Masonic Temple (1924), pediment detail, Lassen Street, Susanville, California

Freemasonry's impact on America is more significant than anything that speculation would hold. A movement that emerged from the Reformation, Freemasonry was the widespread and well-connected organization. It may seem strange for liberal principles to coexist with a secretive society but masonry embraced religious toleration and liberty principles, helping to spread them through the American colonies. In a young America, Masonic ideals flourished. In Boston in 1775, Freemasonic officials who were part of a British garrison granted local freemen of color the right to affiliate as Masons. The African Lodge No. 1. was named after the order's founder, Prince Hall, a freed slave. It represented the first black-led abolitionist movement in American history. One of the greatest symbols of Freemasonry, the eye-and-pyramid of the Great Seal of the United States, is still on the back of the dollar bill. The Great Seal's design was created under the direction of Benjamin Franklin (another Freemason), Thomas Jefferson, and John Adams. Freemasonry principles strengthened America's founding commitment to the individual's pursuit of meaning. Beyond fascination with symbolism and secrecy, this ideal represents Freemasonry's highest contribution to U.S. life. Freemasons rejected a European past in which one overarching authority regulated the exchange of ideas. Washington, a freemason, in a letter to the congregation of a Rhode Island synagogue wrote: "It is now no more that toleration is spoken of as if it was the indulgence of one class of people that another enjoyed the exercise of their inherent natural rights. For happily, the government of the United States, which gives to bigotry no sanction, to persecution no assistance, requires only that they who live under its protection should demean themselves as good citizens..." Freemasonry's most radical idea was the coexistence of different faiths within a single nation.

The John Margolies Roadside America Photograph Archive is one of the most comprehensive documentary studies of vernacular commercial structures along main streets, byways, and highways throughout the United States in the twentieth century. Photographed over a span of forty years (1969-2008) by architectural critic and curator John Margolies (1940-2016), the collection consists of 11,710 color slides (35mm film transparencies). Frequent subjects include restaurants, gas stations, movie theaters, motels, signage, miniature golf courses, and beach and mountain vacation resorts. Approximately half of the slides show sites in California, Florida, Michigan, New Jersey, New York, South Carolina, and Texas, but all 48 contiguous states are represented.The Library of Congress began to acquire portions of the archive in 2007, with the bulk of the materials arriving in 2015. These holdings form the core of what Margolies considered the exemplary images of his subject matter. Margolies' Roadside America work chronicled a period of American history defined by the automobile and the ease of travel it allowed. Emerging with the prosperity of the post-WWII era, roadside and commercial structures spread with the boom of suburbanization and the expansion of paved roads across the United States. Yet, in many instances, the only remaining record of these buildings is on Margolies' film, because tourist architecture was endangered by the expansion of the interstate system and changing travel desires. Margolies' work was influential in the addition of roadside buildings to the National Register of Historic Places beginning in the late 1970s. In his photography, Margolies utilized a straightforward, unsentimental approach that emphasized the form of the buildings. These structures were usually isolated in the frame and photographed head-on or at an oblique angle to provide descriptive details. Given the breadth of his subject matter, common typologies and motifs in vernacular architecture can be identified through their repetition. While environmental context is only occasionally provided, Margolies' eye was often drawn to signage or other graphic elements of buildings that expressed the ingenuity or eccentricity of their makers.