/items/browse?featured=1&output=atom <![CDATA[Explore 91ÊÓÆ”]]> 2025-03-12T07:13:06-04:00 Omeka /items/show/666 <![CDATA[TV Hill]]> 2020-01-09T14:35:29-05:00

Dublin Core

Title

TV Hill

Subject

Media
Entertainment

Creator

Chuck Howell

Curatescape Story Item Type Metadata

Subtitle

WBAL, WJZ, WMAR, and the Tallest Broadcast Tower of 1958

Story

For over sixty years, tall broadcasting towers have stood high above the old homes in Baltimore’s Woodberry neighborhood. The two tallest towers now standing on Television Hill beam out the signals of four television stations and three radio stations across the city and surrounding area. A third smaller tower relays municipal police, fire and rescue personnel communications.

Of course, this area wasn’t always called TV Hill. It may be hard to believe but there wasn’t always television. Before test patterns and Saturday morning cartoons, the area was known as Malden Hill. In the summer of 1948, only twenty thousand or so Baltimore families (and only one in ten households in the United States) owned televisions. The first two stations in the city— WMAR-TV and WBAL-TV—offered fuzzy reception at best for most local viewers.

By the end of 1948, however, WAAM–TV (Channel 13), owned by Baltimore businessmen and Brothers Ben and Herman Cohen, had started construction on a new station and new transmission tower. The station picked Malden Hill, 334 feet above the surrounding landscape, to give their signal a better chance of reaching Baltimore televisions. With this advantage, the station's new 530-foot tower stood 864 feet above sea level and WAAM–TV had the first television studio in Baltimore designed specifically for this still new technology. On November 1, 1948, the station went on the air and the next day stayed on the air for twenty-three hours straight covering incumbent Democrat Harry S. Truman surprise win over Republican Thomas E. Dewey in the 1948 presidential election.

Flash forward nine years and WAAM-TV had changed both call letters and ownership. In May 1957, the station sold to Westinghouse Broadcasting Company and was renamed WJZ-TV. The competing WBAL-TV’s studios and broadcast tower had already relocated to Malden Hill several years earlier. Still, despite being home to two of Baltimore’s three television stations, only a few folks called it TV Hill until 1958 when a new tower began to rise.

TV reception could be a bit tricky in those pre-cable and satellite days of rooftop antennas or set top “rabbit ears.” WJZ and WBAL chose the elevated ground in Woodberry for their transmitter towers as a partial solution, but broadcast engineers knew that even higher towers could improve both reception and station coverage. Though air traffic concerns imposed an upper limti on how high a station could build, both stations had room to grow.

But neither WJZ nor WBAL could afford the expense of a new tower on their own, especially when the stations sought to go as high as the law allowed. The solution was a partnership between the neighboring stations to build one gigantic tower topped with two separate transmitter masts. When Baltimore’s oldest TV station, WMAR, heard of this plan, station managers decided they wanted in. WMAR worried that if viewers could get two stations by pointing their antennas in one direction they wouldn’t bother making adjustments to tune in to WMAR—especially if their broadcast looked worse than the competition coming from the new tower.

Baltimore’s three TV stations struck a unique deal to share one gigantic tower, a tower topped with three separate transmitter masts, a first at the time. The stations would all have improved coverage and picture quality at a cost they couldn’t have borne alone. Baltimore area television viewers could take a “set it and forget it” approach to their antennas.

Construction began in October of 1958 and continued through the spring. In 1997, Fred Rasmussen recalled on the history of the tower for the Baltimore Sun describing the 500 tons of nickel-chrome alloy steel used to build a structure covered with 2 1/2 tons of paint. The tower was stabilized by guy-wires made from three miles of steel wire rope anchored by 33-foot square concrete slabs buried 16 feet deep. Together the tower base and cable anchors required a remarkable 2,250 tons of concrete. Finally, in a ceremony on August 9, 1959, Governor J. Millard Tawes joined station managers to throw the switch and turn on the broadcast.

At the time of its completion, the giant $1.125 million “candelabra tower” on what was then known to everyeone as TV Hill, was the tallest free-standing broadcast tower in the United States. A 270-foot addition in 1964 brought the top to 1315 feet above sea level. Today, however, the tower isn’t even the tallest in the neighborhood. A second tower completed on a nearby hill in 1987 by Cunningham Communications holds that honor, at 1,549 feet above sea level.

The newer tower is a single mast structure, and though both hills and the three towers they support are now collectively known as TV Hill, there’s still only one candelabra tower.

Related Resources

Chuck Howell, MARMIA, January 2, 2019.
Fred Rasmussen, "Remember When: A tower of power rose up above city Structure: The candelabra-like transmission tower atop Television Hill was completed in 1959, improving TV reception for thousands." The Baltimore Sun, September 21, 1997.

Official Website

Street Address

3723 Malden Avenue, Baltimore, MD 21211
]]>
/items/show/664 <![CDATA[Interstate 395 and Martin Luther King, Jr. Boulevard]]> 2019-06-25T16:43:14-04:00

Dublin Core

Title

Interstate 395 and Martin Luther King, Jr. Boulevard

Subject

Transportation

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

Cal Ripken Way and the Former Harbor City Boulevard

Story

The little-known history of Baltimore's Interstate 395 (I-395) and Martin Luther King Boulevard, Jr. Boulevard offers a reminder of the years of contentious planning efforts that ended with the construction of these roadways in the early 1980s. I-395, known as Cal Ripken Way since 2008, is a little over one mile long and connects the northbound lanes of I-95 to Howard and Camden Streets near the southern end of downtown Baltimore. Originally known as Harbor City Boulevard, Martin Luther King, Jr. Boulevard was before it was renamed in honor of the famed civil rights activist in 1982.

The Sun reported on the opening of both new highways in early December of that same year:

An early Christmas presents awaits motorists commuting to downtown Baltimore from the south. Today, three major segments of new highway open near Interstate 95, alleviating years of traffic congestion in the always busy and now-revitalized areas of South and Southwest Baltimore.

Commuters used to the morning backup at the Russell street off-ramp from I-95 can opt for I-395, an $82 million northbound spur that will take them straight to Howard Street just west of the Convention Center. Those wishing to go farther north can select te 2.3-mile stretch on the Harbor City Boulevard, a direct route to the University of Maryland professional schools, the State Office Building complex near Bolton Hill, the new Meyerhoff Symphony Hall and the Lyric. The new boulevard cost $67 million.

While debates over a building a "bypass" road encircling the city's commercial downtown dated back to the 1950s or earlier, the most influential plan for Baltimore's highway system, known as 3-A, was created in 1969 by the Design Concept Team.

The city established the team three years earlier in an effort to restart stalled highway building efforts. Anti-highway activists continued to fight the proposal through the 1980s leading the city to convert the proposed boulevard from a sunken highway to the at-grade route used today. In March 1980, the Sun reported on the experience of Emily Makauskas and her neighbors on the "stately 800 block Hollins Street" who fought to change the plans and "saved their block." The city planned to line the boulevard with "small parks, bicycle paths, brick sidewalks and trees" but an article in April noted that the improvements "may not placate some area homesteaders who are concerned about the road's affect on their neighborhoods."

In June 1982, as the road built by James Julian, Inc. neared completion, reporter Charles V. Flowers celebrated the new views of public and private housing developments visible from Harbor City Boulevard. Flowers explained that the area "once contained what were slums as depressing as any in Baltimore" but now "a walk along the boulevard should convince Baltimoreans that the city is upgrading itself in sections other than the Inner Harbor." William K. Hellman, the city's transportation coordinator, shared his satisfaction with the highway in November, remarking:

The boulevard is a collector and distributor road, and will do two things. It will move people in and out of downtown more efficiently and it will get traffic that need not be in the downtown area to go around it... it will be a perfect route for people going to the baseball games at Memorial Stadium. They won't have to go up Charles street until they're north of downtown.

The original name of Harbor City Boulevard was a submission to a contest sponsored by then Mayor William Donald Schaefer. Schaefer initially opposed efforts to rename the road after Martin Luther King, Jr. citing the cost of producing new signs. The renaming campaign ultimately won out thanks to the advocacy of state delegate Isaiah "Ike" Dixon, Jr. Dixon had first introduced similar legislation to rename the Jones Falls Expressway after King a full eleven years earlier. This successful effort was supported by city council member and civil rights activist Victorine Q. Adams who introduced the name change before the City Council. Over thirty years later, few drivers likely recall the divisions over the name and the highways are considered a fixture of the busy urban lanscape.

Related Resources

]]>
/items/show/648 <![CDATA[Saint James A.U.M.P. Church]]> 2018-11-27T10:33:58-05:00

Dublin Core

Title

Saint James A.U.M.P. Church

Subject

Religion

Creator

Gabrielle Clark

Curatescape Story Item Type Metadata

Subtitle

Towson's Second Oldest Church and the East Towson Black Community

Story

The origins of this two-story frame church on Jefferson Avenue began in 1861 when a group of Black Baltimore County residents established the Saint James African Union First Colored Methodist Protestant Church. Today, the church is known as the St. James African Union Methodist Protestant Church and the building has stood on this site for over a century. Saint James is the second-oldest church operating in Towson and the oldest of the area’s Black congregations.

The original church members lived in East Towson—a small settlement founded by Black men and women who were held in slavery on Hampton estate before their emancipation in Maryland in 1864. Before the community had a dedicated church for worship, they held services in the homes of congregation members James Garrett and Frank and Ida Scovens. On October 17, 1881, the church building opened and for twenty-five years members gathered for regular worship in a modest one-story building. In 1906, a growing membership led to the addition of a second story to the building.

Immediately to the right of the church building sits a 173-year-old church bell—a relic from a church originally located in Govans. Today, Govans is a neighborhood in north Baltimore City that initially developed as a crossroads on the York-town Turnpike (built in 1810 to connect Baltimore to York, Pennsylvania). Cast in 1845, the bell was donated to the Govans church in 1875. For some period, the bell was used not only to remind worshipers of services but also to notify residents about the departure of the trolley cars on York Road.

For the members of St. James Church, the bell is an iconic symbol of the church’s long history of 10:00 am services—led for over two decades by Reverend Joseph McManus. Rev. McManus presided over the church from 1961 to 1983. Every Sunday morning, he rang the bell twelve times in reference to the twelve tribes of Israel.

The church was temporarily renamed the St. James Methodist Community Church in the 1980s, but the church has since reverted to being called St. James A.U.M.P. Church. The building and congregation still holds services today under current Pastor Osborne Robinson, Jr.

Sponsor

Related Resources

Diggs, Louis S. Since the Beginning: African American Communities in Towson. Uptown Press, Inc., 2000.
E.H.T. Traceries. Maryland Inventory of Historic Properties Form. Crownsville, MD: Maryland Historical Trust, November 5, 2001.

Official Website

Street Address

415 Jefferson Avenue, Towson, MD 21286
]]>
/items/show/561 <![CDATA[Baltimore County Almshouse]]> 2018-11-27T10:33:56-05:00

Dublin Core

Title

Baltimore County Almshouse

Subject

Social Services

Creator

Kathleen Barry

Curatescape Story Item Type Metadata

Subtitle

A Landmark Preserved by the Historical Society of Baltimore County

Lede

The Baltimore County Almshouse officially opened in 1874 as a public home for the county's indigent, elderly, and infirm residents. Since its closure, the Almshouse has housed the Historical Society of Baltimore County (founded in 1959), and a variety of County government offices and other nonprofits.

Story

The Baltimore County Almshouse officially opened in 1874 as a public home for the county's indigent, elderly, and infirm residents. The Almshouse and its predecessors were the ancestors of today’s nursing homes, mental health hospitals, homeless shelters, and other social services and health care facilities. After Baltimore City and County separated in 1851, the County took over one of two original almshouses that had served Baltimore: Calverton, founded in 1819. The County sold the aging Calverton facility in the 1870s and built a new almshouse farther north. Originally called the Upland Home, the third and final almshouse is now known simply as "the Almshouse."

The project of building the Almshouse began in 1871 when County Commissioners purchased property in the village of Texas, Maryland, from Dr. John Galloway. Galloway also served as one of the Almshouse's early physicians. Builders Codling and Lishear, following designs by local architect James Harrison, used locally quarried limestone to erect the four-story edifice. In 1872, the Sun reported how the main home was "constructed of the best material and in the most substantial manner" and claimed the building would "be a credit to the county." After a total outlay of nearly $60,000, seventy-four "inmates," as residents were known, moved in on January 8, 1874.

Housing for inmates at the Almshouse was rigidly segregated by race and gender. The County built the "Pest House" (short for pestilence), a small structure down the hill from the main home, to quarantine residents with contagious diseases. Far more often, the Pest House served as segregated housing for African American men. In the main building, white men and women lived in the front wing (on separate floors) and African American women lived in the back wing. The Almshouse superintendent reserved the first floor for himself and his family, along with any resident physicians and other privileged employees.

The Almshouse property included a farm of well over 100 acres and able-bodied residents were expected to work as farmhands or within the home in cooking, sewing, laundry or childcare, to help provide for their own upkeep. While the farm was generally described as productive in various reports over the years, the County still spent thousands of dollars annually on items like coal, bread, beef, fertilizer, medicine and salaries. Records from the late nineteenth century show expenditures totaling $7,200 in 1869, $12,520 in 1883 and $11,345 in 1886, for example. Salary expenditures went mainly to the twelve superintendents who oversaw the Almshouse from 1874 to 1958, with varying degrees of success (at least according to accounts in the press, which sometimes carried a whiff of partisan bias). The last two superintendents, who served from 1907 to 1959, were father and son, John P. and William Chilcoat. On balance, the Chilcoats seemed to earn more praise than their predecessors for their care of residents and effective oversight of the farm. William Chilcoat, for instance, was credited with lobbying successfully to secure County funds in 1938 to add more meat and eggs and otherwise upgrade the residents' diet.

The vast majority of inmates are now only knowable through the basic details recorded in the Almshouse ledger books, held in the collections of the Historical Society of Baltimore County. The ledgers recorded residents' age, sex, race, and place of birth. Unsurprisingly, the impoverished Almshouse population included many African Americans and immigrants over the years. A 1946 census of the eighty-nine residents, for example, noted fifteen African Americans and fifteen foreign-born whites, mainly from Germany, Poland, Russia and Ireland. Most of the American-born residents in 1946 came from Maryland, but eighteen were natives of other US states. Some residents registered under partial or false names—a "Daniel Boone" entered on October 1, 1891, and the facility admitted a "Napolean Bonaparte" on June 12, 1899—reflecting the distressed circumstances that sent them to the Almshouse. Some unfortunates came to the Almshouse only in death, to be buried in unmarked graves in the potter’s field on the grounds.

We do know a bit more about some individuals. In 1943, the Towson Jeffersonian profiled Fannie Williams, a 104-year-old African American woman and the oldest occupant of the Almshouse. Williams had lived there for forty-one years, "earning her keep" by helping the superintendent’s wife with cleaning and, after she became wheelchair-bound, mending clothes for other residents. Before entering the Almshouse, Williams had worked as a domestic servant in Baltimore County homes. Other residents occasionally landed in the newspapers under more unfortunate circumstances, like Anthony Rose, an elderly white resident who fell down the Almshouse’s elevator shaft and died in 1909.

In the early decades, the facility had a persistent problem with overcrowding, especially during the cold winter months. From 1874 to 1914, more than 10,000 people passed through the Almshouse’s doors as “inmates,” committed to public care for reasons ranging from disabilities to dementia to diseases like measles and tuberculosis. Over time, however, public and private alternatives emerged for those who did not have families able or willing to house and care for them. The founding of the State Lunacy Commission in the early 1890s marked growing concern over the treatment of the mentally ill and disabled. Those considered "insane," who in an earlier era might have lived in an almshouse, were increasingly placed in "asylums." As retirement communities and nursing homes became more common over the twentieth century, the need for almshouses declined further. In 1958, Baltimore County officials closed the historic facility, citing costs.

Since its closure, the Almshouse has housed the Historical Society of Baltimore County (founded in 1959), and a variety of County government offices and other nonprofits. In 1980, the Almshouse was added to the County Landmarks List. Today, the Historical Society maintains its collections and offices, runs a research center for the public, and holds events in this historic structure. The surrounding community of Cockeysville enjoys the open spaces and greenery of the sprawling former grounds, now County Home Park.

Related Resources

Patrick Cutter, "When No One Else Cared: The Story of the Upland Home, the Third and Last Baltimore County Almshouse," History Trails, 44, n. 2 (Autumn 2013).
Richard Parsons, "The Almshouse Revisited," Parts I and II, History Trails, 21, nos. 2-3 (1987).
News clippings and other documents in "Almshouse: Cockeysville, General" and "Almshouse: Cockeysville, Inmates" subject files, Historical Society of Baltimore County Collection.
Maryland Historical Trust Inventory of Historic Properties: , Survey Number BA-73.

Official Website

Street Address

9811 Van Buren Lane, Cockeysville, MD 21030
]]>
/items/show/552 <![CDATA[Baltimore Manual Labor School]]> 2018-11-27T10:33:56-05:00

Dublin Core

Title

Baltimore Manual Labor School

Subject

Education

Creator

Tucker Foltz
Sarah Huston

Curatescape Story Item Type Metadata

Subtitle

A Free Boarding School for Indigent Boys

Lede

More than a century before UMBC situated itself on Hilltop Circle another educational institution formed here; its mission was to advance the reformation of a poor lot of "indigent boys" from Baltimore.

Story

The Baltimore Manual Labor School for indigent boys, also known as the Arbutus Farm School, was established in 1841. The school emerged from of a larger social movement developing in urban Victorian society at the time. Amidst the energetic fervor of the Second Great Awakening, white, middle-class Americans began actively participating in a reform movement to change the lives of the poor, inner-city population. Industrialization in the early nineteenth century brought extreme population growth to urban centers. In Baltimore, the population grew six fold between the years of 1820 and 1860. Specialized private and federal institutions formed to battle a rise in young people living in poverty. They began working to relocate children from what they saw as unpromising home environments to more positive atmospheres.

The school provided a, “Free Boarding School for indigent boys, mostly sons of poor widows who are unable to feed, clothe, and train their boys during the years that they should be acquiring an education, to enable each to attain a position of self support.” The School opened its doors in 1841 with fifteen “destitute and orphaned boy[s].” By 1843, the Baltimore Manual Labor School had taken into its care a total of forty-two children.

By applying the boys to a rigorous program centered primarily on physical labor, the school intended to mold the character of these young men, while at the same time supplying them with applicable work skills, effectively generating productive members of society. In 1893, directors of the Baltimore Manual Labor School wrote:

“the best occupation we can train our boys up to, is that of a farmer. It is perhaps almost the only calling which is not overcrowded, and the one most likely to produce an honorable and independent livelihood for the boys who have no capital, but health and energy.”

The types of farm work included tending to the orchards, vegetable gardens, green houses and livestock. The boys attended educational classes including writing, reading and math. They also attended the Catonsville Methodist Church on Sundays and engaged in daily religious exercises. However, education and religion took a backseat to manual labor which required of a six hour daily shift from each child, even for young boys. The school admitted boys as young as five.

In 1922, Spring Grove Hospital purchased the land following a devastating fire in 1916. The Stabler family owned the property and helped to run the school. Family patriarch Edmund Stabler held the position of superintendent from 1884 to 1904. Interestingly, the hospital used the farmland for a patient agricultural rehabilitation program. The state incorporated this and adjacent tracts of land in the early 1960’s in order to create UMBC. The Stabler home was used by Dr. Albin O. Kuhn, UMBC’s first Chancellor, during the construction of the campus and the Albin O. Kuhn Library now occupies the site where the home stood.

Street Address

University of Maryland, Baltimore County, 1000 Hilltop Circle, Baltimore, MD 21250
]]>
/items/show/544 <![CDATA[True Grit Statue]]> 2019-05-07T13:46:49-04:00

Dublin Core

Title

True Grit Statue

Subject

Education
Public Art and Monuments

Creator

Jen Wachtel
Sarah Huston

Curatescape Story Item Type Metadata

Subtitle

Nitty Gritty, the Chesapeake Bay Retriever in Bronze

Story

On a blustery winter day in December 1987, a small crowd of spectators gathered around the Field House at the University of Maryland, Baltimore County (UMBC). They had assembled for the unveiling of a life-size bronze sculpture of the young university’s mascot. The Retriever statue, aka the True Grit statue, currently located in the plaza in front of the Retriever Activities Center (RAC) continues to stand as a reminder of the student body’s pride in their university.

The Retriever was chosen as the school mascot in 1966 by the first class of UMBC. A competition was held and forty different suggestions were presented. After a university-wide vote, administrators selected the Chesapeake Bay Retriever, a dog breed native to Maryland, as the school’s official mascot. The Retriever has since gone on to become the name of the student newspaper, yearbook, and athletic teams.

In 1986, Alumna Paulette Raye, philosophy major and self-proclaimed dog-lover, was commissioned by UMBC administrators to construct a statue for the school’s 20th anniversary, based on the university’s beloved mascot. Raye took several studio art classes during her time at UMBC, even earning three credits towards her degree, for creating the life-size bronze model of the Retriever. Raye’s “conception was that the dog should represent the study body—alert, intelligent, eager to learn and friendly.” To capture this “alertness,” Raye designed a statue of True Grit that would stand upright and gaze straight ahead with his ears cocked.

Raye worked on the statue for almost two years, using a local five year old Chesapeake Bay Retriever named Nitty Gritty as her model. True Grit was the name of Nitty Gritty’s father, and in an interview with UMBC Magazine Raye recalled that she wasn’t exactly sure “why the mascot received that name [True Grit instead of Nitty Gritty]
 other than it sounded bold and strong—like the [school’s] team.” Nitty Gritty later had the honor of pulling a black cloth off the statue of himself at the statue’s inauguration.

During the unveiling ceremony on December 7, 1987, UMBC Chancellor Michael Hooker instituted a new tradition for the young university: rubbing True Grit’s nose for good luck. At the unveiling, Hooker remarked, “Tradition is exceedingly important. We used to be young [but] we are adults now. It is appropriate that we begin a new tradition.” Since its unveiling, the Retriever statue has remained a beloved campus landmark, often greeting students with a student newspaper in its mouth or bedecked with a cap and gown during graduation. Students continue to stop by during finals to rub True Grit’s nose, now discolored due to almost thirty years of UMBC students and faculty taking part in a campus-wide tradition.

Official Website

Street Address

University of Maryland, Baltimore County, 1000 Hilltop Circle, Baltimore, MD 21250
]]>
/items/show/540 <![CDATA[Zell Motor Car Company Showroom]]> 2018-11-27T10:33:56-05:00

Dublin Core

Title

Zell Motor Car Company Showroom

Subject

Architecture

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

A Stylish Dealership and Showroom on Mount Royal Avenue

Lede

The Zell Motor Car Company Showroom on East Mount Royal Avenue was built in 1909 and expanded in 1915. The design, by local architect Edward H. Glidden, remains a unique reminder of Baltimore’s early automotive history and the changing face of Mount Royal Avenue.

Story

The story of the Zell Motor Car Company starts in 1902 when Arthur Stanley Zell established the business—the first automobile distributor in Maryland started by one of the first people in Maryland to own a car. Before joining the automotive industry, Zell drove in early automobile races winning a number of records on the East Coast. As a member of the Baltimore Automobile Dealers’ Association, Zell helped to organize the first automobile show in Baltimore in 1906. He also served as a founding member of the Maryland Automobile Trade Association and, at his farm at Riverwood, he raised Guernsey cattle, Jersey Duroc hogs, and show dogs.

Plans for the firm’s modern showroom on Mount Royal Avenue first appeared in December 1908 when trade publication "The Automobile" reported that the Zell Motor Car Company had solicited plans for a three-story garage about 50 feet deep by 100 feet wide. The design boasted a large open fireplace (a new feature for showrooms borrowed from examples in Paris), a large electric elevator to carry cars between floors, and a special room for chauffeurs with a “telephone connection” to let owners “be in touch with their drivers at all times.” The structure, erected by the Baltimore Ferro Concrete Company, cost around $40,000 to build. The Baltimore Sun observed on December 22:

The rapid success of the Zell Motorcar Company in the sale of the Peerless and Chalmers-Detroit motorcars since its incorporation last August has compelled it to seek larger and permanent quarters, its present temporary location at 1010 Morton street being totally insufficient.

The building’s architect, 35-year-old Edward H. Glidden (1873-1924), brought the same tasteful design sensibility he applied to a growing number of apartment houses in the city’s growing northern suburbs: Earl Court (1903), the Winona (1903), the Rochambeau (1905; demolished 2006), the Washington (1905-6), the Marlborough (1906), and the Wentworth (1908). Not limited to apartments, the architect’s designs also included the National Marine Bank (1904) and the Seventh Baptist Church (1905) on North Avenue. Gildden’s later commissions, often with his partner Clyde Nelson Friz, included the Latrobe (1911; Glidden & Friz), the Esplanade (1911-12; Glidden & Friz), Calvert Court (1915), and Tudor Hall/Essex Arms (1910, with Friz; 1922), Furness House (1917), and the Forest Theater (1918-19). The French precedent for the grand fireplace at the Zell Motor Car Company showroom are likely based on Glidden’s studies in Paris around 1908 to 1912.

Zell hired Glidden again in early 1914 to expand and improve the showroom on Mount Royal Avenue, according to a February 9, 1914 mention in Industrial World noting that Gildden had “drawn up plans covering the same general design and character of building as their present one.” The business thrived as the local dealer for the Packard—an independent automaker based in Detroit that specialized in high-priced luxury automobiles. The Zell Motor Car Company also operated a service facility nearby (set back from North Avenue on Whitelock Street at Woodbrook Avenue) from around 1901 up until Packard stopped manufacturing automobiles in the late 1950s. The service facility is better known for the last few decades as the location of Greenwood Towing.

Dealerships and service stations on Mount Royal Avenue, Charles Street and North Avenue flourished in the 1920s, endured through the Great Depression in the 1930s and still continued after World War II. Nearby dealers to the Zell Motor Company included Backus Ford, Weiss Ford, Chesapeake Cadillac, and Oriole Pontiac. Unfortunately for the Zell Motor Car Company, whose founder had died in 1935, the end of Packard’s automobile production in 1956 marked the end of their operation. Like other landmarks on Mount Royal Avenue, such as the conversion of Mount Royal Station into studios for MICA in 1968, the automotive showroom turned into offices and remains in use today. In 2015, the sign above the building’s Mount Royal Avenue entrance reads “The Towne Building” and the structure is up for sale.

Street Address

11 E. Mount Royal Avenue, Baltimore, MD 21202
]]>
/items/show/500 <![CDATA[Druid Hill Park Pool No. 2]]> 2021-05-26T23:53:19-04:00

Dublin Core

Title

Druid Hill Park Pool No. 2

Subject

Parks and Landscapes

Curatescape Story Item Type Metadata

Subtitle

Memorial Pool Recalling Swimming during Segregation

Story

Built in 1921, Pool No. 2 in Druid Hill Park served the recreational and competitive swimming needs of over 100,000 Black residents Baltimore. Pool No. 2 measured just 100’ x 105’ (half the size of whites-only Pool No. 1), but proved so popular that the swimmers had to be admitted in shifts. In 1953, a young Black boy swimming with friends in the Patapsco River accidentally drowned. The tragedy revealed the difficult circumstances for many Black residents looking for a place to swim in Baltimore. The boy lived near Clifton Park but swam in a dangerous river due to his exclusion from the park’s whites-only pool. In response, the NAACP started a new push to make all of Baltimore's municipal pools open to all races. When the City Parks Board refused to desegregate, the NAACP filed a lawsuit and eventually won on appeal.

On June 23, 1956, at the start of the summer season, Baltimore pools opened as desegregated facilities for the first time. Over 100 African Americans tested the waters in previously white-only Pool No. 1 but only a single white person swam in Pool. No. 2.

Pool No. 2 closed the next year and remained largely abandoned up until 1999. That year, Baltimore artist Joyce J. Scott won a commission to turn Pool No. 2 into a memorial. In creating her installation, Scott asked herself, “How do we make this area useful and beautiful, and harken back to the pool era?” The results combined architectural elements and aquatic symbolism with abstract, colorful painted designs on the pavement around the pool. The designs and interpretive signage have weathered in the years since but Pool No. 2 remained an important destination to explore the Civil Rights history of Druid Hill Park and Baltimore's pools.

Watch our on this site!

Related Resources

Graham Coreil-Allen, January 8, 2014. What Weekly.

Official Website

Street Address

Druid Hill Park, Shop Road and Commissary Road, Baltimore, MD 21217
]]>
/items/show/492 <![CDATA[Pimlico Race Course]]> 2018-12-18T13:20:33-05:00

Dublin Core

Title

Pimlico Race Course

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Subtitle

Home of The Preakness

Story

Alfred G. Vanderbilt once said of Pimlico that it is “more than a dirt track bounded by four streets. It is an accepted American institution, devoted to the best interests of a great sport, graced by time, respected for its honorable past.”

Opened in 1870, Pimlico Racetrack is also Baltimore through and through. Engineered by General John Ellicott for the Maryland Jockey Club, the track was built after Governor Oden Bowie out-bid the rival Saratoga, New York racing club to host a special race by pledging to build a model track in Baltimore.

The track has been going strong ever since, even surviving an anti-gambling movement in 1910 when Congress carved out Maryland and Kentucky from a national prohibition on horse racing.

Although a devastating fire destroyed the old clubhouse in 1966, the seven furlong track, stables for a thousand horses, and even the new grandstands at Pimlico today still hold loads of Baltimore history and stories.

Official Website

Street Address

5201 Park Heights Avenue, Baltimore, MD 21215
]]>
/items/show/403 <![CDATA[Hochschild Kohn Warehouse at 520 Park Avenue]]> 2018-11-27T10:33:54-05:00

Dublin Core

Title

Hochschild Kohn Warehouse at 520 Park Avenue

Subject

Architecture

Curatescape Story Item Type Metadata

Story

In 1942, after taking a powerful loss during the early years of the Great Depression, the Hochschild Kohn & Co. Department Store was finally ready to expand. An anchor for this planned growth was their brand-new warehouse at 520 Park Avenue that housed all of the sundry items that the department store offered.

Founded in 1897 by Max Hochschild and brothers Benno and Louis Kohn, Hochschild Kohn was the first of Baltimore’s big department stores to expand beyond the downtown shopping district of Howard and Lexington Streets. The company established its first suburban store in Edmondson Village (1947), then another on York Road and E. Belvedere Avenue (1948). It eventually had stores in Towson, Harford Mall, and beyond.

The warehouse on Park Avenue is a massive building of reinforced concrete. More impressive than the building’s size is that it got built at all. In 1942, the United States had just entered World War II and the federal government strictly rationed building materials, including the concrete and steel the building needed. Company records indicate that it took vice president Walter Sondheim (who went on to lead the integration of Baltimore’s school system after Brown v. Board of Education in 1954 among many other civic contributions) pleading with the U.S. War Department that the building justified an allocation of construction materials as it would serve as a distribution center. Sondheim’s persuasion worked, and the building opened and operated as a warehouse and furniture showroom until 1983.

In 1983, the Bank of Baltimore purchased the building and converted it into offices. In 2014, the building underwent another conversion when Marks, Thomas Architects, Kinsley Construction, and The Time Group transformed the building into 171 apartment units with commercial space on the ground floor.

Today, the one-time furniture showroom and department store warehouse that defied war time rationing is now a hub of activity at the edge of the Mount Vernon neighborhood.

Related Resources

Official Website

Street Address

520 Park Avenue, Baltimore, MD 21201
]]>
/items/show/389 <![CDATA[Baltimore Museum of Industry]]> 2020-10-14T17:02:05-04:00

Dublin Core

Title

Baltimore Museum of Industry

Subject

Museums
Industry

Curatescape Story Item Type Metadata

Story

In the late 1970s, Mayor William Donald Schaefer proposed the creation of a museum to tell the story of Baltimore industry across two centuries of American history. Even before they the new museum found a building, Baltimore City officials organized an exhibit at the Baltimore Convention Center, and put up a display about the museum-to-be during the Baltimore City Fair. Roger B. White, a young city employee hired under the Comprehensive Employment Training Act, led the search to find an appropriate location, acquire collections, and recruit private donors. White found a Platt & Company oyster cannery building on the 1400 block of Key Highway and began the process of turning the old factory into a museum. Once one of eighty canneries operating around Baltimore’s harbor, Platt & Company on Key Highway was one of the last canneries left. The museum developed exhibits on three major periods of Baltimore’s industrial growth: 1790-1830, 1870-1900, and 1920 up through the 1970s. White acquired equipment from the American Brewery and furnishings from the local Read’s Drug Store chain. In November 1981, after years of preparation, the doors opened to the public at the renovated oyster cannery reborn as the Baltimore Museum of Industry. By December, Baltimore City had awarded the museum $25,000 to pay for the cost of school field trips and, in 1984, the city decided to purchase the site. The museum originally leased the building for around $25,000 a year but, after the property sold to Baltimore City, the rent climbed to $85,000. The museum organized a corporate membership drive in order to cover the rising rent. At the same time, the museum sought to triple the amount of space in the facility while adding a pier and waterfront improvements. In 1996, with only half of the renovation complete, Alonzo Decker Jr., former Black & Decker chief executive, donated $1 million to the fund. With this single donation, the museum surpassed its' $3.5 million goal and finished the renovation. For his gift, the Museum inscribed Decker’s name on the wall of the main gallery. Today, the museum thrives as an immersive experience of permanent and temporary exhibits that detail and demonstrate the industrial history of Baltimore. The exhibits include machinery from a cannery, garment loft, machine shop, pharmacy and print shop and the collections include around a million artifacts. With a pier and waterfront area, the museum often hosts weddings and corporate events as well.

Watch our on this museum!

Official Website

Street Address

1415 Key Highway, Baltimore, MD 21230
]]>
/items/show/349 <![CDATA[Stieff Silver Building]]> 2021-02-22T09:36:18-05:00

Dublin Core

Title

Stieff Silver Building

Subject

Industry

Creator

Auni Gelles

Curatescape Story Item Type Metadata

Story

For more than 85 years, the large sign atop the Stieff Silver Building has spelled out the name of a company once synonymous with Baltimore. The movement of the Stieff Company from downtown to the bucolic neighborhood of Hampden mirrored the changes that Baltimore and many other cities experienced during the twentieth century. The Kirk-Stieff Company was the oldest silversmith firm in the country when the factory closed its doors in 1999, marking the end of a tradition that had flourished in Baltimore since the early nineteenth century. Entrepreneur Charles Clinton Stieff founded the company in 1892 at 110 W. Fayette Street. After several name changes, the Stieff Company became a major player in the silver manufacturing business. In 1894, Stieff opened a showroom at 17 N. Liberty Street near the Howard Street shopping district, which turned Stieff into a familiar name for generations of Baltimoreans. Watch our Five Minute Histories video on this site! Charles C. Stieff’s son Gideon took over in 1914 around the same time automobiles were changing the pace of city life. A few years later, a trip to Druid Hill Park would forever change the face of Stieff Silver. Gideon and his future wife Claire were enjoying an outing at the park when she pointed out a plot of land that she thought would suit the company’s plans for a new factory. They were looking at the mill village of Hampden, just across the Jones Falls from the park. Although the city annexed this community in 1888, it still remained relatively isolated well into the twentieth century. This sylvan streetcar suburb attracted the Stieffs, who marketed the new building’s “out-of-the-congested district” location with unlimited parking to appeal to shoppers in the mid-twentieth century. The Stieff Company purchased the land from Mount Vernon Mill in 1922 and broke ground on the project in 1924. Production began at the Hampden location in 1925 and was so successful, the company decided to double the size of the factory in 1929. They might have reconsidered the addition had they been able to predict the Great Depression, but the company managed to hang on during the difficult economic times of the 1930s. A degree of stability was established in 1939 when Stieff signed a contract to reproduce silver for Colonial Williamsburg. During World War II, when the federal government took control of the nation’s silver supply, the company made surgical equipment and aluminum ice trays to remain solvent. They began working with pewter in the 1950s, which quickly became the majority of their business. Demand for silver and pewter was high in the postwar period when the company opened a retail store on the 200 block of N. Howard Street and, in 1970, built a large addition to the Hampden factory. They purchased S. Kirk and Son, another Baltimore silversmith firm that had been in the business since 1815, and assumed the name Kirk-Stieff in 1979. The company, like many other industries in Baltimore and across the U.S., faced serious challenges in the 1980s and 1990s. The Howard Street showroom closed in 1981, adding yet another vacant storefront to the once bustling commercial center. The Kirk-Stieff Company ceased operations in January 1999. Local developers Struever Bros. Eccles & Rouse bought the building for $1.5 million in 2000. After investing $13.2 million to renovate the interior into office space, several nonprofit groups moved to the Wyman Park Drive location in 2002. Although its occupants have changed, the large electric sign atop the Stieff Silver Building remains an icon for many Baltimoreans.

Watch on this site!

Street Address

810 Wyman Park Drive, Baltimore, MD 21211
]]>
/items/show/324 <![CDATA[Baltimore & Ohio Warehouse at Camden Yards]]> 2018-11-27T10:33:53-05:00

Dublin Core

Title

Baltimore & Ohio Warehouse at Camden Yards

Subject

Sports
Industry

Curatescape Story Item Type Metadata

Story

The iconic Baltimore & Ohio Warehouse at Camden Yards is an icon of Baltimore's industrial heritage and a unique example of creativity in historic preservation and adaptive reuse. Construction on the warehouse started in 1899. Architect E. Francis Baldwin likely served as the architect having designed warehouses for the B&O at Locust Point in 1879-80 and at Henderson's Wharf in Fell's Point in 1898. When a five-story addition was completed next to Camden Station in 1905, the narrow fifty-one-foot wide warehouse squeezed into the busy railyard by stretching four full blocks along South Eutaw Street. The company boasted that the facility could hold one thousand carloads of freight at once.

The warehouse remained in use through the 1960s but was largely abandoned by the 1970s, in favor of new single-story facilities. By the 1980s, the structure was threatened with demolition to make way for a new stadium. 91ÊÓÆ” and Maryland State Senator Jack Lapides led an effort to fight for the preservation of the warehouse and the rehabilitation of Camden Station. Leadership from the Maryland Stadium Authority responded and, with support from the Baltimore Orioles, architects Helmuth, Obata & Kassabaum and RTKL Associates transformed the vacant warehouse into the star attraction of the new stadium complex.

Oriole Park at Camden Yards opened on April 6, 1992 and the ballpark has remained a much-loved landmark ever since. The warehouse is now home to team offices and a private club for the Orioles. In 1993, the building even caught a long ball—a 445-foot shot by Ken Griffey, Jr. on July 12, 1993 during the 1993 All Star Game Home Run Derby—marked with a small bronze plaque matched by those on Eutaw Street for the occasions when a player has hit a ball out of the park.

Factoid

Play ball! Did you know Oriole Park at Camden Yards opened on April 6, 1992?

Official Website

Street Address

333 W. Camden Street, Baltimore, MD 21201
]]>
/items/show/323 <![CDATA[14 West Hamilton Street Club]]> 2020-05-20T12:21:00-04:00

Dublin Core

Title

14 West Hamilton Street Club

Creator

Robert J. Brugger

Curatescape Story Item Type Metadata

Story

The 14 West Hamilton Street Club, a group of Baltimoreans who enjoy good company, lively conversation, and decent meals, formed in 1925. Young Princeton graduates in the city, eager to continue the traditions of the campus eating club, and several additional members of the venerable Baltimore Club who enjoyed special events with speakers joined forces that year and obtained quarters on this narrow old thoroughfare, which runs for just a few blocks east and west, above Franklin Street and south of Centre, a short distance from Mount Vernon Place. The club grew slowly but confidently. It kept few records and still prides itself on having no officers and as few rules as possible. First occupying a carriage house at 9 West Hamilton Street, then a townhouse at no. 16, the club in 1936 purchased no. 14—the center building of a set of five designed and built by Robert Cary Long, Sr., probably before 1820—and has been there ever since.

The club continues, as originally it did, to draw members from journalism, architecture, medicine, the law, the arts, and scholarship. Founding and early members included, as examples, a juvenile court judge and head of Baltimore social services, Thomas J. S. Waxter; Dr. I. Ridgeway Trimble, a Baltimore native and Johns Hopkins Medical School graduate; the Haverford College star athlete and Harvard-trained member of the Baltimore bar, James Carey III; D. K. Este Fisher, a prominent Baltimore architect; former judge of the Maryland Court of Appeals William L. Henderson; a Cornell University graduate and physician, William F. Rienhoff Jr.; Hamilton Owens, editor of the Evening Sun; the Pulitzer-Prize-winning Sun cartoonist Edmund Duffy and other newspaper editors and writers, among them John W. Owens, Gerald W. Johnson, Frederic C. Nelson, Louis Azrael, William Manchester, and Robin Harriss; the Johns Hopkins research scientist and amateur musician Raymond Pearl; a Peabody concert pianist, Frank Bibb; George Boas, a distinguished Johns Hopkins University philosopher; Sidney Painter, renowned Johns Hopkins medievalist; a University of Maryland Law School dean, Robert H. Freeman; the writer/historian Hulbert Footner; Wilbur H. Hunter, director of the Peale Museum; John Dos Passos and Ogden Nash; and a succession of heads of the Johns Hopkins Medical School—Lewis Weed, Alan M. Chesney, Thomas B. Turner (who celebrated his one-hundredth birthday at the club in 2002), and Philip Bard. Gilbert Chinard, a student of French history and culture at Johns Hopkins, expounded on the delights of French cooking before taking a faculty position at Princeton. The editorial page editor and food critic at the Sunpapers, Philip M. Wagner, established Boordy Vineyards, the first successful vineyard in modern-day Maryland. William W. Woollcott, a free spirit and wit who worked for the family chemical company, once observed, "Here I am, the only businessman in the club, surrounded by parasites." In all, members have shared intellectual curiosity, irreverence, and a devotion to those fine things that deans of liberal arts colleges remind us to cherish—truth, justice, and beauty.

At mid-twentieth century, a Sunpapers columnist and early club member, Francis F. Beirne, published a volume entitled The Amiable Baltimoreans, in which he sketched a portrait of the club. Early in World War II, he reported, a member had explained to a guest that, at Hamilton Street, anyone was entitled to say anything he wanted and talk for as long as he wished, although no one had to listen. The visitor, Lord Lothian, announced that he knew of such a place at home—the House of Lords.

H. H. Walker Lewis, lawyer and anointed club scribe, wrote a delightful history of the club on its fiftieth anniversary in 1975. Not long afterward the club departed long practice and admitted women. To capture the story of that decision and the searching it inspired, Bradford McE. Jacobs, an Evening Sun editorial page editor, contributed a mock-heroic codicil to Walker’s history entitled "A Chronicle of a Certain Episode Which Occurred at Fourteen West Hamilton Street."

Official Website

Street Address

14 W. Hamilton Street, Baltimore, MD 21201
]]>
/items/show/184 <![CDATA[Watson Monument]]>
Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.]]>
2019-05-07T13:46:14-04:00

Dublin Core

Title

Watson Monument

Subject

Public Art and Monuments

Description

On an auspicious afternoon in late September 1903, a crowd of Baltimoreans converged onto the intersection of Mount Royal Avenue and Lanvale Street to witness the unveiling of the William H. Watson monument. The monument, erected by the Maryland Association of Veterans of the Mexican War, honored Marylanders who lost their lives during the U.S.-Mexican War.

Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.

Creator

Richard Hardesty
David Patrick McKenzie

Relation

, Richard Hardesty and David Patrick McKenzie, underberlly, January 24, 2013

Curatescape Story Item Type Metadata

Subtitle

Erected by the Maryland Association of Veterans of the Mexican War

Story

On an auspicious afternoon in late September 1903, a crowd of Baltimoreans converged onto the intersection of Mount Royal Avenue and Lanvale Street to witness the unveiling of the William H. Watson monument. The monument, erected by the Maryland Association of Veterans of the Mexican War, honored Marylanders who lost their lives during the U.S.-Mexican War.

Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.

Related Resources

, Richard Hardesty and David Patrick McKenzie, underberlly, January 24, 2013

Street Address

W. North Avenue, Baltimore, MD 21217
]]>
/items/show/182 <![CDATA[Druid Lake]]> 2019-03-15T13:32:12-04:00

Dublin Core

Title

Druid Lake

Subject

Parks and Landscapes

Creator

Eben Dennis

Curatescape Story Item Type Metadata

Story

In 1863, the Baltimore City Council approved a $300,000 loan to construct a billion gallon capacity reservoir in the newly established Druid Hill Park. Though the new city waterworks project from Lake Roland to the Mount Royal Reservoir on the Jones Falls had just been completed, it had become apparent that the city’s water problems were far from solved.

Having an abundance of natural springs and deep ravines, Druid Park seemed to be the perfect site for a new reservoir. In addition to providing suitable drinking water, this reservoir was also meant to enhance the beauty of the newly created park, accompanying its ancient oak trees bearing noble names such as “The Sentinel,” “King of the Forrest,” and “Tent Oak.”

A deep ravine formed by a stream that traveled southeast from the boat lake toward the Jones Falls was selected as the site for the new reservoir. Civil engineer Robert Martin developed plans and constructed a giant wall of mud that became the largest earthen dam in America (at that time). Steam excavators were used for the first time in the city to move 500,000 cubic yards of earth. The dam itself consisted of a water tight clay core, or puddle wall, surrounded by steep banks of soil, and was supported by a stone wall laid in cement running the entire length of the dam. Earthen banks were laid in thin layers and pressed by horse drawn rollers.

When completed in 1871, the dam supported a reservoir that covered 55 acres, reached a depth of 94 feet (averaging 30 feet), and sat at an elevation 217 feet above mid-tide. Towering over the surrounding park at a height of 119 feet, the dam was 750 feet long, with a width of 600 feet at the base tapering up to 60 feet at the top.

The resulting body of water had been known during the first half of its construction as Lake Chapman, after Unionist Mayor and head of the Water Board at the time, John Lee Chapman (1811-1880). Since much of Chapman’s tenure as mayor was characterized by the bitter partisan feuding of the Civil War period, it came as little surprise when his Democratic successor, Robert T. Banks (1822-1901), and the City Council voted unanimously to change the name to Druid Lake just four months after he left office in early 1868.

Over 140 years later the dam still holds strong, and in 1971 it was named a National Historic Civil Engineering landmark by the American Society of Civil Engineers.

Related Resources

 underbelly, Eben Dennis

Official Website

Street Address

3001 East Drive, Baltimore, MD 21217
]]>
/items/show/173 <![CDATA[Perry Hall Mansion]]> 2018-11-27T10:33:51-05:00

Dublin Core

Title

Perry Hall Mansion

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Erected high on a hill above the Gunpowder River Valley, Perry Hall Mansion dominated life in northeastern Baltimore County in the late eighteenth and early nineteenth centuries. Built in the 1770s by Harry Dorsey Gough, Perry Hall was named after the family castle near Birmingham England. The sixteen-room home, the seat of a vast plantation, soon became one of the leading houses in colonial Maryland. The mansion, considered a “sister” house to near by Hampton Mansion, turned from a house of raucous parties to a place of more reserved pleasure as Gough and his wife, Prudence, became ardent supporters of the early Methodist movement that had strong roots in Maryland.

Gough became a distinguished planter, a member of Maryland’s House of Delegates, and on the board of one of Maryland’s first orphanages. After Gough’s death in 1808, the mansion remained in the family for nearly fifty years. It was sold to a group of investors in 1852 that carved the plantation into lots for houses, many of which went to German immigrants. By 2001, the estate had dwindled to four acres and the house was sold to Baltimore County for use as a museum and community center. The County completed the first stage of restoration in 2004, and exterior restoration won an award from the Preservation Alliance of Baltimore County as an “outstanding public project.” The Friends are continuing with the restoration of this stately home.

Related Resources

, Sean Kief, Jeffrey Smith, February 18, 2013.

Official Website

Street Address

3930 Perry Hall Road, Perry Hall, MD 21128
]]>
/items/show/167 <![CDATA[Orchard Street Church]]> 2020-10-21T10:19:55-04:00

Dublin Core

Title

Orchard Street Church

Subject

Religion
Slavery

Creator

David Armenti

Curatescape Story Item Type Metadata

Story

Constructed in 1882, the Orchard Street United Methodist Church is one of the oldest standing structures built by a Black congregation in Baltimore. The church was established by Trueman Pratt, a free Black man who was born into slavery in Anne Arundel County, came to Baltimore, and began organizing prayer meetings at his home on Pierce Street in 1825. According to some sources, Pratt was originally held by General John Eager Howard and sold several times before he purchased his own freedom. The church formally organized in 1837 and, in 1839, Trueman, together with fellow free blacks Cyrus Moore and Basil Hall, leased the grounds at the corner of Orchard Street and what was then called Elder Alley and the church appeared as "Orchard Chapel," in a 1842 Baltimore business directory. The congregation paid $80.50 annually to Kirkpatrick Ewing, a Pennsylvanian who owned the property. The first building went up in 1838 followed by additions in 1853 and 1865 to accommodate a growing congregation. After the end of the Civil War, a great number of recently emancipated Black Marylanders from rural counties on the Eastern Shore and Southern Maryland moved to Baltimore and many lived in the area around the church. One such individual was the Reverend Samuel Green, a Dorchester County native, who had been imprisoned five years in the state penitentiary for possessing the novel Uncle Tom's Cabin. Green moved to Baltimore in the early 1870s in order to work for the burgeoning Centenary Biblical Institute (now Morgan State University) and worshipped at Orchard Street until his death in 1877. By the time founder Trueman Pratt died in 1877—allegedly reaching over one hundred years of age—the congregation had clearly outgrown their building and began making plans to build a new church. In 1882, a Baltimore architect named Frank E. Davis was tasked with constructing the new facility on the same location. The church, renamed the Metropolitan Methodist Episcopal Church, was finished that December at an approximate cost of $27,000. Thousands of Baltimoreans came out for the laying of the corner-stone, including numerous prominent ministers from the region. A contemporary newspaper account refered to the finished building as the "foremost colored house of worship in the state." The church developed into an important civic institution for the African American community, often hosting conferences related to politics and education. The Colored Maryland Literary Union, the Washington Methodist Episcopal Conference, and reunions of United States Colored Troops met at Orchard Street over the years. Teddy Roosevelt even took to the pulpit in advance of the 1912 election in order to warn black voters against accepting bribes by "unscrupulous white men." The church remained in operation until the congregation relocated in 1972. Unfortunately, within a year, a fire and recurring vandalism nearly led to the structure being demolished by the city. Recognizing its historical significance, community groups mobilized to save the church. Several preservation organizations, including the Maryland Commission on Negro History and Culture, sought to document its story. Local historians succeed in listing the building on the National Register of Historic places in 1975. During the research process no evidence was recovered to support rumors of Underground Railroad activity, though church members may well have participated in that movement. Efforts to restore the church and establish a museum of black history in the state repeatedly stalled throughout the next 15 years. Orchard Street finally received the necessary backing when the Baltimore Urban League decided to move its offices there in 1992. The organization funded much of the restoration, which has returned the aged structure to its former grandeur.

Watch on this church!

Official Website

Street Address

512 Orchard Street, Baltimore, MD 21201
]]>
/items/show/124 <![CDATA[Davidge Hall]]> 2020-10-16T14:39:43-04:00

Dublin Core

Title

Davidge Hall

Subject

Medicine

Creator

Theresa Donnelly

Curatescape Story Item Type Metadata

Subtitle

The Maryland School of Medicine

Story

Davidge Hall, on the University of Maryland Medical School Campus, is the oldest medical facility building in the nation. The red brick structure is named after the school's founder and first dean, John Beale Davidge. It was designed by architect Robert Carey Long, Sr. Constructed in 1812 on land purchased from Revolutionary War Hero John Eager Howard, the building was near the western edge of the growing city of Baltimore and offered medical students and teachers an excellent view of the harbor. In 1814, observers reportedly witnessed from the building's white-columned porch the "bombs bursting in air" during the British attack of Fort McHenry. Although large by early nineteenth century standards, this beautifully restored Classical Revival style building was by no means luxuriously outfitted. Heated by gas stoves close to the ceiling, Davidge Hall was cold, dark, and dank in the winter, frequently filled with noxious odors from the primitive embalming that took place in the anatomy lab and reeked of fumes from chemical experiments performed in the lower lecture hall. Though the practice of medicine has changed and improved over the years and the building has been updated, Davidge Hall has retained many original details and remains an iconic part of the medical school campus. Astoundingly, all of the nearly 20,000 students educated by the University of Maryland School of Medicine to date have passed through this exquisite building's doors. In 1974, Davidge Hall was placed on the National Register of Historic Places, and in 1997, the U.S. Department of the Interior named the building a National Historic Landmark. The building is currently used for special events and houses a collection of medical artifacts, including paintings, antique medical instruments, and a mummified human.

Watch our on this building!

Official Website

Street Address

522 W. Lombard Street, Baltimore, MD 21201
]]>
/items/show/109 <![CDATA[A.S. Abell Building]]> 2020-10-16T13:09:31-04:00

Dublin Core

Title

A.S. Abell Building

Subject

Architecture
Industry

Creator

Tarin Rudloff
Theresa Donnelly

Curatescape Story Item Type Metadata

Story

Erected in 1879 as an investment property for Arunah Shepherdson Abell, founder of The Baltimore Sun, the Abell Building was designed by famed Baltimore architect George Frederick—architect for Baltimore's City Hall, Hollins Market, and the Old Baltimore City College. Abell spared no expense in constructing the cast-iron framed, masonry façade building and worked to ensure that tenants included multiple, prominent businesses. Though the building quickly became known for its lavish construction, its ornate exterior belied the hard reality that workers within its walls faced. The corner of West Baltimore and Eutaw Streets made an ideal location for local industry along a main streetcar line, just a few blocks from a B&O Railroad station and close to the Baltimore harbor. The grandeur of the building's construction, its two hydraulic elevators, and its imposing size invited immediate recognition and praise in local and national publications. In late nineteenth century Baltimore, as across the country, most skilled professions had declined as craftsmen were replaced by machines that could produce more goods more quickly. Wages for the masses of largely immigrant, unskilled workers who came to cities like Baltimore seeking work in industries remained low and working conditions were unregulated and woefully unsafe. One of the industries that attracted thousands of workers to Baltimore was the clothing or needle trade. In the years following the Civil War, demand for ready-to-wear garments skyrocketed and Baltimore's garment district boomed in response. Strouse Brothers, one of Baltimore's largest clothing manufacturers operated out of this building in the late nineteenth century and was a prominent player in Baltimore's growing needle trade. Strouse ran what was then called an "inside shop"—a multistory factory outfitted with new machines and the latest in manufacturing technology—where workers (largely women) worked long hours to keep the factory's machines running, often earning barely enough to survive. While larger clothing manufacturers escaped the criticism directed to sweatshops by local reformers, producers like Strouse, even when unionized (the United Garment Workers organized in Baltimore in the 1890s), often sent piecework out to sweated workers in small shops or set up their own small, outside sweatshops to avoid paying higher wages or complying with worker demands for better conditions and shorter hours. When the clothing industry slumped after WWI, many of the gains achieved by Baltimore's garment unions eroded as the pursuit of ever-shrinking profits led many manufacturers to once again increase their reliance on sweatshops. Despite the fact that union strikes eventually brought new gains, Baltimore's once thriving garment trade was in sharp decline by the 1930s. Though there are still a small number of women sewing coats and uniforms in various downtown clothing shops, Baltimore's days as a center of ready-to-wear garment production are long gone. Luckily, this handsome brick building weathered the decline of the garment industry and years of neglect. PMC property group acquired the building in 2005 and it now houses well-appointed apartments that feature high ceilings, large windows, and a bit of Baltimore history.

Watch our on this building!

Official Website

Street Address

1 S. Eutaw Street, Baltimore, MD 21201
]]>
/items/show/108 <![CDATA[Stewart's]]> 2018-11-27T10:33:50-05:00

Dublin Core

Title

Stewart's

Subject

Architecture
Commerce

Creator

Theresa Donnelly

Curatescape Story Item Type Metadata

Story

When Samuel Posner moved his successful dry goods business to the corner of Lexington and Howard, architect Charles E. Cassell's gorgeous and ornate white Renaissance Revival building—complete with roaring lions and majestic wreaths and fluted columns—made a grand addition to the growing row of department store "palaces" on Howard Street in 1899.

The building played a prominent role in Baltimore's turn-of-the-century transition from smaller, specialized retailers to large, purpose-built department stores. Like many department stores across the country, Stewart's strove to provide a wide range of high quality goods to America's rising middle class and lured customers with its open layout, enticing displays, large plate glass windows, and by being, among other things, the first Howard Street store to install air conditioning in 1931.

Though the Stewart's name, etched in block letters at the building's crest, is still visible today, the store's ownership history is a bit less permanent. Within little over a year of the store's opening, The Baltimore Sun reported that Samuel Posner had sold the business to Louis Stewart and the Associated Merchants' Company (AMC), most likely as a result of financial difficulties resulting from high construction costs. Louis Stewart's turn at the helm of store was brief, too: in 1916 Stewart's was absorbed into a new firm, the Associated Dry Goods corporation (ADG), which consolidated several major U.S. retailing chains, including Lord & Taylor and J. McCreery's.

Many Baltimoreans have fond memories of shopping at Stewarts and recall making day-long excursions to the store. Stewart's, according to local columnist, Jacques Kelly, had "...an excellent men's furnishing department – ties and sweaters" and a wonderful selection of "... china and silver" and "yard good (dressmaking materials)." A high-class store with an elegant interior, Stewart's boasted two restaurants—the Georgian Tea Room and Cook Works—both popular with shoppers, as were the delicious vanilla marshmallow treats sold at the store's candy counter.

Stewart's opened their first suburban outlet on York Road in Towson in 1953 and several other suburban stores shortly thereafter. When the flagship store at Howard and Lexington closed in 1979, Stewart's held a week-long closing sale that brought in thousands of bargain-hungry shoppers. Stewart's was listed on the National Register of Historic Places in 1999 and in 2007 Catholic Relief Services opened their offices in the first floor of the building.

Official Website

Street Address

226-232 W. Lexington Street, Baltimore, MD 21201
]]>
/items/show/105 <![CDATA[Francis Scott Key Monument]]> 2022-07-27T09:35:32-04:00

Dublin Core

Title

Francis Scott Key Monument

Subject

War of 1812
Public Art and Monuments

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

The Key Monument on Eutaw Place is a grand reminder of how Baltimoreans have kept the memory of the Battle of Baltimore and the War of 1812 alive over two hundred years. Francis Scott Key was a Maryland lawyer and slaveholder who was on board the British vessel HMS Tonnant during the evening of September 13 and morning September 14, 1814, as part of a delegation to try to negotiate the release of prisoners. Key was stuck on board the British vessel to helplessly watch as the British Navy shelled Fort McHenry and Baltimore throughout the night.

At dawn, Key saw the Stars and Stripes still flying over the fort. That morning, the unsuccessful British allowed Key to return to shore, and on the return trip, he wrote a poem describing his experience the night before. The poem was quickly published in two Baltimore papers on September 20, 1814, and days later the owner of a Baltimore music store, Thomas Carr of the Carr Music Store, put the words and music together in print under the title "The Star-Spangled Banner."

Before his death in 1907, Baltimore resident Charles Marburg gave $25,000 to his brother Theodore to commission a monument to his favorite poet, Francis Scott Key. Theodore selected French sculptor Marius Jean Antonin Mercie known for monumental sculptures of Robert E. Lee (1890) in Richmond, Virginia, and General Lafayette (1891) in the District of Columbia. The Key Monument was added to Eutaw Place in 1911.

The monument was restored in 1999 after a multi-year fundraising campaign by local residents. In September 2017, the monument was spray painted with the words "Racist Anthem" and splashed with red paint to highlight Key's legacy as a slaveholder. The city quickly restored the monument.

Street Address

W. Lanvale Street and Eutaw Place, Baltimore, MD 21217
]]>
/items/show/94 <![CDATA[Baltimore Bargain House]]> 2020-10-16T11:53:51-04:00

Dublin Core

Title

Baltimore Bargain House

Subject

Commerce

Creator

Johanna Schein
Theresa Donnelly

Curatescape Story Item Type Metadata

Subtitle

Wholesale History at the Nancy S. Grasmick Building

Story

One of the largest businesses on the West Side in the early twentieth century the Baltimore Bargain House—a mail-order wholesale business that employed over a thousand people and earned profits in the millions that grew to become the fourth largest wholesalers in the county. Driven by the devotion of Jewish Lithuanian immigrant Jacob Epstein, the Baltimore Bargain House became a hub for Southern Jewish merchants and a local business community. When firm's grand showroom at West Baltimore and North Liberty Streets opened in 1911, a crowd of 500 local businessmen, the Mayor of Baltimore, and the Governor of Maryland all attended the dedication. After spending years himself as an itinerant peddler, traveling throughout Western Maryland, West Virginia, and Pennsylvania, Jacob Epstein first opened a small wholesale store in Baltimore in 1881. Epstein focused his attention on the American South, working specifically with Jewish peddlers and merchants. In the early 1900s, Epstein treated hundreds of merchants to annual visits to Baltimore to restock and view new merchandise. Arriving from North Carolina, Tennessee, and across the South, these merchants helped grow a successful and extensive business in Baltimore. Between 1881 and 1929 the Baltimore Bargain House was one of the most significant businesses in Baltimore, with gross sales over $34 million in 1921 alone, comparable to over $410 million today. To operate the Baltimore Bargain House, Epstein also built a local community of employees, which included over 1,600 people. The workforce was relatively diverse, comprising of immigrants from various countries as well as industry experts from across the nation. Many workers remained employed at the Baltimore Bargain House for decades. Although remarkable for his considerable business acumen and the success of the Baltimore Bargain House, the business' founder, Jacob Epstein was also well known for his extensive charitable donations to local Jewish groups and to institutions like the Baltimore Museum of Art.

Watch our on this building!

Related Resources

Street Address

6 N. Liberty Street, Baltimore, MD 21201
]]>
/items/show/82 <![CDATA[Bromo Seltzer Tower]]>
The tower was built by Captain Isaac Emerson, a chemist and inventor of the headache remedy and alleged hangover cure, Bromo Seltzer, as part of the company's factory. Emerson was a wealthy and well regarded Baltimorean, known as a generous philanthropist and world traveler. He had been a lieutenant in the Navy during the Spanish-American war and a post-war visit to Florence's tower on the Palazzo Vecchio provided the inspiration for the design of this tower created by local architect Joseph Evans Sperry.

Though the factory was torn down in 1969, the 289 foot tower survived several threats of demolition and in 2007 philanthropists Eddie and Sylvia Brown worked with Baltimore Office of Promotion and the Arts to transform the structure into 33 artists' studios. The tower is open once a month for public 91ÊÓÆ” and while much has changed visitors can still ride the 1911 Otis elevator to the clock room on the 15th floor and view the still-functioning clock works.]]>
2020-10-16T11:23:18-04:00

Dublin Core

Title

Bromo Seltzer Tower

Subject

Architecture
Industry

Description

While few remember the slogan of the Emerson Bromo-Seltzer Company - "If you keep late hours for Society's sake Bromo-Seltzer will cure that headache" - the iconic Bromo-Seltzer Tower has been a Baltimore landmark since its construction in 1911. At 15 stories, the tower made the Bromo-Sltzer factory the tallest building in the city boasting a four-dial gravity clock that was the largest in the world (bigger, even, than London's Big Ben) and an illuminated, rotating 51-foot blue steel bottle that immediately secured the tower's spot as a favorite of city residents and visitors alike. Ship captains traveling up the bay reportedly used the bottle as a beacon to guide them toward the Light Street docks and the removal of the blue bottle in 1936 is still a sore point with many Baltimoreans.

The tower was built by Captain Isaac Emerson, a chemist and inventor of the headache remedy and alleged hangover cure, Bromo Seltzer, as part of the company's factory. Emerson was a wealthy and well regarded Baltimorean, known as a generous philanthropist and world traveler. He had been a lieutenant in the Navy during the Spanish-American war and a post-war visit to Florence's tower on the Palazzo Vecchio provided the inspiration for the design of this tower created by local architect Joseph Evans Sperry.

Though the factory was torn down in 1969, the 289 foot tower survived several threats of demolition and in 2007 philanthropists Eddie and Sylvia Brown worked with Baltimore Office of Promotion and the Arts to transform the structure into 33 artists' studios. The tower is open once a month for public 91ÊÓÆ” and while much has changed visitors can still ride the 1911 Otis elevator to the clock room on the 15th floor and view the still-functioning clock works.

Creator

Theresa Donnelly

Relation

, Baltimore Office of Promotion and the Arts

Curatescape Story Item Type Metadata

Lede

While few remember the slogan of the Emerson Bromo-Seltzer Company—"If you keep late hours for Society's sake Bromo-Seltzer will cure that headache"—the iconic Bromo-Seltzer Tower has been a Baltimore landmark since its construction in 1911.

Story

While few remember the slogan of the Emerson Bromo-Seltzer Company—"If you keep late hours for Society's sake Bromo-Seltzer will cure that headache"—the iconic Bromo-Seltzer Tower has been a Baltimore landmark since its construction in 1911. At fifteen stories, the tower made the Bromo-Seltzer factory the tallest building in the city. The tower boasted a four-dial gravity clock that was the largest in the world (bigger, even, than London's Big Ben) and an illuminated, rotating 51-foot blue steel bottle. The iconic design immediately secured the tower's spot as a favorite of city residents and visitors alike. Ship captains traveling up the bay reportedly used the bottle as a beacon to guide them toward the Light Street docks and the removal of the blue bottle in 1936 is still a sore point with many Baltimoreans. The tower was built by Captain Isaac Emerson, a chemist, and inventor of the headache remedy and alleged hangover cure, Bromo-Seltzer. Emerson was a wealthy and well-regarded Baltimorean, known as a generous philanthropist and world traveler. He had been a lieutenant in the Navy during the Spanish-American war and a post-war visit to Florence's tower on the Palazzo Vecchio provided the inspiration for the design of this tower created by local architect Joseph Evans Sperry. Though the factory was torn down in 1969, the 289-foot tower survived several threats of demolition and in 2007 philanthropists Eddie and Sylvia Brown worked with Baltimore Office of Promotion and the Arts to transform the structure into 33 artists' studios. The tower is open once a month for public 91ÊÓÆ” and while much has changed visitors can still ride the 1911 Otis elevator to the clock room on the 15th floor and view the still-functioning clock works.

Watch our on this building!

Related Resources

, Baltimore Office of Promotion and the Arts

Official Website

Street Address

21 S. Eutaw Street, Baltimore, MD 21201
]]>
/items/show/78 <![CDATA[Peale Museum]]>
In September of 1814, Baltimore turned back the British invasion on land and sea, providing a critical turning point in the war and likely sparing the city from destruction. The British, after all, had burned the nation's capital just a few miles south after Washington fell the month before. The Peale Museum capitalized on patriotic fervor, and put a number of bombs and shells that were collected from the failed British bombardment on display. In doing this, Peale became the first person to display samples of Britain's firepower, which of course Francis Scott Key immortalized as the bombs bursting in air in the Star Spangled Banner. Some years later, in 1830, Peale's museum was still capitalizing on the War of 1812 when they displayed the original flag that flew over Ft. McHenry, borrowed from a willing Mrs. Louisa Armistead, the widow of Lt. Colonel George Armistead. Lt. Colonel Armistead commanded Ft. McHenry during the war and reportedly ordered an extra large flag to fly at the Fort as a pointed challenge to the British.

From its earliest days embracing Baltimore's war effort, the Peale Museum has been intertwined with the city's history. The building served as a museum from 1814 until 1830. It then became the Baltimore City Hall until 1875 when the current city hall building was erected. After 1875, the museum had various uses, including as the Colored School Number 1 for African American children, and then in 1931, it returned to its origins as a museum, becoming the "Municipal Museum of Baltimore." Fittingly, the Municipal Museum focused on Baltimore City history.

In 1985, the museum underwent a physical renovation and was reborn as the center of the "City Life Museums." With exhibits on Baltimore's historic gems, such as the H.L. Mencken House and Phoenix Shot Tower, to the rowhouses and front steps that help define working class life in Baltimore, the City Life Museums lasted until 1997 when the enterprise closed. Today, the Peale Museum is empty and awaiting the next chapter in its long and storied service to Baltimore.]]>
2020-10-16T12:58:29-04:00

Dublin Core

Title

Peale Museum

Subject

Museums
Architecture

Description

On August 14, 1814, almost exactly one month before the Battle of Baltimore and the bombing of Ft. McHenry in the War of 1812, Rembrandt Peale opened "Peale's Baltimore Museum and Gallery of Paintings" on Holliday Street in downtown Baltimore. Designed by noted Baltimore architect Robert Carey Long, the building is the first purpose-built museum in the western hemisphere. Taking after a natural history museum that his father, Charles Wilson Peale, started in Philadelphia in 1786, Rembrandt Peale displayed collections of fossils and other specimens, as well as portraits of many of the country's founding fathers that his family had painted. As the British made plans to attack and the War of 1812 was on the city's threshold, portraits of the Revolutionary War heroes were highly popular, and Peale was able to charge 25 cents for admission.

In September of 1814, Baltimore turned back the British invasion on land and sea, providing a critical turning point in the war and likely sparing the city from destruction. The British, after all, had burned the nation's capital just a few miles south after Washington fell the month before. The Peale Museum capitalized on patriotic fervor, and put a number of bombs and shells that were collected from the failed British bombardment on display. In doing this, Peale became the first person to display samples of Britain's firepower, which of course Francis Scott Key immortalized as the bombs bursting in air in the Star Spangled Banner. Some years later, in 1830, Peale's museum was still capitalizing on the War of 1812 when they displayed the original flag that flew over Ft. McHenry, borrowed from a willing Mrs. Louisa Armistead, the widow of Lt. Colonel George Armistead. Lt. Colonel Armistead commanded Ft. McHenry during the war and reportedly ordered an extra large flag to fly at the Fort as a pointed challenge to the British.

From its earliest days embracing Baltimore's war effort, the Peale Museum has been intertwined with the city's history. The building served as a museum from 1814 until 1830. It then became the Baltimore City Hall until 1875 when the current city hall building was erected. After 1875, the museum had various uses, including as the Colored School Number 1 for African American children, and then in 1931, it returned to its origins as a museum, becoming the "Municipal Museum of Baltimore." Fittingly, the Municipal Museum focused on Baltimore City history.

In 1985, the museum underwent a physical renovation and was reborn as the center of the "City Life Museums." With exhibits on Baltimore's historic gems, such as the H.L. Mencken House and Phoenix Shot Tower, to the rowhouses and front steps that help define working class life in Baltimore, the City Life Museums lasted until 1997 when the enterprise closed. Today, the Peale Museum is empty and awaiting the next chapter in its long and storied service to Baltimore.

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

On August 15, 1814, almost exactly one month before the Battle of Baltimore and the bombing of Ft. McHenry in the War of 1812, Rembrandt Peale opened "Peale's Baltimore Museum and Gallery of Paintings" on Holliday Street in downtown Baltimore. Designed by noted Baltimore architect Robert Carey Long, the building is the first purpose-built museum in the western hemisphere. Taking after a natural history museum that his father, Charles Wilson Peale, started in Philadelphia in 1786, Rembrandt Peale displayed collections of fossils and other specimens, as well as portraits of many of the country's founding fathers that his family had painted. As the British made plans to attack and the War of 1812 was on the city's threshold, portraits of the Revolutionary War heroes were highly popular, and Peale was able to charge 25 cents for admission. In September of 1814, Baltimore turned back the British invasion on land and sea, providing a critical turning point in the war and likely sparing the city from destruction. The British, after all, had burned the nation's capital just a few miles south after Washington fell the month before. The Peale Museum capitalized on patriotic fervor, and put a number of bombs and shells that were collected from the failed British bombardment on display. In doing this, Peale became the first person to display samples of Britain's firepower, which of course Francis Scott Key immortalized as the bombs bursting in air in the Star Spangled Banner. Some years later, in 1830, Peale's museum was still capitalizing on the War of 1812 when they displayed the original flag that flew over Ft. McHenry, borrowed from a willing Mrs. Louisa Armistead, the widow of Lt. Colonel George Armistead. Lt. Colonel Armistead commanded Ft. McHenry during the war and reportedly ordered an extra large flag to fly at the Fort as a pointed challenge to the British. From its earliest days embracing Baltimore's war effort, the Peale Museum has been intertwined with the city's history. The building served as a museum from 1814 until 1830. It then became the Baltimore City Hall until 1875 when the current city hall building was erected. After 1875, the museum had various uses, including as the Colored School Number 1 for African American children, and then in 1931, it returned to its origins as a museum, becoming the "Municipal Museum of Baltimore." Fittingly, the Municipal Museum focused on Baltimore City history. In 1985, the museum underwent a physical renovation and was reborn as the center of the "City Life Museums." With exhibits on Baltimore's historic gems, such as the H.L. Mencken House and Phoenix Shot Tower, to the rowhouses and front steps that help define working class life in Baltimore, the City Life Museums lasted until 1997 when the enterprise closed. Today, the Peale Museum is empty and awaiting the next chapter in its long and storied service to Baltimore.

Watch our on the museum!

Official Website

Street Address

225 N. Holliday Street, Baltimore, MD 21202
]]>
/items/show/65 <![CDATA[Penn Station]]> 2020-10-21T10:07:24-04:00

Dublin Core

Title

Penn Station

Subject

Transportation

Curatescape Story Item Type Metadata

Subtitle

A Beaux-Arts Landmark by Architect Kenneth Mackenzie Murchison

Story

Penn Station is a unique combination of a classic Beaux-Arts architectural design from architect Kenneth Mackenzie Murchison and a functional, adaptable train station that serves as the eighth busiest station in the United States. Originally known as the Union Station, named for the Union of northern and southern railroads that came together at the station, this 1911 ornate granite, terracotta, and cast iron building is the third structure to exist on the site. In 1873, the Northern Central Railway built the first station on this site, a wooden structure, replaced in 1886 by a hulking Victorian brick structure. After critics declared the station overcrowded, uncomfortable, dangerous, and unsuitable for Baltimore's booming passenger traffic, the building was torn down in 1910 to be replaced by a new modern station. The architect, Kenneth Mackenzie Murchison, had extensive experience creating railroad stations around the nation and brought a stylish Beaux-Arts style to the job. Murchison's design incorporated an innovative waiting area illuminated by three large domed skylights directly connected to the boarding platforms. The Pennsylvania Railway Company took over the station in the 1920s and renamed it Pennsylvania Station to match the other Penn Stations along the line. The building deteriorated over the years and during World War II blackout paint was applied to the skylight and windows. This remained through the early 1980s, when a $5 million facelift restored the mosaic flooring, glazed wall tile, marble detailing, and the windows. In 2015, the station served more than 993,721 Amtrak passengers and even more MARC train commuters.

Watch on this building!

Related Resources

Official Website

Street Address

1500 North Charles Street, Baltimore, MD 21201
]]>
/items/show/57 <![CDATA[North Avenue Market]]> 2018-11-27T10:33:49-05:00

Dublin Core

Title

North Avenue Market

Subject

Food and Drink

Creator

Elise Hoffman

Curatescape Story Item Type Metadata

Story

Touted as "modern market in the country," and now considered an early prototype for suburban shopping centers, the North Avenue Market opened in 1928 with twelve retail stores and twenty-two lane bowling alley on the second floor at a cost of $1,850,000.The site of the market between Charles Street and Maryland Avenue had originally been the site of two country houses (including one used by Confederate General Robert E. Lee) but thanks the rapid development of north Baltimore in the early twentieth century the new market drew in fifty thousand visitors on its opening day and soon attracted more than two hundred grocery vendors.

After WWII, however, as many industrial businesses began to leave the area, the market began to decline and only thirty of the stalls were occupied when a destructive six-alarm fire in August 1968 shut down a portion of the market and led to substantial changes for the building. The fire, which started in the Woodlawn Lunch stall, was so hot that it cracked glass display cases and caused canned food to explode. A crowd of eight hundred residents gathered to watch the fire, tragically including elderly market manager, George Horshoff, suffered a heart attack and collapsed while viewing the damage and died shortly after. Two of the main factors in the extensive destruction caused by the fire were a lack of a sprinkler system and the sheet metal window guards, which obstructed fire fighters trying to enter the building.

After the fire, the market was purchased by James and Carolyn Frenkil, owners of the Center City, Inc., development company, who planned to reopen a portion of the market over the next six years and sold the northern portion of the building to be developed into high-rise senior citizen housing. The northern portion of the market was razed to accommodate the seventeen-story retirement home. The remaining part of the building was turned into a supermarket which opened in 1974.

Despite efforts to rejuvenate the building or redevelop any of the property, the heart of the building was closed off and vacant for nearly forty years following the fire. In 2008, a $1 million project for the building was launched to restore the building as an "arts-focused mix of shops, eateries, and offices." The rehabilitation process for the property is still ongoing, but has been successful so far. In 2012 the continued rehabilitation project for the market was awarded grant money from the Maryland Department of Housing and Community Development as well as from the Central Baltimore Partnership. The newest plans for the space include new paint, addition lighting, and re-opening exterior windows that were covered decades ago.

Related Resources

Street Address

12-30 W. North Avenue, Baltimore, MD 21218
]]>
/items/show/53 <![CDATA[Baltimore Design School]]>
Founded by prolific inventor William Painter in 1892, the Crown Cork & Seal Company centralized their operations on the 1500 block of Guilford Avenue in a new Romensque six-story warehouse in May 1897. William Painter died in 1906 but the business continued to grow and the Lebow Building was built in 1914 to serve as a machine shop. The design by architect Otto G. Simonson featured vast expanses of glass – windows made up nearly 75% of the exterior facade – and a unique ventilation system. Simonson had arrived in Baltimore in 1904 to work as the superintendent for the construction of the U.S. Custom House located at South Gay and East Lombard Streets. Born in Dresden, Germany, Simonson immigrated to Hartford, Connecticut at age 21 and worked for many years in the office of supervising architect of U.S. Treasury Department in the early 1880s, eventually becoming the superintendent of construction of public buildings.

The builder, Herbert West, had supervised the construction of Mount Sinai Hospital in New York before moving his architectural career to Baltimore in the aftermath of the Great Baltimore Fire of 1904 to focus on developing fireproof buildings. West became a leader in the local architectural community and helped to develop city building codes as president of the Building Congress and Exchange of Baltimore.

By the 1920s, the Crown Cork & Seal Company provided a full half of the world's supply of bottle caps. Between two and three hundred people worked at the machine shop and employees benefited from amenities including an outdoor rooftop recreation area for ladies and a separate area for men in the building's courtyard. In 1930, however, the company began to consolidate operations at their 35-acre factory complex in Highlandtown.

In 1950, the machine shop was leased to Lebow Brothers Clothing Company – a preeminent manufacturer of men's clothing at the time and especially well-known for their coats and suits. In 1982, private developer Abraham Zion purchased both the company and the building. However, Lebow Clothing ceased manufacturing and the building was shuttered in 1985.

In 2013, the abandoned building was transformed into the Baltimore Design School. The school focuses on creating a collaborative and progressive educational environment. The former loading dock is now an outdoor performance space for fashion shows. Salvaged equipment from the clothing factory is exhibited in the former freight elevator to honor the building’s previous life. The project met the Secretary of Interior Standards for historic preservation and received state and federal tax credits and is a LEED Silver certified green building.]]>
2018-11-27T10:33:49-05:00

Dublin Core

Title

Baltimore Design School

Subject

Industry
Education

Description

A survivor that has endured decades of abandonment, the 1914 Lebow Building is an impressive example of early 20th century industrial architecture that is just starting a new future as the Baltimore Design School. While it takes its popular name from the Lebow Brothers Clothing factory that occupied the building from the 1950s through 1985, the Lebow Building actually shares a common history with the Copycat Building next door and the artist-owned Cork Factory – all three were built by Baltimore's Crown Cork & Seal Company.

Founded by prolific inventor William Painter in 1892, the Crown Cork & Seal Company centralized their operations on the 1500 block of Guilford Avenue in a new Romensque six-story warehouse in May 1897. William Painter died in 1906 but the business continued to grow and the Lebow Building was built in 1914 to serve as a machine shop. The design by architect Otto G. Simonson featured vast expanses of glass – windows made up nearly 75% of the exterior facade – and a unique ventilation system. Simonson had arrived in Baltimore in 1904 to work as the superintendent for the construction of the U.S. Custom House located at South Gay and East Lombard Streets. Born in Dresden, Germany, Simonson immigrated to Hartford, Connecticut at age 21 and worked for many years in the office of supervising architect of U.S. Treasury Department in the early 1880s, eventually becoming the superintendent of construction of public buildings.

The builder, Herbert West, had supervised the construction of Mount Sinai Hospital in New York before moving his architectural career to Baltimore in the aftermath of the Great Baltimore Fire of 1904 to focus on developing fireproof buildings. West became a leader in the local architectural community and helped to develop city building codes as president of the Building Congress and Exchange of Baltimore.

By the 1920s, the Crown Cork & Seal Company provided a full half of the world's supply of bottle caps. Between two and three hundred people worked at the machine shop and employees benefited from amenities including an outdoor rooftop recreation area for ladies and a separate area for men in the building's courtyard. In 1930, however, the company began to consolidate operations at their 35-acre factory complex in Highlandtown.

In 1950, the machine shop was leased to Lebow Brothers Clothing Company – a preeminent manufacturer of men's clothing at the time and especially well-known for their coats and suits. In 1982, private developer Abraham Zion purchased both the company and the building. However, Lebow Clothing ceased manufacturing and the building was shuttered in 1985.

In 2013, the abandoned building was transformed into the Baltimore Design School. The school focuses on creating a collaborative and progressive educational environment. The former loading dock is now an outdoor performance space for fashion shows. Salvaged equipment from the clothing factory is exhibited in the former freight elevator to honor the building’s previous life. The project met the Secretary of Interior Standards for historic preservation and received state and federal tax credits and is a LEED Silver certified green building.

Creator

Elise Hoffman
Johns Hopkins

Curatescape Story Item Type Metadata

Story

A survivor that has endured decades of abandonment, the 1914 Lebow Building is an impressive example of early twentieth century industrial architecture that is just starting a new future as the Baltimore Design School. While it takes its popular name from the Lebow Brothers Clothing factory that occupied the building from the 1950s through 1985, the Lebow Building actually shares a common history with the Copycat Building next door and the artist-owned Cork Factory – all three were built by Baltimore's Crown Cork & Seal Company.

Founded by prolific inventor William Painter in 1892, the Crown Cork & Seal Company centralized their operations on the 1500 block of Guilford Avenue in a new Romensque six-story warehouse in May 1897. William Painter died in 1906 but the business continued to grow and the Lebow Building was built in 1914 to serve as a machine shop. The design by architect Otto G. Simonson featured vast expanses of glass – windows made up nearly 75% of the exterior facade – and a unique ventilation system. Simonson had arrived in Baltimore in 1904 to work as the superintendent for the construction of the U.S. Custom House located at South Gay and East Lombard Streets. Born in Dresden, Germany, Simonson immigrated to Hartford, Connecticut at age 21 and worked for many years in the office of supervising architect of U.S. Treasury Department in the early 1880s, eventually becoming the superintendent of construction of public buildings.

The builder, Herbert West, had supervised the construction of Mount Sinai Hospital in New York before moving his architectural career to Baltimore in the aftermath of the Great Baltimore Fire of 1904 to focus on developing fireproof buildings. West became a leader in the local architectural community and helped to develop city building codes as president of the Building Congress and Exchange of Baltimore.

By the 1920s, the Crown Cork & Seal Company provided a full half of the world's supply of bottle caps. Between two and three hundred people worked at the machine shop and employees benefited from amenities including an outdoor rooftop recreation area for ladies and a separate area for men in the building's courtyard. In 1930, however, the company began to consolidate operations at their 35-acre factory complex in Highlandtown.

In 1950, the machine shop was leased to Lebow Brothers Clothing Company – a preeminent manufacturer of men's clothing at the time and especially well-known for their coats and suits. In 1982, private developer Abraham Zion purchased both the company and the building. However, Lebow Clothing ceased manufacturing and the building was shuttered in 1985.

In 2013, the abandoned building was transformed into the Baltimore Design School. The school focuses on creating a collaborative and progressive educational environment. The former loading dock is now an outdoor performance space for fashion shows. Salvaged equipment from the clothing factory is exhibited in the former freight elevator to honor the building’s previous life. The project met the Secretary of Interior Standards for historic preservation and received state and federal tax credits and is a LEED Silver certified green building.

Official Website

Street Address

1500 Barclay Street, Baltimore, MD 21202
]]>
/items/show/39 <![CDATA[Mount Vernon Mill No. 1]]> 2019-07-20T12:57:05-04:00

Dublin Core

Title

Mount Vernon Mill No. 1

Subject

Industry
Historic Preservation

Creator

Kyle Fisher

Curatescape Story Item Type Metadata

Subtitle

At the heart of textile manufacturing along the Jones Falls

Story

Mill No. 1 sits on the site of Laurel Mill, a late 18th-century flour mill originally owned by prominent businessman and abolitionist Elisha Tyson. In 1849, the newly chartered Mount Vernon Company built a textile mill on the site. Mill No. 1 stood at the threshold of a burgeoning textile empire that would control most of the world’s cotton duck production, a heavy canvas used primarily for ship sails.

The textile mill and neighboring village Stone Hill shared a close relationship well into the 20th century. Residents renting company-owned housing in Stone Hill were required to be employed in the mill to live there. The mill's bell called workers to the factory floor for their twelve hour shifts. Mill boss David Carroll lived in a mansion at the top of the hill overlooking the village and mill his wealth built. The extant mansion later became the Florence Crittenton Home.

In the mid-1800s, about 400 men, women and children—some as young as eight years old—worked in and lived next to the mills. The company expanded in 1853 with the construction of Mill No. 3 across the street. In 1855, the Mt. Vernon Company controlled six mills in the Jones Falls Valley from Mt. Washington to Remington, and established adjoining villages that would grow into the neighborhoods of Hampden and Woodberry. When Mill No. 1 burned in 1873, it was replaced with the larger factory that stands on this site today. Inside the mills, the cotton looms made a lot of noise, and dust from the cotton was always in the air. Excess cotton had to be swept off the floor and cleaned off the looms to prevent fire. Workers heard the constant loud humming of the looms and breathed in the cotton dust. An entire paycheck could go to rent for the company houses and toward groceries purchased from the company store.

In 1899, area mills merged to form the Mount Vernon-Woodberry Cotton Duck Company, at the time the world’s foremost manufacturer of cotton duck, with mills from South Carolina to Connecticut, and a board of directors based out of New York City. By 1915, the Mt. Vernon-Woodberry Cotton Duck Company broke apart and was reformed as Mt. Vernon-Woodberry Mills, which controlled mills in Hampden and Woodberry, South Carolina, and Alabama, and employed about 2,200 workers locally. Production boomed during World War I and workers leveraged demand to gain a 10 percent wage increase, a reduced 55 hour work week, and cleaner facilities.

Demand for cotton duck dropped immediately after the war, and management cut wages by one-third and increased hours. Tensions within the company culminated in a 1923 strike, when 600 workers voted to reject the offer of a 54-hour work week and 7.5 percent pay increase and demanded a 48-hour work week with a 25 percent pay increase. Despite support from local clergy and the Textile Workers Union of America, the workers were forced by necessity to return to the mills. The company began to sell off its housing and move its operations to Alabama and South Carolina where labor was cheaper and less organized. During the Great Depression, many mill workers were laid off. Many went on welfare. Others, however, refused to go on welfare, and searched for additional jobs to support themselves. At this time most workers made between five and seven dollars per week and worked ten hours a day.

World War II created new demand for canvas. Tarps, rope, netting, mailbags, tents, and stuffing (made from cotton bits called ‘shoddy’) were all in demand from the military. Synthetic fabrics, which required bricking up the mill's windows to control humidity levels, emerged as new products. Many people from the South came to work in the mills at this time. After the war, production declined, never to regain its earlier levels. The Mount Vernon Company finally closed its Baltimore mills and moved all operations to North Carolina in 1972.

Some industry persisted in the mill buildings. Life-Like Products, a maker of model train sets and styrofoam coolers, was one. The international textile firm Rockland Industries, with origins upstream, used Mill No. 3 to store its textile supply after the Mount Vernon Company left. In 2013, Mill No. 1 was redeveloped by developer Terra Nova Ventures and now includes apartments, office space, a restaurant, and an event venue. Although they no longer function as mills, these buildings continue to serve as places of housing, food, and work within Hampden.

Official Website

Street Address

2980 Falls Road, Baltimore, MD 21211
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/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 Baltimore 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 Baltimore 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 — "5 West" — 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—a complex of three theaters and the headquarters for the Maryland Film Festival.

Official Website

Street Address

5 W. North Avenue, Baltimore, MD 21201
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