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Listed in New York from before 1900 until 1940. Designed the Mackenzie Apartments, Murray Ave. and Beech St., Mariemont, Oh. (ca. 1925).
Ward (1989), 49.
Maginnis, Charles D. (Donagh)
(Londonderry, Ireland, 1867-1955)
Educated and trained in London; came to the U.S. in 1885; worked in Boston, 1888-1896, for William P. Wentworth, then in the office of Edmund M. Wheelwright, the City of Boston Architect (1891-1895) and one of the competitors for the Cincinnati Chamber of Commerce Building in 1885; established Maginnis, (Timothy F.) Walsh & (Matthew) Sullivan, 1898; Maginnis & Walsh 1908. The latter became one of the most prominent national firms specializing in designs for the Roman Catholic Church throughout the U.S., Canada, Mexico, and China.
Among their more than 100 ecclesiastical designs were the National Shrine of the Immaculate Conception, Washington, D.C. (1922), which, like many others, sought an alternative style to the Collegiate Gothic or American Colonial/Georgian Revival of Cram, Goodhue & Ferguson and other leading primarily Protestant church designers of the period. Maginnis himself was active in and highly honored by the profession, nationally and even internationally.
Maginnis, Walsh & Sullivan exhibited two Massachusetts Roman Catholic churches—St. Leo, Leominster, and St. Patrick, Whitinsville (1898; the commission that gave Maginnis’ career with the Catholic church a start, after its priest read his early article criticizing American church architecture of the period)—at the 3rd CAIA/CAM (1903). A few years later, Maginnis & Walsh designed the St. Joseph Church/Cathedral in Dayton, Oh. (1908-1909), which also received national attention.
More importantly for the Cincinnati area, Maginnis & Walsh designed the St. Gregory Roman Catholic Seminary Building, Mt. Washington (1927-1929), a splendid Neo-Romanesque complex for an important institution; the handsome, totally-crafted St. George Church Seminary, Calhoun NEC of Scioto, Corryville (1927), attached to Hannaford’s 1873 St. George Church; and the St. Louis Bertrand complex, SWC Walnut and Eighth streets (1928), combining a fine chapel with Archdiocesan offices, as well as an early medieval character with Art Deco styling. Thus, Maginnis & Walsh made major contributions to Cincinnati’s Roman Catholic community on the brink of the Depression.
Wodehouse (1976), I, 109-111;
R.G. Wilson (1984), 168-69 (by Eugene F. Kennedy, Jr. and Richard Guy Wilson);
NYCOPAR (1900-1940), 49;
Kervick (1962), 90;
Macmillan Encyclopedia, III (1982), 80-81 (by Mary N. Woods).
(Boston, Mass., 1884-1973)
Educated at M.I.T.; in 1913 joined Lois L. Howe (and later Mary Alny) to form an architectural firm specializing in the design of low-cost housing. Among their most important works was the Howe & Manning Group, Denny Place, Mariemont (1924), described as “The Quiet Spot in the Village.” (Eleanor Manning is not to be confused with Warren Henry Manning [1860-1938], the prominent Boston landscape architect, although her first name was not included in the firm’s title, along with Howe’s.)
Macmillan Encyclopedia, III (1982), 91-92 (by Eugenie L. Birch);
Langsam (1997), 94;
Directory of Boston Architects 1846-1970 (1985), 44.
Martin, G. (George) Marshall
With (Russell S.) Potter, (Edgar D.) Tyler & Martin 1933-1967; George F. Roth, Jr., was an additional partner after 1952. His obituary indicates that he came to Cincinnati about 1924. According to Gavin Gray, Marshall, like the other partners, had worked for Harry Hake, Sr., before forming their own firm. “Marshall” Martin was trained at the University of Pennsylvania in Philadelphia (he was graduated in 1919).
According to DAAP Dean Jay Chatterjee, Martin came into contact there with Paul Cret, the Beaux-Arts-trained early Modernist to whom is attributed the bold arched form of the Cincinnati Union Terminal. Among Martin’s (and his firm’s) first commissions was a home at 20 Rawson Woods Circle in Clifton for Dr. S. Gale Lowrie and his wife, artist Agnes Potter Lowrie (1933-1934). Although the design began in a traditional Tudor Revival style, Martin with Mrs. Lowrie’s support gradually moved toward a flat-roofed “Modern” style, making this one of the earliest such dwellings in Cincinnati.
Among his later works at Potter, Tyler, Martin & Roth were the “new” Federal Building; renovations and additions to the Shillito’s/Lazarus complex and garage, Seventh St. between Race and Elm streets, and on the northwest corner of Seventh and Elm streets; French and Dabney Halls at the University of Cincinnati; the Ohio State University Law College in Columbus; and the Ohio National Life Insurance Building (also in Columbus).
During his period at Harry Hake‘s firm, he contributed to the design of the firm’s Masonic Temple complex on E. Fifth St. between Broadway and Sycamore streets.
Martin was a member and later chairman of the Ohio Board of Building Standards.
Obituary, Cincinnati Times-Star (2/21/1964);
Obituary, Cincinnati Enquirer (2/22/1964);
Langsam (1997), 125;
Sullebarger, AIC (2006), 213.
(Glendale, Oh., 1892-1942)
Matthews was a member of a leading Glendale family, the son of prominent Cincinnati attorney Mortimer Matthews and Marianna Procter; she was a daughter of William A. Procter, senior partner in the famous soap company, Procter & Gamble; many members of the Procter family lived in and near Glendale. The architect’s grandfather, also Stanley Matthews of Glendale, was a Justice of the United States Supreme Court and Senator from Ohio.
Stanley, II, was educated in the public schools of Glendale and “prepared for college” at St. Paul’s School, Concord, New Hampshire. He received a B.A. from Princeton University (1913) and a degree in architecture from Columbia University (1920), after service in World War I. In 1913 he married Maude Holley Aldrich of Bayshore, Long Island, N.Y. [possibly related to Chester Aldrich of the elite New York architectural firm, Delano & Aldrich]. All these experiences and associations must have provided Matthews with outstanding social connections, particularly valuable for an architect of residences and charitable institutions, with which he was associated. Menefee states that “His work is touched with a degree of appropriateness. . . .”
Matthews practiced in Cincinnati in 1920; was associated with Archibald C. Denison (also of Glendale) & A.W. Jenkins, 1926; and C.W. Short (who had a comparable Cincinnati and East Coast background) 1927-1929; Matthews & Denison, 1930-1943. Matthews & Short were listed in New York City 1928-1930, and Matthews on his own there 1931-1934. Matthews and his partners designed the Children’s Hospital, Bethesda and Elland avenues, Avondale (1926), and the Denton Building, SEC Race and Seventh streets, with A.O. Elzner; Westwood Public Library (1930); many residences, of which the Julius Fleischmann estate, “Winding Creek Farm” (mid-1920s; with Short; Denison as associated architect), was by far the most elaborate; also (with Denison), “Twin Fires,” the O. DeGray Vanderbilt, Jr., estate, a ca. 1825 house remodeled and enlarged (after 1926); (with Jenkins, Denison & Short); and Miss Francis Jones’ residence (1929), all in Indian Hill; plus many other Traditional residences in fashionable neighborhoods. Matthews also designed (with Short) the Carillon in Dogwood Park, Mariemont (1929), and (with Denison) an “Articulated Bus” (ca. 1933).
Menefee (1926), 16, 104;
Leonard, III, 255-258, 268-269;
NYCOPAR (1900-1940), 51;
Maxfield, David Briggs
(Syracuse, N.Y., 1906-1971)
Oxford, Ohio, architect associated with Miami University. Attended Syracuse University (1930) with a Bachelor’s in Architecture; immediately began teaching architecture and related subjects at Miami University, Oxford, Oh., 1930-1949; received Master’s in Architecture from University of Cincinnati.
Maxfield received a number of commissions for sacred buildings in Greater Cincinnati. He perpetrated the design of the Christ Church Episcopal complex (1957) at Fourth and Sycamore streets. Leonard called it an “outstanding example of his work in modern design.” The parish board commissioned Maxfield after rejecting a more modernist proposal by Saarinen, Saarinen & Saarinen. In 1969, he designed an interesting round church for St. John’s United Church of Christ, Delhi Township, a suburb of Cincinnati.
Sullebarger, AIC (2006), 228, 238, 239;
Painter, A Floral Paradise (1999).
David Briggs Maxfield
Christ Church, 1956-1957
318 East Fourth Street
Prolific Cincinnati and N. Kentucky architect; listed in Cincinnati 1912-1955; succeeded by Thomas J. McClorey (d. 2007). Designed in Cincinnati the refined Beaux-Arts-style former Knights of Pythias Building east of St. Ursula’s on E. McMillan St. in E. Walnut Hills (1915-1916); Our Lady of Cincinnati/Edgecliff College, East Walnut Hills (1937); the Carthage Public School (1952); as well as a “Store and Flat Building“ at 1537 Vine St., Over-the-Rhine.
Works in Northern Kentucky include in Covington the St. Augustine Church School (1916); St. Benedict Roman Catholic Church School Building (1922) and Nuns‘ Home (1927); the Latonia First Baptist Church (1916), a rare Protestant work by a “Catholic“ architect; Holy Cross Church Elementary School (before 1916); and the Anthe Machine Tool Co. Building (1895-1897) on Madison between Fourth and Fifth streets.
Also in N. Kentucky, St. Henry Church, Elsmere; St. Boniface Church Repairs, Ludlow (1915); St. Francis de Sales Parish House (1915) and St. Vincent de Paul Church and School, both in Newport; the Roman Catholic Church of the Blessed Sacrament, Ft. Mitchell, Ky. (admittedly derived from E.J. Schulte’s churches); and several known residences. His St. Anne’s convent in Melbourne, Kentucky (outside Covington) became “Wallbrook,” the institutional residence for Dustin Hoffman’s character Raymond for the 1988 Barry Levinson film, Rain Man.
Listed in Cincinnati 1853-1855. Designed the Swedenborgian Foster Hill Academy (now a Roman Catholic church school) in Lockland (1853); and the first, Early Romanesque Revival (“Rundbogenstil”) Cumminsville/North Presbyterian Church (1853; demolished 1887), SEC Langland and Lingo streets, Northside.
Said to have been responsible for the design of the 1854 Greek Revival remodeling of “Monmouth Plantation,” Natchez, Mississippi. Originally built for John Nankinson in 1818 in the Federal Style, “Monmouth” was enlarged for John Quitman.
On “Monmouth,” see Architectural Digest (11/98), 82.
Rogers (2001), 121;
Painter, AIC (2006), 157.
McLaughlin, James W.
James W. McLaughlin was probably the most important Cincinnati-born architect during the second half of the nineteenth century. With his contemporary and rival Samuel Hannaford (who was born in England), McLaughlin dominated the Cincinnati architectural scene from before the Civil War until the turn of the century. Between them, they split the major establishment governmental, institutional, commercial, and residential commissions, leaving the remainder to more individualistic “aesthetic” architects and those who served primarily the German-American community. Both firms gave definitive form to the numerous cultural and public institutions developed during this highpoint of Cincinnati’s prosperity, creativity, and influence. For instance, McLaughlin’s Machinery Hall, straddling the Miami & Erie Canal for 300 feet during the 1888 Cincinnati Centennial Exposition, effectively complemented Hannaford’s Music and Exposition Hall.
While Hannaford adapted the currently fashionable styles sensitively and appropriately, McLaughlin had a more distinctive, if occasionally awkward, stylistic personality, and was more innovative structurally and functionally. His second Shillito Dry Goods Store at Seventh and Race streets (1877-1878) is the outstanding example of these contributions, but his first major work, the earlier Shillito Store on Fourth Street (1855-1856; now the eastern half of McAlpin’s, for whom McLaughlin enlarged it in 1892), also reflected John Shillito’s highly organized approach to merchandising.
McLaughlin’s first-generation designs for the Cincinnati Zoological Gardens (1874-1875) produced the earliest completed structures specifically for that purpose in the United States, and displayed his sense of humor and flexibility in housing specimens in buildings inspired by their geographical and ethnically associated origins.
McLaughlin’s design for the Cincinnati Public Library (1868-1870) was recognized as a functional and structural model for its day. His Italianate “commercial palace” for the Cincinnati Gas, Coke & Light Co. (now Cincinnati Gas & Electric Co.), still at Fourth and Plum streets (1870; the building has been adapted as apartments), reflects his rather hard-edged, bold approach to conventional styles. He was also responsible for designing several of the earliest “skyscrapers” in the city, among many commercial structures throughout his long career.
McLaughlin gave a personal twist, rather tough but handsome, to the design of virtually every building he was responsible for, but his best and most characteristic surviving works are in a late version of the Richardsonian Romanesque style. Stripped to the most basic geometric forms, with minimal ornament, such buildings as the Wayne County Courthouse in Richmond, Indiana (1889-1890), like Cincinnati’s First Unitarian Church at Reading Road and Linton Street (1888-1889), and the Sol P. Kineon-John Uri Lloyd (1887) and Sir Alfred T. Goshorn (1890-1891) houses on Clifton Avenue, are recognizably McLaughlin’s.
McLaughlin’s “Florentine Romanesque” facades for the original 1882-1886 Cincinnati Art Museum building—the oldest extant museum building in the Midwest—have been almost entirely swallowed up in later additions, but his interiors have recently been restored to approximately their original form and once again demonstrate their structural, functional, and systemic validity. The adjacent Art Academy of Cincinnati building (1885-1888), also somewhat reduced in form, is more conventionally Richardsonian Romanesque. The Art Academy moved its headquarters to Over-the-Rhine in fall of 2005. The original building will be preserved and renovated as part of CAM’s early 21st century expansion under director Aaron Betsky.
McLaughlin’s 1884 rebuilding of the Hamilton County Courthouse after a riot and fire, as well as his Y.M.C.A. Building (1890-1891; later adapted as the Shubert Theater), were more interesting variants of the style, but have not survived. He also designed many other institutional, educational, religious, and transportation buildings, clubs, and even the first stands for the Cincinnati Red Stockings baseball team. He was the chief architect for the Ohio State Building at the 1893 World’s Columbian Exposition in Chicago, and received other important commissions outside the Cincinnati area.
James W. McLaughlin was born in Cincinnati in 1834. His brother George was a prominent insurance agent, sculptor, and local historian, and his sister M. (Mary) Louise has been recognized as a significant figure in the American Arts & Crafts Movement, especially for her innovative technological as well as artistic work in porcelain and pottery; she seems to have shared these characteristic approaches with her brother James.
James W. McLaughlin’s family was largely Scotch-Irish by descent. The architect’s father, William McLaughlin, was a fairly early Cincinnati merchant, moving here from Sewickley, Pa., in 1818. He was one of the founders of the John Shillito Dry Goods store, which provided J.W. with one of his first major commissions and one of his later most important works.
McLaughlin was trained in 1850 by Cincinnati’s first professionally-trained native architect, James K. Wilson, and was a partner in 1857 of John R. Hamilton, an English-born and -trained architect, with whom he designed the prominent, eclectic former Cincinnati Masonic Temple; both of these architects demonstrated an innovative approach to materials, particularly cast-iron and architectural terracotta. McLaughlin was a member of the short-lived Cincinnati Sketch Club in 1860. He was also a founding member in 1890 of the Cincinnati Art Club, which still exists. He served the Union Army in, publishing a book illustrated with his vivid vignettes of Army life based on his experiences with Gen. Fremont in California. McLaughlin practiced under his own name until he left Cincinnati for New York City/New Jersey in 1912, at age 78.
During his long career as the dean of Cincinnati architects, McLaughlin employed and trained a number of Cincinnati’s best late-19th-century architects. These included William Martin Aiken (later Supervising Architect of the Treasury), Alfred O. Elzner (who attended M.I.T., worked for H.H. Richardson in Brookline, Mass., and later worked in partnership with George M. Anderson; Elzner & Anderson carried on McLaughlin’s innovative approach by designing the Ingalls Building at Fourth and Vine streets, the first reinforced-concrete high-rise office building in the world), J.K. Cady and Frank W. Handy who later practiced together in Chicago, and S.S. Godley and George W. Rapp of Cincinnati. McLaughlin probably also trained H. Neill Wilson (later a prominent architect practicing in Pittsfield, Mass.), a son of his own mentor, James K. Wilson.
His only recognized partner after 1857 was James Gilmore, who joined him after 1900 and probably carried on the firm after McLaughlin’s move East, where the aged architect apparently continued to practice until his death in 1923.
McLaughlin was an organizer in 1870 and later president (1878-1882 and 1889-1893) of the Cincinnati Chapter of the American Institute of Architects. He was made a Fellow of the AIA in 1870, served on the AIA board of directors, and was active in their national meetings, including that held in Cincinnati in 1889, when the AIA and the Western Society of Architects merged. His works were well represented in national and regional architectural periodicals, such as The American Architect and Building News and the Chicago-based Inland Architect.
McLaughlin was a vivid and often amusing draftsman; fortunately, many of his drawings, sketches, and blueprints, as well as his Commission Book from 1857 until the end of the century, have survived. Although a number of his major works no longer exist, there is more than enough evidence to establish James W. McLaughlin as an important and innovative American, as well as Cincinnati-area, architect.
The 1888 Centennial Review of Cincinnati (p. 71) recognized McLaughlin’s contribution: “Upon no profession does a city more strongly depend for the impressions it produces on the mind of visitors than upon that of the architect. We judge the cities of the past to a great extent by the architectural monuments and remnants they have left behind, and the cities of to-day impress themselves favorably or unfavorably upon the attention of those visiting them in proportion as they are well or badly built. Cincinnati is recognized as architecturally the leading city of the [Mid]West, and to no one individually in the city is this well sustained reputation more largely due than to Mr. James W. McLaughlin, who has been for many years prominent as one of the most skillful architects of the city.”
In a 1913 letter, now the property of Nancy House who has generously allowed quotation from it, McLaughlin recalls the outstanding architects and buildings of Cincinnati, including his own major works (although he refers to himself in the third person): “[When] The present Shillito’s store. . .was erected, this was a new departure in such structures, as previous to this time when spans of joists were upwards of 25 feet the spacing of uprights beneath the supporting girders seldom exceeded 15 feet. Mr. McLaughlin divided the area into spaces of 24 feet and boldly placed all his columns at that distance from centers. This idea was at once copied in New York and other cities and is now the prevailing custom throughout the country.”
Withey (1956, 1970), 413;
The City of Cincinnati and Its Resources (1891), 140-141;
Painter, Sullebarger, AIC (2006), xi, 34, 36, 55, 60, 62, 64, 69, 86, 90, 96, 97, 98, 103, 112, 114, 115, 125, 129, 134, 141, 144, 145, 150, 155, 189, 213, 303.
Langsam (1997), 2-3, 19, 29, 42, 48, 61-62, 64-67, 70-71, 74, 76, 80-81, 83, 86, 94, 101, 116;
Nuxhall, SGC, 54, Lot 50.
James W. McLaughlin
Cincinnati Gas-Light & Coke Co. Building, 1872
305 West Fourth Street
McLaughlin’s Italiante “commerical palace” reflects his rather hard-edged, bold approach to conventional styles. Founded in 1841 to sell flammable gas, the utility aided modernization of the city. By 1875, there were 5,290 public gaslights. In 1901, as a gas and electric utility, the company became known as CG&E, and in 1944, as Cinergy. It merged with Duke Energy in 2006. The company is now located on East Fourth Street, and this building has been adapted as apartments.
(St. Louis, 1889-1949)
After graduation from Yale (1913) and varied activities including service in World War I and Cincinnati civic reform (he worked for the YMCA), Meacham returned to the Yale School of Fine Arts (1928). Listed on own 1929-1930; with his father-in-law, (Walter Louis) Rapp & Meacham 1931-1958. His Society of Beaux-Arts “second medal” was for a model housing project intended for the then-slum-cluttered slopes of Mt. Adams. A fine designer of exclusively Traditional houses, especially in the Colonial Revival; he deliberately varied residential designs according to scale and type, but with consistent high-quality detail, according to a posthumous monograph/album.
Designed Dr. William and Mrs. Louise Taft Semple estate, “Mt. Olympus,” Given Rd., Indian Hill (1925), which is said to have incorporated an important early stone house as well as elements from the Charles P. and Anna Sinton Taft family residence on Pike Street in downtown Cincinnati (became the Taft Museum ca. 1930).
Meacham designed the Krohn Conservatory in 1932, additions to LeBlond Machine Tool Company in 1936, G.A. Gray Co. plant remodeling, and Cincinnati Milling Machine Co. project, however his work was mostly residential projects. He was a member of the Cincinnati chapter of the AIA and also served as president.
Obituary, Cincinnati Times-Star, (1/3/1949);
Obituary, Cincinnati Post, (1/3/1949);
Meacham and Meacham (1982);
Additional information to this entry provided by Scott L. Gampfer of the Cincinnati Museum Center.
Moore, Francis M.
Listed 1862-1871, as carpenter and builder, then architect; with George Frommann in 1866. House architect for Hinkle, Guild & Co., prefabricated building suppliers, whose known catalogues (1862 and 1869) include elevations and plans of at least seven residences, mostly simple Italianate, by Moore in Ohio, Kentucky, Indiana, and Missouri. Also designed the William Phipps house, Avondale (1865).
Mueller, Frederick G.
(Hamilton, Oh., born in 1873)
Although Mueller practiced primarily in Hamilton, he was trained in Cincinnati with John Zettel, L.J. Dittoe, and J.F. Sheblessy, after training at the Armour Institute (1899).
CAIA (ca. 1915);
(Hungary, ca. 1882-1947)
Specialist in “art metalwork,” who came to Cincinnati about 1893. Worked for the Stewart Iron Works, Covington, Ky., for 28 years before joining the Reliance Art Metal Co., McMicken Ave., Cincinnati, in 1940.
With the Stewart firm, Mueller executed the decorative iron scrollwork for St. Mary’s Cathedral-Basilica of the Assumption in Covington (by Leon Coquard and David Davis, with later fittings); St. Monica Roman Catholic Church, Fairview Heights (by Crowe & Schulte); and also for the “Island Queen,” a famous Ohio River showboat.
Mullett, Alfred B. (Bult)
(Taunton, Somerset, England, 1834-1890)
Brought to U.S. in 1842, probably directly to Cincinnati; in 1843 A.B.’s father Augustine A. Mullett bought an 80-acre farm (now part of the Episcopal Convent of the Transfiguration site in the SE portion of Glendale), on or near Albion Avenue in Glendale, the early railroad-commuters’ suburb north of Cincinnati.
A.B. Mullett was educated in Cincinnati at the Farmers’ College (College Hill) until April 1854; trained in the office of Isaiah Rogers in the mid-1850s; listed 1857 (in Rogers’ firm); possibly partner by 1860, until Mullett traveled in Europe June through December of that year; appointed a temporary Clerk in the Office of the Treasury, December 1860.
Mullett apparently worked in Rogers’ office (with Isaiah Rogers’ son S.W. Rogers) while Rogers was active supervising the construction of the Ohio State House in Columbus 1858-1860; during these years Rogers also designed the Longview Insane Asylum in Carthage, Oh., with its advanced technology, and other buildings listed in the 1859 Cincinnati Directory by Charles Cist.
According to Wodehouse, an 1862 Mullett’s business card lists several prominent Cincinnati businesses and citizens as references, including known clients of Rogers, such as bookseller Winthrop B. Smith (both a downtown store and his Clifton residence), and a member of the Resor family (probably also in Clifton), as well as Allen & Co., at least two of whose principals resided in Glendale.
Mullett’s first known private work was the charming board-and-batten Gothic Revival Swedenborgian Church of the New Jerusalem in Glendale, still on Springdale Pike and Congress Avenue, with later additions; he may also have designed the adjoining rectory.
In 1863, after service in the Union Army, possibly in Washington, Mullett joined the staff of Rogers, then Engineer-in-Charge of the Bureau of Construction of the Treasury Department, later Supervising Architect of the Treasury Building in Washington, D.C.; after undermining his superior’s position, he replaced Rogers, serving as Supervising Architect 1866-1874.
Mullett’s later private professional career was apparently diverse, but has been little studied. He practiced in New York City with Hugo Kafka and William G. Steinmetz in 1882. He formed A.B. Mullett & Co. with his sons shortly before his suicide in 1890.
Mullett’s prolific post-war Federal building activity, usually in bold Second Empire vein, included the design of the dour but magnificent Cincinnati Post Office and Court House (design altered by Mullett’s successor as Supervising Architect, James J. Hill; construction supervised by Samuel Hannaford, 1874-1885; replaced during the 1930s by the present/former Main Post Office on the north side of Fifth St. between Main and Walnut streets); interestingly, this contribution to the city of his youth was probably Mullett’s last major work as Supervising Architect. Mullett also contributed several designs for Federal buildings to the 1872 and 1882 Cincinnati Expositions.
Withey (1956, 1970), 432;
NYCOPAR (1840-1900), 57;
Wodehouse, JSAH, XXXI, 1 (03/1972), 22-37;
Macmillan Encyclopedia, III (1982), 249-252 (by Donald J. Lehman);
Master Builders (1985), 74-77;
Langsam (1997), 3, 40;
Van Vynckt, ed. (1993), I, 598-600, (by Lawrence Wodehouse);
Painter, Sullebarger, AIC (2006), 52, 53, 57, 66, 68, 203;
Lee (2000), Chapter IV.
Alfred B. Mullett
Church of the New Jerusalem
(Swedenborgian Church), 1861
Congress Avenue, Glendale
Mullett’s design for this board-and-batten church is tailored to its leafy environment. The building’s form is similar to that of the Spring Grove White Pine Chapel.
(Osnabrueck, Hanover, Germany, 1848-1922)
Important Cincinnati sculptor. Brought to Cincinnati 1854; educated in public schools and “Cincinnati Art Institute” 1860-1867; traveled in Europe for six years; established an art foundry in Cincinnati as Mundhenk, (Louis) Rebisso & Walter, supposedly the first of its kind in the Midwest.
Also sculpted Spring Grove Cemetery bronze monuments, including Schreiber; St. Francis de Sales Roman Catholic Church, E. Walnut Hills; and the Vaughan bust in the Cincinnati Public Library.
Leonard, IV (1927), 617-619;
Haverstock (2000), 625.
Myers, Russell C.
1950 graduate of the University of Cincinnati, and later chairman of the Dean’s Advisory Council of the UC DAAP, and active in alumni and civic affairs. President of Glaser & Myers Associates, Inc., Architects, a major firm even after his death.
Obituary, Cincinnati Post (1/31/1985).