A Masterpiece in our Metro

At the Upton Metro Station at Pennsylvania Avenue and Laurens Street, an explosion of color greets transit patrons at the conclusion of their escalator journey. “Baltimore Uproar,” a monumental mosaic by the renowned African-American artist Romare Bearden, depicts a jazz band fronted by a singer of ambiguous identity—perhaps Baltimore’s own Billie Holiday. It is no coincidence that Pennsylvania Avenue, which runs directly above ground and recently became a state-designated Arts & Entertainment District, is Baltimore’s historical center for jazz. How did Baltimore attract such a prestigious commission as Bearden?

Born in North Carolina in 1911, Romare Bearden was one of the most influential American artists of the 20th century. He explored numerous forms of art throughout his career, including painting, stage design, and songwriting—but Bearden is best known for his rich collages. His subject matter often dealt with African-American life and the American South, and had a humanistic bent inspired by his experiences serving in World War II. Bearden was also a founding member of The Spiral, a Harlem collective dedicated to debating the role of the African-American artist in the civil rights movement.

A strong baseball player as a young man, Bearden was offered—but declined—a spot on the Philadelphia Athletics fifteen years before Jackie Robinson broke the color barrier in 1947. In 1932 while playing for the all-Black, semi-pro Boston Tigers, Bearden pitched against the legendary Satchel Paige, who had played for the Baltimore Black Sox just two years earlier.

Shortly after Bearden graduated from New York University in 1935, Carl Murphy, the publisher of Baltimore’s Afro-American newspaper, offered him a job as a weekly editorial cartoonist. Bearden’s cartoons, which featured prominently on the opinions page, reflected on the realities of America in the time of Jim Crow and the Great Depression.

Bearden’s masterpiece is located on a metro line which, while functional, is just a sample of what a comprehensive metro system could have been for Baltimore. A 1968 planning report envisioned a rapid transit system with six lines emanating from downtown and extending out to the greater Baltimore region—but today, only a northwestern line to Owings Mills and a spur to Johns Hopkins Hospital has been completed. Each metro station was designed by a different architect and received a public artwork by artists of varying renown. Bearden, whose $114,000 mosaic cost the MTA about $30,000 more than the second-most expensive artwork, stood out as the most famous artist of the nine selected. The mosaic, made of fine yet fragile Venetian glass and ceramic and measuring 14 by 46 feet, was assembled in Italy.

“Baltimore Uproar” was unveiled on December 15, 1982. In a 1983 Sun article evaluating public art in the fledgling metro system, art critic John Dorsey acknowledged the mosaic’s grandeur and fitting subject matter, but concluded that the reaction of the public would be the only authentic evaluation. Since its unveiling, Baltimore has indeed embraced and appreciated Bearden’s token to the city that helped shape him.

1702 Pennsylvania Avenue, Baltimore, Maryland 21217

Monument by James Early Reid on Pennsylvania Avenue

The Billie Holiday Monument on Pennsylvania Avenue commemorates the life and legacy of the famed "Lady Day" who was born as Eleanora Fagan in Baltimore on April 7, 1915.

Billie Holiday's childhood was difficult. Both of her parents were teenagers when she was born. In 1925, a ten-year-old Holiday was raped by an older neighbor and was sent to The House of the Good Shepherd, a Catholic penal institution (sometimes known as a "reform school") for Black girls. Holiday was held there for two years. After her release in 1927, she moved to New York City with her mother.

As a teenager, Billie began singing for tips in bars and brothels but soon found opportunities to sing with accomplished jazz musicians including Artie Shaw, Benny Goodman, and Count Basie. She returned to Baltimore as a touring musician playing at clubs and restaurants along Pennsylvania Avenue. Unfortunately, after struggles with addiction and a sustained campaign of harassment by law enforcement, Holiday died on July 17, 1959 at age 44 and was buried in an unmarked grave at St. Raymond's Cemetery in New York City.

Planning for a statue in Baltimore began around 1971 as part of the urban renewal redevelopment of Pennsylvania Avenue and the surrounding Upton neighborhood. The original plans included both a statue and a drug treatment center in Holiday's honor but while plans for the center were dropped the Upton Planning Council continued to push for the sculpture.

In 1977, Baltimore commissioned thirty-seven-year-old Black sculptor James Earl Reid to design the monument. A North Carolina native, Reid recieved a master’s degree in sculpture from the University of Maryland College Park in 1970 and stayed at the school as a professor. Unfortunately, by 1983, rising costs of materials due to inflation led to a legal dispute between Reid and the city over payment and delays. The $113,000 eight-foot six-inch high bronze sculpture was unveiled on top of a cement pedestal in 1985 but Reid skipped the ceremony.

Reid's original vision was finally realized in July 2009 when the city found $76,000 to replace the simple pedastal with 20,000-pound solid granite base with incised text and sculptural panels. Inspired by one of Holliday's most famous performances, the haunting anti-lynching song "Strange Fruit," one of the two panels depicts a lynching. The other, inspired by the song "God Bless the Child," includes the image of a black child with an umbilical cord still attached in a visual reference to the rope used in the hanging. At the re-dedication in 2009, Reid celebrated the completion of the work and the life of Billie Holliday explaining, "She gave such a rich credibility to the experiences of black people and the black artist."

Watch on this statue!

1400 Pennsylvania Avenue, Baltimore, MD 21217

Douglas Memorial Community Church was built is 1857 for the Madison Avenue Methodist Episcopal Church. The building boasts a grand Greek Revival design by architect Thomas Balbirnie with a sanctuary that seats a thousand people and an “undercroft” designed to hold six hundred.

In 1925, the congregation of the Douglass Memorial Community Church split off from the established Bethel A.M.E. Church on Druid Hill Avenue and acquired the building on Madison Avenue. In July 1949, Dr. Marion C. Bascom became a senior pastor at the church; a position he continued to hold up until his retirement in March 1995. Before his death in 2012, Pastor Bascom had dedicated his life to activism including everything from participating in the protests at Gwynn Oak Park to leading efforts to create new affordable housing in the Upton neighborhood. Speaking about his involvement in a July 4, 1963, protest at Gwynn Oak, Pastor Bascom explained:

“I am the one who said all along I will not go to jail, but I will help others who go. But this morning I said to myself, I have nothing to lose but my chains. So if I do not preach at my pulpit Sunday morning, it might be the most eloquent sermon I ever preached.”

1325 Madison Avenue, Baltimore, MD 21217

Union Baptist Church traces its origins to 1852 and a group of fifty-seven worshipers meeting in a small building on Lewis Street. It was the fifth oldest African American congregation in Baltimore and financed entirely by African Americans. The first pastor of the church was the Reverend John Carey. In 1866, the Lewis Street congregation merged with members of Saratoga Street African Baptist Church, forming Union Baptist Church. When Rev. Harvey Johnson arrived in 1872, he found a modest congregation of perhaps 270 members. 

Harvey Johnson’s dealings with the Maryland Baptist Maryland Baptist Union Association (MBUA) in particular, and with prejudiced white Baptists in general, served as a proving ground for his leadership and vision. He took the skills honed in the battle for equality among all Baptists and transfered those skills as he entered the fight for equaliy among all people. Johnson’s original cause of friction with the MBUA stemmed from its paternalistic approach to black people and black Baptist churches. Not only did black ministers categorically receive less pay than white counterparts, but black churches were slow to realize full and equal political priviledges within the state denomination governing apparati. This problem was more troubling once, thanks in no small part to Johnson himself, black numbers in the state’s Baptist churches began grow. By 1885, Union Baptist's membership surpassed two thousand members for the first time.

Rev. Johnson's response to this discrimination was two-fold: economic independence and institutional autonomy. This situation exploded throughout the 1890s as Johnson urged black congregations to free themselves of white purse strings, and to get out of the Union Association altogether. One of Rev. Johnson's most controversal speeches brought this issue to fore. In September 1897, speeking in Boston, Johnson made, "A Plea For Our Work As Colored Baptists, Apart From the Whites." Johnson called for black Baptists to move as a group toward self-determination.

The Union Baptist Church’s Gothic design features stained glass windows created by John LeFarge, the renowned artist known as the inventor of the art of using opalescent stained glass.

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1219 Druid Hill Avenue, Baltimore, MD 21217

A Hub for Civil Rights Lost to Demolition

1234 Druid Hill Avenue had a story unlike any other. When builders erected the house in the nineteenth century it was one of many handsome Italianate rowhouses in the northwestern suburbs of the city. In 1899, as the neighborhood changed from white to black, Harry S. Cummings, a local African American politician and lawyer, moved into the house with his family. Cummings had graduated from the University of Maryland Law School (one of the first two black men to do so) and, in 1890, became the first African American elected to a Baltimore City Council seat. Cummings lived in the home until 1911, when he moved up the street into another Druid Hill Avenue rowhouse, where he lived until his death in 1917.

In the 1950s and 1960s, the building served as offices to the local chapter of the NAACP, hosting Martin Luther King and Eleanor Roosevelt when they came to Baltimore to work with key leaders like Lillie Mae Carroll Jackson. In 1970, the property became “Freedom House” and continued to serve as a central hub of activism. By December 1977, the organization had “received many citations including the AFRO’s highest honor for its successful crusades in reducing unemployment, crime and delinquency.” When Dr. Jackson donated the house to Bethel AME Church in 1977, the deed required that the property remain in community use or revert back to the ownership of her family.

Immediately next door to the site of Freedom House is 1232 Druid Hill Avenue. As late as 1930, the 1232 Druid Hill Avenue served as a residence, then home to Mrs. Ida Barber (née King). That same year, the property is listed as a residence by Rev. J.E. Lee. By 1934, the property was listed in local directories as the office of W. Owens Stewart in his role as Superintendent of Mt. Zion Cemetery for the Baltimore A. M. E. Conference. By the late 1980s, the building had been turned into the Bethel Bible Institute and also provided space for a Women's Resource and Development Center and the Bethel Christian School.

1234 Druid Hill Avenue and its neighbor at 1232 have been owned or controlled by Bethel AME Church for decades. In recent years, the buildings deteriorated significantly and, in July 2015, Baltimore Slumlord Watch highlighted their poor condition. Bethel AME Church responded to these issues by securing a city building permit for both buildings in late September that allowed non-structural alterations and limited interior demolition. Unfortunately, in October 2015 the church changed their plans and received approval from the Baltimore Housing Department to demolish 1234 Druid Hill Avenue—without notifying preservation advocates or the local chapter of the NAACP. At present, Freedom House is a vacant lot, and the future of the adjoining rowhouse at 1232 Druid Hill Avenue remains uncertain.

1234 Druid Hill Avenue, Baltimore, MD 21217

The Final Home of Baltimore's First Black City Councilman

A neglected brick rowhouse at 1318 Druid Hill Avenue was once the residence of Baltimore’s first black City Councilman Harry S. Cummings.

Harry S. Cummings, his wife Blanche Teresa Conklin and their two children Louise Virginia and Harry Sythe Cummings, Jr. moved to 1318 Druid Hill Avenue in 1911. The family hadn't moved far. They had moved to 1234 Druid Hill Avenue in 1898 and Cummings' sister continued to live in the house up through the 1950s. This house, later known as Freedom House for its' role as offices for the local chapter of the NAACP, was torn down by Bethel AME Church in November 2015.

The rowhouse at 1318 Druid Hill Avenue was not only a family home but also a place for politics. Cummings campaigned and won re-election to the City Council in 1911 and 1915. In 1912, Cummings hosted the Seventeenth Ward Organization at his home where local Republicans met to endorse President William Howard Taft. Unfortunately, Cummings fell ill at age fifty-one and, on September 5, 1917, the Sun reported that Cummings was "critically ill at his home, 1318 Druid Hill Avenue, of a complication of diseases and a blood clot on the brain. It was said last night that he had not spoken since last Friday."

Cummings died on September 7, 1917, at his home. On Monday, September 10, thousands of people, both white and black, visited the Metropolitan M.E. Church on Orchard Street to see the “remains lay in state” and hundreds of people visited his home. Rev. Leonard Z. Johnson, the pastor of Madison Street Presbyterian Church, conducted a brief service at 1318 Druid Hill Avenue, remarking:

“This life is a token and a proof of Negro possibility in the sphere of life achievement, if given its chances to fulfil itself, and while such Negro possibility shows there shall none, of right reason, decry the Negro people and race and reuse right and a place of common human respect and equal opportunity of strong life in the citizen life of the nation.”

Blanche T. Cummings continued to live in the house up until her death on January 12, 1955, and the property remained in family ownership up until 2005. Despite the deteriorated condition of the building today, the backyard still holds a reminder of the Cummings family—a rare American Elm planted on Harry S. Cummings, Jr.’s seventh birthday. Neighbors hope to see the history of this home and memories of the Cummings family preserved of for generations to come.

1318 Druid Hill Avenue, Baltimore, MD 21217

A Home for Civil Rights on Druid Hill Avenue

Juanita Jackson and Clarence Mitchell moved to 1324 Druid Hill Avenue in 1942, the same year Clarence started working at the Fair Employment Practices Commission set up by President Roosevelt to fight workplace discrimination during WWII. Visitors at the home included Paul Robeson, Duke Ellington, and Marian Anderson. The couple raised five sons at the house and continued to live there until the end of their lives. Baltimore City stabilized the roof and rear wall of the building in 2013 but it remains vacant and in poor condition.

Watch our Five Minute Histories video for more on Juanita Jackson Mitchell!

1324 Druid Hill Avenue, Baltimore, MD 21217

1239 Druid Hill Avenue served as law offices for Juanita Jackson Mitchell, Clarence Mitchell, Jr. and other members of the Mitchell family.

An accomplished lawyer and activist, Juanita Jackson Mitchell organized the Citywide Young People's Forum in the 1930s to push for more opportunity for black youth during the Great Depression. Clarence Mitchell, Jr. served as the long-time lobbyist for the NACCP and played a key role in the passage of major Civil Rights legislation. The roof of 1239 Druid Hill Avenue collapsed during the winter of 2014 and the building is severely threatened by neglect.


Watch our Five Minute Histories video for more on Juanita Jackson Mitchell!

1239 Druid Hill Avenue, Baltimore, MD 21217

The congregation at Sharp Street Memorial United Methodist Church began in 1787, the first African American Methodist congregation in Baltimore. By 1802, the congregants had purchased their first building on Sharp Street between Lombard and Pratt Streets. An addition in 1811 added space to the church and allowed Rev. Daniel Coker to open a “School for Negroes.” In 1867, leaders from Sharp Street expanded their education mission and with other prominent church leaders around the city established the Centenary Biblical Institute, now Morgan State University.

The church moved to its current building on Dolphin and Etting Streets in 1898. A week-long celebration followed the dedication of the $70,000 church. Made of gray granite, the Baltimore Sun reported at the time that the Dolphin Street church stood as one of the “handsomest church[es] for a colored congregation in the state.” In 1921, church leaders added the adjoining Community House to the church.

Along with a handsome building, Sharp Street Church has a rich history of civil rights activism. In addition to spearheading efforts to advance education for African Americans in the nineteenth century, the church was spiritual home to civil rights leader Lillie M. Carroll Jackson, president of the Baltimore NAACP from 1935 until 1970 and known as the mother of the civil rights movement. Ms. Jackson started in the church as a child, singing soprano in the choir. As an adult, she delivered fiery speeches in front of the congregation urging African Americans to do something about their rights. At Jackson’s death in 1975, the church held a three hour funeral service where over 1,200 people attended. Today the church still serves as a beacon of religious freedom and history throughout the city.

508 Dolphin Street, Baltimore, MD 21217

The former St. Vincent’s Infant Asylum/Carver Hall Apartments buildings was a complex of structures built between 1860 and the 1910s to provide housing and medical services to dependent children and women, along with housing for the nuns who operated the facility. After years of declining use, the Infant Asylum left the facility around 1934 for a new location on Reisterstown Road.

Around 1941, the building was converted to use as Carver Hall Apartments offering a range of rental units to a largely African American group of tenants from the up through 2013. Since the 1970s, the management of the property has posed significant challenges for residents in the building with a major fire in 1978, a lawsuit in 1993 and issues with drug traffic and violence at the building in the 1900s.

In January 2015, the building caught on fire destroying the roof and gutting much of the interior. It now stands vacant. Unfortunately, in February 2018, the building was illegally demolished without a permit.

1401-1411 Division Street, Baltimore, MD 21217

From Orphanage to Public Health Center

The Home of the Friendless at 1313 Druid Hill Ave opened as a refuge for orphaned boys in 1870. An earlier institution, the Home of Friendless Vagrant Girls was established in 1854 on Pearl Steet. By 1860, it had moved to a new building on Druid Hill Ave. Five years later an adjoining lot was purchased for the construction of a boy’s home—today’s 1313 Druid Hill Ave.

The orphanage only accepted white children. Between 1870 and 1931, 200 children, half of whom were foreign born, lived here each year. By 1931, the rise of welfare programs, social services, and new approaches to childcare decreased the need for orphanages. The National Register of Historic Places states, “The size of the building, the segregation of boys and girls, the racial make-up of the institution and its urban setting are representative of orphanages prior to concepts of civil rights, gender equality and foster care. By the early twentieth century, reformers called for child care facilities in cottage settings far from urban centers.” The institution left the Marble Hill neighborhood for northwest Baltimore and eventually merged with the Woodbourne Center, which still operates today.

The federal Works Progress Administration then occupied the building until Baltimore City bought it in 1938 to create the Druid Hill Health Center. Notably, this was Baltimore’s first public health center for African Americans. Various health services were offered until 1961. The city’s Department of Housing then owned the building until 1992. It has been vacant since then.

The Marble Hill Community Association has been demanding that the city stabilize this deteriorating building for several years. In 2021, the building sustained damage from torrential rains. Falling debris became a hazard to pedestrians and traffic. In response, the city said it will stabilize the building.

*The research and writing of this article was funded by two grants: one from the Maryland Heritage Areas Authority and one from the Baltimore National Heritage Area.

1313 Druid Hill Avenue, Baltimore, MD 21217

The first building for the Avenue Market, originally known as the Lafayette Market, was built in 1871. In the twentieth century, the market and the Old West Baltimore neighborhood thrived as the Pennsylvania Avenue became a center of Baltimore culture. When the wooden market burned to the ground in 1953, merchants banded together to rebuild it.

The market survived as many of the neighborhood's historic buildings were abandoned, and in the 1970s, demolished in the name of urban renewal. Enthusiasm for urban renewal in the 1970s waned, and by the 1990s, the Lafayette Market was in desperate need of a makeover. It closed in 1994 for renovations and reopened in 1996 as the Avenue Market, an homage to Pennsylvania Avenue, the cultural heart of the neighborhood. The market was again renovated in 2012.

1700 Pennsylvania Avenue, Baltimore, MD 21217

Built in 1877, this historic school on Division Street originally served only white students until 1910 when the building was first used for black students from Public School No. 112. In March 1911, the school was officially designated Public School 103 and later named in honor of abolitionist Henry Highland Garnet. The building contained twelve classrooms; the spaces separated by sliding doors that could open and combine two or three classrooms into an auditorium.

While the U.S. Supreme Court decision in Plessy v. Ferguson had held that racial segregation, such as in Baltimore's public school system, was legal when the public facilities were "separate but equal", schools for black students in Baltimore were anything but. The academic year for black children was one month shorter than the school year for white students, with the expectation that children would leave school to find agricultural work. The prejudice and racist beliefs that undlie this approach is evident in a 1913 remark by Baltimore school commissioner Richard Biggs: “Stop at once the so-called high education that unfits Negroes for the lives that they are to lead and which makes them desire things they will never be able to reach.”

Public School 103 is best known for its' most famous student, Thurgood Marshall (1908- 1993), who attended the school from 1914 to 1920. It was at this school that Thurgood shortened his name from the original Thoroughgood. Thurgood sat in the first row, as his classmate Agnes Peterson later recalled, “he was always playing, and so they had to keep right on top of him.”

When he began attending PS 103 at age six, Thurgood's family lived with his Uncle Fearless Mentor (or Uncle Fee) at 1632 Division Street. Mentor worked as the personal attendant to the president of the B&O Railroad, wearing a suit and a bowtie to work daily, and was home nearly every afternoon to talk with Thurgood and his brother Aubrey. Marshall later attended the Colored High School which opened in January 1901 at the northeast corner of Pennsylvania Avenue and Dolphin Street occupying a building erected in 1891 for the English-German School No. 1 previously located on Druid Hill Avenue.

1315 Division Street, Baltimore, MD 21217

High on a hill at 811 West Lanvale Street, behind a chain link fence and past the overgrown yard, is the grand Upton – an architectural treasure by one of Baltimore's earliest architects that has witnessed nearly 200 years of change in the Upton neighborhood that shares the building's name. In the 1830s, Baltimore lawyer David Stewart hired architect Robert Carey Long, Jr. – or so we think, no confirmation of Long as the architect has survived – to design his country villa. R. Carey (as he liked to call himself) was one of Baltimore's first professionally trained architects designing the Lloyd Street Synagogue (now part of the Jewish Museum of Maryland), the Patapsco Female Institute in Ellicott City, and the main gate of Green Mount Cemetery among more than 80 buildings across the country. Son of a Baltimore merchant who armed seven schooners and two brigantines as privateers during the Revolutionary War, Stewart became a prominent local lawyer and got involved in politics, serving a brief month as a US Senator in 1849.

The mansion is widely recognized as the last surviving Greek Revival country house in Baltimore. It remains secluded in urban West Baltimore, sitting high above the neighboring buildings and surrounded by brick and stone walls. In the mid-nineteenth century, you would have seen a grand porch with Doric columns and ironwork bearing the Stewart family crest. Inside the building, you could have observed more than a dozen marble and onyx fireplaces, a main entrance hall, a curved oak staircase, and a banquet room that was so large it has since been divided into multiple rooms. David Stewart enjoyed entertaining guests in his mansion and hosted lavish, indulgent parties there so frequently that he developed gout.

After Stewart's death in 1858, the house was purchased by the Dammann family, who owned the house for so many generations that it became known as "the old Dammann mansion." The family left in 1901, and the house found itself empty for the first time, but not the last. The mansion's next owner, musician Robert Young, took a cue from David Stewart and used the spacious and opulent mansion to host "several brilliant social affairs where hundreds of guests moved about in the spacious rooms." Young would be the last owner to use the building as a home, and his time there was short-lived – he found the house too drafty and abandoned after less than 3 years.

The commercial life of the Upton mansion began in 1930 when one of Baltimore's first radio stations, WCAO, moved into the building. Extensive alterations were made to accommodate WCAO – tall twin radio towers were installed at the edge of the property, walls were torn down and rooms partitioned off to create studios and equipment rooms. The next commercial venture in Upton came in 1947, when WCAO sold it to the Baltimore Institute of Musical Arts. Founded by Dr. J. Leslie Jones, the school was originally opened with the intentions of creating a parallel program to that offered at Peabody, a renowned music school not open to African American students at the time, and at its height in the early 1950s had over 300 students. The school eventually closed in the mid-1950s after desegregation granted black students equal access to public music schools. In 1957, the Baltimore City School System moved in to the building and used it first as the special education "Upton School for Trainable Children No. 303," and then the headquarters for Baltimore City Public School's Home and Hospital Services program. Unfortunately, Upton has sat empty since BCPS left in 2006.

Upton has a rich cultural legacy that extends beyond its use as a social hot spot, a radio station, and a school. In the 1960s, the mansion was chosen as the community namesake during an urban renewal project going on in the neighborhood at the time. As a physical landmark of the neighborhood for more than a century, the Upton mansion's name was intended to serve as "the symbol of a physical and human renewal in West Baltimore."

Despite its presence on the National Register of Historic Places and the Baltimore Landmark List, the city-owned building remains empty and unmaintained in west Baltimore. In 2009, Preservation Maryland included in on a list of the state's most endangered historic places, and the building is threatened by vandalism and neglect. Today, the mansion awaits a new owner, someone willing to restore the beautiful building to its historic potential.

811 W. Lanvale Street, Baltimore, MD 21217