/items/browse?output=atom&tags=Downtown <![CDATA[Explore 91视频]]> 2025-03-12T07:19:37-04:00 Omeka /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

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/items/show/514 <![CDATA[Munsey Building]]> 2019-01-18T21:46:13-05:00

Dublin Core

Title

Munsey Building

Subject

Architecture

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Subtitle

Former Home to the Baltimore News and the Equitable Trust Company

Story

The Munsey Building was erected by and named after the publisher, Frank Munsey, who had purchased the Baltimore News to add to his publishing empire. Though he wanted the paper, he did not like the five-year old building that housed it. So, he had a new one erected more to his liking. Completed in 1911, the newspaper's new offices were designed by the local architectural firm of Baldwin & Pennington, together with McKim, Mead & White of New York.

The Munsey Trust Company, which eventually became the Equitable Trust Company, opened on the ground floor in 1913. The paper was eventually bought by William Randolph Hearst, became the Baltimore News-American, and moved a few blocks away.

The building鈥檚 most recent purpose is to serve as loft apartments that are helping revitalize downtown Baltimore. The renovation of the Munsey included keeping the grand entrance way, with its marble floor, elevators, and grand front door, as well as cleaning and repairing the exterior. 91视频 recognized the conversion with a preservation award in 2004.

Official Website

Street Address

7 N. Calvert Street, Baltimore, MD 21202
]]>
/items/show/502 <![CDATA[Pavilion Building at Hopkins Plaza]]> 2018-11-27T10:33:55-05:00

Dublin Core

Title

Pavilion Building at Hopkins Plaza

Subject

Architecture

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Lede

Built in 1970, the Pavilion Building is a companion to the adjacent Mercantile Bank & Trust building 鈥 both designed by architects Peterson and Brickbauer. Once home to the stylish Schrafft's restaurant, the Pavilion is now home to the City Plaza Medical Center.

Story

One of the last buildings to be erected around Hopkins Plaza, Pavilion Building on Liberty Street was constructed in 1970. Built by the Manekin Corporation, the structure was planned as a bank for the Mercantile-Safe Deposit & Trust Company. The bank had just moved into a new 22-story tower just north of the Pavilion, designed by the same architects Peterson and Brickbauer who designed the 2-story Pavilion with a transparent glass-clad exterior from the base to the roof. The complex of both buildings received an AIA Honor Award in 1972.

Shortly before construction began, the plans shifted from retail bank to restaurant with Schrafft's chain restaurant occupying the first floor of the $1 million building. The Manekin Corporation planned to lease the second floor of the building as a small shopping center to serve visitors to Hopkins Plaza and office workers around Charles Center. Conveniently, a pedestrian "link" connected the Pavilion to the adjoining Mercantile building up until the walkways were dismantled in the 1990s and 2000s.

When Schrafft's restaurant opened at their new location in 1971, they advertised a rich meal at a bargain price, boasting: "It's mountains of salad at no extra cost, "say when" drinks, individual loaves of hot bread, and 15 tantalizing relishes. Complimentary cigars and candy mints for after dinner. Plus a sumptuous appetizer, a delightful glass of wine and a famous Schrafft's dessert, all included with dinner. And all located near theaters, movies, shopping and sports events. Everything from as little as $3.95."

Founded in Boston as a candy company in 1861, the Schrafft's began opening restaurants in and around New York in the 1950s. As they expanded into cities across the northeast, Schrafft's acquired a reputation as an upscale and tastefully decorated establishment, perhaps equivalent to Starbucks in the present. Unfortunately, as the 1970s continued the chain began to struggle and the Hopkins Plaza location closed within just a few years. Most recently, the Pavilion Building was occupied as the City Plaza Medical Center operated by Kaiser Permanente.

Street Address

10 Hopkins Plaza, Baltimore, MD 21201
]]>
/items/show/493 <![CDATA[Terminal Warehouse]]> 2018-11-27T10:33:55-05:00

Dublin Core

Title

Terminal Warehouse

Curatescape Story Item Type Metadata

Subtitle

The Flour Warehouse of the Terminal Warehouse Corporation

Story

Designed by well-known local architect Benjamin B. Owens, the "Flour Warehouse" is a unique industrial landmark on the east side of Baltimore's downtown. When contractor S.H. and J.F. Adams erected the building for the Terminal Warehouse Company in 1894, the Northern Central Railroad maintained a line down Guilford Avenue connecting Baltimore's factories and warehouses to far-flung farms and markets across the state and country.

The company expanded in 1912 with an addition built by the Noel Construction Company and, through the 1970s, remained one of the oldest warehouses in continuous use by the same corporation. For several years, the building housed the Baltimore City Archives and the Baltimore City Department of Planning. After a new owner planned to demolish warehouse in 2007, local residents successfully fought to preserve the building for future reuse.

Related Resources

Street Address

211 E. Pleasant Street, Baltimore, Maryland 21202
]]>
/items/show/489 <![CDATA[Pennsylvania Railroad Company District Office Building]]> 2019-05-10T23:00:13-04:00

Dublin Core

Title

Pennsylvania Railroad Company District Office Building

Subject

Architecture

Creator

Laurie Ossman

Curatescape Story Item Type Metadata

Story

Built to house the Baltimore branch offices of the Pennsylvania Railroad Company following the Great Fire of 1904, this structure was an early commission of the architectural firm of Parker & Thomas (later Parker, Thomas & Rice), the preeminent architects of Baltimore鈥檚 Beaux Arts commercial & financial structures of the first quarter of the twentieth century.

Throughout the nineteenth century, the Pennsylvania Railroad vied with the locally owned Baltimore & Ohio Railroad for control of rights-of-way and development rights for lines in and out of the city. While the B&O was the older of the two competing railroads (founded in 1830), the Pennsylvania Railroad had surpassed the B&O in size, scope, and profitability by the 1870s.

Such was the nature of railroad competition in Baltimore that the two lines even maintained separate passenger terminals, with Mount Royal Station serving the B&O (and its dominance of lines running south) and the Pennsylvania maintaining a site between Charles and St. Paul Streets.

In 1900, under the leadership of Alexander Cassatt, brother of expatriate Impressionist painter Mary Cassatt, the Pennsylvania Railroad merged with the B&O, and the two companies shared a Board of Trustees. Partly in response to efforts in Washington to enact legislation prohibiting railroad monopolies, the Pennsylvania and B&O maintained separate corporate identities during this period, although the 鈥渦nion鈥 of the two companies was celebrated by Cassatt鈥檚 pet project, Washington, DC鈥檚 monumental Beaux-Arts style Union Station (1902).

When the 1904 Fire destroyed the Second-Empire style B&O headquarters on the northwest corner of Baltimore and Calvert Streets, the corporate officers elected to rebuild a grand, 13-story Beaux-arts tower on a new site, two blocks to the west. The Pennsylvania, by contrast, retained its site and elected the relatively small, restrained building seen today. The interrelationship of the two companies and the coordination of their post-Fire building schemes is attested to by the fact that both the Pennsylvania Railroad building and the B&O tower on Charles Street were designed by the same architectural firm, Parker & Thomas. The modesty of the Pennsylvania鈥檚 building (in spite of the company鈥檚 essential domination of the B&O) is part and parcel of the effort to maintain distinct identities for the two merged companies.

By 1906鈥攖he time of the Baltimore post-Fire rebuilding of both the Pennsylvania and B&O buildings鈥 Cassatt was dead, the Republicans had passed antitrust legislation and the two companies administratively pried themselves apart once again. Thus, what may have begun in 1905 as a somewhat disingenuous attempt to maintain the united railroad companies鈥 discrete corporate identities through the erection of two separate and stylistically and hierarchically distinct structures, became an accurate representation of corporate separation by the time the buildings were complete in 1906.

Street Address

200 E. Baltimore Street, Baltimore, MD 21202
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/items/show/435 <![CDATA[Fleet-McGinley Company Building]]> 2019-09-13T15:15:25-04:00

Dublin Core

Title

Fleet-McGinley Company Building

Subject

Business

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

"The Best Equipped Printing Office in Baltimore"

Story

The former Fleet-McGinley Company building at the northwest corner of Water and South Streets was built in 1908鈥攐ne of scores of new warehouses and factories built around downtown as the city rebuilt from the Great Baltimore Fire of 1904. The five-story brick and reinforced concrete warehouse was designed by the prominent Baltimore architectural firm of Baldwin & Pennington for the Johns Hopkins Hospital trustees at a cost of $70,000. One of the building's earliest and most prominent tenants was the Fleet-McGinley Printing Company, established in 1884 as a partnership between Charles T. Fleet and J. Edward McGinley.

In 1914, Fleet-McGinley boasted that their building was "the best equipped printing office in Baltimore" boasting "the most modern appliances and equipment" along with "skilled and competent artisans." In the aftermath of the recent catastrophe, the printer paid special attention to fire-proofing, describing their "fire-proof vaults for the storage of plates, engravings and designs, which make the destruction by fire of such valuable property practically impossible."

In 1926, the Manufacturers' Record, a trade publication printed by the firm since the 1880s, purchased Fleet-McGinley and moved their operations from South Street to the Candler Building on East Lombard Street. In 1965, the business (still located in the Candler Building) was renamed the Blanchard Press of Maryland. The building on South Street later served as offices for insurance agents Hopper, Polk & Purnell, Inc., as well as Levy Sons Company, manufacturer of women's underwear. In early 2015, Goodwill Industries of the Chesapeake purchased the building from the International Youth Foundation who had occupied the structure for over fifteen years.

Official Website

Street Address

32 South Street, Baltimore, MD 21202
]]>
/items/show/414 <![CDATA[Lord Baltimore Hotel]]> 2018-11-27T10:33:54-05:00

Dublin Core

Title

Lord Baltimore Hotel

Subject

Architecture

Curatescape Story Item Type Metadata

Story

Built in 1928, the Lord Baltimore Hotel is a beautiful example of an early twentieth-century high-rise hotel. Designed by prolific hotel architect William Lee Stoddart, it is reminiscent of such famous American hotels as New York's Vanderbilt Hotel or Chicago's Palmer House. The twenty-two-story steel frame building was the largest hotel building ever constructed in Maryland. However, the Lord Baltimore is also a reminder of the city鈥檚 history of racial discrimination and the long fight for integrated public accommodation.

In 1954, the same year the Supreme Court鈥檚 decision in Brown v. Board of Education called for an end to segregated schools, black players from three American League teams with integrated rosters came to Baltimore to play against the Orioles. White players stayed at the Lord Baltimore, the Emerson, and Southern Hotel downtown. But for their black teammates, the only option was the African American-owned York Hotel in West Baltimore.

A year later, in 1955, students at Johns Hopkins University moved the prom away from the Lord Baltimore to the at the Alcazar Hotel in Mount Vernon in protest to the hotel manager鈥檚 refusal to admit black students to the dance and his threat to 鈥渟top the dance if Negroes attended.鈥 By the late 1950s, after lobbying by Baltimore鈥檚 progressive Mayor Theodore McKeldin, the Lord Baltimore Hotel consented to rent rooms to black ballplayers and some conference attendees. In 1958, Baltimore hosted the All-Star Game and six black All-Stars, including Willie Mays, Hank Aaron, Frank Robinson, registered at the Lord Baltimore. For visiting black spectators, however, the hotel was not an option. Jimmy Williams, an assistant editor at the Afro American, advised spectators to bring pup tents and box lunches, writing, 鈥淭he box lunches will be to ease the pangs of an aching stomach鈥 The pup tents will provide a place for them to rest their carcasses after the last door of the downtown hotels have been slammed in their face and the uptown hotels are filled.鈥 Williams predicted visitors would leave 鈥渏ust loving the quaint customs of Baltimore, which boasts of major league baseball and minor league businessmen.鈥

By the early 1960s, policies finally began to change. After hotel management realized they had rented rooms for the campaign office of segregationist presidential candidate George Wallace in 1964, the management refused to let them stay and the campaign was forced to move to a motel in Towson. In 1965, Martin Luther King, Jr., stayed at the hotel during a meeting of the Southern Christian Leadership Conference, where he gave a lengthy press conference and received symbolic keys to the city from Mayor Tommy D鈥橝lesandro III.

The hotel was one of the few historic buildings retained as part of the redevelopment of Charles Center and was listed on the National Register of Historic Places in 1982.

Official Website

Street Address

20 W. Baltimore Street, Baltimore, MD 21201
]]>
/items/show/362 <![CDATA[Maryland Art Place]]> 2018-11-27T10:33:53-05:00

Dublin Core

Title

Maryland Art Place

Subject

Industry

Curatescape Story Item Type Metadata

Story

The Maryland Art Place is a local cultural institution occupying a five-story Richardsonian Romanesque industrial building on the west side of Baltimore鈥檚 Downtown.

The building on Saratoga Street was erected in 1907 as a factory for the Erlanger Brothers Clothing. Owned by New York textile merchants, Abraham and Charles Erlanger, Erlanger Brothers鈥 best-known product was BVD underwear. Some assumed BVD stood for Baltimore Ventilated Drawers, but, in reality, the letters stood for the names of Bradley, Voorhees & Day, who founded the brand in 1876.

By 1921, the Saratoga Street building hosted showrooms for the Peabody Piano Company where Baltimoreans could purchase pianos, Victor-brand records and Victrola record players. Eventually the building became the Johnson Brothers Radio Producers & Retailers for making early radio receivers and later televisions.

Maryland Art Place started in 1981 when a group of artists and committed citizens began organizing around the needs of visual artists throughout the state and the desire of many people to have more access to and information about artists working in Maryland. The Maryland State Arts Council supported their efforts and, in 1982, this dedicated group of volunteers formed Maryland Art Place (MAP).

In 1986, the Maryland Art Place moved into the former factory on Saratoga Street and, after renovations, opened exhibition spaces on three floors. Long-time executive director Amy Cavanaugh Royce recalled the experience in an interview with the Baltimore Sun, 鈥淚t's a cavernous building. It has its own aura. I began walking around the back stairwells and the basement and it grew on me." MAP bought the building in 1988.

Today, artists fill the former factory (Jordan Faye Block, a Chicago-born artist and curator, owns a contemporary gallery on the fifth floor) and MAP is building a members gallery.

Official Website

Street Address

218 W. Saratoga Street, Baltimore, MD 21201
]]>
/items/show/233 <![CDATA[Old St. Paul's Church]]> 2019-05-09T22:17:37-04:00

Dublin Core

Title

Old St. Paul's Church

Subject

Religion

Creator

Auni Gelles

Curatescape Story Item Type Metadata

Lede

One of the thirty original Anglican parishes in Maryland, St. Paul's parish has been a fixture of Baltimore since the city's incorporation. Many influential citizens attended this church, including George Armistead.

Story

Old St. Paul鈥檚 Church is known as the mother church of all Episcopal congregations in Baltimore. As one of the thirty original Anglican parishes that the General Assembly created under the Establishment Act of 1692, St. Paul鈥檚 (also known as Patapsco) Parish covered the sparsely populated area between the Middle River and Anne Arundel County from the colony鈥檚 northern border to the Chesapeake Bay. In 1702, worshippers began meeting near Colgate Creek鈥攖he same Baltimore County peninsula that saw the Battle of North Point in 1814.

The parish relocated to the the newly incorporated Baltimore Town in 1731. Church leaders selected lot 19 on a hill overlooking the harbor where the church still remains today. St. Paul鈥檚 is distinguished as the only property that has remained under its original ownership since the founding of Baltimore. By the late eighteenth century, St. Paul鈥檚 counted among its members some of the most powerful men in Maryland. St. Paul鈥檚 worshippers included Declaration of Independence signer and Supreme Court justice Samuel Chase (whose father Thomas Chase served as the church鈥檚 rector in the mid-eighteenth century); Revolutionary War officer and governor, congressman, and slaveholder John Eager Howard; Thomas Johnson, a delegate to the Continental Congress and Maryland鈥檚 first governor; and George Armistead, commander of Fort McHenry during the Battle of Baltimore.

By 1814, the congregation had been meeting for over 120 years. Rev. Dr. James Kemp served as rector, a position he had held since November 1812. Nineteenth century local historian John T. Scharf described Kemp as 鈥渁 man of high literary and scientific culture, and an author of much repute.鈥 The parish began construction on a new neoclassical building, designed by Robert Cary Long, Sr., in May 1814 just a few months before the British attack on the city. Completed in 1817, the new St. Paul鈥檚 stood up until 1854 when a fire destroyed the building. Scharf noted that 鈥渢he steeple was considered the handsomest in the United States.鈥 The congregation rebuilt on the same lot, commissioning Richard Upjohn to design a new church built between 1854 and 1856. The striking structure on North Charles Street has remained a landmark for generations of Baltimoreans.

Beyond fulfilling a spiritual mission in the city, St. Paul鈥檚鈥攍ike many other churches of the day鈥攈as also provided social services. The church established the Benevolent Society for Educating and Supporting Female Children (also known as the Female Charity School) in 1799. The school sought to prepare orphans and underprivileged girls ages eight and above 鈥渢o be valuable and happy members of society.鈥 Charles Varle鈥檚 1833 book described the society as having thirty 鈥渋nmates鈥 who were fed, clothed, and educated in a building attached to the church.

Related Resources

Official Website

Street Address

233 N. Charles Street, Baltimore, MD 21201
]]>
/items/show/227 <![CDATA[Dashiell Hammett and the Continental Trust Company Building]]>
"Red Harvest" was a milestone in the detective novel genre. It introduced the world to the hard-nosed detective who lives by his own code. The gritty streets of Baltimore served as the setting for Hammett's personal favorite novel, "The Glass Key," as well as "The Assistant Murderer." Unfortunately, many of the locations described in Hammett's novels no longer exist. The lavish Rennert Hotel, which served as the home base for the corrupt political boss in "The Glass Key" was razed in 1941. Continental Op in "Red Harvest" dreams about a tumbling fountain in Harlem Square Park that was filled in long ago.

Hammett was born in Saint Mary's County, Maryland and spent his childhood bouncing between Baltimore and Philadelphia. He started working at Pinkertons in 1915 before serving in World War I in the Motor Ambulance Corps. He soon contracted tuberculosis and was moved to a hospital in Tacoma, Washington. Throughout the 1920's, Hammett lived in San Francisco where he wrote most of his novels, including "The Maltese Falcon." He never forgot his Baltimore roots working for Pinkertons, and his precise memory of streets and locations added a layer of authenticity and realism to his work. Later in life, Hammett got involved with the American Communist Party and was eventually jailed as a result of McCarthyism in 1951 for six months. Jail time took its toll on Hammett, who was already in bad health due to the effect his heavy smoking and drinking had on his tuberculosis. He died in New York in 1961.

Today, the Continental Trust Building that housed the Pinkerton Detective Agency is known as One Calvert Plaza. A prominent survivor of the Great Baltimore Fire of 1904, One Calvert Plaza stands as a monument to skyscraper architecture at the turn of the 20th century. ]]>
2020-10-16T12:02:07-04:00

Dublin Core

Title

Dashiell Hammett and the Continental Trust Company Building

Subject

Literature

Description

Dashiell Hammett found inspiration for his great detective novels like "The Maltese Falcon" and "The Thin Man" by working at the Pinkerton Detective Agency in what was then known as the Continental Trust Building. He experienced the seedy underbelly of Baltimore city and was stabbed at least once on the job. He was inspired by his intransigent co-workers who served as the foundation for many of his cherished characters. Continental Op, the main character of his first novel, "Red Harvest," was named after the eponymous building. It is also speculated that the falcons that don the Continental Trust Building served as the inspiration for "The Maltese Falcon."

"Red Harvest" was a milestone in the detective novel genre. It introduced the world to the hard-nosed detective who lives by his own code. The gritty streets of Baltimore served as the setting for Hammett's personal favorite novel, "The Glass Key," as well as "The Assistant Murderer." Unfortunately, many of the locations described in Hammett's novels no longer exist. The lavish Rennert Hotel, which served as the home base for the corrupt political boss in "The Glass Key" was razed in 1941. Continental Op in "Red Harvest" dreams about a tumbling fountain in Harlem Square Park that was filled in long ago.

Hammett was born in Saint Mary's County, Maryland and spent his childhood bouncing between Baltimore and Philadelphia. He started working at Pinkertons in 1915 before serving in World War I in the Motor Ambulance Corps. He soon contracted tuberculosis and was moved to a hospital in Tacoma, Washington. Throughout the 1920's, Hammett lived in San Francisco where he wrote most of his novels, including "The Maltese Falcon." He never forgot his Baltimore roots working for Pinkertons, and his precise memory of streets and locations added a layer of authenticity and realism to his work. Later in life, Hammett got involved with the American Communist Party and was eventually jailed as a result of McCarthyism in 1951 for six months. Jail time took its toll on Hammett, who was already in bad health due to the effect his heavy smoking and drinking had on his tuberculosis. He died in New York in 1961.

Today, the Continental Trust Building that housed the Pinkerton Detective Agency is known as One Calvert Plaza. A prominent survivor of the Great Baltimore Fire of 1904, One Calvert Plaza stands as a monument to skyscraper architecture at the turn of the 20th century.

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Story

Dashiell Hammett found inspiration for his great detective novels like "The Maltese Falcon" and "The Thin Man" by working at the Pinkerton Detective Agency in what was then known as the Continental Trust Building. He experienced the seedy underbelly of Baltimore city and was stabbed at least once on the job. He was inspired by his intransigent co-workers who served as the foundation for many of his cherished characters. Continental Op, the main character of his first novel, "Red Harvest," was named after the eponymous building. It is also speculated that the falcons that don the Continental Trust Building served as the inspiration for "The Maltese Falcon." "Red Harvest" was a milestone in the detective novel genre. It introduced the world to the hard-nosed detective who lives by his own code. The gritty streets of Baltimore served as the setting for Hammett's personal favorite novel, "The Glass Key," as well as "The Assistant Murderer." Unfortunately, many of the locations described in Hammett's novels no longer exist. The lavish Rennert Hotel, which served as the home base for the corrupt political boss in "The Glass Key" was razed in 1941. Continental Op in "Red Harvest" dreams about a tumbling fountain in Harlem Square Park that was filled in long ago. Hammett was born in Saint Mary's County, Maryland and spent his childhood bouncing between Baltimore and Philadelphia. He started working at Pinkertons in 1915 before serving in World War I in the Motor Ambulance Corps. He soon contracted tuberculosis and was moved to a hospital in Tacoma, Washington. Throughout the 1920's, Hammett lived in San Francisco where he wrote most of his novels, including "The Maltese Falcon." He never forgot his Baltimore roots working for Pinkertons, and his precise memory of streets and locations added a layer of authenticity and realism to his work. Later in life, Hammett got involved with the American Communist Party and was eventually jailed as a result of McCarthyism in 1951 for six months. Jail time took its toll on Hammett, who was already in bad health due to the effect his heavy smoking and drinking had on his tuberculosis. He died in New York in 1961. Today, the Continental Trust Building that housed the Pinkerton Detective Agency is known as One Calvert Plaza. A prominent survivor of the Great Baltimore Fire of 1904, One Calvert Plaza stands as a monument to skyscraper architecture at the turn of the twentieth century.

Watch our on this building!

Street Address

1 S. Calvert Street, Baltimore, MD 21202
]]>
/items/show/226 <![CDATA[Mercantile Trust and Deposit Building]]> 2020-10-14T16:52:06-04:00

Dublin Core

Title

Mercantile Trust and Deposit Building

Subject

Architecture

Curatescape Story Item Type Metadata

Story

The highly ornamented Mercantile Trust Building was constructed in 1885 by architectural firm Wyatt and Sperry. The architecture conveys a sense of impenetrability, characterized by its massive, heavy stonework and deep set windows and entrance. Ads at the time boasted that the building strong enough "to resist the invasion of armed force." The hardened building survived the 1904 Baltimore Fire, but sustained damage when bricks from the Continental Trust Building fell through the skylight, setting fire to the interior. Despite this, the building's survival reaffirmed what the bank had been saying all along in its ads. The Mercantile Trust was Baltimore's first "department store bank," a concept spearheaded by Enoch Pratt. In years before, customers had to go to different banks to get loans, access savings, or open a checking account. Mercantile Trust ended this by introducing Baltimore to one-stop banking. The bank was also involved in raising capital to rebuild many cities in the South during Reconstruction. Later, the bank acted as co-executor for the estate of Henry Walters and as a trustee for the endowment that established the Walters Art Collection. Mercantile Trust occupied the building for almost 100 years. The company left in 1983 and the building has been a nightclub, and more recently, the new location of the Chesapeake Shakespeare Company.

Watch our on this building!聽

Official Website

Street Address

200 E. Redwood Street, Baltimore, MD 21202
]]>
/items/show/224 <![CDATA[Furness House]]> 2020-10-16T11:57:13-04:00

Dublin Core

Title

Furness House

Subject

Architecture

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Story

A slice of English architecture, the Furness House was built in 1917 by architect Edward H. Glidden. Glidden also designed the Washington Place Apartments in Mount Vernon and the Marlboro Apartments on Eutaw Place (home to the famed art-collecting Cone sisters). The Furness House was built as offices for an English steamship line and named after shipping entrepreneur Christopher Furness. The building is an example of the English Palladian style, which has roots in Italian architecture, particularly the works of Andrea Palladio. It features a large Venetian window and looks like many commercial building built in England built around the same time. The Furness House was renovated in the 1990s and operates today as a conference center.

Watch our on this building!

Street Address

19 South Street, Baltimore, MD 21202
]]>
/items/show/223 <![CDATA[Gayety Theater]]> 2019-07-30T21:34:57-04:00

Dublin Core

Title

Gayety Theater

Subject

Entertainment

Creator

Laurie Ossman

Curatescape Story Item Type Metadata

Subtitle

A Venerable Keystone of "The Block"

Story

Built in the aftermath of the Great Baltimore Fire of 1904, the Gayety Theatre opened on February 5, 1906鈥攎aking this building the oldest remaining burlesque theater in Baltimore. While the theatre interior was subdivided into three separate spaces in 1985, the Gayety still boasts an elaborate, eye-catching, and fanciful fa莽ade (designed by architect John Bailey McElfatrick) that is a wonderful example of the exuberance of theater design in the period.

The Gayety is the venerable keystone of 鈥淭he Block鈥 on Baltimore Street long known as a destination for adult entertainment. 鈥淭he Block鈥 is somewhat of a misnomer, as the area of arcades, bars, burlesque houses and adult bookshops extended east along Baltimore Street from Calvert Street for approximately eight blocks in the middle third of the 20th century. Due to various cultural forces, and particularly to a concerted 鈥渁nti-smut鈥 campaign during the mayoral tenure of William Donald Schaefer in the early 1980s, most of this extensive commercial sub-cultural landscape no longer exists, and 鈥渢he Block鈥 is, in fact, a small representative of a once-thriving red-light district.

The Gayety began after the Great Baltimore Fire destroyed the offices of The German Correspondent. While some downtown theatres moved to Howard Street after the fire, The Gayety, Lubin鈥檚 Nickelodeon and Vaudeville 鈥渄uplex鈥 directly across the street, The Victoria (later known as The Embassy) and The Rivoli all remained in the area and defined this stretch of Baltimore Street as a 鈥減opular entertainment鈥 center, with an emphasis on burlesque and vaudeville. Despite the connotations acquired later, burlesque and vaudeville were mainstream forms of entertainment aimed at the working and middle classes.

By World War I, the Gayety鈥檚 neighbors had made the switch to showing movies. In the 1920s and 1930s, cinema began to supplant burlesque and, especially, vaudeville as the chief form of low-cost popular entertainment across the United States. Burlesque houses, such as The Gayety, promoted more risqu茅 acts in the effort to give the public something that they couldn鈥檛 get in movies, especially after the adoption of the Hayes production code in 1932, which not only banned nudity but placed Draconian restrictions on sexual content and references in film.

From its heyday in the 1910s and 1920s鈥攚hen The Gayety鈥檚 bill included nationally prominent comedians such as Abbott and Costello, Phil Silvers, Jackie Gleason and Red Skelton鈥攖he Gayety was a 鈥渢op-of-the-line鈥 burlesque house. In this period (just before and after World War II) iconic strippers such as Gypsy Rose Lee, Blaze Starr, Sally Rand, Valerie Parks and Ann Corio performed there. Following the Second World War, more arcades, as well as adult bookshops, peep shows and show bars cropped up to fill in the vacant spaces and gradually redefined East Baltimore Street as a 鈥渞ed light district,鈥 analogous to New York鈥檚 Times Square, Washington, DC鈥檚 14th Street and New Orleans鈥檚 legendary Bourbon Street. By the 1960s, The Gayety no longer hosted headline performers, and local news features surrounding the cataclysmic fire in 1969 tended to emphasize nostalgia for its decline. In this sense, The Gayety Theater Building encapsulates the history of burlesque as an entertainment form and its interaction with civic form in the 20th century United States.

Nostalgic descriptions of performances at The Gayety and its peers indicate that, by today鈥檚 standards, the performances were quite modest. However, the aura of taboo was a large part of what sustained burlesque in general, and The Gayety in particular, through the mid-twentieth century.

Sponsor

Historic American Building Survey

Related Resources

This story is adapted from published by the Historic American Building Survey.

Street Address

405 E. Baltimore Street, Baltimore, MD 21202
]]>
/items/show/222 <![CDATA[Zion Lutheran Church]]> 2018-11-27T10:33:51-05:00

Dublin Core

Title

Zion Lutheran Church

Subject

Architecture
Religion

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Story

The Zion Lutheran Church is a piece of German-American history that dates back to 1755. Originally known as the German Lutheran Reformed Church, it served Lutheran immigrants coming from Germany. The congregation held services in private residences for the first seven years.

The original church was erected in 1762 on Fish Street (now Saratoga Street), a block away from their current site. The number of worshipers grew rapidly over the years and by 1808 the first building on the current church grounds was completed. It is one of only a few buildings standing that predates the War of 1812 and is the oldest Neo-Gothic style church in the United States. Between 1912 and 1913, the church completed several additions including the Parish House, bell tower, parsonage, and garden.

The church possesses a number of historical artifacts including a piece of the Berlin Wall and plaques dedicated to the members of the church who died in WWI and WWII. The church boasts an impressive collection of stained glass. A number of the windows celebrate German heritage and achievements. The Industry Window in the Sanctuary Entrance has an image of the linotype in the bottom-right corner, a device invented by Ottmar Mergenthaler in Baltimore.

The Zion Lutheran Church currently provides services in both German and English, making it the oldest church in the United States that has maintained uninterrupted services in German and the only church in Maryland to offer a service in German.

Official Website

Street Address

400 E. Lexington Street, Baltimore, MD 21202
]]>
/items/show/219 <![CDATA[Garrett Building]]>
Garrett built 233 East Redwood Street in 1913 with the Baltimore architecture firm Wyatt and Nolting. The limestone faced skyscraper is as striking on the inside as the outside. The lobby is donned with marble walls and columns. Garrett could never turn away from his love of athletics, not even at work. He commissioned a swimming pool and gymnasium for the upper floors. The building is now home to the Gordon Feinblatt law firm. ]]>
2020-10-16T12:00:49-04:00

Dublin Core

Title

Garrett Building

Subject

Architecture

Description

Robert Garrett was the original owner of the thirteen-story Garrett Building. Among other things, Garrett was a banker, Olympian, collector of medieval manuscripts, and a leader in the development of recreational facilities in Baltimore. He was a participant in the first modern Olympic games in 1896. He paid for three of his Princeton classmates to make the trip and they all took home medals, much to the displeasure of the Greeks. Garrett in particular specialized in the shot put but also decided to try the discus throw for fun after realizing the discus only weighed five pounds. Unlike the Greek discus throwers who implemented the graceful throwing techniques of antiquity, Garrett appropriated the crude, brute force style of shot put throwing to the sport. Despite narrowly missing audience members on his first two throws, his final throw was spot-on and won him the gold. He also took home the gold in shot put.

Garrett built 233 East Redwood Street in 1913 with the Baltimore architecture firm Wyatt and Nolting. The limestone faced skyscraper is as striking on the inside as the outside. The lobby is donned with marble walls and columns. Garrett could never turn away from his love of athletics, not even at work. He commissioned a swimming pool and gymnasium for the upper floors. The building is now home to the Gordon Feinblatt law firm.

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Story

Robert Garrett was the original owner of the thirteen-story Garrett Building. Among other things, Garrett was a banker, Olympian, collector of medieval manuscripts, and a leader in the development of recreational facilities in Baltimore. He was a participant in the first modern Olympic games in 1896. He paid for three of his Princeton classmates to make the trip and they all took home medals, much to the displeasure of the Greeks. Garrett in particular specialized in the shot put but also decided to try the discus throw for fun after realizing the discus only weighed five pounds. Unlike the Greek discus throwers who implemented the graceful throwing techniques of antiquity, Garrett appropriated the crude, brute force style of shot put throwing to the sport. Despite narrowly missing audience members on his first two throws, his final throw was spot-on and won him the gold. He also took home the gold in shot put. Garrett built 233 East Redwood Street in 1913 with the Baltimore architecture firm Wyatt and Nolting. The limestone faced skyscraper is as striking on the inside as the outside. The lobby is donned with marble walls and columns. Garrett could never turn away from his love of athletics, not even at work. He commissioned a swimming pool and gymnasium for the upper floors. The building is now home to the Gordon Feinblatt law firm.

Watch our on this building!

Street Address

233 E. Redwood Street, Baltimore, MD 21202
]]>
/items/show/218 <![CDATA[Vickers Building]]> 2020-10-16T11:58:03-04:00

Dublin Core

Title

Vickers Building

Subject

Architecture

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Story

The Vickers Building represents a shift in downtown Baltimore architectural design that occurred directly after the Great Baltimore Fire of 1904 and is one of the largest buildings to utilize brick as a primary material in the Central Business District. Most of the other buildings rebuilt in the area were made of stone. Masonry was popular after the Great Fire because of fireproofing concerns. Before the Great Fire, many buildings (including the old Vickers Building the new one replaced) were built in the ornate Second Empire style and featured sloping Mansard roofs and complex architectural details. This changed after the Great Fire. Architects took a more pragmatic approach to rebuilding the Central Business district and were pressured to create buildings that were cost-efficient, fire safe, and could be erected quickly. Because of all the national attention after the Fire, the city wanted to show the rest of the country its stability and they wanted to do it quickly. The permit for the Vickers Building was issued on May 19, 1904, only three months after the fire. Many of the building鈥檚 properties indicate fire-conscious planning: it鈥檚 made of brick; it has a flat roof because people believed spacious Mansard roof attics contributed to the spread of the Fire; and the bay windows recede into the building rather than protrude outwards. Not all ornamentation was eschewed from the construction of the Vickers Building. Stone lion heads adorn the topmost bay windows and a band of terra cotta runs along the street facing side of the roof. The interior is home to Werner鈥檚 Restaurant: a mainstay in the area since 1951.

Watch our on this building!

Street Address

219-231 E. Redwood Street, Baltimore, MD 21202
]]>
/items/show/217 <![CDATA[American Building]]>
During the second half of the nineteenth century, the buildings of the Baltimore Sun and Baltimore-News American faced each other at the intersection of South Gay Street and East Baltimore Street. It was one of the most bustling areas of the city, filled with newsies passing out papers and bulletin boards posting the latest news. During elections the intersection would be packed with massive crowds of people, all waiting to hear the results.

The original Baltimore News-American Building was destroyed by the Great Baltimore Fire and a new towering office, designed by Baltimore native Louis Levi, was built in 1905 by the George A. Fuller Company. The main contractor for the News American Building was Paul Starrett who later went on to be take a leading role in the erection of the Empire State Building.]]>
2018-11-27T10:33:51-05:00

Dublin Core

Title

American Building

Subject

News and Journalism

Description

The American Building was home to Baltimore News-American, a newspaper that traces its lineage back to 1773 . As opposed to the Baltimore Sun, Baltimore News-American was an afternoon newspaper targeted to working class and blue-collar districts. One of the newspaper鈥檚 many editors was John L. Carey. He was deeply interested in the question of slavery in the years leading up to the Civil War and felt that the two races could never live in peace and offered up the solution to re-settle all enslaved people in Africa. The Baltimore News-American would survive for two hundred years, until its final issue on May 27th, 1986.

During the second half of the nineteenth century, the buildings of the Baltimore Sun and Baltimore-News American faced each other at the intersection of South Gay Street and East Baltimore Street. It was one of the most bustling areas of the city, filled with newsies passing out papers and bulletin boards posting the latest news. During elections the intersection would be packed with massive crowds of people, all waiting to hear the results.

The original Baltimore News-American Building was destroyed by the Great Baltimore Fire and a new towering office, designed by Baltimore native Louis Levi, was built in 1905 by the George A. Fuller Company. The main contractor for the News American Building was Paul Starrett who later went on to be take a leading role in the erection of the Empire State Building.

Creator

Nathan Dennies

Curatescape Story Item Type Metadata

Lede

The American Building was home to Baltimore News-American, a newspaper that traces its lineage back to 1773.

Story

As opposed to the Baltimore Sun, Baltimore News-American was an afternoon newspaper targeted to working class and blue-collar districts. One of the newspaper鈥檚 many editors was John L. Carey. He was deeply interested in the question of slavery in the years leading up to the Civil War and felt that the two races could never live in peace and offered up the solution to re-settle all enslaved people in Africa. The Baltimore News-American would survive for two hundred years, until its final issue on May 27th, 1986.

During the second half of the nineteenth century, the buildings of the Baltimore Sun and Baltimore-News American faced each other at the intersection of South Gay Street and East Baltimore Street. It was one of the most bustling areas of the city, filled with newsies passing out papers and bulletin boards posting the latest news. During elections, the intersection would be packed with massive crowds of people, all waiting to hear the results.

The original Baltimore News-American Building was destroyed by the Great Baltimore Fire and a new towering office, designed by Baltimore native Louis Levi, was built in 1905 by the George A. Fuller Company. The main contractor for the News American Building was Paul Starrett who later went on to be take a leading role in the erection of the Empire State Building.

Official Website

Street Address

231-235 East Baltimore Street, Baltimore, MD 21202
]]>
/items/show/215 <![CDATA[Clarence M. Mitchell, Jr. Courthouse]]> 2020-10-16T12:03:22-04:00

Dublin Core

Title

Clarence M. Mitchell, Jr. Courthouse

Subject

Architecture

Creator

William Dunn

Curatescape Story Item Type Metadata

Story

In 1885, Baltimore City set out to build the most beautiful Courthouse in the country. Fifteen years, and $2.2 million later ($56 million adjusted for inflation), that goal was realized. On January 6, 1900, the Baltimore Sun reported that the City of Baltimore had built a 鈥渢emple of justice, second to no other in the world.鈥 The building, which is a magnificent exemplification of Renaissance Revival architecture, continues to stand as a monument to the progress of the great city of Baltimore, and to the importance of the rule of law. Today, this main building in the Baltimore City Circuit Court complex is referred to as the Clarence M. Mitchell, Jr. Courthouse in honor of the local lawyer and nationally respected civil rights leader. Most of the original splendor of this massive building can still be enjoyed, including the granite foundation, marble facades, huge brass doors, mosaic tiled floors, mahogany paneling, two of the world鈥檚 most beautiful courtrooms, domed art skylights, gigantic marble columns, and beautifully painted murals. In addition, the Courthouse is home to one of the oldest private law libraries in the country, and to the Museum of Baltimore Legal History. The exterior foundation of the Clarence M. Mitchell, Jr. Courthouse was built from granite quarried in Howard County, while the exterior walls are crafted from white marble quarried in Baltimore County. The Calvert Street exterior fa莽ade is especially outstanding, as it displays eight of the largest monolithic columns in the world, each weighing over 35 tons and measuring over 35 feet in height. The interior of the building is even more impressive. Among the many historic spaces, the Supreme Bench Courtroom is one of the finest. The circular courtroom is like no other in the world. It is surmounted by a coffered dome resting upon sixteen columns of Sienna marble from the Vatican Quarry in Rome. Inscribed upon the frieze around the base of the dome are the names of Maryland鈥檚 early legal legends. Other fascinating rooms include the Old Orphans Courtroom (which houses the Museum of Baltimore Legal History); the Ceremonial Courtroom, and the Bar Library (described as one of the most elegant interior spaces in Baltimore, with its paneled English oak walls and barrel-vault ceiling punctuated by forty art glass skylights). Also noteworthy for its artistic beauty are the two domed stained-glass skylights above the stairs in Kaplan Court which depict the goddesses of Justice, Mercy, Religion, Truth, Courage, Literature, Logic and Peace. In addition, the courthouse has six original murals from world renowned artists depicting various civic and religious scenes. Those murals include: Calvert鈥檚 Treaty with the Indians; The Burning of the Peggy Stewart; Washington Surrenders His Commission; Religious Toleration; The Ancient Lawgivers; and The British Surrender at Yorktown.

Watch our on this building!

Official Website

Street Address

100 N. Calvert Street, Baltimore, MD 21202
]]>
/items/show/201 <![CDATA[War Memorial Building]]> 2018-11-27T10:33:51-05:00

Dublin Core

Title

War Memorial Building

Subject

Architecture

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

An Architectural Monument to Maryland's Military Dead

Story

In 1919, the Governor of Maryland and the Mayor of Baltimore appointed a War Memorial Commission that initiated a nationwide architectural competition to design a memorial building dedicated to the 1,752 Marylanders who died in military service during WWI. The design for the monumental building that today faces Baltimore City Hall across War Memorial Plaza was executed by local architect Lawrence Hall Fowler.

A ground-breaking ceremony on November 22, 1921, was attended by Ferdinand Foch, Marshall of France and the cornerstone was laid on April 29, 1923 in a ceremony attended by Acting Secretary of War Colonel Dwight F. Davis, Governor Albert C. Ritchie, and Mayor William F. Broening. The War Memorial was dedicated on April 5, 1925.

The finished building featured a 1000-seat auditorium and a mural by Baltimore artist R. McGill Mackall, depicting, 'A Sacrifice to Patriotism.' In front of the building are two stone sea horses representing the "Might of America crossing the seas to aid our allies." The sculptor, Edmond R. Amateis, included in the statues the coats of arms for Maryland and the City of Baltimore.

The building was rededicated by Mayor William Donald Schaefer on November 6, 1977 as a memorial to the Marylanders who gave their lives in all wars with American involvement during the twentieth century. The War Memorial Building still houses administrative offices for local veterans organizations.

Related Resources

Official Website

Street Address

101 N. Gay Street, Baltimore, MD 21202
]]>
/items/show/169 <![CDATA[Little Joe's]]> 2018-11-27T10:33:50-05:00

Dublin Core

Title

Little Joe's

Subject

Recreation

Creator

Theresa Donnelly

Curatescape Story Item Type Metadata

Story

Long before places like Sports Authority or Dick's Sporting Goods opened their doors, Little Joe's on the northwest corner of Howard and Baltimore was selling everything from camping equipment and fishing gear to bikes and saddles. In addition, Little Joe's (named for its proprietor, Joe Wiesenfeld, who was just shy of 5 feet) sold a variety of "sundries" and toys, including electric trains and, for a short time, cars and auto-related accessories. By the turn of the century, Wiesnefeld, who opened a bike shop at the corner of Baltimore and Paca Streets in the early 1890s, had expanded his business and moved the shop to this location. In 1909 Wiesenfeld opened an auto annex on West German Street , where his staff repaired and sold cars.

Wiesenfeld's goal on opening Little Joe's Sporting Goods was to sell everything that the multiple department stores in the area didn't and for years he did just that, offering the neighborhood access to goods that would otherwise not have been readily available. This location of Little Joe's was closed in 1925.

Street Address

6 N. Howard Street, Baltimore, MD 21201
]]>
/items/show/161 <![CDATA[G. Krug & Son Ironworks and Museum]]> 2020-10-16T13:13:57-04:00

Dublin Core

Title

G. Krug & Son Ironworks and Museum

Subject

Industry

Creator

Patrick Cutter

Curatescape Story Item Type Metadata

Subtitle

America's Oldest Operating Ironworks

Lede

For more than 200 years artisans here have hammered out practical and ornamental ironwork that still graces local landmarks as Otterbein Methodist Church, the Basilica of the Assumption, Baltimore's Washington Monument, Zion Church, Johns Hopkins Hospital and the Baltimore Zoo.

Story

"There is hardly a building in Baltimore that doesn't contain something we made, even if it is only a nail," boasts Theodore Krug, heir to the oldest continuously working iron shop in the country. G. Krug & Son is one of the oldest companies in Baltimore, and the oldest ironworks factory in the country. These ironworks have been in operation without interruption, at the same location, since 1810. At that time, it was operated by Augustus Schwatka who was listed in the Baltimore Directory of 1810 as Schwatka, Augustus, blacksmith, corner of Saratoga St. and Short Alley. The firm changed hands in 1830, when it was sold to Andrew Merker. It was then listed as Merker, A., Locksmith and Bell Hanger, Eutaw St. and Saratoga. Today, the profession of "bell hanger" combined with "locksmith" may sound strange; however, in the year 1831 it made sense as more and more churches were being built. Gustav Krug came to Baltimore in 1848 and worked under Merker, but quickly advanced to foreman, then partner of the company. Upon the death of Andrew Merker in 1871, Gustav Krug became the sole proprietor, and "A. Merker & Krug" became "G. Krug & Son" in 1875. By the late nineteenth century, the company records listed the most important jobs as Johns Hopkins Hospital, Emanuel Church, Otterbein Church, and one of Baltimore's most famous landmarks, "The Fountain Inn." The bill for the Fountain Inn at the time was $524.00 for 262 feet of plain railing and $475.65 for 151 feet of fancy railing. The Krugs' signature "Otterbein Style" has become synonymous with Baltimore history and can be seen on many buildings throughout the city. While the company keeps a steady flow of new work, it also restores the work made by its predecessors. G. Krug & Son is one of the few companies left in Baltimore that can state it helped in building the city. Today, the company is run by 5th generation Peter Krug.

Watch our on this site!

Official Website

Street Address

415 W. Saratoga Street, Baltimore, MD 21201
]]>
/items/show/152 <![CDATA[Baltimore Arena]]> 2018-11-27T10:33:51-05:00

Dublin Core

Title

Baltimore Arena

Subject

Architecture

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

In 1961, the cornerstone of the Baltimore Civic Center (as it was then called) was laid, enclosing a time capsule with notes from President John F. Kennedy, Maryland Governor Millard Tawes, and Baltimore Mayor Harold Grady. Located on the site of the former Old Congress Hall where the Continental Congress met in 1776, the arena opened a year later to great acclaim as part of a concerted effort to revitalize downtown Baltimore. Through ups and downs and a number of renovations, the arena has become woven into the fabric of the city.

In its early years, Baltimore鈥檚 professional hockey team (the Baltimore Clippers) played here, as did the Baltimore Bullets, the city鈥檚 former basketball team. In 1966, Dr. Martin Luther King delivered a speech called "Race and the Church" at the arena as part of a gathering of Methodist clergy, and in 1989 the arena hosted the U.S. National Figure Skating Championships. And then there are the concerts. On Sunday, September 13, 1964 the Beatles played back-to-back shows at the arena to throbbing young Baltimoreans, and the arena is reportedly one of the only indoor venues in the U.S. still standing where the Fab Four played. In the 1970s, Led Zeppelin played the arena and shot a few scenes for their movie 鈥淭he Song Remains the Same鈥 backstage. Also in the 1970s, the Grateful Dead performed many shows here, including a performance where they played the song 鈥淭he Other One鈥 for a reportedly record forty minutes.

Finally in 1977, Elvis Presley performed at the arena just weeks before he died. The tickets for the show sold out in 2 陆 hours, and although there were no untoward incidents reported while The King was onstage, he did apparently lose his lunch in a corridor in the back.

Official Website

Street Address

201 W. Baltimore Street, Baltimore, MD 21201
]]>
/items/show/129 <![CDATA[Baltimore's Inner Harbor]]> 2018-12-10T16:37:04-05:00

Dublin Core

Title

Baltimore's Inner Harbor

Subject

Inner Harbor

Curatescape Story Item Type Metadata

Subtitle

From an Industrial Waterfront to Haborplace and More

Story

In 1985, WJZ-TV local news cameras captured the view of the Inner Harbor from above as they documented the quickly changing landscape from the back seat of a helicopter. An aerial vantage point was nearly a necessity to take in the wide range of recently completed development projects and recently announced new building sites. In 1984, developers and city officials had announced twenty projects to build new buildings or reuse existing buildings around Charles Center and the Inner Harbor.

That same year, Charles Center and the Inner Harbor won an "Honor Award" from the American Institute of Architects (AIA) recognizing the conversion of the former industrial landscape into a destination for tourists and locals as "one of the supreme achievements of large-scale urban design and development in U.S. history."

Related Resources

Street Address

201 E. Pratt Street, Baltimore, MD 21202
]]>
/items/show/122 <![CDATA[The Baltimore General Dispensary]]> 2019-02-11T22:53:38-05:00

Dublin Core

Title

The Baltimore General Dispensary

Subject

Medicine

Creator

Theresa Donnelly

Curatescape Story Item Type Metadata

Lede

Up near the top of this handsome Neoclassical brick building at the corner of Fayette and Paca Streets is a stone entablature reading "1801 Baltimore General Dispensary 1911"鈥攁 visible reminder of this building's important past.

Story

Doors opened at the Baltimore General Dispensary on Fayette Street in February 1912 and is the only surviving building designed for Baltimore's oldest charity,

The Baltimore General Dispensary was formed in 1801 on West Lexington Street to provide medical care to Baltimore's poor residents. In its first year, the dispensary saw a little over 200 patients. Before official incorporation in 1808, over 6,000 Baltimore residents had sought help from the charity.

A second dispensary joined the first in 1826 and by the late nineteenth century the charity had established fifteen additional locations many affiliated with local hospitals. While the building is no longer owned by the group, the charitable work of the Baltimore Dispensary continues through a grant-making foundation providing funds to area hospitals for medicine in their outpatient departments.

Considered a model of its kind, this building featured a large dispensary center on the first floor; however, due to the racial segregation enforced in many local institutions at that time, the dispensary was separated for black and white patients. The rooms on the second floor for surgical and medical aid, including physical exams given by doctors, allowed the charity's poor patients a rare measure of privacy.

Street Address

500 W. Fayette Street, Baltimore, MD 21201
]]>
/items/show/110 <![CDATA[James M. Deems Music School]]> 2019-05-09T12:48:03-04:00

Dublin Core

Title

James M. Deems Music School

Subject

Education

Creator

Elizabeth Pente
Theresa Donnelly

Curatescape Story Item Type Metadata

Subtitle

A Local Composer at 426 W. Baltimore Street

Story

Spinning wheel manufacturers, cigar makers, tailors, hat makers, multiple banks, and a music school all occupied this site鈥攐ften at the same time鈥攇oing back to the early nineteenth century. During the decade after the Civil War, the upper stories provided a home for the James M. Deems Music School established in 1867 by Civil War veteran and well-known composer General James Monroe Deems.

Born in Baltimore in 1818, Deems played music since early childhood鈥攍ater declared a "prodigy" for his performances with a group organized by his father. He traveled to Dresden, Germany in 1839 to study musical composition and cello with J. J. F. Dotzauer, a famed German cellist and composer. After his return to the United States, Deems became an instructor at the University of Virginia but maintained his ties to Baltimore, convincing Baltimore schools to adopt his Vocal Music Simplified instructional book for music education in 1851. After a brief but active military career during the Civil War, Deems opened his music school on West Baltimore Street sharing the building with the Haydn Musical Association. Even after the school left Baltimore Street in 1877, Deems remained an active composer and educator through his death in 1901.

In the years after World War II, the condition of the block deteriorated as the decline of the clothing industry left many small commercial buildings vacant. Fortunately for this handsome landmark, the building was restored and opened as a PNC Bank branch in 2009.

Street Address

426 W. Baltimore 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鈥攃omplete with roaring lions and majestic wreaths and fluted columns鈥攎ade 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 鈥 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鈥攖he Georgian Tea Room and Cook Works鈥攂oth 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/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鈥攁 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.

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Related Resources

Street Address

6 N. Liberty Street, Baltimore, MD 21201
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/items/show/92 <![CDATA[Hutzler's ]]>
Founded in 1858 as a single storefront at the corner of Howard and Clay streets by German-Jewish peddler Moses Hutzler and his son Abram, the store soon expanded to two additional Howard Street storefronts. Abram welcomed his brothers Charles and David into the retail operation in 1867 and the business incorporated as the Hutzler Brothers Company in the early twentieth century. The store carefully cultivated an image as not only a purveyor of fine goods, but a destination in itself. Hutzler's prided itself on being a place where shoppers could spend an entire day, complete with lunch in The Colonial or the Quixie, a haircut in the Circle Room Beauty Salon, and a shoeshine at the Shoe Fixery on the 8th floor.

The magnificent "palace" building on Howard Street reflects the reputation for class with a ornate Nova Scotia gray stone fa莽ade designed by the firm of Baldwin and Pennington. The store continued to grow in the 20th century with the construction of the Art Deco "tower" building in 1932 (which gained five additional stories in 1942) designed by architect James R. Edmunds, Jr.

Hutzler's claimed many innovations in Baltimore retailing including the widespread institution in 1868 of the now standard "one-price policy," which replaced a system of bargaining that favored the loudest or boldest bidder. Hutzler's offered an early liberal returns policy and was the first department store in Maryland to boast a fleet of delivery trucks. Like many department stores across the nation, Hutzler's sought to employ the latest technology; they installed Baltimore's first escalator in this building in the early 1930s.

In 1952, Hutzler's expanded to the Baltimore suburbs, opening a store Towson, Maryland, which was quickly followed by eight additional suburban outlets. Despite their forward-looking expansion, competition from national retailers and the continued decline of downtown business forced the 132 year-old family-owned business to close in 1990.]]>
2018-11-27T10:33:50-05:00

Dublin Core

Title

Hutzler's

Description

"If you wanted the good stuff, you went to Hutzler's," said Governor William Donald Schaefer and for generations of Baltimoreans, Hutzler's represented the height of downtown shopping, simply the place to shop. Many Marylanders still have fond memories of taking a streetcar down to Howard Street to shop at Hutzler's - the grande dame of Baltimore department stores with the richly detailed 1880s Palace building the modern 1930s Tower building next door.

Founded in 1858 as a single storefront at the corner of Howard and Clay streets by German-Jewish peddler Moses Hutzler and his son Abram, the store soon expanded to two additional Howard Street storefronts. Abram welcomed his brothers Charles and David into the retail operation in 1867 and the business incorporated as the Hutzler Brothers Company in the early twentieth century. The store carefully cultivated an image as not only a purveyor of fine goods, but a destination in itself. Hutzler's prided itself on being a place where shoppers could spend an entire day, complete with lunch in The Colonial or the Quixie, a haircut in the Circle Room Beauty Salon, and a shoeshine at the Shoe Fixery on the 8th floor.

The magnificent "palace" building on Howard Street reflects the reputation for class with a ornate Nova Scotia gray stone fa莽ade designed by the firm of Baldwin and Pennington. The store continued to grow in the 20th century with the construction of the Art Deco "tower" building in 1932 (which gained five additional stories in 1942) designed by architect James R. Edmunds, Jr.

Hutzler's claimed many innovations in Baltimore retailing including the widespread institution in 1868 of the now standard "one-price policy," which replaced a system of bargaining that favored the loudest or boldest bidder. Hutzler's offered an early liberal returns policy and was the first department store in Maryland to boast a fleet of delivery trucks. Like many department stores across the nation, Hutzler's sought to employ the latest technology; they installed Baltimore's first escalator in this building in the early 1930s.

In 1952, Hutzler's expanded to the Baltimore suburbs, opening a store Towson, Maryland, which was quickly followed by eight additional suburban outlets. Despite their forward-looking expansion, competition from national retailers and the continued decline of downtown business forced the 132 year-old family-owned business to close in 1990.

Creator

Theresa Donnelly
Sydney Jenkins

Curatescape Story Item Type Metadata

Story

"If you wanted the good stuff, you went to Hutzler's," said Governor William Donald Schaefer and for generations of Baltimoreans, Hutzler's represented the height of downtown shopping, simply the place to shop. Many Marylanders still have fond memories of taking a streetcar down to Howard Street to shop at Hutzler's - the grande dame of Baltimore department stores with the richly detailed 1880s Palace building the modern 1930s Tower building next door.

Founded in 1858 as a single storefront at the corner of Howard and Clay streets by German-Jewish peddler Moses Hutzler and his son Abram, the store soon expanded to two additional Howard Street storefronts. Abram welcomed his brothers Charles and David into the retail operation in 1867 and the business incorporated as the Hutzler Brothers Company in the early twentieth century. The store carefully cultivated an image as not only a purveyor of fine goods, but a destination in itself. Hutzler's prided itself on being a place where shoppers could spend an entire day, complete with lunch in The Colonial or the Quixie, a haircut in the Circle Room Beauty Salon, and a shoeshine at the Shoe Fixery on the 8th floor.

The magnificent "palace" building on Howard Street reflects the reputation for class with a ornate Nova Scotia gray stone fa莽ade designed by the firm of Baldwin and Pennington. The store continued to grow in the twentieth century with the construction of the Art Deco "tower" building in 1932 (which gained five additional stories in 1942) designed by architect James R. Edmunds, Jr.

Hutzler's claimed many innovations in Baltimore retailing including the widespread institution in 1868 of the now standard "one-price policy," which replaced a system of bargaining that favored the loudest or boldest bidder. Hutzler's offered an early liberal returns policy and was the first department store in Maryland to boast a fleet of delivery trucks. Like many department stores across the nation, Hutzler's sought to employ the latest technology; they installed Baltimore's first escalator in this building in the early 1930s.

In 1952, Hutzler's expanded to the Baltimore suburbs, opening a store in Towson, Maryland, which was quickly followed by eight additional suburban outlets. Despite their forward-looking expansion, competition from national retailers and the continued decline of downtown business forced the 132 year-old family-owned business to close in 1990.

Street Address

200 N. Howard Street, Baltimore, MD 21201
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/items/show/83 <![CDATA[Five and Dimes on Lexington Street]]> 2018-11-27T10:33:49-05:00

Dublin Core

Title

Five and Dimes on Lexington Street

Subject

Commerce

Creator

Theresa Donnelly

Curatescape Story Item Type Metadata

Subtitle

McCrory's, Kirby-Woolworth, and Schulte United

Story

In contrast to the high-end shopping at Stewart's or Hochschild-Kohn's on Howard Street, West Lexington Street offered goods of all kinds at affordable prices thanks to a row of five-and-tens from Read's Drug Store down to Kresge's on the other side of Park Avenue.

McCrory's at 227-229 West Lexington stands out with a colorful early twentieth century tile facade built over a structure that likely dates back to late nineteenth century. John Graham McCrorey started the chain in Scottsdale, Pennsylvania in 1882 and soon expanded with locations across the country. Noting McCrorey's reputation as a smart and thrifty businessman, in 1887 The New York Times reported that he had legally changed his name, dropping the e, because he did not want to pay the cost of the extra gilt letter on his many store signs. McCrory's on Lexington Street opened in the late 1920s and was one of over 1,300 McCrory's outlets operating around the country by the 1950s.

The more modest Kirby-Woolworth Building east of McCrory's began as two buildings put up by two close competitiors - Frederick M. Kirby and the H.G. Woolworth & Co. In retrospect, the reunion of the two buildings feels inevitable as Kirby and Woolworth pioneered the five-and-ten cent store business together in the 1870s and early 1880s, opening a store together in Wilkes-Barre, Pennsylvania in 1884 before parting ways in 1887. The two buildings came up side by side on Lexington Street in 1907 and likely combined into a single structure after the merger of H.G. Woolworth & Company and F. M. Kirby & Company in 1912.

Schulte United Five and Dime offers a unique fa莽ade with shining gold eagles and incised lettering along the top of the building. The building began as the Eisenberg Underselling Store, later known as the Eisenberg Company, with the determined motto that they offered "prices that are irreproachable everywhere." By 1928, 600 employees worked for the Eisenberg Company at several locations throughout the city. Within a few years, however, Schulte United 鈥 established by David A. Schulte, a "tobacco store potentate," who decided to enter the five-and-dime business in 1928 with the ambitious goal of investing $35,000,000 in 1,000 stores around the country 鈥 purchased the store on Lexington Street.

Street Address

200 W. Lexington Street, Baltimore, MD 21201
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/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 91视频 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 91视频 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鈥"If you keep late hours for Society's sake Bromo-Seltzer will cure that headache"鈥攖he 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鈥"If you keep late hours for Society's sake Bromo-Seltzer will cure that headache"鈥攖he 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 91视频 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
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