While Baltimore is remembered for the city’s role in fabricating ships and railcars, the companies that made the large machines required to build those ships and railcars have largely been forgotten. The Detrick & Harvey Machine Company buildings is one of the last remnants of Baltimore’s place in the history of machinery manufacture.

The Detrick & Harvey Machine Company began downtown, a block from the Inner Harbor, in an area of Baltimore where both the buildings and, ultimately, the streets themselves were lost to the 1904 Fire. Before Jacob S. Detrick founded his machine company on Preston Street, he operated the Enterprise Machine Works (featured in the 1882 volume “Industries of Maryland”). Around 1883, Alexander Harvey, a recent graduate of Harvard University and Baltimore native, joined Detrick in his machine shop by and the two soon formed the partnership of Detrick & Harvey.

The company outgrew Detrick's original downtown location by 1885 and moved north to Preston Street just east of the Jones Falls. There they began the construction of an impressive factory complex. Around 1890, the company’s name changed to the Detrick & Harvey Machine Company. They were well known for their metal working machines, notably their planers and the band saw filing machine first offered by Enterprise Machine Works. Alexander Harvey passed away in 1914 at age 57.

The next year, on August 17, 1915, the Bethlehem Steel Company purchased the company and the complex became the Bethlehem Steel Detrick & Harvey Plant. Examples of large D & H machines are in two notable local collections: a large planer at the Baltimore & Ohio Railroad Museum's repair facility and another at the Baltimore Museum of Industry. The Yellow Cab Company purchased the facility in 1929 and continue to operate there until the early 1980s.

508 E. Preston Street, Baltimore, MD 21202

A Waverly Landmark since 1843

The Episcopalian congregation of Saint John's Church has worshiped together on the same site in Waverly since 1843. At that time the area was the small village of Huntingdon, Maryland: a collection of about seventeen large estates, and the more modest homes of a new and emerging middle class.

The village extended from Huntingdon Avenue (present day Remington) on the west to Harford Road on the east; from Huntingdon Avenue (25th Street) on the south to Boundary Avenue (42nd Street) on the north. In 1888, Baltimore City annexed the area from Baltimore County and the post office was renamed Waverly, after Sir Walter Scott's popular Waverly novels.

In November 1843, the Episcopal Bishop of Maryland, William Rollinson Whittingham, sent Reverend W. A. Hewitt to Huntingdon. Local resident Thomas Hart requested the appointment because he wanted his grandchildren baptized but did not want to travel to the parish church, Saint Paul's, in Baltimore City. The bishop happily obliged since he was eager to establish new congregations in Maryland embodying the ideals of the Oxford Movement, which sought to reinstate older Christian traditions in the Anglican Church.

The congregation at Saint John's Church held their first service the “barracks”: a powder magazine and post for federal troops located a short distance southwest of the present church building. On July 10, 1844, Saint John's Church was legally incorporated as a diocesan mission church within the bounds of Saint Paul's parish and by 1845 became an independent congregation. The congregation laid the cornerstone for its first church in April 1846, and was consecrated by Bishop Whittingham on November 11, 1847. The church opened as a “free church”—rejecting the then-common practice among Anglican, Catholic, and Presbyterian churches of raising money by charging parishioners "pew rents".

For the first two years the rector returned his stipend to the treasurer as his offering toward the building expenses. He also installed a furnace at his own expense, assuring the warm devotion and gratitude of his flock. However, on May 15, 1858, just eleven years after its consecration, the church caught fire and burned to the ground.

Poorer but undaunted, the congregation worked to rebuild and Bishop Whittingham laid cornerstone of the present church on September 11, 1858. The first service in this building was held on May 22, 1859, and its consecration was on All Saints' Day in 1860. The congregation prospered and the church added a Parish House (1866) and a Rectory (1868) in a matching Gothic style. In 1885, the church built an orphanage for boys but the institution closed in 1912 and the building has been demolished. An 1850s cemetery still survives on the property.

The design of the church was influenced to the principles of the Cambridge Camden Society (later known as the Ecclesiological Society) which promoted revival of the Gothic style in architecture. The church was enlarged in 1875 with the addition of transepts (creating the classic cruciform shape visible today), a baptistery (the present Lady Chapel), sacristy, enlarged sanctuary, and a bell tower and spire. The interior decoration was completed in 1895 in the same Gothic Revival style.

After several modernizations of the decor, a whitewash, and years of neglect, the restoration of much of the original decoration was undertaken from 1983 to 1985 by the Reverend R. Douglas Pitt, the eleventh rector. This work was resumed in 1994 under the Reverend Jesse L. A. Parker, twelfth rector. All of the restoration work has been accomplished by the well-known decorative artist Janet Pope, of J. Pope Studios, Baltimore, which specializes in historic decorative restoration.

3009 Greenmount Avenue, Baltimore, MD 21218

Officially dedicated on July 13, 1839 and born out of the garden cemetery movement, Green Mount Cemetery is one of the first garden cemeteries created in the United States. After seeing the beautiful Mount Auburn Cemetery in Connecticut in 1834, Samuel Walker, a tobacco merchant, led a campaign to establish a similar site in Baltimore. During a time in which overcrowded church cemeteries created health risks in urban areas, Walker's successfully garnered support and commissioned plans from architect Benjamin Henry Latrobe, II to establish the Green Mount Cemetery on sixty acres of the late merchant Robert Oliver's estate.

During his life, Walker spared no expense tailoring the beauty of the estate, and left the grounds highly ornamented upon his death. Latrobe's design incorporated all the beautiful features associated with garden cemeteries including dells, majestic trees, and numerous monuments and statues. Amongst the towering hardwood trees in the cemetery is a rare, small-flowered red rose known as the Green Mount Red. Created by Green Mount Cemetery's first gardener, James Pentland, the Green Mount Red can only be found here at Green Mount and on George F. Harison's grave at Trinity Church Cemetery in New York.

Walking into Green Mount Cemetery, the first thing visitors notice is the imposing Entrance Gateway designed by Robert Cary Long, Jr. An example of the Gothic style, the gateway features two towers reaching forty feet and beautiful stained glass windows. The haunting chapel, designed by John Rudolph Niernsee and James Crawford Neilson, is made of Connecticut sandstone and features flying buttresses and an impressive 102 foot spire.

Green Mount Cemetery is famously known as the resting place of a large number of prominent historical figures ranging from John Wilkes Booth, to local philanthropists Johns Hopkins and Enoch Pratt. The graves and sculptures that scatter the cemetery make Green Mount Cemetery a treasury of nineteenth century art.

William Henry Rinehart, considered the last important American sculptor to work in the classical style, had many commissions at Green Mount, and is credited with some of the cemeteries most awe-inspiring pieces. Commissioned by Henry Walters for the grave of his wife, Ellen Walters, Rinehart's "Love Reconciled as Death" depicts a classical Grecian woman cast in bronze strewing flowers. Poetically resting on Rinehart's own grave is his bronze statue of Endymion: the beautiful young shepherd boy who Zeus granted both eternal youth and eternal sleep.

Perhaps the most striking sculpture in the Green Mount Cemetery is the Riggs Memorial, created by Hans Schuler. Schuler was the first American sculptor to win the Salon Gold Medal in Paris, and his mastery shows in the Riggs Monument depicting a grieving woman slouched over a loved one's grave, holding a wreath in one hand and a drooping flower in the other.

1501 Greenmount Avenue, Baltimore, MD 21202