Old Atlanta:
For those of you brought up on Gone With the Wind, you're looking at an Atlanta that hasn't existed in a long, long time. As Greg has mentioned, Sherman burned the town, and the rebuilding of the Reconstruction era has largely made way to later progress.
One thing that may be of interest to Greg and to other members familiar with Gone With the Wind - the huge exterior sets that represented prewar Atlanta are amazingly accurate. The film's producter, David O. Selznick, hired Atlanta historian Wilbur G. Kurtz to help research and design them. Due to the time frame, which was before photography became a DIY proposition, and due to the burning of the city, which destroyed a lot of historical records and ephemera, there wasn't really all that much research material available.
Kurtz did find enough old photos and drawings to do a bang-up job on the sets; there are storefronts with names of actual Atlanta merchants of the period, and the "car shed," Atlanta's makeshift train station of the time, is reproduced very well.
Kurtz was also employed to work on the sets of Tara and Twelve Oaks, but he didn't get as much historical accuracy into those as he had on the Atlanta sets. Selznick wanted a romantic, impressive look to those sets, and so he overruled Kurtz on a lot of things. Tara really shouldn't have had columns on its front, according to history and to Kurtz and Margaret Mitchell, but Selznick wanted columns and Selznick got columns. Kurtz was able to get them made square, of whitewashed brick, instead of grand Corinthian columns, so there was at least some concession to the realities of antebellum Clayton County. But Kurtz was unable to stop Selznick from making Twelve Oaks downright ludicrous in scale and grandeur, with twin flying staircases and enough ornate plasterwork for a state Capitol building. Margaret Mitchell told a friend that she didn't know whether to laugh or throw up when she saw photos of the Twelve Oaks set.
There are some small errors in the Atlanta sets - Aunt Pitty's house is on the wrong side of Peachtree, and the relatively flat Selznick International backlot didn't lend itself to reproducing the hilly, up-and-down nature of some Atlanta streets (part of downtown are reminiscent of San Francisco, the grades are so steep). But Kurtz got it as right as circumstances permitted, no mean feat when you're working for a epic control freak like Selznick.
Greg: I wonder if you remember the horse farm that was at Peachtree and Lenox, where Lenox Square is today? It was called "Joyeuse." I have very faint memories of it from when I was really small; we lived almost in Chamblee at the time, and Dad worked in Brookhaven, so we passed that area a lot. I remember the remnants of your great-great grandfather's plantation behind Phipps; there was an overseer's house or something still remaining of it up into the 1970s, and the sculptor who did the Cor-Ten steel sculpture originally in front of Colony Square (now sadly moved to the side) lived in it. I went to a party or two there back in the day.