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The Toledo University of Arts and Trades was established in 1872 with an endowment of 160 acres of land from Jesup W. Scott, local pioneer, publisher, and real estate broker. Scott envisioned Toledo as the “Future Great City of the World” and wanted an institution to train young people to fulfill their roles in the city’s bright future.
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The Dayton Art Institute, one of the region’s premier fine arts museums, was founded in 1919 as the Dayton Museum of Arts. Founding patrons included Orville Wright, members of the Patterson family, and philanthropist Julia Shaw Patterson Carnell, who donated a mansion for the museum’s first home. In 1923, the museum changed its name to The Dayton Art Institute to reflect the growing importance of its art school, which operated until 1974. After outgrowing its first home, Carnell contributed $2 million for a new building designed by architect Edward B. Green. Completed in 1930 and modeled after two sixteenth century Italian Renaissance villas, the building was added to the National Register of Historic Places in 1974 as a preeminent example of Second Renaissance Revival architecture. As it commemorates its centennial, The Dayton Art Institute continues to serve the community with exhibitions, educational programs, and events.
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The Theater District, bound by Chester Avenue, Prospect Avenue, East 18th, East 9th and East 12th Streets, came into being at the turn of the 20th century, when Cleveland emerged as a thriving metropolis. Built between 1890-1928, the area hosted a variety of fine retail stores, theaters, prestigious clubs, restaurants, and distinct office buildings. The rise of television and flight to the suburbs sent downtown entertainment into a death spiral, until a 1970 grass roots effort saved from demolition the surviving post-World War I theaters (the State, Ohio, Hanna, Allen, and Palace), making it the “world’s largest theater restoration project.” It became a catalyst for reinvestment in downtown properties, restoring civic pride and giving testimonial to the creative vision of the city’s civic leaders and citizenry. By the year 2000, Cleveland’s Theater District boasted the nation’s 2nd largest performing arts center.
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Chartered in 1849, the Institute was the first of three women’s colleges established in Oxford. The original brick building was completed in 1850, and forms the core structure. The Reverend John Witherspoon Scott, a member of Miami University’s early faculty, headed the Institute. In 1867, the Institute merged with Oxford Female College and later became the Oxford College for Women. Miami University acquired the building in 1928; in 1930 the Daughters of the American Revolution rededicated it as the “Caroline Scott Harrison Memorial.” From 1929-1998 it served as a Miami dormitory, nicknamed “Ox College.” Since 2003, the three-story building has housed the Oxford Community Arts Center. The structure is the oldest extant women’s college building in Ohio. It was placed on the National Register of Historic Places in 1976.
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Crandall Park is the heart of the historic district and includes Fifth Avenue, Redondo Road, Catalina Avenue, and Tod Lane. Most of the district’s historic structures were built between 1904 and 1930, Youngstown’s heyday as an urban and industrial center. The district encompasses 92 houses, 32 outbuildings, a pavilion and rustic stone shelter in Crandall Park, and the concrete arch bridge carrying Fifth Avenue over the park. The North Heights Land Company and the Realty Guarantee Trust Company developed much of the neighborhood. Homes in the district were built for the city’s prominent industrialists and businessmen. The houses feature the work of architects Morris Scheibel, Charles F. Owsley, Fred Medicus, Barton Brooke, and Cook and Canfield and are distinguished by their grand scale, high-style design, spacious lots, landscaping, and orientation to the park or boulevard roads. (Continued on other side)
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The first African American artist to achieve international acclaim, painter Robert S. Duncanson (1821-1872) was born in New York and settled in Cincinnati in 1840. He pursued his artistic career during a time of tremendous racial prejudice and was acknowledged as the “best landscape painter in the West.” Arts patron Nicholas Longworth commissioned murals from Duncanson around 1850 for his home Belmont, now the Taft Museum of Art; these paintings are regarded as one of the finest pre-Civil War domestic decoration schemes in the United States. Sponsored by anti-slavery groups, he traveled widely during the 1860s in Europe. Duncanson rose above oppression to create expressions of African American cultural identity, leading the way for other people of color to pursue careers in the arts.
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“The Poet’s Shack” was built as a writing studio for the prolific poet Percy MacKaye, who held the position of writer-in-residence at Miami University from 1920-1924. MacKaye requested a writing studio in the woods, a simple shack with a fire where faculty and students could gather to talk with the poet or hear his newest works. MacKaye’s studio was built on Miami’s lower campus — now known as Bishop Woods after first president Robert Hamilton Bishop — where Upham Hall stands today. Students called the structure “The Poet’s Shack.”
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The figure atop the Soldiers’ Monument has looked over Youngstown’s Central Square since 1870. Ohio Governor David Tod began campaigning for a monument for Youngstown’s fallen soldiers even before the Civil War ended. The community raised $15,000, and the cornerstone was laid in 1868. The memorial was completed and dedicated on July 4, 1870, with Governor Rutherford B. Hayes and Congressman James A. Garfield, both future U.S. presidents, attending the ceremony. Four cannons procured by Garfield formerly surrounded the monument. In 1951 the figure on the pedestal was accidentally damaged. A new statue of Carrara marble was commissioned, sculpted in Italy, and installed in 1955. The Bertolini Bros., a local marble firm, donated the new figure, which as patterned after the original, as their gift to the city.
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