaking care taken to conserve rather than replace materials when
repairs are necessary, preserving the site's integrity in every way
possible. In addition, we believe that Olana's commitment to such
innovative projects will serve as a model for future conservation
programs in other historic buildings.

**4. STATE OF PRESERVATION AND FACTORS AFFECTING THE PROPERTY**

**4.a. Present state of preservation of the property**

**Cultural property**

**What is the present state of preservation of the property (including
its physical condition and preservation measures in place)?**

Many recent projects have been completed as part of ongoing work in
fulfillment of the Final Comprehensive Plan for Olana State Historic
Site. The Comprehensive Plan was developed through a collaborative
effort involving representatives of OPRHP, The Olana Partnership and
several other concerned agencies and organizations. It was completed in
May 2002 and guides the long term development and operation of the site.

**Are there any recent or forthcoming planned major repair projects? Are
there any major repairs needed to buildings or structures that have not
been planned or financed?**

Repair projects fall into two major categories at Olana---restoration of
the landscape and of physical structures. A recent project to open views
on one of the carriage drives (Ridge Road) is restoring breathtaking
views that were once part of an extensive carriage road system that
existed at Olana. A ½-acre of  land was cleared in October 2006 as part
of a multi-phase plan to restore the historic views created by Frederic
Church in the 1880s. Phase two, the clearing of an adjacent acre was
completed in March 2007. The full project area comprises approximately
ten acres. Erosion and sedimentation controls will be incorporated into
each phase, as the wooded existing conditions are returned to meadow.

The Ridge Road project is one of several landscape restoration projects
that are in various stages of planning and implementation at Olana. An
apple, pear and cherry orchard was completed in October 2006 in the
historic farm complex, and replanting is planned along the North Road
corridor, around farm fields and around the house grounds.  On Crown
Hill, directly behind the lake, a breathtaking view of the main house
has been restored.

Olana State Historic Site contains eleven historic structures, the most
prominent being the Persian/Aesthetic-style main house. Much work has
been accomplished to restore the heavily stenciled stone, brick and wood
exterior of this structure. Additionally, a \$250,000 Save America's
Treasures grant was secured in 2003 to restore six chimneys and the
Studio Tower at Olana. Cosy Cottage was fully restored through \$500,000
in privately raised funds.

Additional planned work includes restoration and repair of the
Coachman's House, the farm stable, the main barn and interior
restoration of the second floor of the main house. There is also a plan
to bury all of the overhead utility lines that currently mar the
landscape at Olana. All of this work is currently pending in a stage of
planning or design and construction.

**4b. Factors affecting the property**

If there are known factors likely to affect or threaten the outstanding
universal values of the property or there any difficulties that may be
encountered in addressing such problems through measures taken, or
proposed to be taken, please use the following is a checklist to help in
identifying factors.

***(i) Development Pressures (e.g., encroachment, modification,
agriculture, mining)***

**Are there development pressures affecting the property? Or major
changes in traditional land use? Or demographic shifts, especially in
sites still in the hands of the descendants of their creators, or, for
example, traditional ethnic communities.**

YES: \_\_\_\_\_ NO: \_\_\_[X]{.underline}\_\_\_

Comment: As the Hudson Valley region experiences steady growth, there is
a potential for development pressures in the areas surrounding Olana.
Housing development pressures occur as agriculture becomes less
sustainable in the Hudson Valley region and the farm land is sold to
developers. There is presently no zoning in the town in which Olana
sits, and the town of Livingston, one of the towns that is a significant
part of Olana's viewshed, has one-acre zoning. Fortunately, conservation
easements have been put on some of the surrounding land by private
owners.

Industrial development within Olana's viewshed has been a concern, as
rich mineral deposits such as limestone remain untapped. The Hudson
River is also a potential source of industrial development, whether it
is through the use of the water as part of the industrial process (years
ago, a nuclear power plant was proposed within 5 miles of Olana,
directly in its view) or through its use as a means of transportation.
Olana was recently engaged a major fight against one of the world's
largest companies that was trying to construct a \$300 million plant
within Olana's viewshed. After a four-year battle, the plan was defeated
in 2005, thanks to the legal protections given to Olana and other
culturally significant properties.

While there is always the threat that these pressures will continue,
thus far, the protections in place have mitigated all threats to the
property.

***(ii) Environmental pressures (e.g., pollution, climate change,
desertification)***

**Are there major sources of environmental deterioration currently
affecting the property?**

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_\_[X]{.underline}\_\_\_\_

Comment:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

***(iii) Natural disasters and risk preparedness (earthquakes, floods,
fires, etc.)***

**Are natural disasters likely to present a foreseeable threat to the
property? If so, are there available background data (e.g., for a
property in a seismic zone, give details of past seismic activity, or
the precise location of the property in relation to the seismic zone,
etc.)**

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_[X]{.underline}\_\_\_

Comment:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Are there contingency plans for dealing with disasters, whether by
physical protection measures or staff training?**

YES: \_\_X\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: New York State staff is required to complete several hours of
training each year in order to maintain their position with the site.
These mandatory classes and workshops are offered several times
throughout the year during regular business hours to ensure staff
participation. Additionally, the site maintains and frequently updates
an emergency response plan. The plan includes both scheduled and
unannounced drills. These drills often include local responders
(firefighters, ambulance and police) in addition to staff.

***(iv) Visitor/tourism pressures***

If the property is open to visitors, is there an established or
estimated "carrying capacity" of the property? Can it absorb or mitigate
the current or an increased number of visitors without significant
adverse effects?

YES: \_\_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: Yes, it can absorb the current or increased number of visitors.
A study on the carrying capacity of the property was conducted a few
years ago, looking at both the main house and grounds. It was determined
that the main house would be best served by providing visitors with a
guide who would take them throughout the house, and that the tour group
contain a maximum of 12 visitors. Based on seasonal hours, the carrying
capacity for the house has been estimated at 60,000 a year. The grounds
can accommodate many more people---this has been estimated at 500,000.
Given that the site currently attracts approximately 30,000 visitors a
year to the main house and 125,000-150,000 to the grounds, we are well
within capacity.

***(v) Other***

Are there any other risks or threats that could jeopardize the
property's Outstanding Universal Values?

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_[X]{.underline}\_\_\_

Comment:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**5. PROTECTION AND MANAGEMENT**

**5.a. Ownership**

Provide the name(s) and addresses of all owners:

New York State

Elliot Spitzer, Governor

Executive Chamber -- Capitol Building

Albany, NY 12224

New York State Office of Parks, Recreation and Historic Preservation

Carol Ash, Commissioner

Empire State Plaza

Albany, NY 12228

Olana State Historic Site

Linda McLean, Site Manager

5720 State Route 9G

Hudson, NY 12534

**Are there any restrictions on public access to the property?**

*Explanation: Public access is not required for inclusion in the World
Heritage List. Policies in effect should be explained, however. )*

YES: \_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: The site is open daily from 8:00 am to sunset. The house is
open for tours Tuesday-Sunday from 10:00 a.m. - 5:00 p.m. April 1
through the week of Thanksgiving and Friday-Sunday 1:00 a.m. - 4:00 p.m.
Thanksgiving week through the end of March.

**5.b. Protective designations**

**What are the principal existing (and pending) legal measures of
protection that apply to the property?**

*Explanation: List, [but do not attach]{.underline} copies of, all
relevant known or proposed legal, regulatory, contractual, planning,
institutional and/or traditional measures that affect the status of the
property: e.g., national park, wildlife refuge, historic monument,
zoning, easements, covenants, deed restrictions, State and local
historic preservation ordinances and regulations, and the like.*

**List of measures: Give the title and date of legal instruments and
briefly summarize their main provisions. Provide the year of designation
and the legislative act(s) under which the status is provided.**

***Olana is designated as a National Historic Landmark (1966).***
Section 110(f) of the National Historic Preservation Act requires that
before approval of any Federal undertaking which may directly and
adversely affect any National Historic Landmark, the head of the
responsible Federal agency shall, to the maximum extent possible,
undertake such planning and actions as may be necessary to minimize harm
to such landmark, and shall afford the Advisory Council a reasonable
opportunity to comment on the undertaking.

> Code of Federal Regulations\
> Title 36 Parks, Forests, and Public Property\
> Chapter I National Park Service, Department of the Interior\
> Part 65---National Historic Landmarks Program

The purpose of the National Historic Landmarks Program is to identify
and designate National Historic Landmarks, and encourage the long range
preservation of nationally significant properties that illustrate or
commemorate the history and prehistory of the United States. As part of
these regulations, The National Park Service is required by statute to
monitor the status of NHLs and to report back to Congress and the
Advisory Council periodically. Finally, the NHL Bulletin indicates that
NHL designation is a recognized criterion in selecting properties for
nomination to the World Heritage List.

***Olana, because it is on the National Historic Register, is subject to
the State Historic, Preservation Act (SHPA), Parks, Recreation and
Historic Preservation Law Article 14, and its implementing regulations
at 9 NYCRR Part 428.*** These laws require all state agencies to protect
the state's historic resources.

SHPA § 14.09(1) requires state agencies to consult with the Office of
Parks, Recreation and Historic Preservation ("OPRHP") before approving a
permit for any private action:

\....concerning the impact of the project if it appears that any aspect
of the project may or will cause any change, beneficial or adverse, in
the quality of any historic, architectural, archeological, or cultural
property that is listed on the national register of historic places or
property listed on the state register or is determined to be eligible
for listing on the state register by the commissioner.

SHPA § 14.09(2) requires that agencies such as DEC work with OPRHP:

\... for the purpose of exploring alternatives which would avoid or
mitigate adverse impacts to such property consistent with the policy and
provisions of this article and other provisions of law relating to
historic preservation. To the fullest extent practicable, it is the
responsibility of every state agency, consistent with other provisions
of law, to avoid or mitigate adverse impacts to registered property or
property determined eligible for listing on the state register by the
commissioner.

***Olana, because it is part of the Catskill-Olana Scenic Area of
Statewide significance, is subject to New York's Coastal Management
Program (CMP).*** New York's Coastal Management Program includes two
policies which provide for the protection and enhancement of Olana.
Policy 24 provides for the designation and protection of scenic areas of
statewide significance; and Policy 25 requires that proposed actions
located outside a designated SASS must protect, restore or enhance the
overall scenic quality of the coastal area. Both policies call for
agencies to determine if a proposed action would impair scenic quality.
Regulations governing the designation of scenic areas of statewide
significance are found in 19 NYCRR Part 602.5.

***Catskill-Olana Scenic Area of Statewide Significance (SASS) 19 NYCRR
602.5(c), designated 1993.*** This contains regulations governing the
designation of scenic areas of statewide significance in the coastal
area of the Hudson River Valley. The Catskill-Olana SASS is one of the
designated areas.

***Olana is subject to SEQR***---***Environmental Conservation Law (ECL)
Article 3-0301(1)(h) and ECL Article 8 State Environmental Quality
Review Act, ("SEQR") and SEQR regulations.*** ECL § 3-0301(1)(h)
requires DEC to "\[a\]ssure the preservation and enhancement of natural
beauty and man-made scenic qualities."

The State Environmental Quality Review Act, ECL Article 8, ("SEQR")
provides that "objects of historic or aesthetic significance" are part
of the environment to be protected under SEQR. ECL § 8-0105(6).

The SEQR regulations at 6 NYCRR § 617.11(c) provide that:

No involved agency shall make a final decision to \... approve \...an
action that has been the subject of a final EIS, until\... the agency
has made a written findings statement.

***Olana is designated as part of the Hudson River Valley National
Heritage Area (1996).*** Hudson River Valley National Heritage Area.
Title IX. Public Law 104-333. Recognizes the importance of the Hudson
River Valley and assists communities within the boundaries in
preserving, protecting and interpreting the area.

#### Olana is designated as a community that is part of the Hudson Valley American Heritage River (1998). GSA Executive Order 13061: Federal Support of Community Efforts Along American Heritage Rivers

\(a\) The American Heritage Rivers initiative has three objectives:

natural resource and environmental protection, economic revitalization,

and historic and cultural preservation.

***Olana is a NYS Open Space Plan priority project.*** The State
Legislature, in 1993, created the State Environmental Protection Fund
(EPF), which among several other environmental purposes, provides funds
for the acquisition of priority projects identified in the New York
State Open Space Conservation Plan (the Plan). The EPF is now funded at
\$225 million annually, and provided \$50 million in 2006 for
State-level land acquisitions identified in the Open Space Conservation
Plan.

***Olana is within the Hudson River Valley Greenway area (1991).*** The
Hudson River Valley Greenway Act was created to facilitate the
development of a voluntary regional strategy for preserving scenic,
natural, historic, cultural and recreational resources while encouraging
compatible economic development and maintaining the tradition of home
rule for land use decision-making.

**Are the protections in perpetuity or are there potential gaps in the
protection?**

YES: \_[X]{.underline}\_\_\_\_\_\_ NO: \_\_\_\_\_\_\_\_

**Are there any traditional ways in which custom safeguards the
property?**

YES: \_\_\_\_\_\_\_\_\_ NO: \_\_[X]{.underline}\_\_\_\_

**5.c. Means of implementing protective measures**

**Will the owner(s) be responsible for ensuring that the nominated
property will be protected in perpetuity, whether by traditional and/or
statutory agencies? If no, identify who will be responsible.**

YES: \_\_[X]{.underline}\_\_\_\_ NO: \_\_\_\_\_\_\_\_

**5.d. Existing plans related to municipality and region in which the
proposed property is located (e.g., regional or local plan, conservation
plan, tourism development plan)**

*Explanation: List, [but do not attach]{.underline}, plans of which you
are aware that have been officially adopted or are currently under
development by governmental or other agencies that you believe directly
influence the way the property is developed, conserved, used or visited.
Include the dates and agencies responsible for their preparation and
describe their general nature, including whether they have the force of
law. It is recognized that this information may be difficult to compile
and that it may be difficult to decide what to include, but the
information will be very useful in determining how well the property is
protected.*

***Greenport as a Greenway Community.*** Greenport has signed on as a
"Greenway Community," a part of the Hudson Valley Greenway Council's
stated mission. The

Hudson Valley Greenway Council and Conservancy were created by law to
encourage increased regional planning in the Hudson Valley area. While
there is no force of law in the designation of a Greenway Community,
towns that have agreed to be designated as such are eligible for grants
from the Greenway that they wouldn't otherwise receive. Not only
Greenport, but all of the surrounding towns in Columbia County and
Greene County (which is in Olana's viewshed) have become Greenway
communities.

***Local Waterfront Revitalization Plan (LWRP) for the neighboring city
of Hudson, NY***.

Under New York State's Coastal Management Program, enacted in 1982,
communities along the Hudson River, as well as around the Great Lakes,
New York City, on Long Island and those bordering other specified inland
water bodies, are eligible for grants from the Department of State's
Division of Coastal Resources for the development of Local Waterfront
Revitalization Plans. One New York State requirement for these plans
involves the inclusion of State adopted coastal policies addressing "
New York's vision for its coast," covering 10 major policy areas,
including public access and recreation.

LWRP's are intended "to guide the beneficial use, revitalization, and
protection of their waterfront resources." (NYS DOS 2000). LWRP's are
plans for water and land use of a locality's natural and built-up
waterfront and for the protection and development of coastal resources.
Once approved by the Department of State and the Federal government, the
LWRP provides the means to coordinate State and Federal actions to
support the local program goals. There are currently 18 approved local
programs prepared by communities along the Hudson River, as well New
York City. In addition, there are 15 communities on the Hudson with
LWRP's in various stages of development, including that of Hudson.
Hudson's LWRP is slated for a vote by the Common Council (Hudson's
legislative body) in April 2007.

Once an LWRP is approved, that community is eligible for significant
state grants for planning and implementation purposes.

To the extent that an approved LWRP is developed for Hudson, it is
anticipated that there will be significantly greater visitation to the
city of Hudson for tourism purposes---one of the goals of Hudson's LWRP
is to develop mixed use property on the waterfront, including
restaurants, parks, hotels, etc. as well as docking facilities. One of
the difficulties for people in coming up to Hudson, and therefore Olana
(2 hours north of New York City) is the lack of lodging facilities. This
would alleviate the problem, while creating more of a destination for
this part of the region, encouraging increased visitation to Olana.

***The Hudson River Valley National Heritage Area***, which is being
administered through the New York State Governor's office through the
Hudson Valley Greenway, encourages planning and marketing of the Hudson
Valley. \$10 million, over 10 years has been allocated to this program.
Three of the programs that have been highlighted through National Parks
Services brochures are the Hudson River Painters, Hudson River Valley
architecture, and the Revolutionary War. Olana is featured prominently
in the first two. These brochures, as well as the accompanying material
available on-line, is believed to have a significantly positive impact
on visitation.

***Comprehensive Plan for the city of Hudson.*** The City of Hudson
recently redid their comprehensive plan and is now discussing zoning
changes. These changes are encouraging greater planning and preservation
of their historic resources, as well as creating greater recreational
access to and preservation of the waterfront. Changes such as these will
encourage visitation to Hudson, which will have a positive impact on
visitation to Olana.

***Comprehensive Economic Development Plan for Greene County.***

While Columbia County does not have a Comprehensive Plan, Greene County
is in the midst of developing a Comprehensive Economic Development Plan.
Since one of Olana's primary viewsheds is in Greene County (southwest,
west and northwest), planning that allows for sensitive development
along the waterfront will have a positive impact on Olana. It is still
too soon to determine whether this is in fact the plan.

***Agricultural Development Master Plan for Columbia and Orange
Counties***.

The Columbia Economic Development Corporation in cooperation with
Columbia and Orange Counties is in the process of developing a
comprehensive Agricultural Development Master Plan for both counties.
This will include: identification of suitable development locations
which will support regional agricultural and economic growth and
incentives to retain agricultural industry in the region. Any effort to
preserve farm land in Columbia County, especially within Olana's
Viewshed, will have a positive impact on Olana.

**5.e. Property management plan or other management system**

**Is there a formal management plan or other management system for the
property? If yes, when was it last updated? If not, is one in
preparation and when will it be completed?** (*It is not necessary to
provide copies, but a summary can be included if one is available.)*

YES: \_\_[X]{.underline}\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: The management plan consists of a Historic Furnishings Plan, an
Interpretive Plan and a Collections Policy, which together organize and
guide the interpretation and collections management of the house.  For
the site, a Cyclical Maintenance Plan was developed in 1987 and is
currently being updated to reflect new procedures, policies and staffing
levels.

**Is this management plan or other management system being effectively
implemented?**

YES: \_\_[X]{.underline}\_\_\_ NO: \_\_\_\_\_\_\_\_

Comment: The Cyclical Maintenance Plan guides the day-to-day maintenance
of the site while referring to the Historic Landscape Report and OSHA
requirements in order for the site to be maintained in the most
proficient way while still maintaining the required safety standards for
staff and equipment.  All of the policies are being implemented in the
most effective means possible.

**6. MONITORING**

*Because monitoring the condition of a property is not essential to a
decision as to whether a property meets the basic qualifications for
nomination to the World Heritage List, no information about the
property's monitoring program is being requested at this time. If the
property is subsequently added to the U.S. Tentative List, a set of key
indicators for assessing the property's condition, the arrangements for
monitoring it, and information on the results of past monitoring
exercises will be required to complete the l nomination of the property
for inscription on the World Heritage List.*

**7. DOCUMENTATION**

**7.a Photographs, slides, and other audiovisual materials**

If recent images (prints, slides and/or, where possible, electronically
formatted images, videos and aerial photographs) are available that give
a good general picture of the property, please provide a few photographs
and/or slides. If available, film/video, or electronic images may also
be provided. They should give a good general picture of the property and
illustrate the qualities/features that you believe justify the
nomination of the property to the World Heritage List. (Ten views or so
should be adequate for all but the most complicated properties.)

Please label the images you supply and provide a separate list of them
here, including the photographer's name. Please do not include any
copyrighted images or other images to which you do not possess the
rights or do not have permission.

Images being supplied and names of their authors:

Aerial view of Olana, photograph by Ted Spiegel

South View of main house at Olana, photo by Stan Reis Photography, 2006

Main house at Olana, western façade (2003), photo by Andy Wainwright

View of lake from bell tower/main house at Olana (2003), photo by Andy
Wainwright

Court Hall interior - main house at Olana, photo by Kurt Dolnier (1997)

Gallery/Dining Room interior - main house at Olana, photo by Kurt
Dolnier, 1997

Studio interior - main house at Olana, photo by Kurt Dolnier, 1997

View of full view restoration on Ridge Road at Olana, photo by The Olana
Partnership

South view of Hudson River, Catskills and Lake from main house at Olana,
photo by Stan Reis Photography

Frederic Church, Study for *The Heart of the Andes*, 1858

 

Frederic Edwin Church, *Catskill Mountains from the Home of the Artist*,
1871, Collection of Olana State Historic Site.

Frederic Church***,*** Study for *Horseshoe Falls*, December
1856-January 1857

Frederic Edwin Church, *The Hudson Valley in Winter from Olana*, c.
1871-72*,* Collection of Olana State Historic Site.

Frederic Edwin Church, *Clouds over Olana (sketch), 1872,* Collection of
Olana State Historic Site.

Olana farm complex, photo by Richard Gromek, NYSOPRHP, 2005

Artist rendering of restored barn at Olana farm complex, by James Akers,
2006

Artist rendering of reconstructed wagon house \[education center\] to be
constructed in 2007, by James Akers, 2006

Senator Hillary Clinton visits Olana farm complex (2004), photo by The
Olana Partnership. L-R: Linda McLean, Olana Site Manager; unidentified
staff (Clinton); Sen. Clinton; George Rodenhausen, TOP Trustee; Matt
Bender, TOP Trustee; and Sara Griffen, President, The Olana Partnership.

Cosy Cottage restoration groundbreaking ceremony at Olana farm complex
(2005) -- photo by The Olana Partnership L-R: Maria Livingston
(great-granddaughter of Frederic Church); John L. Moore, III, TOP
Trustee; unidentified man; NYS Parks Commissioner Bernadette Castro;
Jazz Johnson Merton, TOP chairman; Gretchen Johnson and James L. Johnson
(donors); and Isabel Livingston (great-great-granddaughter of Frederic
Church).

Main house at Olana exterior restoration phase I - cornice stencil
restoration and brick masonry conservation - summer 2003.

Cornice stencil restoration project (2002), photo by Richard Gromek,
NYSOPRHP

Entrance to main house at Olana from interior/vestibule, photo by Kurt
Dolnier, 1997

Historic orchard restoration/replanting project - August 2006

Young artists participating in Olana drawing program, photo by The Olana
Partnership

**8. CONTACT INFORMATION**

**8a. Preparer/Responsible Party for Contact:**

**Name: \_\_**[Sara J.
Griffen]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Title:
\_\_\_**[President]{.underline}\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Address: \_\_** [The Olana Partnership, P.O. Box
199]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**City, State/Territory, Zip Code: \_\_**[Hudson, NY
12534]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Telephone:\_\_\_**[(518) 828-1872 ext. 106]{.underline}
**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Cellular phone::\_\_\_**[(518)
527-8524]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Preferred Days/Hours for Contact: \_\_\_**[Monday-Friday,
9am-5pm]{.underline}**\_\_\_\_\_\_\_\_\_\_**

**Fax: \_\_\_**[(518)
828-1793]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**E-mail and/or website:**
[**\_\_**saragriffen.top@olana.org](mailto:__saragriffen.top@olana.org)[;
www.olana.org]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_**

**8.b. Responsible Official or Local Institution/Agency**

If different from the preparer above, provide the same information for
the agency, museum, institution, community or manager locally
responsible for the management of the property. In the case of public
property, identify both the responsible official and the agency. If the
normal reporting institution is a national agency, please also provide
that contact information.

**Name: \_\_\_\_**[Linda
McLean]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Title: \_\_\_\_**[Site
Manager]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Address:\_\_\_\_**[Olana State Historic Site, 5720 State Route
9G]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**City, State/Territory, Zip Code: \_\_\_\_\_\_\_\_\_**[Hudson, NY
12534]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Telephone**[:\_\_\_\_\_(518)
828-0135]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Cellular phone:
\_\_\_\_\_\_**[N/A]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**Fax:** [\_\_\_\_(518)
828-1140]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_**

**E-mail and/or website:
\_\_\_\_\_**[Linda.McLean@oprhp.state.ny.us]{.underline}**\_\_\_\_\_\_\_\_\_\_\_\_\_**

**9. Signatures of All Owners of Private Properties or Authorizing
Officials for Public Properties:**

**Explanation: No property will be included in the U.S. World Heritage
Tentative List without the written concurrence of all its property
owners. This is because U.S. law expressly forbids nomination of such
sites. In addition, at the time of nomination, property owners must
pledge to the legal protection or the development of legal protection of
the property in perpetuity.**

\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Signature**

Sara Griffen

**Typed or Printed Name**

President, The Olana Partnership

\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

**Title**

**3/30/2007**

**Date**

(Please attach as many additional signature pages as may be necessary.)