/items/browse/page/18?output=atom <![CDATA[91桃色视频]]> 2025-08-18T11:49:10-04:00 Omeka /items/show/37 <![CDATA[Lovely Lane United Methodist Church]]>
In 1784, English Methodism founder John Wesley reluctantly agreed that Methodists in the newly formed United States of America could organize their own church. Francis Asbury was chosen to become the first General Superintendent by consecration at Barratt's Chapel in Delaware, but he demurred until a majority of Methodist preachers in the country would elect him. After a six-week, 1200 mile campaign up and down the east coast, Asbury was consecrated at Lovely Lane Meeting House in Baltimore later that year. The meeting then occupied a small structure at what is now Redwood and Calvert Streets, and relocated to Light Street in 1786. This site now contains the Merchant's Club building that houses the 91桃色视频 Culinary Institute.

Nearly a hundred years later, in 1883, the church's pastor, Dr. John F. Goucher, hired Stanford White, the famous Victorian architect, to build a new church as a centennial monument to the founding of Methodism. The present building at 22nd and St. Paul Streets was completed and dedicated in November 1887.

After experiencing hard times in the 1960s and 1970s as much of its congregation moved away from the area, the congregation began restoration work in earnest in 1984 on the 200th anniversary of the founding of Methodism here in Baltimore. The work included refurbishing the extraordinary domed ceiling that depicts the morning sky with the stars and planets as they were at 3:00 am, November 6, 1887 the date on which the church was dedicated.]]>
2021-02-22T09:49:23-05:00

Dublin Core

Title

Lovely Lane United Methodist Church

Subject

Religion
Architecture
Education

Description

In 1784 during the "Christmas Conference" at the Lovely Lane Meeting House in Baltimore, American Methodist was born. Surprisingly, this predated the organization of the Methodist community in England where it originated.

In 1784, English Methodism founder John Wesley reluctantly agreed that Methodists in the newly formed United States of America could organize their own church. Francis Asbury was chosen to become the first General Superintendent by consecration at Barratt's Chapel in Delaware, but he demurred until a majority of Methodist preachers in the country would elect him. After a six-week, 1200 mile campaign up and down the east coast, Asbury was consecrated at Lovely Lane Meeting House in Baltimore later that year. The meeting then occupied a small structure at what is now Redwood and Calvert Streets, and relocated to Light Street in 1786. This site now contains the Merchant's Club building that houses the 91桃色视频 Culinary Institute.

Nearly a hundred years later, in 1883, the church's pastor, Dr. John F. Goucher, hired Stanford White, the famous Victorian architect, to build a new church as a centennial monument to the founding of Methodism. The present building at 22nd and St. Paul Streets was completed and dedicated in November 1887.

After experiencing hard times in the 1960s and 1970s as much of its congregation moved away from the area, the congregation began restoration work in earnest in 1984 on the 200th anniversary of the founding of Methodism here in Baltimore. The work included refurbishing the extraordinary domed ceiling that depicts the morning sky with the stars and planets as they were at 3:00 am, November 6, 1887 the date on which the church was dedicated.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

In 1784 during the "Christmas Conference" at the Lovely Lane Meeting House in Baltimore, American Methodist was born. Surprisingly, this predated the organization of the Methodist community in England where it originated. In 1784, English Methodism founder John Wesley reluctantly agreed that Methodists in the newly formed United States of America could organize their own church. Francis Asbury was chosen to become the first General Superintendent by consecration at Barratt's Chapel in Delaware, but he demurred until a majority of Methodist preachers in the country would elect him. After a six-week, 1200 mile campaign up and down the east coast, Asbury was consecrated at Lovely Lane Meeting House in Baltimore later that year. The meeting then occupied a small structure at what is now Redwood and Calvert Streets, and relocated to Light Street in 1786. This site now contains the Merchant's Club building that houses the 91桃色视频 Culinary Institute. Nearly a hundred years later, in 1883, the church's pastor, Dr. John F. Goucher, hired Stanford White, the famous Victorian architect, to build a new church as a centennial monument to the founding of Methodism. The present building at 22nd and St. Paul Streets was completed and dedicated in November 1887. After experiencing hard times in the 1960s and 1970s as much of its congregation moved away from the area, the congregation began restoration work in earnest in 1984 on the 200th anniversary of the founding of Methodism here in Baltimore. The work included refurbishing the extraordinary domed ceiling that depicts the morning sky with the stars and planets as they were at 3:00 am, November 6, 1887 the date on which the church was dedicated.

Watch on this site!

Official Website

Street Address

2200 Saint Paul Street, Baltimore, MD 21218
]]>
/items/show/36 <![CDATA[Lloyd Street Synagogue]]>
In building the synagogue, the Baltimore Hebrew Congregation commissioned noted Baltimore architect Robert Cary Long, Jr. Long chose a Greek Revival style. Architect William H. Reasin expanded the building in 1861, maintaining the original fa莽ade and the classical style of the sanctuary. The building was home to the Baltimore Hebrew Congregation from its beginning through 1889, when it transitioned into a catholic church. St. John the Baptist Roman Catholic Church, one of the first Lithuanian "ethnic" parishes in the United States, owned and worshiped there through 1905.

In another flip, Shomrei Mishmeres HaKodesh, one of the leading Orthodox Jewish congregations of the Eastern European immigrant community, bought the building in 1905 from the Catholic church. The new congregation occupied the building until the early 1960s, when it moved out. The vacant building was threatened with demolition at that time and the Jewish Museum of Maryland was formed to purchase and care for this historic landmark. In 2008, the Museum began an ambitious $1 million restoration project with the help of the national Save America's Treasure's Program. The work restored the building to its 1864 appearance and created a multimedia exhibit, The Building Speaks, to interpret this history. The work also won a Historic Preservation Award from Baltimore Heritage in 2009.]]>
2018-11-27T10:33:49-05:00

Dublin Core

Title

Lloyd Street Synagogue

Subject

Religion
Museums
Historic Preservation

Description

Built in 1845 at the center of what was a thriving Jewish community in East Baltimore, the Lloyd Street Synagogue was the first synagogue erected in Maryland and today is the third-oldest standing synagogue in the country.

In building the synagogue, the Baltimore Hebrew Congregation commissioned noted Baltimore architect Robert Cary Long, Jr. Long chose a Greek Revival style. Architect William H. Reasin expanded the building in 1861, maintaining the original fa莽ade and the classical style of the sanctuary. The building was home to the Baltimore Hebrew Congregation from its beginning through 1889, when it transitioned into a catholic church. St. John the Baptist Roman Catholic Church, one of the first Lithuanian "ethnic" parishes in the United States, owned and worshiped there through 1905.

In another flip, Shomrei Mishmeres HaKodesh, one of the leading Orthodox Jewish congregations of the Eastern European immigrant community, bought the building in 1905 from the Catholic church. The new congregation occupied the building until the early 1960s, when it moved out. The vacant building was threatened with demolition at that time and the Jewish Museum of Maryland was formed to purchase and care for this historic landmark. In 2008, the Museum began an ambitious $1 million restoration project with the help of the national Save America's Treasure's Program. The work restored the building to its 1864 appearance and created a multimedia exhibit, The Building Speaks, to interpret this history. The work also won a Historic Preservation Award from Baltimore Heritage in 2009.

Curatescape Story Item Type Metadata

Story

Built in 1845 at the center of what was a thriving Jewish community in East Baltimore, the Lloyd Street Synagogue was the first synagogue erected in Maryland and today is the third-oldest standing synagogue in the country.

In building the synagogue, the Baltimore Hebrew Congregation commissioned noted Baltimore architect Robert Cary Long, Jr. Long chose a Greek Revival style. Architect William H. Reasin expanded the building in 1861, maintaining the original fa莽ade and the classical style of the sanctuary. The building was home to the Baltimore Hebrew Congregation from its beginning through 1889, when it transitioned into a catholic church. St. John the Baptist Roman Catholic Church, one of the first Lithuanian "ethnic" parishes in the United States, owned and worshiped there through 1905.

In another flip, Shomrei Mishmeres HaKodesh, one of the leading Orthodox Jewish congregations of the Eastern European immigrant community, bought the building in 1905 from the Catholic church. The new congregation occupied the building until the early 1960s, when it moved out. The vacant building was threatened with demolition at that time and the Jewish Museum of Maryland was formed to purchase and care for this historic landmark. In 2008, the Museum began an ambitious $1 million restoration project with the help of the national Save America's Treasure's Program. The work restored the building to its 1864 appearance and created a multimedia exhibit, The Building Speaks, to interpret this history. The work also won a Historic Preservation Award from Baltimore Heritage in 2009.

Official Website

Street Address

11 Lloyd Street, Baltimore, MD 21202
]]>
/items/show/35 <![CDATA[Irish Railroad Workers Museum]]>
These houses were built by By September, 1849, all the houses had been sold to individuals of Irish descent, most of whom worked for the nearby Baltimore & Ohio Railroad. People like Thomas McNew, a watchman at the B & O Depot; Thomas Medcalfe, a fireman; and Dennis McFadden and Cornelius McLaughlin, laborers (who paid $400 for their new six room homes).

The Irish Shrine consists of two renovated alley houses in 900 block of Lemmon Street that were built by carpenter Charles Shipley on land leased to him by John Howard McHenry, a grandson of Col. John Eager Howard. By September 1849, all the houses had been sold to Irish households, including many who worked for the B&O Railroad -- Thomas McNew, a watchman; Thomas Medcalfe, a fireman; and Dennis McFadden and Cornelius McLaughlin, laborers.

One of the houses is furnished as a period house museum, reflecting the lives of the Irish-immigrant family that lived there in the 1860s. The other house offers exhibits on Irish-American history and local neighborhood life. With a lot of hard work and a lengthy law suit, a number of dedicated Baltimoreans founded the Irish Shrine in 1997 to save the buildings from proposed demolition.]]>
2022-12-05T09:15:43-05:00

Dublin Core

Title

Irish Railroad Workers Museum

Subject

Immigration
Industry
Neighborhoods
Museums
Historic Preservation

Description

Small in size but still nationally significant, Baltimore's Irish Shrine at Lemmon Street offers a rare glimpse of immigrant home life in America in the middle of the 19th century. An avalanche of Irish immigrants hit Baltimore in the 1840s and1850s, many escaping Ireland's Great Hunger Famine of 1845-1853. Many of these immigrants settled in southwest Baltimore and promptly went to work for the vibrant Baltimore & Ohio Railroad. The B&O had located in the countryside that was then West Baltimore in 1827 and quickly built a roundhouse, station, shops, and other buildings in the years that followed. All of this construction required human labor, as did the operation of the railroad itself, and Irish immigrants came to fill the need.

These houses were built by By September, 1849, all the houses had been sold to individuals of Irish descent, most of whom worked for the nearby Baltimore & Ohio Railroad. People like Thomas McNew, a watchman at the B & O Depot; Thomas Medcalfe, a fireman; and Dennis McFadden and Cornelius McLaughlin, laborers (who paid $400 for their new six room homes).

The Irish Shrine consists of two renovated alley houses in 900 block of Lemmon Street that were built by carpenter Charles Shipley on land leased to him by John Howard McHenry, a grandson of Col. John Eager Howard. By September 1849, all the houses had been sold to Irish households, including many who worked for the B&O Railroad -- Thomas McNew, a watchman; Thomas Medcalfe, a fireman; and Dennis McFadden and Cornelius McLaughlin, laborers.

One of the houses is furnished as a period house museum, reflecting the lives of the Irish-immigrant family that lived there in the 1860s. The other house offers exhibits on Irish-American history and local neighborhood life. With a lot of hard work and a lengthy law suit, a number of dedicated Baltimoreans founded the Irish Shrine in 1997 to save the buildings from proposed demolition.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Subtitle

Labor and Immigration at 918 and 920 Lemmon Street

Lede

Small in size but featuring a nationally significant story, Baltimore's Irish Railroad Workers Museum on Lemmon Street offers a rare glimpse of immigrant home life in America in the middle of the 19th century.

Story

An avalanche of Irish immigrants hit Baltimore in the 1840s and1850s, many escaping Ireland's Great Hunger Famine of 1845-1853. Many of these immigrants settled in southwest Baltimore and promptly went to work for the vibrant Baltimore & Ohio Railroad. The B&O had located in the countryside that was then West Baltimore in 1827 and quickly built a roundhouse, station, shops, and other buildings in the years that followed. All of this construction required human labor, as did the operation of the railroad itself, and Irish immigrants came to fill the need. The Irish Shrine consists of two renovated alley houses in 900 block of Lemmon Street that were built by carpenter Charles Shipley on land leased to him by John Howard McHenry, a grandson of Col. John Eager Howard. By September 1849, all the houses had been sold to Irish households, including many who worked for the B&O Railroad 鈥 Thomas McNew, a watchman; Thomas Medcalfe, a fireman; and Dennis McFadden and Cornelius McLaughlin, laborers. One of the houses is furnished as a period house museum, reflecting the lives of the Irish-immigrant family that lived there in the 1860s. The other house offers exhibits on Irish-American history and local neighborhood life. With a lot of hard work and a lengthy law suit, a number of dedicated Baltimoreans founded the Irish Shrine (now the Irish Railroad Workers Museum) in 1997 to save the buildings from proposed demolition.

Watch our on this museum!

Official Website

Street Address

920 Lemmon Street, Baltimore, MD 21223

Access Information

The museum is open for visitors Friday and Saturday from 11:00am-2:00pm, and Sunday from 1:00pm-4:00pm.
]]>
/items/show/34 <![CDATA[Homewood House]]>
The house is noted as one of the best examples of Federal style architecture in the country. Built on a Palladian-inspired five-part plan, Homewood is renowned for its elegant proportions, fine workmanship and materials, and the extravagant detail in all aspects of its construction, from the intricately carved wooden fireplace surrounds, doorways, and chair rails, to the marble painted baseboards and mahogany grained doors and the ornate plaster ceiling ornaments. Johns Hopkins University acquired the building, which gave rise to the "Homewood Campus" name, in 1902 and opened it as a museum in 1987.]]>
2018-11-27T10:33:49-05:00

Dublin Core

Title

Homewood House

Subject

Architecture
Art and Design
Museums

Description

In 1800, Charles Carroll of Carrollton (the only Catholic signer of the Declaration of Independence and the wealthiest signer to boot) decided to give his son (also Charles) and bride, Harriet Chew, a nice present: a country estate just north of the city. Taking his father's money but not his advice to renovate an existing farm house, the younger Charles and Harriet commissioned Homewood House. No expense was spared, and at a price tag of $40,000 (a fortune at the time), Homewood became a show place for the elite young couple.

The house is noted as one of the best examples of Federal style architecture in the country. Built on a Palladian-inspired five-part plan, Homewood is renowned for its elegant proportions, fine workmanship and materials, and the extravagant detail in all aspects of its construction, from the intricately carved wooden fireplace surrounds, doorways, and chair rails, to the marble painted baseboards and mahogany grained doors and the ornate plaster ceiling ornaments. Johns Hopkins University acquired the building, which gave rise to the "Homewood Campus" name, in 1902 and opened it as a museum in 1987.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

In 1800, Charles Carroll of Carrollton (the only Catholic signer of the Declaration of Independence and the wealthiest signer to boot) decided to give his son (also Charles) and bride, Harriet Chew, a nice present: a country estate just north of the city. Taking his father's money but not his advice to renovate an existing farm house, the younger Charles and Harriet commissioned Homewood House. No expense was spared, and at a price tag of $40,000 (a fortune at the time), Homewood became a show place for the elite young couple.

The house is noted as one of the best examples of Federal style architecture in the country. Built on a Palladian-inspired five-part plan, Homewood is renowned for its elegant proportions, fine workmanship and materials, and the extravagant detail in all aspects of its construction, from the intricately carved wooden fireplace surrounds, doorways, and chair rails, to the marble painted baseboards and mahogany grained doors and the ornate plaster ceiling ornaments. Johns Hopkins University acquired the building, which gave rise to the "Homewood Campus" name, in 1902 and opened it as a museum in 1987.

Official Website

Street Address

3400 N. Charles Street, Baltimore, MD 21218
]]>
/items/show/33 <![CDATA[Evergreen House]]>
Evergreen House has over 50,000 items from the Garretts, including drawings by Degas and Picasso and the world's largest collection of Tiffany glass pieces. The building's rare book library was designed by noted Baltimore architect Lawrence Hall Fowler, and contains 8,000 volumes that include original works by Shakespeare and Audubon, as well as the signatures of every signer of the Declaration of Independence. The mansion even has its own theater, which is elaborately decorated by the Russian designer Leon Baskt and is the only known theater to retain original sets by him. In 1942, the mansion and surrounding 26 acres of landscaped lawns and gardens were deeded to The Johns Hopkins University, under whose care they remain today.]]>
2018-11-27T10:33:49-05:00

Dublin Core

Title

Evergreen House

Subject

Architecture
Art and Design
Museums

Description

With 48 rooms, a soaring portico, and a Tiffany designed glass canopy, Evergreen House stands out as one of Baltimore's best Gilded Age mansions. The house was originally built in 1857 by the Broadbent Family. John Work Garrett, president of the B&O Railroad and a burgeoning railroad tycoon, purchased the mansion 19 years later (in 1878) for his son T. Harrison Garrett. (Incidentally, five years before this, John Work Garrett purchased the Garrett Jacobs Mansion on Mount Vernon Place for his other son, Robert). The Mansion was expanded in the 1880s and again in the 1920s by two generations of Garrett family members.

Evergreen House has over 50,000 items from the Garretts, including drawings by Degas and Picasso and the world's largest collection of Tiffany glass pieces. The building's rare book library was designed by noted Baltimore architect Lawrence Hall Fowler, and contains 8,000 volumes that include original works by Shakespeare and Audubon, as well as the signatures of every signer of the Declaration of Independence. The mansion even has its own theater, which is elaborately decorated by the Russian designer Leon Baskt and is the only known theater to retain original sets by him. In 1942, the mansion and surrounding 26 acres of landscaped lawns and gardens were deeded to The Johns Hopkins University, under whose care they remain today.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

With 48 rooms, a soaring portico, and a Tiffany designed glass canopy, Evergreen House stands out as one of Baltimore's best Gilded Age mansions. The house was originally built in 1857 by the Broadbent Family. John Work Garrett, president of the B&O Railroad and a burgeoning railroad tycoon, purchased the mansion 19 years later (in 1878) for his son T. Harrison Garrett. (Incidentally, five years before this, John Work Garrett purchased the Garrett Jacobs Mansion on Mount Vernon Place for his other son, Robert). The Mansion was expanded in the 1880s and again in the 1920s by two generations of Garrett family members.

Evergreen House has over 50,000 items from the Garretts, including drawings by Degas and Picasso and the world's largest collection of Tiffany glass pieces. The building's rare book library was designed by noted Baltimore architect Lawrence Hall Fowler, and contains 8,000 volumes that include original works by Shakespeare and Audubon, as well as the signatures of every signer of the Declaration of Independence. The mansion even has its own theater, which is elaborately decorated by the Russian designer Leon Baskt and is the only known theater to retain original sets by him. In 1942, the mansion and surrounding 26 acres of landscaped lawns and gardens were deeded to The Johns Hopkins University, under whose care they remain today.

Official Website

Street Address

4545 N. Charles Street, Baltimore, MD 21210
]]>
/items/show/32 <![CDATA[Enoch Pratt House]]> 2018-11-27T10:33:49-05:00

Dublin Core

Title

Enoch Pratt House

Subject

Philanthropy
Architecture
Museums

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Enoch Pratt was a wealthy Baltimore merchant and major benefactor of many Baltimore institutions, including the First Unitarian Church of Baltimore, the Sheppard Pratt Hospital, and of course the Enoch Pratt Free Library. He began to build a mansion for himself and his wife at Monument Street and Park Avenue in 1844. Coincidentally, this is the same year that the Maryland Historical Society was founded, an institution that years later would acquire the building for its collections.

Enoch Pratt was a prosperous hardware merchant, railway and steamship owner, and banker, and originally his new house was three-stories with a basement. In 1868, notable Baltimore architect Edmund G. Lind added a fourth floor, probably in order to keep Pratt in step with the "Mansard" roof trend in Victorian architecture. A new marble portico also was added at the time. The portico had been commissioned by the Clerk of the United States House of Representatives for a mansion in Washington that he ultimately could not afford to build, and Pratt gladly took it off the designers' hands and attached it to his Monument Street residence.

Pratt died in 1896 without any children. He was survived by his wife, who remained in the house until her death in 1911. Soon thereafter, Mary Ann (Washington) Keyser purchased the building for use by the Maryland Historical Society, which has owned the building since 1919.

Official Website

Street Address

201 W. Monument Street, Baltimore, MD 21201
]]>
/items/show/31 <![CDATA[Cylburn Arboretum]]>
Not surprisingly, Jesse Tyson died before his "fair" wife. Ms. Johns continued to live in the house until her death in 1942 when 91桃色视频 City purchased the estate for $42,300. In 1954, the property became the "Cylburn Wildflower Preserve and Garden Center," and a group of volunteers designed trails and gardens for the park. The named officially changed to "Cylburn Arboretum" in 1984, and the property now covers over 200 acres of grounds dotted with horticultural and historic sites.]]>
2020-10-16T14:38:12-04:00

Dublin Core

Title

Cylburn Arboretum

Subject

Parks and Landscapes
Architecture

Description

With a Civil-War era mansion and a brand new visitor's center, Cylburn Arboretum is bustling with history and energy. Cylburn began as the private estate of Jesse Tyson, president of the 91桃色视频 Chrome Works Company and a successful businessman. Tyson began building the mansion in 1863 as a summer home for himself and his mother. He completed it in 1888 at the age of 61 and after marrying the 19 year old debutante, Edyth Johns. Tyson is said to have remarked at this time, ""I have the fairest wife, the fastest horses, and the finest house in Maryland." With its Italianate design, stone from Tyson's own Bare Hills quarry in 91桃色视频 County, and an interior of hardwood floors, grand fireplaces, and ornate plasterwork, Mr. Tyson was at least correct about the quality of his house.

Not surprisingly, Jesse Tyson died before his "fair" wife. Ms. Johns continued to live in the house until her death in 1942 when 91桃色视频 City purchased the estate for $42,300. In 1954, the property became the "Cylburn Wildflower Preserve and Garden Center," and a group of volunteers designed trails and gardens for the park. The named officially changed to "Cylburn Arboretum" in 1984, and the property now covers over 200 acres of grounds dotted with horticultural and historic sites.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

With a Civil-War era mansion and a brand new visitor's center, Cylburn Arboretum is bustling with history and energy. Cylburn began as the private estate of Jesse Tyson, president of the 91桃色视频 Chrome Works Company and a successful businessman. Tyson began building the mansion in 1863 as a summer home for himself and his mother. He completed it in 1888 at the age of 61 and after marrying the 19 year old debutante, Edyth Johns. Tyson is said to have remarked at this time, ""I have the fairest wife, the fastest horses, and the finest house in Maryland." With its Italianate design, stone from Tyson's own Bare Hills quarry in 91桃色视频 County, and an interior of hardwood floors, grand fireplaces, and ornate plasterwork, Mr. Tyson was at least correct about the quality of his house. Not surprisingly, Jesse Tyson died before his "fair" wife. Ms. Johns continued to live in the house until her death in 1942 when 91桃色视频 City purchased the estate for $42,300. In 1954, the property became the "Cylburn Wildflower Preserve and Garden Center," and a group of volunteers designed trails and gardens for the park. The named officially changed to "Cylburn Arboretum" in 1984, and the property now covers over 200 acres of grounds dotted with horticultural and historic sites.

Watch our on Cylburn Mansion!

Official Website

Street Address

4915 Greenspring Avenue, Baltimore, MD 21209
]]>
/items/show/30 <![CDATA[Crimea Estate at Leakin Park]]>
An early, and now often overlooked, part of the estate is called Winans Meadow in Leakin Park. This current meadow was the site of an early milling operation along the Gwynns Falls River. An iron water wheel still remains that pumped water to the Orianda mansion. Along with the water wheel, a barn, silo, smokehouse, and root cellar also tell the story of early development in West Baltimore. There is even an intriguing battlement near the meadow that is thought to be modeled after the Battle of Balaklava where the Russian stand against the British was immortalized in Alfred Lord Tennyson's poem "The Charge of the Light Brigade."

Although Leakin Park has retained its original structures in a picturesque natural setting, it almost wasn't so. In the 1970s, federal and city officials planned to route Interstate 70 through the park in front of the mansion and directly through the carriage house. Saved by a group of dedicated Baltimoreans, the estate remains a central element in Leakin Park.]]>
2020-10-21T10:20:46-04:00

Dublin Core

Title

Crimea Estate at Leakin Park

Subject

Environment
Architecture
Industry

Description

The Crimea Estate is the former summer home of Thomas DeKay Winans, a chief engineer of the Russian Railway between Moscow and St. Petersburg in the 19th Century. The estate features Winans' Italianate stone mansion, Orianda, as well as a gothic chapel, a "honeymoon" cottage, and a carriage house. The architectural design is said to have been inspired by Winans' French-Russian wife, Celeste Louise Revillon.

An early, and now often overlooked, part of the estate is called Winans Meadow in Leakin Park. This current meadow was the site of an early milling operation along the Gwynns Falls River. An iron water wheel still remains that pumped water to the Orianda mansion. Along with the water wheel, a barn, silo, smokehouse, and root cellar also tell the story of early development in West Baltimore. There is even an intriguing battlement near the meadow that is thought to be modeled after the Battle of Balaklava where the Russian stand against the British was immortalized in Alfred Lord Tennyson's poem "The Charge of the Light Brigade."

Although Leakin Park has retained its original structures in a picturesque natural setting, it almost wasn't so. In the 1970s, federal and city officials planned to route Interstate 70 through the park in front of the mansion and directly through the carriage house. Saved by a group of dedicated Baltimoreans, the estate remains a central element in Leakin Park.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

The Crimea Estate is the former summer home of Thomas DeKay Winans, a chief engineer of the Russian Railway between Moscow and St. Petersburg in the 19th Century. The estate features Winans' Italianate stone mansion, Orianda, as well as a gothic chapel, a "honeymoon" cottage, and a carriage house. The architectural design is said to have been inspired by Winans' French-Russian wife, Celeste Louise Revillon. An early, and now often overlooked, part of the estate is called Winans Meadow in Leakin Park. This current meadow was the site of an early milling operation along the Gwynns Falls River. An iron water wheel still remains that pumped water to the Orianda mansion. Along with the water wheel, a barn, silo, smokehouse, and root cellar also tell the story of early development in West Baltimore. There is even an intriguing battlement near the meadow that is thought to be modeled after the Battle of Balaklava where the Russian stand against the British was immortalized in Alfred Lord Tennyson's poem "The Charge of the Light Brigade." Although Leakin Park has retained its original structures in a picturesque natural setting, it almost wasn't so. In the 1970s, federal and city officials planned to route Interstate 70 through the park in front of the mansion and directly through the carriage house. Saved by a group of dedicated Baltimoreans, the estate remains a central element in Leakin Park.

Watch our on the water wheel!

Watch on Leakin Park!

Official Website

Street Address

1901 Eagle Drive, Baltimore, Maryland 21207
]]>
/items/show/29 <![CDATA[Poole & Hunt Foundry and Machine Works]]> 2021-04-06T22:35:28-04:00

Dublin Core

Title

Poole & Hunt Foundry and Machine Works

Subject

Industry
Historic Preservation

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Subtitle

Industry and Adaptive Reuse at Clipper Mill

Story

At its peak in the late nineteenth century, the Poole & Hunt Foundry and Machine Works employed over 700 people, making it one of the largest employers in the Jones Falls Valley after the textile mills. The company manufactured an impressive array of machinery: turbines, boilers and looms for the mills, screwpile lighthouses, railroad machinery, and transmission equipment for cable cars. Perhaps their greatest contribution was to the construction of the United States Capitol Building, to which the company manufactured the structural elements of the dome and cast the columns of its peristyle, made structural elements for the House and Senate wings, and built the derricks, steam engines, and lifting equipment that made the construction of the Capitol possible.

Robert Poole emigrated as a child from what is now Northern Ireland to Baltimore in the 1820s. When he was old enough to work, he found employment at the machine shop of Lanvale Cotton Mill (located near where Penn Station is today) and later worked at Savage Mill. In the 1830s, Poole worked for Ross Winans, the millionaire engineer for the Baltimore & Ohio Railroad. Through these early jobs, Poole gained experience working on machinery for mills and the railroad鈥攖wo key markets for the company he would later form.

By the late 1840s, Poole was running his own shop in downtown Baltimore with partner William Ferguson. After Ferguson retired in 1851, German Hunt, an executive at the firm, became a partner. The shop burned in 1853 and the company relocated to Woodberry along the Northern Central Railway and near the prospering textile mills. Poole oversaw the shop while Hunt handled the business side downtown. By 1890, the complex included a massive 80 foot high erecting shop, signaling the impressive scale of machinery being manufactured by the company.

In 1854, Captain Montgomery Meigs, a US Army Corps of Engineers official in charge of the US Capitol extension project, commissioned Poole & Hunt to build steam engines and derricks for the construction of the Capitol Building, along with structural ironwork for the roof. Within a year, Meigs offered Poole & Hunt the opportunity to bid on work for the columns of the Capitol dome. The firm won with an extremely low bid, 2/10s of a cent per pound. Poole & Hunt continued to work on the columns until 1859 when Meigs was replaced and the contract for the remainder of the columns went to New York foundry Janes, Fowler, Kirtland & Co.

By this point, Poole & Hunt had made a name for themselves. Robert Poole would build his Second Empire mansion "Maple Hill" across the Jones Falls in Hampden overlooking his factory, while German Hunt resided in fashionable Bolton Hill. Poole involved himself in the lives of his workers by funding the construction of housing, churches for multiple denominations, a general store, and a circulating library. The library closed after Poole donated funds to the construction of an Enoch Pratt Free Library branch in Hampden. The company also cast the iron columns for the library, which originally shared the building with the Provident Savings Bank, also controlled by the Poole family. Robert Poole and German Hunt were also involved in establishing the Woman's College of Baltimore, which became Goucher College. German Hunt served on the college's first board of trustees and Poole donated a significant amount of cash to the endeavor.

In addition to overseeing the lives of local residents, Robert Poole and German Hunt maintained close relationships with the textile mill owners. Robert Poole's daughter, Sarah, married James E. Hooper, who would become president of the Mt. Vernon-Woodberry Cotton Company before splitting off and forming Hooperwood Cotton Mills adjacent to Poole's industrial campus.

German Hunt retired from the company in 1889. Poole made his son George partner and renamed the company Robert Poole & Son. The company was now the largest machine shop and foundry in Maryland, employing over 700 workers at its peak. It garnered national acclaim in trade journals for its impressive manufacturing feats. The Leffel Double Turbine, used to power mills, was praised for its efficiency and durability, and became popular with manufacturers across the country. By the 1880s, the company made a name for itself building machinery for cable car powerhouses along the East Coast and in the Midwest. In 1901, the Calumet and Hecla 65' sand wheel manufactured by Poole, the largest of its kind in the world, made the cover of Scientific American, bringing more national attention to the firm.

Robert Poole died in 1903 and the company continued under the name Poole Engineering & Machine Company. In 1905, the company added an administrative building to the campus. In 1916, to meet manufacturing demand, a new erecting shop was added. World War I brought a new wave of commissions to the company. The company manufactured naval artillery mountings and operated an ammunition works in Texas, Maryland.

In 1934, hard hit by the depression, the company sold much of its original campus to the Franklin Balmar Company, which during World War II was commissioned to provide components to the Manhattan Project's atomic bomb. Some of the buildings were sold to Hooperwood Cotton Mills. The campus was later used by the Aero-Chatillon Company to manufacture components for aircraft carriers.

A kitchen cabinet manufacturer was using the site in 1972, and by the 1990s, a rock climbing gym had taken over the massive erecting shop and artists had set up studios on the campus. In 1995, a large fire that began at the rock climbing gym claimed the life of a firefighter and destroyed the erecting shop and machine shops.

After years of vacancy, the development firm Struever Bros. Eccles & Rouse tackled the large site with a preservation and rehabilitation focus. Designed by architects Cho Benn Holback + Associates, the site is now a thriving complex of residences, offices, shops, restaurants, and even a new crop of hard-at-work artisans. The burned out erecting shop was transformed into apartments, and condos were built on the site of the original machine shop. Not least of its notable attributes, the restoration of Clipper Mill has won, not one, but two historic preservation awards from Baltimore Heritage.

Official Website

Street Address

1760 Union Avenue, Baltimore, MD 21211
]]>
/items/show/28 <![CDATA[91桃色视频 City College]]>
At a cost of nearly $3 million raised largely by the alumni association, the Gothic stone building that now houses City College was designed by the architecture firm of Buckler and Fenhagen. This same firm, which is the precursor to the current Baltimore firm of Ayers Saint Gross, also designed the mausoleum at Green Mount Cemetery where Bromo Seltzer founder Isaac Emerson is buried, Shriver Hall at Hopkins University, and many public schools throughout Maryland.

Originally all male and all white, City College began admitting African Americans in 1954 after the Brown v. Board of Education Supreme Court case. The school began admitting women (against the wishes of a majority on the alumni board at the time) in 1978 after undergoing a massive restoration project. In 2003 on the building's 75th anniversary, the City College Alumni Association successfully had it added to the National Register of Historic Places and led an effort to keep cellular telephone transmitters from being installed on the building's tower. In 2007, the alumni successfully had it added to Baltimore's own historic landmark list, and won a historic preservation award from Baltimore Heritage for their multi-year effort.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

91桃色视频 City College

Subject

Education
Architecture

Description

Founded in 1839, City College is the third oldest public high school in the United States. Through an act of the 91桃色视频 City Council in 1866, the school became known as "The 91桃色视频 City College." It relocated a number of times in buildings downtown during its early years and moved to its current building at 33rd St. and The Alameda in 1928.

At a cost of nearly $3 million raised largely by the alumni association, the Gothic stone building that now houses City College was designed by the architecture firm of Buckler and Fenhagen. This same firm, which is the precursor to the current Baltimore firm of Ayers Saint Gross, also designed the mausoleum at Green Mount Cemetery where Bromo Seltzer founder Isaac Emerson is buried, Shriver Hall at Hopkins University, and many public schools throughout Maryland.

Originally all male and all white, City College began admitting African Americans in 1954 after the Brown v. Board of Education Supreme Court case. The school began admitting women (against the wishes of a majority on the alumni board at the time) in 1978 after undergoing a massive restoration project. In 2003 on the building's 75th anniversary, the City College Alumni Association successfully had it added to the National Register of Historic Places and led an effort to keep cellular telephone transmitters from being installed on the building's tower. In 2007, the alumni successfully had it added to Baltimore's own historic landmark list, and won a historic preservation award from Baltimore Heritage for their multi-year effort.

Curatescape Story Item Type Metadata

Story

Founded in 1839, City College is the third oldest public high school in the United States. Through an act of the 91桃色视频 City Council in 1866, the school became known as "The 91桃色视频 City College." It relocated a number of times in buildings downtown during its early years and moved to its current building at 33rd St. and The Alameda in 1928.

At a cost of nearly $3 million raised largely by the alumni association, the Gothic stone building that now houses City College was designed by the architecture firm of Buckler and Fenhagen. This same firm, which is the precursor to the current Baltimore firm of Ayers Saint Gross, also designed the mausoleum at Green Mount Cemetery where Bromo Seltzer founder Isaac Emerson is buried, Shriver Hall at Hopkins University, and many public schools throughout Maryland.

Originally all male and all white, City College began admitting African Americans in 1954 after the Brown v. Board of Education Supreme Court case. The school began admitting women (against the wishes of a majority on the alumni board at the time) in 1978 after undergoing a massive restoration project. In 2003 on the building's 75th anniversary, the City College Alumni Association successfully had it added to the National Register of Historic Places and led an effort to keep cellular telephone transmitters from being installed on the building's tower. In 2007, the alumni successfully had it added to Baltimore's own historic landmark list, and won a historic preservation award from Baltimore Heritage for their multi-year effort.

Official Website

Street Address

3220 The Alameda, Baltimore, MD 21218
]]>
/items/show/27 <![CDATA[Carroll Mansion]]>
In addition to being the only Catholic signer of the Declaration of Independence and the first Catholic senator, Carroll was fabulously wealthy. He was instrumental in founding the B&O Railroad, the First and Second National Banks, and gave lavishly to build the Baltimore Basilica and Georgetown University. Before his death in 1832 in the Mansion, Carroll entertained frequently for people who came to learn about the Revolution first-hand. John H.B. Latrobe, son of the famous early American architect Benjamin Latrobe, called it "the finest house in Baltimore at the time."

The building has a history as varied as its most prominent occupant. It has been a saloon, a house for Jewish immigrants, a sweatshop, a school, and a recreation center. The City first boarded it up in 1954, then restored it and operated as a history museum until 1997, when it was again boarded up. In 2002, the non-profit organization Carroll Museums, Inc. reopened the Mansion and has been restoring it since. It is currently open for tours and to rent for events.]]>
2020-10-16T14:45:22-04:00

Dublin Core

Title

Carroll Mansion

Subject

Architecture
Historic Preservation
Museums

Description

Step inside this grand residence and find 18-foot ceilings, a spiral staircase, and ornate chandeliers. Few Americans could have afforded the Carroll Mansion in the early 1800s when Charles Carroll, the last surviving signer of the Declaration of Independence, bought this Lombard Street house for his daughter and son-in-law. Carroll, however, was in no way an ordinary citizen.

In addition to being the only Catholic signer of the Declaration of Independence and the first Catholic senator, Carroll was fabulously wealthy. He was instrumental in founding the B&O Railroad, the First and Second National Banks, and gave lavishly to build the Baltimore Basilica and Georgetown University. Before his death in 1832 in the Mansion, Carroll entertained frequently for people who came to learn about the Revolution first-hand. John H.B. Latrobe, son of the famous early American architect Benjamin Latrobe, called it "the finest house in Baltimore at the time."

The building has a history as varied as its most prominent occupant. It has been a saloon, a house for Jewish immigrants, a sweatshop, a school, and a recreation center. The City first boarded it up in 1954, then restored it and operated as a history museum until 1997, when it was again boarded up. In 2002, the non-profit organization Carroll Museums, Inc. reopened the Mansion and has been restoring it since. It is currently open for tours and to rent for events.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Step inside this grand residence and find 18-foot ceilings, a spiral staircase, and ornate chandeliers. Few Americans could have afforded the Carroll Mansion in the early 1800s when Charles Carroll, the last surviving signer of the Declaration of Independence, bought this Lombard Street house for his daughter and son-in-law. Carroll, however, was in no way an ordinary citizen. In addition to being the only Catholic signer of the Declaration of Independence and the first Catholic senator, Carroll was fabulously wealthy. He was instrumental in founding the B&O Railroad, the First and Second National Banks, and gave lavishly to build the Baltimore Basilica and Georgetown University. Before his death in 1832 in the Mansion, Carroll entertained frequently for people who came to learn about the Revolution first-hand. John H.B. Latrobe, son of the famous early American architect Benjamin Latrobe, called it "the finest house in Baltimore at the time." The building has a history as varied as its most prominent occupant. It has been a saloon, a house for Jewish immigrants, a sweatshop, a school, and a recreation center. The City first boarded it up in 1954, then restored it and operated as a history museum until 1997, when it was again boarded up. In 2002, the non-profit organization Carroll Museums, Inc. reopened the Mansion and has been restoring it since. It is currently open for tours and to rent for events.

Watch our on this building!

Official Website

Street Address

800 E. Lombard Street, Baltimore, MD 21202
]]>
/items/show/26 <![CDATA[B'Nai Israel Synagogue]]>
B'Nai Israel took advantage of the exodus, and laid down $12,000 in 1895 to buy the synagogue it now occupies from the Chizuk Amuno congregation. While many East Baltimore congregations closed or left the city following World War II, B'Nai Israel remained, perhaps part of a Talmudic obligation to protect at least one shul in every city. After years of decline, fortunes turned in the late 1970s when the congregation began to grow and restoration work on the synagogue began.

The building dates to the late 19th century, before the advent of modern architecture trends in American synagogues. Its large central window, stained glass, and interior sanctuary are heavily influenced by Eastern Mediterranean and Byzantine architecture. The sanctuary's original ceiling, with frescoes akin to those in European churches, remains intact, as does a tremendous hand-carved ark in the central sanctuary.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

B'Nai Israel Synagogue

Subject

Religion
Architecture

Description

Incorporated in 1873 shortly after the end of the Civil War as the "Russian Congregation B'nai Israel of 91桃色视频 City," B'Nai Israel was formed by Eastern European Jews living at a hub of Jewish Baltimore along the Jones Falls River. The founding members were working class Baltimoreans: shoemakers, clothiers, and the like. Despite the nod to Russia in the synagogue's name, many actually hailed from Poland. Between 1880 and 1905, Baltimore's Jewish population swelled from 10,000 to 25,000, and many German congregations moved out of east Baltimore and downtown. Examples of congregations moving west included Baltimore Hebrew (1891), Oheb Shalom (1893), Har Sinai (1894), and Chizuk Amuno (1895).

B'Nai Israel took advantage of the exodus, and laid down $12,000 in 1895 to buy the synagogue it now occupies from the Chizuk Amuno congregation. While many East Baltimore congregations closed or left the city following World War II, B'Nai Israel remained, perhaps part of a Talmudic obligation to protect at least one shul in every city. After years of decline, fortunes turned in the late 1970s when the congregation began to grow and restoration work on the synagogue began.

The building dates to the late 19th century, before the advent of modern architecture trends in American synagogues. Its large central window, stained glass, and interior sanctuary are heavily influenced by Eastern Mediterranean and Byzantine architecture. The sanctuary's original ceiling, with frescoes akin to those in European churches, remains intact, as does a tremendous hand-carved ark in the central sanctuary.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Incorporated in 1873 shortly after the end of the Civil War as the "Russian Congregation B'nai Israel of 91桃色视频 City," B'Nai Israel was formed by Eastern European Jews living at a hub of Jewish Baltimore along the Jones Falls River. The founding members were working class Baltimoreans: shoemakers, clothiers, and the like. Despite the nod to Russia in the synagogue's name, many actually hailed from Poland. Between 1880 and 1905, Baltimore's Jewish population swelled from 10,000 to 25,000, and many German congregations moved out of east Baltimore and downtown. Examples of congregations moving west included Baltimore Hebrew (1891), Oheb Shalom (1893), Har Sinai (1894), and Chizuk Amuno (1895).

B'Nai Israel took advantage of the exodus, and laid down $12,000 in 1895 to buy the synagogue it now occupies from the Chizuk Amuno congregation. While many East Baltimore congregations closed or left the city following World War II, B'Nai Israel remained, perhaps part of a Talmudic obligation to protect at least one shul in every city. After years of decline, fortunes turned in the late 1970s when the congregation began to grow and restoration work on the synagogue began.

The building dates to the late nineteenth century, before the advent of modern architecture trends in American synagogues. Its large central window, stained glass, and interior sanctuary are heavily influenced by Eastern Mediterranean and Byzantine architecture. The sanctuary's original ceiling, with frescoes akin to those in European churches, remains intact, as does a tremendous hand-carved ark in the central sanctuary.

Official Website

Street Address

27 Lloyd Street, Baltimore, MD 21202
]]>
/items/show/25 <![CDATA[Westminster Burying Ground]]>
Although notables such as Sam Smith and James McHenry are buried here (bitter rivals in life, fate brought them cheek to jowl in the graveyard), the most famous eternal resident is Edgar Allan Poe. When he died in 1849, Poe was originally buried in an unmarked grave next to that of his grandfather in the back of Westminster. In 1875, Poe's body was moved to the front of the graveyard with a dedication ceremony that included the American poet Walt Whitman. Adding to the mystery that surrounds Poe and his death, Baltimore lore has it that the re-internment in 1875 got the wrong poor soul into the new grave (probably not true) and that the current monument has Poe's birth date wrong (true).

The church and graveyard are now in the care of the Westminster Preservation Trust, a private, non-profit organization established in 1977. In the early 1980s, the Trust restored the graveyard as well as the former church building, and the church is now available to rent.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Westminster Burying Ground

Subject

Religion
Architecture
Historic Preservation

Description

Opened in 1786 by Baltimore's First Presbyterian Church, the Westminster Burying Ground is the resting place for many of early Baltimore's most notable citizens, including merchants, mayors, and fifteen generals from the Revolutionary War and War of 1812. In 1852, the church that also occupies the property was built on brick piers over some of the tombs, creating what is called the "91桃色视频 Catacombs."

Although notables such as Sam Smith and James McHenry are buried here (bitter rivals in life, fate brought them cheek to jowl in the graveyard), the most famous eternal resident is Edgar Allan Poe. When he died in 1849, Poe was originally buried in an unmarked grave next to that of his grandfather in the back of Westminster. In 1875, Poe's body was moved to the front of the graveyard with a dedication ceremony that included the American poet Walt Whitman. Adding to the mystery that surrounds Poe and his death, Baltimore lore has it that the re-internment in 1875 got the wrong poor soul into the new grave (probably not true) and that the current monument has Poe's birth date wrong (true).

The church and graveyard are now in the care of the Westminster Preservation Trust, a private, non-profit organization established in 1977. In the early 1980s, the Trust restored the graveyard as well as the former church building, and the church is now available to rent.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Opened in 1786 by Baltimore's First Presbyterian Church, the Westminster Burying Ground is the resting place for many of early Baltimore's most notable citizens, including merchants, mayors, and fifteen generals from the Revolutionary War and War of 1812. In 1852, the church that also occupies the property was built on brick piers over some of the tombs, creating what is called the "91桃色视频 Catacombs."

Although notables such as Sam Smith and James McHenry are buried here (bitter rivals in life, fate brought them cheek to jowl in the graveyard), the most famous eternal resident is Edgar Allan Poe. When he died in 1849, Poe was originally buried in an unmarked grave next to that of his grandfather in the back of Westminster. In 1875, Poe's body was moved to the front of the graveyard with a dedication ceremony that included the American poet Walt Whitman. Adding to the mystery that surrounds Poe and his death, Baltimore lore has it that the re-internment in 1875 got the wrong poor soul into the new grave (probably not true) and that the current monument has Poe's birth date wrong (true).

The church and graveyard are now in the care of the Westminster Preservation Trust, a private, non-profit organization established in 1977. In the early 1980s, the Trust restored the graveyard as well as the former church building, and the church is now available to rent.

Official Website

Street Address

519 W. Fayette Street, Baltimore, MD 21201
]]>
/items/show/24 <![CDATA[Basilica of the Assumption]]> 2020-10-21T10:16:01-04:00

Dublin Core

Title

Basilica of the Assumption

Subject

Architecture
Religion

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Built primarily between 1806 and 1821, the Baltimore Basilica was the first Cathedral erected in the United States. Bishop John Carroll, America's first bishop and a cousin of Charles Carroll of Declaration of Independence signing fame, led the effort to build a cathedral in Baltimore based on "American" principles of architecture (read: not European and especially not Gothic). Bishop Carroll was lucky to connect with young architect named Benjamin Henry Latrobe, who volunteered his architectural services for the new cathedral and would later achieve the moniker "Father of American Architecture." With inspiration from the newly completed skylight in the U.S. Capitol following the vision of Thomas Jefferson, Latrobe designed what many consider to be one of the finest examples of nineteenth century architecture in the world. Latrobe and Carroll were able to complete much of the architectural original plans, but the church didn't have enough money to complete the portico by the dedication in 1821. Twenty years later, Latrobe's son, lawyer and inventor John H.B. Latrobe (who lived on Mulberry Street across from the Basilica) submitted plans for the portico's foundation but it wasn't until the 1860s that architect Eben Faxon carried out the work of completing the portico entrance. This internationally significant building has played a central role in the history of Baltimore and the Catholic Church. Along the way, it has gained recognition as a Minor Basilica (1937), national historic landmark (1972), 91桃色视频 City historic landmark (1975), and a national shrine (1993). Most recently, the Archdiocese of Baltimore, the Basilica of the Assumption Historic Trust, and John G. Waite Associates Architects oversaw a major restoration and rehabilitation project covering nearly every square inch of the building, both inside and out. The work included the reintroduction of clear lights in the nave, restoration of the skylight, and the creation of a chapel in the undercroft.

Watch on the basilica!

Official Website

Street Address

409 Cathedral Street, Baltimore, MD 21201
]]>
/items/show/23 <![CDATA[Druid Hill Park]]>
Later renamed "Druid Hill," the City of Baltimore purchase the property from then owner Lloyd Rogers in 1860. The purchase was paid for thanks to a one-cent park tax on the nickel horsecar fares.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Druid Hill Park

Subject

Parks and Lanscapes

Description

Druid Hill Park was established on the eve of the Civil War by Baltimore Mayor Thomas Swann on October 19, 1860. Much of the park started as part of "Auchentorlie," the estate of George Buchanan, one of the seven commissioners who founded 91桃色视频 City in 1729.

Later renamed "Druid Hill," the City of Baltimore purchase the property from then owner Lloyd Rogers in 1860. The purchase was paid for thanks to a one-cent park tax on the nickel horsecar fares.

Curatescape Story Item Type Metadata

Story

Druid Hill Park was established on the eve of the Civil War by Baltimore Mayor Thomas Swann on October 19, 1860. Much of the park started as part of "Auchentorlie," the estate of George Buchanan, one of the seven commissioners who founded 91桃色视频 City in 1729.

Later renamed "Druid Hill," the City of Baltimore purchased the property from then owner Lloyd Rogers in 1860. The purchase was paid for thanks to a one-cent park tax on the nickel horse-car fares.

Related Resources

Official Website

Street Address

900 Druid Park Lake Drive, Baltimore, MD 21217
]]>
/items/show/22 <![CDATA[Henry Thompson's Clifton Mansion]]> 2020-10-16T11:39:43-04:00

Dublin Core

Title

Henry Thompson's Clifton Mansion

Subject

Architecture

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Henry Thompson was born in 1774 in Sheffield, England and came to Baltimore in 1794, where he became a member of the Baltimore Light Dragoons. He was elected captain of this company in 1809, six years after completing a house called "Clifton" in what is now Clifton Park in 91桃色视频 City but back then was 91桃色视频 County. By 1813, Captain Thompson had disbanded the Light Dragoons and formed a mounted company called The First Baltimore Horse Artillery. Brigadier General John Stricker soon enlisted Captain Thompson and his horsemen to act as mounted messengers traveling between Washington and Bladensburg to report on the movements of British troops and ships. The unit also became the personal guard to General Samuel Smith, who commanded the defenses during the Battle of Baltimore and Ft. McHenry in 1814. Henry Thompson contributed much to Baltimore in addition to his War of 1812 service. In 1816, he built and was president of the Baltimore and Harford Turnpike Company, now Harford Road. In 1818, he served on the Poppleton Commission that laid out the street grid in Baltimore that we have today. He was also a director of the Port Deposit Railroad, The Bank of Baltimore, the Merchant's exchange, the Board of Trade, the Baltimore Insurance Company, and, to boot, he was the recording secretary of the Maryland Agricultural Society. Later in life he served as a marshal at the dedication ceremonies of the Washington Monument and Battle Monument, and Grand Marshal of a procession commemorating the death of General Lafayette in 1834. As for Clifton Mansion, Thompson owned the property until 1835. During that time, he hosted a number of notables that include Maryland Governor Charles Ridgely of Hampton, Alexander Brown (considered America's first investment banker), Henry Clay (who early in his political career was a chief agitator for declaring war on Britain in 1812), and General Winfield Scott (who commanded forces in 1812 and later masterminded the Union's military strategy in the Civil War). In 1835, Thompson sold Clifton to a gentleman named Daniel Cobb. Thompson died shortly after, in 1837, and Cobb went broke. After failing to make his mortgage payments, Thompson's heirs reclaimed Clifton. The heirs soon sold the house and grounds to a prosperous and up and coming Baltimore merchant looking for a fine summer estate. That, of course, was Johns Hopkins, and a story for another day.

Watch our on Clifton Mansion!

Official Website


Street Address

2701 St. Lo Drive, Baltimore, MD 21213
]]>
/items/show/21 <![CDATA[Patterson Park Observatory]]> 2022-01-11T16:43:04-05:00

Dublin Core

Title

Patterson Park Observatory

Subject

Parks and Landscapes

Creator

Friends of Patterson Park

Curatescape Story Item Type Metadata

Story

In 1890 Charles H. Latrobe, then Superintendent of Parks, designed the Observatory. The structure was intended to reflect the bold Victorian style of the day. From the top of the tower one can view downtown, Baltimore's many neighborhoods, the Patapsco River, the Key Bridge and Fort McHenry.

Over time and due to natural decay, vandalism, and lack of maintenance funds, the Observatory was closed to the public in 1951 when the first of a series of partial renovations was attempted. At one point demolition was proposed as an option but thankfully the 1998 Master Plan for Patterson Park called for the complete restoration of the structure. This project was guided by the Friends of Patterson Park, in partnership with 91桃色视频 City's Department of Recreation and Parks and many neighborhood volunteers. Completed in the spring of 2002, the Observatory now stands as an iconic structure for Patterson Park and 91桃色视频 City and signified the renaissance of the community around Patterson Park.

Official Website

Street Address

27 S. Patterson Park Avenue, Baltimore, MD 21231
]]>
/items/show/18 <![CDATA[Morgan Millwork Company]]> 2019-05-09T21:19:52-04:00

Dublin Core

Title

Morgan Millwork Company

Subject

Architecture
Industry

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

Former Factory Turned MICA Graduate Studios

Story

The Morgan Millwork Company, now known as the MICA Graduate Studio Center, is a product of Baltimore's once vibrant industrial development and a clear reflection of how industry has struggled in Baltimore over the past 50 years. J. Earl Morgan together with his cousin, Albert T. Morgan, incorporated the Morgan Company in Osh Kosh, Wisconsin in 1889, building on an enterprise first established by their fathers in 1868 to manufacture processed lumber and shingles. Here in Baltimore, J. Earl Morgan partnered with Charles A. Hanscom to start a Baltimore office for the Morgan Millwork Company in 1910. Within a few years, they purchased a property from Frank Ehlen on the south side of North Avenue just west of Maryland Avenue with the plan to construct a "sales distributing plant" for $60,000.

The Morgan Millwork Company remained on West North Avenue for nearly 60 years, selling and distributing a range of building products produced by Morgan Millwork, Andersen Window-all, Armstrong Cork and others, to contractors, lumber yards and building supply firms. In 1971, the company announced their plans to move from North Avenue to a new 90,000 square foot office in 91桃色视频 County in a 1,000-acre industrial complex known as Chesapeake Park, developed by the Martin-Marietta Corporation.

Next to take over the building, was Max Rubin Industries, a Baltimore clothing manufacturer established by Max Rubin 鈥 a unique character with a personal passion for poetry and a reputation for employing people with disabilities. Over the years, Rubin wrote over three thousand poems on such varied topics as the 1952 Baltimore transit strike and the historic old Otterbein Church (located across the street from one of his factories) gaining him recognition as the Poet Laureate of Baltimore in 1947. His business grew from a modest start in the 1920s with a small chain of stores in West Virginia and Pennsylvania before he moved to Baltimore in the 1930s. By the 1970s had become one of the city's oldest clothing manufacturers. Regrettably, the loss of a large government contract and the challenges of the late 1970s recession brought an end to the business in 1983. On Christmas Day, a small classified ad appeared announcing an auction to sell of all the sewing machines, cutting tables and clothes presses at West North Avenue on January 9, 1983.

Even as Baltimore's struggling textile industry continued to slide, in 1984 this building again found a use as a factory for Jos. A. Bank Clothiers to produce suit coats at the rate of 5,000 a week. Jos. A. Bank has deep Baltimore roots, dating back to 1905 when 11-year old Joseph A. Bank got a job working for his grandfather, Charles Bank, cutting trousers in the family owned factory. The firm continued to produce clothes at Baltimore factories until they ended all production in the United States in the mid-1990s.

For the past fifteen years, the building has been occupied as studios for students at the Maryland Institute College of Art. The building is currently undergoing a transformation into a hub for MICA's graduate study programs with renovations led by architects Cho Benn Holback + Associates to create shared galleries, a lecture hall, meeting rooms, work and fabrication space, caf茅, and painting, mixed-media and photography studios.

Official Website

Street Address

131 W. North Avenue, Baltimore, MD 21201
]]>
/items/show/17 <![CDATA[Centre Theatre]]>
The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s, later purchased by a church and over the past few years has deteriorated significantly.

The building has a new future ahead after it was purchased by local non-profit developer Jubilee Baltimore with support from MICA and the American Communities Trust. The building will be restored and re-used as a for film screenings, music, artists' studios, galleries, a playhouse and more.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Centre Theatre

Subject

Architecture
Entertainment
Economy

Description

The Centre Theatre opened on a February evening in 1939 with a Hollywood-style opening as "a thousand invited guest walked through the glare of spotlights while newsreel photographs turned their cranks and candid camera fans sniped from the sidelines." Crowds poured in to the theatre and turned to the circular proscenium covered with gold leaf and illuminated by hundreds of lights for a preview showing of "Tail Spin." The $400,000 new building was not just a theatre but included a whole complex with the WFBR radio station and studios, a branch bank office for the Equitable Trust Company, and a garage. Owner Morris A. Mechanic was born in Poland on December 21, 1904 and emigrated to Baltimore with his parents as a child. In 1929, Mechanic worked as the principal at a Hebrew School on West North Avenue and owned a chocolate shop downtown, when he decided to purchase the New Theatre as a real estate investment. The New Theatre's "box-office bonanza" success during a showing of "Sunny Side Up" encouraged him to stick with the theatre business for the rest of his life, owning dozens of theaters over the years before his death of a heart attack in July 1966.

The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s, later purchased by a church and over the past few years has deteriorated significantly.

The building has a new future ahead after it was purchased by local non-profit developer Jubilee Baltimore with support from MICA and the American Communities Trust. The building will be restored and re-used as a for film screenings, music, artists' studios, galleries, a playhouse and more.

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

Bright Marquee Lights and a Restored North Avenue Landmark

Lede

The Centre Theatre opened on a February evening in 1939 with a Hollywood-style opening as "a thousand invited guest walked through the glare of spotlights while newsreel photographs turned their cranks and candid camera fans sniped from the sidelines." Crowds poured in to the theatre and turned to the circular proscenium covered with gold leaf and illuminated by hundreds of lights for a preview showing of "Tail Spin."

Story

The $400,000 building (a transformation of an earlier auto dealership) was not just a theatre but included a whole complex with the WFBR radio station and studios, a branch bank office for the Equitable Trust Company, and a garage. Owner Morris A. Mechanic was born in Poland on December 21, 1904 and emigrated to Baltimore with his parents as a child. In 1929, Mechanic worked as the principal at a Hebrew School on West North Avenue and owned a chocolate shop downtown, when he decided to purchase the New Theatre as a real estate investment. The New Theatre's "box-office bonanza" success during a showing of "Sunny Side Up" encouraged him to stick with the theatre business for the rest of his life, owning dozens of theaters over the years before his death of a heart attack in July 1966.

The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s before the theater was turned into a church. Unfortunately, without the resources for essential maintenance the building deteriorated significantly and was mostly abandoned for a decade.

In 2011, Jubilee Baltimore acquired the building at auction for $93,000 and started working to redevelop the sadly neglected site. In partnership with Johns Hopkins University and Maryland Institution College of Art (MICA), along with support from the American Communities Trust and TRF, Jubilee Baltimore restored the exterior back to its original appearance, lit up the marquee, and transformed the interior into offices and community space for film screenings, music, classrooms, galleries, and more. The Centre Theater reopened to the public in 2015.

Related Resources

Official Website

Street Address

10 E. North Avenue, Baltimore, MD 21218
]]>
/items/show/16 <![CDATA[Parkway Theatre]]> 2018-11-27T10:33:48-05:00

Dublin Core

Title

Parkway Theatre

Subject

Entertainment
Architecture

Creator

Elise Hoffman
Eli Pousson

Curatescape Story Item Type Metadata

Story

Occupying a busy corner at Charles and North, the magnificent Parkway Theater entertained audiences in Central Baltimore for decades with everything from vaudeville and silent movies to nightly live radio productions. Although abandoned for over a decade, the Parkway Theater is poised for renewal as developers vie for the chance to remake the handsome Italian Renaissance building for new crowds of Baltimore theater-goers.

Built in 1915, the Parkway was closely modeled on London's West End Theatre, later known as the Rialto, located near Leicester Square with shared features like the interior's rich ornamental plasterwork in a Louis XIV style. The architect, Oliver Birkhead Wight, was born in 91桃色视频 County and designed a number of theaters around the city: the New Theater (now demolished) on Lexington Street, the Howard Theater around the corner on Howard Street, and the McHenry Theater on Light Street in Federal Hill.

Originally envisioned by owner Henry Webb's Northern Amusement Company as a 1100-seat vaudeville house, the theater added a movie projector even before they opened, screening "Zaza" starring leading Broadway actress Pauline Frederick for opening night on October 23, 1915. An early account of the theater remarked, "The lights radiating from the roof of the building as well as from the brilliantly lighted entrance, make an appreciable addition to the illuminations of North avenue which is fast becoming a nightly recreational center for the residents of the northern part of the city."

Loew's Theatres Incorporated bought the business in 1926, one of the scores of theaters across the Midwest and East Coast purchased by entrepreneur Marcus Loew as he grew his Cincinnati-based chain across the country. The new owners extensively remodeled the theater and replaced the original Moller Organ (Op. 1962, II/32) with a Wurlitzer theater organ. Loew's staged a grand re-opening along with the downtown Century Theater that they acquired and re-opened at the same time as the Parkway.

During the late 1940s and early 1950s, a group produced a nightly live radio program at the Parkway entitled "Nocturne" featuring poetry readings interspersed with musical selections on the organ. Morris Mechanic, a local theater operator who opened the Center Theater down the street in 1939, purchased the Parkway and closed the doors in 1952. Many thought that this might be the end of the Parkway, by then one of the oldest theaters in 91桃色视频 City, and Morris Mechanic suggested that the building might be turned into offices.

Fortunately, the theater changed hands a few more times, spending a season or two as a live theater, before finally reopening with a new name 鈥 "5 West" 鈥 in 1956. With an eclectic mix of old movies, foreign films, and live performances, 5 West continued through the mid-1970s when it closed for good. Despite a handful of attempts to reuse the building in the 1980s and 1990s, the Parkway was closed from 1998 through 2017. In 2017, the Parkway reopened as The Stavros Niarchos Foundation Parkway鈥攁 complex of three theaters and the headquarters for the Maryland Film Festival.

Official Website

Street Address

5 W. North Avenue, Baltimore, MD 21201
]]>
/items/show/15 <![CDATA[Public School 32]]>
Contractor James B. Yeatman broke ground for the new building on Guilford Avenue in Feburary 1890 with the plan to have the building ready for students by the fall. The building had a front of pressed brick with with brown sandstone trim and included six class-rooms, two clock-rooms and a teachers' room on each floor. 1890 eventually set a new record for the Baltimore public school system with a total of 11 new school buildings completed thanks to the availability of "special funds for the purchase of sites and the erection of school-houses"聺 provided by a building loan to the city of $400,000 in 1888 and 1892.

When the building opened that fall, Catherine S. Thompson became one of the teachers and went on to become the longest serving educator at the school remaining through her retirement as principal in 1926. A graduate of Eastern High School at the southeast corner of Alsquith and Orleans, Thompson began her career in education at the age of 17 in School No. 6 in East Baltimore. Thompson became the head of the school in 1905 and remained there for over 20 years. She lived nearby at 1601 Calvert Street and after her death on December 5, 1937 she was buried in Greenmount Cemetery, just a few blocks east of the school where she worked for years.

When the nearby Benjamin Banneker Elementary School, previously known as Colored School No. 113, closed in the early 1960s with the continued desegregation of the 91桃色视频 City public school system, the school expanded with the addition of a large new building just to the south on Guilford. Designed by the firm of Wheeler, Bonn, Shockey and Associates, the new building was designed to contain, "14 classrooms, 2 kindergartens, 330-seat auditorium, gymnasium, cafeteria, health suite, library, instructional materials center, administrative offices, and utility rooms" at a cost of a $962,000. The school took on the name Mildred Monroe in 1980, to honor a long time custodian at the building and a friend of many students.

After the school closed in 2001, it served as a homeless shelter and then as a location for the fourth season of The Wire on HBO, highlighting the challenges of Baltimore's public school system. In the past few years, both buildings have taken on new life as the home to the 91桃色视频 City Montessori School.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Public School 32

Subject

Education

Description

Built in 1890, Public School No. 32, now better known as home to the Baltimore Montessori School, is a rare historic community school building, one of scores built in the late 19th century to support the city's rapidly growing population. Like most school buildings at the time, the building was designed by the Baltimore Inspector of Buildings J. Theodore Oster, who served in the position from 1884 through 1896. The building shares a number of features that can still be found on old school buildings throughout the city, such as the double stair (one stair for girls and one for boys) along with the tower above. Born in Maryland in 1844, Oster had followed his father, Jacob Oster, to work as a carpenter and draftsman in their firm J. Oster & Son and rose to his position after serving as assistant building inspector in the early 1880s.

Contractor James B. Yeatman broke ground for the new building on Guilford Avenue in Feburary 1890 with the plan to have the building ready for students by the fall. The building had a front of pressed brick with with brown sandstone trim and included six class-rooms, two clock-rooms and a teachers' room on each floor. 1890 eventually set a new record for the Baltimore public school system with a total of 11 new school buildings completed thanks to the availability of "special funds for the purchase of sites and the erection of school-houses"聺 provided by a building loan to the city of $400,000 in 1888 and 1892.

When the building opened that fall, Catherine S. Thompson became one of the teachers and went on to become the longest serving educator at the school remaining through her retirement as principal in 1926. A graduate of Eastern High School at the southeast corner of Alsquith and Orleans, Thompson began her career in education at the age of 17 in School No. 6 in East Baltimore. Thompson became the head of the school in 1905 and remained there for over 20 years. She lived nearby at 1601 Calvert Street and after her death on December 5, 1937 she was buried in Greenmount Cemetery, just a few blocks east of the school where she worked for years.

When the nearby Benjamin Banneker Elementary School, previously known as Colored School No. 113, closed in the early 1960s with the continued desegregation of the 91桃色视频 City public school system, the school expanded with the addition of a large new building just to the south on Guilford. Designed by the firm of Wheeler, Bonn, Shockey and Associates, the new building was designed to contain, "14 classrooms, 2 kindergartens, 330-seat auditorium, gymnasium, cafeteria, health suite, library, instructional materials center, administrative offices, and utility rooms" at a cost of a $962,000. The school took on the name Mildred Monroe in 1980, to honor a long time custodian at the building and a friend of many students.

After the school closed in 2001, it served as a homeless shelter and then as a location for the fourth season of The Wire on HBO, highlighting the challenges of Baltimore's public school system. In the past few years, both buildings have taken on new life as the home to the 91桃色视频 City Montessori School.

Creator

Eli Pousson

Relation

Curatescape Story Item Type Metadata

Subtitle

19th Century School Reused as a 21st Century Charter School

Lede

Built in 1890, Public School No. 32, now better known as home to the Baltimore Montessori School, is a rare historic community school building, one of scores built in the late 19th century to support the city's rapidly growing population.

Story

Like most school buildings at the time, Public School 32 was designed by the Baltimore Inspector of Buildings J. Theodore Oster, who served in the position from 1884 through 1896. The building shares a number of features that can still be found on old school buildings throughout the city, such as the double stair (one stair for girls and one for boys) along with the tower above. Born in Maryland in 1844, Oster had followed his father, Jacob Oster, to work as a carpenter and draftsman in their firm J. Oster & Son and rose to his position after serving as assistant building inspector in the early 1880s.

Contractor James B. Yeatman broke ground for the new building on Guilford Avenue in Feburary 1890 with the plan to have the building ready for students by the fall. The building had a front of pressed brick with with brown sandstone trim and included six class-rooms, two clock-rooms and a teachers' room on each floor. 1890 eventually set a new record for the Baltimore public school system with a total of 11 new school buildings completed thanks to the availability of "special funds for the purchase of sites and the erection of school-houses"聺 provided by a building loan to the city of $400,000 in 1888 and 1892.

When the building opened that fall, Catherine S. Thompson became one of the teachers and went on to become the longest serving educator at the school remaining through her retirement as principal in 1926. A graduate of Eastern High School at the southeast corner of Alsquith and Orleans, Thompson began her career in education at the age of 17 in School No. 6 in East Baltimore. Thompson became the head of the school in 1905 and remained there for over 20 years. She lived nearby at 1601 Calvert Street and after her death on December 5, 1937 she was buried in Greenmount Cemetery, just a few blocks east of the school where she worked for years.

When the nearby Benjamin Banneker Elementary School, previously known as Colored School No. 113, closed in the early 1960s with the continued desegregation of the 91桃色视频 City public school system, the school expanded with the addition of a large new building just to the south on Guilford. Designed by the firm of Wheeler, Bonn, Shockey and Associates, the new building was designed to contain, "14 classrooms, 2 kindergartens, 330-seat auditorium, gymnasium, cafeteria, health suite, library, instructional materials center, administrative offices, and utility rooms" at a cost of a $962,000. The school took on the name Mildred Monroe in 1980, to honor a long time custodian at the building and a friend of many students.

After the school closed in 2001, it served as a homeless shelter and then as a location for the fourth season of The Wire on HBO, highlighting the challenges of Baltimore's public school system. In the past few years, both buildings have taken on new life as the home to the Baltimore Montessori Public Charter School.

Official Website

Street Address

1600 Guilford Avenue, Baltimore, MD 21202
]]>
/items/show/14 <![CDATA[Howard Street Bridge]]>
The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the 91桃色视频 City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Howard Street Bridge

Subject

Transportation
Art and Design
Great Depression

Description

Built in 1938, the Howard Street Bridge is nearly 1,000 feet long with two steel arches spanning the Jones Falls Valley. This award winning bridge (voted one of the most beautiful by the American Institute of Steel Construction in 1939) was designed by the J.E. Greiner Company, the firm established by one of the nation's foremost bridge builders John Edwin Greiner. Born in Delaware, Greiner got his start designing and building bridges for the Baltimore & Ohio Railroad until 1908 when he set himself up as a consulting engineer. The story of the bridge and the extension of Howard Street to North Avenue begins years earlier when local business leaders first began to imagine Howard Street as a major route across the Jones Falls.

The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the 91桃色视频 City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Story

Built in 1938, the Howard Street Bridge is nearly 1,000 feet long with two steel arches spanning the Jones Falls Valley. This award winning bridge (voted one of the most beautiful by the American Institute of Steel Construction in 1939) was designed by the J.E. Greiner Company, the firm established by one of the nation's foremost bridge builders John Edwin Greiner. Born in Delaware, Greiner got his start designing and building bridges for the Baltimore & Ohio Railroad until 1908 when he set himself up as a consulting engineer. The story of the bridge and the extension of Howard Street to North Avenue begins years earlier when local business leaders first began to imagine Howard Street as a major route across the Jones Falls.

The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the 91桃色视频 City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.

Street Address

1800 N. Howard Street, Baltimore, MD 21217
]]>
/items/show/13 <![CDATA[Perkins Square]]> 2019-11-01T23:04:51-04:00

Dublin Core

Title

Perkins Square

Subject

Parks and Landscapes

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Story

As early as the 1840s, a small oasis of green known as Perkins' Spring became a popular destination at the edge of the rapidly growing city. The park's unique value to local residents came from the fresh-water spring that poured out at a rate of 60 gallons a minute. One resident later recalled how their neighbors carried water away "by the barrel in the '80鈥瞫, especially when heavy rains flooded and polluted the normal supplies." In 1853, the city purchased a small triangle of land around the spring from the estate of Dr. Joseph Perkins bounded by Ogston Street, George Street, and Myrtle Avenue. The city hoped to protect the spring from development and preserve it as an amenity for a soaring population on the west side of Baltimore. City officials soon improved the new park with a brick enclosure and a cast iron Moorish-style canopy over the spring.

Mayor Joshua Van Sant appointed an official park keeper who lived in a frame house by the park's Myrtle Avenue entrance. The grounds were soon planted with hundreds of flowers of every shape, size and color, coleus and petunias the most common, all grown in the park's greenhouse built in 1887 and arranged in decorative patterns and designs.

Like many West Baltimore neighborhoods, the area around the park was primarily occupied by white households at its beginning but by the late nineteenth century, the city's black community had started to settle in the area. For example, in 1880, a church built by a German evangelical congregation facing the park at the corner of George and Ogston Streets became home to an African American congregation that soon established the Perkins Square Baptist Church. By the 1920s, Baltimore's black residents used the park for every day relaxation and special entertainment. On one warm June evening in 1922, over 3,000 black Baltimoreans crowded into the park to hear the Colored City Band, established by A. Jack Thomas, performing a selection of popular marches and operas.

In the decades after WWII, city leaders decried poor housing conditions in the neighborhoods around the park and resolved to address the situation through the construction of the new high-rise George B. Murphy Homes. Beginning with a ground-breaking ceremony at the corner of Myrtle and George Streets in December 1961, 758 housing units including four 14-story towers on a 13-acre site were built, surrounding Perkins Square on all sides. The complex opened to great acclaim on New Year's Eve 1963 but by the early 1970s, the housing project had already started to experience challenges. By the 1990s, Murphy Homes became known for crime and violence and plans moved forward for its demolition. Finally in 1999 on a bright July morning, 375 pounds of dynamite brought the towers to the ground. The park and the historic gazebo remain at the center of Heritage Crossing, a $53 million mixed-income development, still offering a restful bit of green for West Baltimore.

Street Address

George Street and Myrtle Avenue, Baltimore, MD 21201
]]>
/items/show/12 <![CDATA[H.L. Mencken House]]>
Much of Mencken's writing, reading and thinking was done in the second floor front study, with its view of Union Square and the surrounding neighborhood. It was here where Mencken's "councils of war" were held over various government actions to suppress books and where Mencken convinced the famous lawyer Clarence Darrow to defend John Scopes in the Scopes Monkey Trial. It was also in this room where Mencken wrote the newspaper columns and books that made him, in the words of journalist Walter Lippmann, "the most powerful personal influence" in America. The house was a central feature of the former City Life Museums, and since its closing in 1997, the Friends of the H.L. Mencken House have cared for the building.]]>
2020-10-21T10:16:37-04:00

Dublin Core

Title

H.L. Mencken House

Subject

Literature
Museums
Historic Preservation

Description

"As much a part of me as my own two hands," is how Henry Louis Mencken described his house at 1524 Hollins Street and his personality can be seen in everything from the parquet floors to the garden tiles. In 1880, Mencken was brought by his parents as an infant to the house and lived there until his death at the age of 75.

Much of Mencken's writing, reading and thinking was done in the second floor front study, with its view of Union Square and the surrounding neighborhood. It was here where Mencken's "councils of war" were held over various government actions to suppress books and where Mencken convinced the famous lawyer Clarence Darrow to defend John Scopes in the Scopes Monkey Trial. It was also in this room where Mencken wrote the newspaper columns and books that made him, in the words of journalist Walter Lippmann, "the most powerful personal influence" in America. The house was a central feature of the former City Life Museums, and since its closing in 1997, the Friends of the H.L. Mencken House have cared for the building.

Curatescape Story Item Type Metadata

Story

"As much a part of me as my own two hands," is how Henry Louis Mencken described his house at 1524 Hollins Street and his personality can be seen in everything from the parquet floors to the garden tiles. In 1880, Mencken was brought by his parents as an infant to the house and lived there until his death at the age of 75. Much of Mencken's writing, reading and thinking was done in the second floor front study, with its view of Union Square and the surrounding neighborhood. It was here where Mencken's "councils of war" were held over various government actions to suppress books and where Mencken convinced the famous lawyer Clarence Darrow to defend John Scopes in the Scopes Monkey Trial. It was also in this room where Mencken wrote the newspaper columns and books that made him, in the words of journalist Walter Lippmann, "the most powerful personal influence" in America. The house was a central feature of the former City Life Museums, and since its closing in 1997, the Friends of the H.L. Mencken House have cared for the building.

Watch on this house!

Official Website

Street Address

1524 Hollins Street, Baltimore, MD 21223
]]>
/items/show/11 <![CDATA[Union Square]]>
In 1867, the Donnells left Willowbrook (now the site of Steuart Hill Academic Academy), and the house was given to the Sisters of the Good Shepherd. The building served as a convent and home for wayward girls until its demolition in the mid-1960s. The oval dining room was removed from the mansion and recreated in the Baltimore Museum of Art where it remains a part of the American Decorative Arts wing.

This demolition sparked a renewed awareness of historic places and their importance to the community, as residents organized to form the Union Square Association and received historic district designation for the area in 1970.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Union Square

Subject

Parks and Landscapes

Description

Union Square began as part of Willowbrook, the John Donnell Federal-period estate, which he purchased in 1802 from Baltimore merchant and later Mayor Thorowgood Smith. In 1847, the Donnell family heirs donated the 2.5-acre lot in front of the manor house to the City of Baltimore to be designated as a public park. Beginning in the 1850s, the Donnell family started to work with a number of speculative builders to develop the neighborhood.

In 1867, the Donnells left Willowbrook (now the site of Steuart Hill Academic Academy), and the house was given to the Sisters of the Good Shepherd. The building served as a convent and home for wayward girls until its demolition in the mid-1960s. The oval dining room was removed from the mansion and recreated in the Baltimore Museum of Art where it remains a part of the American Decorative Arts wing.

This demolition sparked a renewed awareness of historic places and their importance to the community, as residents organized to form the Union Square Association and received historic district designation for the area in 1970.

Curatescape Story Item Type Metadata

Subtitle

The Willowbrook estate becomes an urban oasis

Story

Union Square began as part of Willowbrook, the John Donnell Federal-period estate, which he purchased in 1802 from Baltimore merchant and later Mayor Thorowgood Smith. In 1847, the Donnell family heirs donated the two-and-a-half-acre lot in front of the manor house to the City of Baltimore to be designated as a public park. Beginning in the 1850s, the Donnell family started to work with a number of speculative builders to develop the neighborhood.

In 1867, the Donnells left Willowbrook (now the site of Steuart Hill Academic Academy), and the house was given to the Sisters of the Good Shepherd. The building served as a convent and home for wayward girls until its demolition in the mid-1960s. The oval dining room was removed from the mansion and recreated in the Baltimore Museum of Art where it remains a part of the American Decorative Arts wing.

This demolition sparked a renewed awareness of historic places and their importance to the community, as residents organized to form the Union Square Association and received historic district designation for the area in 1970.

Related Resources

Street Address

Hollins Street and S. Stricker Street, Baltimore, MD 21223
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/items/show/10 <![CDATA[Franklin Square]]> 2020-10-16T14:44:35-04:00

Dublin Core

Title

Franklin Square

Subject

Parks and Landscapes

Curatescape Story Item Type Metadata

Story

Franklin Square Park is one of the oldest parks in the city, with its origins in the estate of Dr. James McHenry, who lived at a home known as Fayetteville located near Baltimore and Fremont Streets in the early 1800s. Born in Ireland, James McHenry arrived in Philadelphia in 1771, settling in Baltimore with his family the next year. During the Revolutionary War, McHenry joined the Continental Army, becoming a secretary and friend to General George Washington. After the war, McHenry served as the Secretary of War to George Washington and John Adams, before retiring to Baltimore in 1800 and continuing to live quietly at his home until his death in 1816. James and Samuel Canby, successful development speculators from Wilmington, Delaware, purchased 32 acres of land from the heirs of Dr. James McHenry in 1835 with the goal of developing the estate. Two years later, they offered two-and-a-half acres of land to Baltimore for the nominal sum of $1 with city's promise that they would maintain the land as a public park forever. The City Council accepted but made a condition of their own by offering to erect a "handsome iron railing, six feet high" and a paved sidewalk around the park when the James and Samuel could build eight or more "three-story brick houses, to cost at least $10,000 apiece." The park was an enormous success, as on a single Sunday in the spring of 1850 when over 3,300 locals came for a visit. The Sun reported, "At almost every hour of the day, numbers may be seen promenading through the walks." The grand Waverly Terrace on the east side of the square was completed in 1851 at a cost of $160,000 offering, according the Baltimore Sun, a rowhouse block "much handsomer than any yet finished in this city, and displaying the pure Italian style of architecture." The Aged Women's and Aged Men's Homes, built in 1849 and 1864, located at the site of the present day Franklin Square Elementary/Middle School and a handful of churches began to fill the blocks around the park.

Watch our on this square!

Related Resources

Official Website

Street Address

W. Fayette Street and N. Carey Street, Baltimore, MD 21223
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/items/show/9 <![CDATA[Harlem Park]]>
Dr. Thomas Edmondson was born in 1808 as the son of a prosperous local merchant and graduated in medicine from the University of Maryland in 1834. He never practiced medicine and instead focused on art and horticulture, building a grand mansion and greenhouses on a hill now bounded by Edmondson Avenue, Harlem, Fulton and Mount. Dr. Edmondson died in 1856 and his estate presented a section of the property to the City of Baltimore on November 11, 1867 as a gift for the creation of a public park or square.

The city passed an ordinance accepting the gift in February 1868 and improvements on the park soon began. The engineer and general superintendent for Druid Hill Park, August Paul, prepared a plan for the grounds with "Beds and mounds of exotic and native flowers, the most difficult of cultivation" laid out in patterns of "stars, diamonds, Maltese crosses, hearts, ovals, circles, and semicircles, each one of great artistic beauty and of remarkably accurate outline." Another account described a "group of willows that encircled a gurgling spring at the eastern end of the grounds... a white mulberry tree that was a delight to the neighborhood, and a great flowering tree of the lobelia family, abundant in the Hawaiian Islands."

The park was dedicated in 1876, as an asset to the increasingly developed blocks around the park and up to Fulton Avenue. The Harlem Stage Coach Company incorporated in February 1878 to run a line of omnibus coaches from Fulton Avenue to Edmondson Avenue before turning south at Harlem Park. One of the directors of the enterprise was Joseph Cone, who became a tremendously active rowhouse builder in West Baltimore during the 1870s and 1880s, putting up hundreds of rowhouses each year with then modern amenities such as gaslights, hot water, central heating, and door bells. Cone pioneered the financing strategy of "advance credit" where home-owners could pay for their properties piecemeal providing the builder with capital for putting up yet more houses.

Harlem Park was substantially diminished in the early 1960s, with the construction of a $5,300,000 school complex, designed by architects Taylor & Fisher, resulting in the demolition of homes and businesses along the northern edge of the park. The school also took the eastern half of the park to turn it into a school yard. The remaining square endures as a quiet green space still used by West Baltimore residents.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Harlem Park

Subject

Parks and Landscapes

Description

Harlem Park started as one of the largest squares in West Baltimore, 9 戮 acres, more than double the size of Franklin, Lafayette, or Union Square. The grounds of the park and much of the land around it had originally belonged to Dr. Thomas Edmondson.

Dr. Thomas Edmondson was born in 1808 as the son of a prosperous local merchant and graduated in medicine from the University of Maryland in 1834. He never practiced medicine and instead focused on art and horticulture, building a grand mansion and greenhouses on a hill now bounded by Edmondson Avenue, Harlem, Fulton and Mount. Dr. Edmondson died in 1856 and his estate presented a section of the property to the City of Baltimore on November 11, 1867 as a gift for the creation of a public park or square.

The city passed an ordinance accepting the gift in February 1868 and improvements on the park soon began. The engineer and general superintendent for Druid Hill Park, August Paul, prepared a plan for the grounds with "Beds and mounds of exotic and native flowers, the most difficult of cultivation" laid out in patterns of "stars, diamonds, Maltese crosses, hearts, ovals, circles, and semicircles, each one of great artistic beauty and of remarkably accurate outline." Another account described a "group of willows that encircled a gurgling spring at the eastern end of the grounds... a white mulberry tree that was a delight to the neighborhood, and a great flowering tree of the lobelia family, abundant in the Hawaiian Islands."

The park was dedicated in 1876, as an asset to the increasingly developed blocks around the park and up to Fulton Avenue. The Harlem Stage Coach Company incorporated in February 1878 to run a line of omnibus coaches from Fulton Avenue to Edmondson Avenue before turning south at Harlem Park. One of the directors of the enterprise was Joseph Cone, who became a tremendously active rowhouse builder in West Baltimore during the 1870s and 1880s, putting up hundreds of rowhouses each year with then modern amenities such as gaslights, hot water, central heating, and door bells. Cone pioneered the financing strategy of "advance credit" where home-owners could pay for their properties piecemeal providing the builder with capital for putting up yet more houses.

Harlem Park was substantially diminished in the early 1960s, with the construction of a $5,300,000 school complex, designed by architects Taylor & Fisher, resulting in the demolition of homes and businesses along the northern edge of the park. The school also took the eastern half of the park to turn it into a school yard. The remaining square endures as a quiet green space still used by West Baltimore residents.

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Story

Harlem Park started as one of the largest squares in West Baltimore, 9 戮 acres, more than double the size of Franklin, Lafayette, or Union Square. The grounds of the park and much of the land around it had originally belonged to Dr. Thomas Edmondson.

Dr. Thomas Edmondson was born in 1808 as the son of a prosperous local merchant and graduated in medicine from the University of Maryland in 1834. He never practiced medicine and instead focused on art and horticulture, building a grand mansion and greenhouses on a hill now bounded by Edmondson Avenue, Harlem, Fulton and Mount. Dr. Edmondson died in 1856 and his estate presented a section of the property to the City of Baltimore on November 11, 1867 as a gift for the creation of a public park or square.

The city passed an ordinance accepting the gift in February 1868 and improvements on the park soon began. The engineer and general superintendent for Druid Hill Park, August Paul, prepared a plan for the grounds with "Beds and mounds of exotic and native flowers, the most difficult of cultivation" laid out in patterns of "stars, diamonds, Maltese crosses, hearts, ovals, circles, and semicircles, each one of great artistic beauty and of remarkably accurate outline." Another account described a "group of willows that encircled a gurgling spring at the eastern end of the grounds... a white mulberry tree that was a delight to the neighborhood, and a great flowering tree of the lobelia family, abundant in the Hawaiian Islands."

The park was dedicated in 1876, as an asset to the increasingly developed blocks around the park and up to Fulton Avenue. The Harlem Stage Coach Company incorporated in February 1878 to run a line of omnibus coaches from Fulton Avenue to Edmondson Avenue before turning south at Harlem Park. One of the directors of the enterprise was Joseph Cone, who became a tremendously active rowhouse builder in West Baltimore during the 1870s and 1880s, putting up hundreds of rowhouses each year with then modern amenities such as gaslights, hot water, central heating, and door bells. Cone pioneered the financing strategy of "advance credit" where home-owners could pay for their properties piecemeal providing the builder with capital for putting up yet more houses.

Harlem Park was substantially diminished in the early 1960s, with the construction of a $5,300,000 school complex, designed by architects Taylor & Fisher, resulting in the demolition of homes and businesses along the northern edge of the park. The school also took the eastern half of the park to turn it into a school yard. The remaining square endures as a quiet green space still used by West Baltimore residents.

Related Resources

聽鈥 Baltimore Heritage

Official Website

Street Address

Harlem Square Park, Baltimore, MD 21223
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/items/show/8 <![CDATA[Lafayette Square]]> 2020-10-16T13:20:18-04:00

Dublin Core

Title

Lafayette Square

Subject

Parks and Landscapes

Curatescape Story Item Type Metadata

Story

Since 1857, Lafayette Square has been Baltimore鈥檚 height of fashion. Situated atop a ridge in an area once noted for its fine country villas and breadth-taking panoramic views of the waterways, rolling hills and public landmarks of the bustling nineteenth-century city, the Square was a favorite outlying destination of Baltimore鈥檚 leisure and laboring classes. The popularity of the site, fueled by a desire to enjoy the area鈥檚 fresh air and fine vistas on a permanent basis, led to the creation of the Lafayette Square Company for promoting the Square as a fashionable place to live. The drive to develop the area around the Square for residential use came to a halt soon after it had begun, however, for in 1861 the City turned the Square over to the federal government for military use during the Civil War. After the war and minus the green fields and majestic oaks鈥攊ts main attractions prior to 1861鈥擫afayette Square reverted back to the city and development efforts resumed. Construction proceeded rapidly under the direction of the Lafayette Square Association (a second organization, incorporated in 1865), which, in 1866, enticed the congregation of the Episcopal Church of the Ascension to relocate from downtown to the Square with an offer of a free corner lot. By 1880, Lafayette Square had been developed to a great extent and ornamented with many buildings of grand proportions. The Church of the Ascension (1867-9, now St. James), many imposing residences, including Matthew Bacon Sellers鈥 impressive brick mansion (1868-9), Grace Methodist Church (1871-6, now Metropolitain), and, perhaps most conspicuous of all, the new State Normal School (1875-6, demolished), set the scale for subsequent building projects in the neighborhood. Although designed in keeping with the Square鈥檚 other Gothic revival buildings, the former Bishop Cummins Memorial (1878, now Emmanuel Christian Community) and Lafayette Square Presbyterian (1878-9, now St. John鈥檚 A.M.E.) outdid the more conservative-looking churches of the neighboring congregations in both architectural variety and decorative daring and exuberance, signaling that architectural tastes, even within the prevailing Gothic revival style, were susceptible to swift and dramatic change. Lafayette Square changed dramatically between 1910 and 1930. Built-out by 1910 and starting to show its age, the Square could not compete with the new residential developments such as Ten Hills (begun 1909) and Hunting Ridge (1920s) that offered detached, single-family houses and all the modern amenities of the early twentieth century. Between 1910 and 1930, all but two households on the Square had changed hands, and a new generation of residents had emerged, 95% of which African American, whose numbers and diverse backgrounds brought a renewed vitality to the Square. The Square鈥檚 new residents worked as maids, chauffeurs, cooks, and laborers, but also as dentists, physicians, attorneys, and schoolteachers. They benefited from close proximity to the neighborhood鈥檚 major commercial, retail, and entertainment districts, being just a few minutes鈥 walk from the shops and other attractions of Druid Hill and Pennsylvania Avenues. In the short time between 1928 and 1934, four African American congregations moved to Lafayette Square. Metropolitan led the charge with a ceremonial march from Orchard Street in 1928, followed by St. John鈥檚 A.M.E. in 1929 (from Lexington Street), St. James Episcopal in 1932 (from Park Avenue and Preston Street), and Emmanuel Christian Community in 1934 (from Calhoun). The spacious sanctuaries, the classrooms, and other amenities of the four grand churches suited the needs of these growing congregations, whose active ministries transformed Lafayette Square into a spiritual center for West Baltimore鈥檚 African American community. The old State Normal School, vacated in 1915 and later converted to school district offices, received a new lease on life in 1931 as the home of the George Washington Carver Vocational-Technical High School, the first school in Maryland to provide vocational training for African American students.

Watch our on this square's comfort station!

Street Address

816 N. Arlington Avenue, Baltimore, MD 21217
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/items/show/7 <![CDATA[Harlem Theatre]]>
The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African-American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have impacted the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "艙celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Harlem Theatre

Subject

Entertainment

Description

The Harlem Park Theatre was originally built as a church for a congregation that had outgrown the size of their existing building. Construction on this Romanesque-style building on Gilmore Street began in the summer of 1902. The building had a Port Deposit granite edifice and was considered aesthetically modern at the time of construction, designed to be an ornament in the neighborhood.

The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African-American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have impacted the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "艙celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.

Creator

Elise Hoffman

Curatescape Story Item Type Metadata

Story

The Harlem Park Theatre was originally built as a church for a congregation that had outgrown the size of their existing building. Construction on this Romanesque-style building on Gilmore Street began in the summer of 1902. The building had a Port Deposit granite edifice and was considered aesthetically modern at the time of construction, designed to be an ornament in the neighborhood.

The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have influenced the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "艙celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.

Street Address

614 N. Gilmor Street, Baltimore, MD 21217
]]>
/items/show/6 <![CDATA[Waverly Terrace]]> 2018-11-27T10:33:48-05:00

Dublin Core

Title

Waverly Terrace

Subject

Architecture

Description

Named after Sir Walter Scott's 1814 novel Waverly, Waverly Terrace reflects the wealth of Franklin Square鈥檚 residents in the 1850s. The Baltimore Sun praised architect Thomas Dixon鈥檚 four-story row as "much handsomer than any yet finished in this city." Matching the area鈥檚 current diversity today, residents in the early 1860s included both Confederate sympathizers (Miss Nannie, Miss Virginia, and Miss Julia Lomax, charged with disloyalty by Union troops) and African Americans (Lloyd Sutton drafted for the U.S. Colored Troops).

Curatescape Story Item Type Metadata

Story

Named after Sir Walter Scott's 1814 novel Waverly, Waverly Terrace reflects the wealth of Franklin Square鈥檚 residents in the 1850s. The Baltimore Sun praised architect Thomas Dixon鈥檚 four-story row as "much handsomer than any yet finished in this city."

Matching the area鈥檚 current diversity today, residents in the early 1860s included both Confederate sympathizers (Miss Nannie, Miss Virginia, and Miss Julia Lomax, charged with disloyalty by Union troops) and African Americans (Lloyd Sutton drafted for the U.S. Colored Troops).

Street Address

101-123 N. Carey Street, Baltimore, MD 21223
]]>