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Melrose, Bronx, New York City, New York, United States
No. 614 Courtlandt Avenue , an early multi-use building in the Bronx, was built in 1871-72 for Julius Ruppert and contained a saloon, public rooms, meeting rooms, and a residential flat. Most likely the work of a builder-contractor, the imposing building displays a variety of early to late Second Empire style motifs successfully combined to reconcile the several uses contained within the building with their exterior expression. Hewlett S. Baker's renovation in 1882 only further enriched the facade.
The building is a monument to the first stage of urbanization within what had been the previously rural south Bronx, helping by its presence to establish a sense of place in the new village of Melrose South. No. 614 also has many of the stylistic features which characterized the buildings along the Bowery between Canal and Houston Streets in the area known as "Kleine Deutschland," where Julius Ruppert first established his business before following his fellow Germans to the Bronx. With its varied uses, the building sheltered a variety of German ethnic activities.
Melrose South and its Early Settlers
The majority of the mid-19th century settlers in New York City's future 23rd Ward (1874), the southwest Bronx, arrived from Manhattan's Lower East Side, eager to leave their noisy and dark, cramped and airless tenements. One of their earliest objectives was the sparsely populated freehold manor, seat of the Morris family who had been prominent in colonial government and the affairs of the early republic, which only recently had been opened for development. Though not a model for subsequent expansion, "New Village," the first subdivision, carries with it some of the method and some of the ingredients of those that followed. In 1848 an association 222 members strong, for the most part German and some Irishmen, mechanics and laboring men, met at the Military Hall at 193 Bowery. Represented by their agents, Jordan Mott, Nicholas McGraw and Charles W. Houghton, they had purchased 200 acres from Gouvemeur Morris, _ Jr.
Lots were drawn and assigned with but one proviso: each owner was to erect a house of no less than $300.00 value within three years, and Morris executed a deed to each new owner. In 1850 New Village became Morrisania, when Mott's early development along the Harlem River, (which had been Morrisania) became Mott Haven.
New Village's success inspired Morris to develop his property further. With Robert Elton and Hampton Denman he had Andrew Findlay, a surveyor, lay out several more communities, Woodstock, Melrose and Melrose East and South, in 1850. Melrose South was incorporated as a village a year later, and in 1864 Morrisania was incorportated as a township, embracing these and ten other villages.
At the time of its incorporation as a village, the boundaries of Melrose South were East 160th Street and the Village of Melrose to the north and East 148th Street and Mott Haven to the south. Its eastern boundary was the Old Boston Post Road (Third Avenue) and its western boundary the railroad. But before the Civil War the area was principally farmland. In 1856 the number of dwellings totalled 173; twelve years later there were 488. Like the citizens of New Village, the preponderance of Melrose South's first residents were German, seeking a healthier alternative to life on the Lower East Side.
Courtlandt Avenue, running north and south along a ridge, was the main shopping street, lined by beer halls and the scene of parades by German bands. Intersecting it, from south to north, were Mott, Benson, Denman,Gouverneur, Wilton, Schuyler, Springfield, Mary and Melrose streets.
The Protection Hall, whose members sponsored marching bands and drill teams, had its headquarters — incorporating a beer garden, bowling alley and dance hall — on the west side of Courtlandt between Springfield (154th) and Mary (155th) Streets. Melrose South had its own brewery, J. & M. Haffen's on Elton (152nd) between Courtlandt and Melrose. The Arion Liedertafel Hall was on the west side of Courtlandt between Benson and Gouverneur and so was the Melrose Turn v ere in. There were many beer gardens too. Indeed, Melrose South was compared with the area around Manhattan's Tompkins Square — "Kleine Deutschland," and Courtlandt was called "Dutch Broadway."
For example, in 1871 at the intersection of Courtlandt and Gouverneur (151st Street) — Ruppert's building would occupy the northeast corner — Jacob Sauter, a butcher, lived on the east side of Courtlandt north of Gouverneur; William Langrebe, a tailor, occupied the northwest corner of Courtlandt and Gouverneur; August Schulte had a grocery store on the southeast corner of the intersection. Andrew Schrenk, also listed on the southeast corner, may have lived upstairs. A rooming house occupied the southwest corner, among whose tenants there was an actor and an Irish laundress. August Frenke, a blacksmith in working in Manhattan, dwelled in the first house on the north side of Gouverneur, east of Courtlandt; John Giesner, the cabinet maker, lived next door to him in the second house east of Courtlandt.^ Only the northeast corner was vacant.
The history of the northeast corner of Courtlandt and Gouverneur (151st) is a reflection of Melrose South's early development in microcosm. The butcher Jacob Sauter, mentioned above, engaged in speculative real-estate as well. Immediately following the Civil War (1865) he purchased three lots at the intersection of Courtlandt and Gouverneur from Philip Schuler: lot 300 on the north side of Gouverneur; lot 301 on the corner; and lot 302 on the west side of Courtlandt. Sauter sold lot 300 to Henry - Penning, Sr., in April 1867 and two months later lot 301 to Philip Brecher. Sauter had retained the northern seven feet of lot 301 along Courtlandt.
By 1870 Brecher had divided the remaining fifty foot frontage along Courtlandt, creating two lots, each twenty-five by one hundred feet. A year later Brecher sold the new corner lot to Julius Ruppert, and immediately, Ruppert set about to build his handsome four-story brick building.
The First Owner
The presence of Julius Ruppert (d.1877) is first recorded on the Lower East Side. His initial place of business - a billiard hall in 1859 - was at No. 50 Bowery. In 1863 he moved to No. 5 Avenue A, at the northwest corner of 1st Street, where he maintained a saloon until his death. Beer, most likely the new German lager, was the specialty of the house, except for a short period (1865-67) immediately after the Civil War when he ran a hotel on the premises also. The beer gardens along the Bowery, many of them large buildings decorated within to imitate gardens, could accommodate hundreds of guests. Music was often provided and whole families came to be entertained. Ruppert's establishment at A and 1st was in a four-story building (Plate 2), still standing, with taller second story windows which suggest this floor contained public rooms. His was but one of the beer halls contributing to Avenue A's erstwhile Gemutlichkeit.
No doubt, Ruppert was aware of his countrymen's migration to the Bronx and was motivated to follow his former customers and to offer them the same hospitality in their new neighborhood along "Dutch Broadway" as that they had enjoyed in "Kleine Deutschland." The second story of his building at 614 Courtlandt (Plate 1), with second story windows even taller than those at Avenue A and 1st Street, contained public rooms, most likely designed to house the convocations of fraternal, patriotic or cultural societies. This use is suggested by the proximity of the ground floor saloon. The third story contained meeting rooms while a one-family flat occupied the fourth story.
Ruppert himself never moved his residence from Manhattan, but his widow Catharine (d.1926) did. One year before her husband's death, she took title to the building. And though Catharine Ruppert attempted to sell the building in December of that year — evidently an unsatisfactory arrangement -— she was residing there in 1880, and it remained her address until 1894. It was Catharine Ruppert who commissioned Hewlett S. Baker, architect, to renovate the building in 1882, ^ dividing the second and third stories into two residential flats each. Baker lowered the second story ceiling and, as a consequence, the height of the distinctive windows; he also lowered the Gouverneur Street entrance.
Until her heirs sold No. 614 in 1927, Catharine Ruppert leased the ground story, and often some dwelling space abov^,' to tavern keepers, with but one exception. Her first tenant in 1889-1894, was a butcher, Mortimer C. Langrebe, perhaps a kinsman of William Langrebe, the tailor across Courtlandt Avenue.
The Building and Its Design
Julius Ruppert's multi-use, three-story building with its mansard fourth story is an imposing structure. Aside from the tall mansard, "Ruppert's building has other remarkable features. Among these are the tall, second story windows already mentioned, as well as the raised decorative ornament on the roof dormers. But most remarkable of all is the manipulation of stylistic forms to translate the varied aspects of the building's several functions into architecture.
No. 614 Courtlandt represents a combination of successive historical styles, styles characteristic of the third quarter of the 19th century. The cast-iron segmental window heads and their foliate corbels are characteristic of the late Italianate mode. The steeply pitched mansard roof is typically of the Second Empire Style. The heavy, bracketed and modillioned, galvanized metal cornice is neo-Grec. The second story window tympana with their fan motifs suggest Queen Anne ornament. The decorative reveals in the brick chimneys can be seen in both neo-Grec and Queen Anne prototypes.
One explanation for this apparent multiplicity has already been touched upon; Hewlett Baker's interior renovation for Catharine Ruppert in 1882, had a definite impact on the exterior of the building her husband had built eleven years before. But despite the presence of these variegated stylistic elements, building records and stylistic analysis indicate there were but two building campaigns.
Julius Ruppert's building can be considered as generally Second Empire in style, a revival of French .Renaissance forms associated with Napoleon Ill's ambitious program for reconstructing offical Paris. The style was accepted in the major cities of Europe as well as in post-Civil War New York. There is a German quality about its use here — the crisp and practical manipulation of architectural elements rather than the grand and symmetrical interpretation more typical of the French. The mansard roof is, of course, de rigeur.
The imbricated slates and oval dormers, the rounded edges of the roof's metal framing and this framing's convex corners, the rosettes and the roof's iron cresting are all stock Second Empire stylistic components. Segmental-arched windows and doors are also characteristic of this style. The late Italianate window hoods (Plate 4) are not inappropriate here; many Second Empire style buildings retain Italianate features. These windows (all but the three ground story windows on Gouverneur which have straight iron lintels) with their corbelled iron sills compare favorably with those of a contemporary firehouse in Morrisania, the Lady Washington Engine Company No. 1 (1872), but now destroyed (plate 5). Even the fourth story dormers echo the segmental curve of the windows below.
Neither the modillions of the cornice entablature nor the circular panels of the architrave below them are foreign to the Second Empire style, but the paired brackets although somewhat neo-Grec in character are an integral part of the cornice design itself; and their placement plays a small but sensitive part in resolving the facades conflicting symmetry. These brackets are articulated as projecting triglyphs. As such they are not inappropriate; the Second Empire style made frequent and explicit use of the classical orders. Finally, the symmetrical aspect of the Courtlandt Avenue facade, albeit clumsy, fits the Second Empire canon.
Who might have designed Julius Ruppert's building? Most likely, it was a builder-contractor, perhaps not even a Bronx man, but someone Ruppert knew in "Kleine Deutschland." He appears to have been familiar with Ruppert's establishment on the Lower East Side. Like No. 5 Avenue A , No. 614 -. ^has four stories, the entrance to the upper floors is located on the side street to the rear of the building and the second story ceilings and windows are taller than those in the two stories above. On one hand, the combination of early and late Second Empire stylistic features, the manipulated symmetry, and the slight chronological stylistic disparity between the mansard, the cornice, and the window heads, speaks of a builder dependent upon ready-made, pre-cast elements.
On the other hand, there is no doubt that No. 614 Courtlandt's builder was familiar with the rudiments of proportion and possessed a knowledge of styles. Our builder, rather than mimicking the exact synnnetry of French prototypes, produced a Second Empire facade of imposing practicality. He integrated the various parts with a pleasing and confident authority.
The most conspicuous of the exterior changes caused by Baker's 1882 interior renovation are the terra-cotta, second story window tympana (Plate 4), introduced when Mrs. Ruppert had the second story adapted to residential use. The decorative terra-cotta panel above the building's 151st St. entrance (Plate 6) is Baker's also (now a metallic silver color, it matched the tympana before it was painted). He introduced this design, a two-handled, classical lamp within a wreath and an ornamental frame in low relief, when he lowered the height of the original doorway. The fire escapes with their decorative iron balustrades were attached to the building at this time.
In 1911 Mrs. Ruppert was required to broaden a fire escape on the 151st Street side and add another to the Courtlandt Avenue facade, both on the second story. In 1933 the firm of De Rose & Cavalieri was retained by a new owner, Leandro Casario, real-estate and insurance broker at 566 Courtlandt Avenue, to renovate within once more. New bathrooms required new windows in the building's eastern (rear) wall at the second and third stories. At this time the original 151st Street stoop was removed.
There appears always to have been some kind of structure in the rear yard. It was a frame shed in 1882, but by 1933 it had become a wooden frame, two-car garage. The present brick-faced, one-story, three-car garage was built at that time. This structure which faces 151st Street is on the Landmark site but is not being identified as a protected feature.
Description
The building is located at the northeast corner of Courtlandt Avenue and 151st Street with the main facade on Courtlandt and the secondary, although longer, facade on 151st Street. Four stories high, it is of red brick.
The ground floor was planned as a commercial space. On Courtlandt, shop windows would have originally flanked a central entrance. Recently the modern roll down security gates have been painted sky blue. The current shopfront is a later addition, but remnants of the original — one iron pilaster supporting an iron cornice which extends across the front and around the corner for one bay — survives. At the base of the iron pilaster, at the northern edge of the building, is stamped the name of the foundry, "J. Alexander, Greenpoint"(Plate 7). On 151st Street are three ground floor window openings, now covered with grilles, with projecting iron lintels and projecting iron sills supported on pendant corbels. The entrance to the upper floors is at the eastern end, up a low stoop. A decorative terra-cotta panel with lamp motif is placed above the door. An iron door hood is aligned with the lintels of the ground floor windows.
At the second floor on the Courtlandt Avenue facade are three tall window openings with segmental, projecting cast-iron hoods on foliate corbels and stone sills. Segmental-arched tympana, bearing fan motifs, are set within the window heads. Until recently the sash had been wood four-over-four; now they are aluminum one-over one. Originally the alignment of these windows would have corresponded with the ground floor openings, unlike the 151st Street elevation where the second story windows are still aligned with the ground floor openings. Here the window openings resemble those on Courtlandt Avenue except for the projecting iron sills with pendant corbels.
At the third story on both elevations, the segmental-arched window openings are not similarly aligned, reflecting the different use of this story; there are four openings on Courtlandt and six on 151st Street. The cast-iron window hoods and corbelled sills are like those seen below. Until very recently the northernmost window on the Courtlandt facade retained its original wood four-over-four sash. Now all the windows in the building have been given aluminum one-over-one sash.
A massive, bracketed and modillioned cornice of metal with paneled architrave surmounts the third story. The fourth story mansard is covered with imbricated slate and punctuated by metal-framed dormers which correspond to the alignment of the third story windows. On Courtlandt oval dormers flank a broad segmental-arched dormer with paired segmental-arched windows with two-over-two sash. The pediment of this dormer contains a central escutcheon secured with a riband and flanked by rinceaux. It is set, in turn, within a central mansard — a reassertion of the central ity of the lower floors — which bears a cavetto cornice.
Applied to the metal surface is a raised eagle, wings outspread. Apparently this eagle is not associated with the decorative escutcheon and riband program just below. Though somewhat bloated in appearance, no doubt due to a lack of exactness in execution, this eagle may be a reflection of the enthusiasm for the impending national centennial.^ The four segmental-arched dormers on 151st Street bear simple riband bows. Two tall, panelled brick chimneys flank these dormers. Recently, these chimneys have been parged and the mansard painted white.
Decorative iron fire escape balconies may be seen at the third story on Courtlandt Avenue and the second, third, and fifth stories on 151st Street.
The Dollar Savings Bank was founded in 1887 by John Haffen of the prominent Haffen family, which controlled much of the Bronx in the late nineteenth and early twentieth centuries. It was the first thrift institution to be organized in the Bronx, preceding its competitors by sixteen years.
Structured as a mutual savings bank, it was managed for the benefits of the depositors, which assured that most savings would not leave the Bronx. The bank’s early leaders moved quickly to organize development in the Bronx and used the savings deposits to fund improvements in the borough. As the number of accounts increased, the bank’s location in the Haffen building at 2808 Third Avenue was unable to accommodate its rapid growth, and the bank sought new and more spacious quarters.
Designed by the renowned firm of Renwick, Aspinwall & Tucker in 1919, the Classical Revival Style, and the free standing bank building illustrate the style adopted by savings institutions during the last decades of the 19th and the first decades of the 20th century. The banks design has the visual continuity of classical architecture linked with civic pride that is symbolic of the bank’s wealth and stability that typifies the characteristics of the Classical Revival bank building style.
The impressive building is clad entirely in limestone, and sits on a trapezoidal corner lot with facades facing three streets; the window fenestration is distinct on each façade. The canted main entrance with central bracketed pediment, roundarched window, flanking paired Ionic pilasters, with laurel leafs all evoke the traditional classical deign.
The building is crowned by a stone frieze engraved with DOLLAR SAVINGS BANK. This distinctive bank building is a significant reminder of the Classical Revival style banks built in New York City at this time.
By the late 1940s, Dollar had become the sixth largest savings bank in the country. This building, the former Dollar Savings Bank at 2792 Third Avenue, served as the bank’s headquarters from the time it was constructed until c. 1950, when the offices were moved to the Fordham branch at 2516 to 2530 Grand Concourse (a designated New York City Landmark). It is now the Bronx Temple of Seventh Day Adventist Church.
By the turn of the century, the commercial heart of Melrose—with numerous theaters, shops, and banks—was centered around the intersection of East 149th Street, Melrose, Willis and Third Avenues, known as the Hub. It is the oldest major shopping district in the Bronx, with inhabitants throughout the borough patronizing its department stores, boutiques, movie palaces and vaudeville theaters. The intersection of 149th Street and Third Avenue became to known as the “42nd Street and Broadway” of the Bronx. As predicted, by 1911 the intersection was “the great business center of the north borough.” Melrose continued to prosper well into the twentieth century.
The Classical Revival style-building is clad entirely in limestone. The building sits on a trapezoidal corner lot with facades facing three streets; the window fenestration is distinct on each façade. At the base of the Third Avenue façade below each pair of pilasters is a narrow vertically oriented rectangular window with wrought-iron security grilles. This feature is repeated on the base of Willis Avenue façade. Below each window on the same façade is a horizontally oriented narrow window with wrought-iron security grilles, which graduates in size.
On the corner of Third Avenue is the canted main entrance with central bracketed, pedimented entrance, which features a round-arched window with keystone above, flanked by Ionic pilasters. Left of the central entrance are two sets of paired round-arched windows separated by paired Ionic pilasters, a design element that is repeated at the corner of each façade.
On the 147th Street façade are a series of five large round-arched windows with keystones and separated by molded stone discs, flanked at the corners by one-over-one windows with transom, followed by a molded stone decorative panel featuring an eagle and laurel wreath, with a small casement window above nestled between paired Ionic pilasters. This window fenestration is repeated on the Willis Avenue façade. Willis Avenue also features a bracketed pedimented entrance, with a round-arched window and keystone above flanked by Ionic pilasters, and three, one-over-one windows with transoms, followed by a molded stone decorative panel featuring an eagle and laurel wreath, with a small casement window above.
On all three facades the architrave is decorated with paired laurel leafs above each pilaster, crowned by a stone frieze engraved with DOLLAR SAVINGS BANK, followed by a acanthus leaf band and then, a denticulated cornice; the Willis Avenue façade is topped by an angular stone pediment. The northern façade is constructed of brick, it contains two window openings that are partially obscured. The second story is a later addition to the building, and is also constructed of limestone. There are two small one-over-one windows on the Third Avenue façade, five on the 147th Street façade, and two on the Willis Avenue façade. The addition is topped by a metal roof.
From the 1987 NYCLPC Landmark Designation Report:
Contractors manually hoist the F-1 engine into its new mount in the ceiling of the Destination Moon gallery, June 1, 2020. (Smithsonian photo by Jim Preston)
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Contractors build the exhibit surrounding the Cutaway General Electric CF6-6 Turbofan Engine in the “America by Air” gallery at the Air and Space Museum in Washington, DC, April 6, 2022. (Smithsonian photo by Jim Preston) [20220406JP-0059] [NASM2022-02641]
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Our contractor-partners begin prepping for winter maintenance on a foggy river morning at Lock and Dam 4, in Alma, Wisconsin, Dec. 14. On this morning the crew was in the initial stages of conducting guidewall repairs. Eventually crews will pump concrete into voids within the guidewall structures, which serve as extensions of lock walls to guide vessels into the lock chamber and provide mooring for long tows. The repairs are also being done at Locks and Dams 5 and 5A to ensure our critical infrastructure remains serviceable, with work scheduled to end spring 2019 before the navigation season starts back up.
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Het Duitse bedrijf Sensoplan heeft de RWE/Essent Contractor Safety Award 2013 gewonnen. Het dochterbedrijf van General Electric verdiende de prijs voor de zorg die ze besteedde aan het creëren van een veilige werkomgeving tijdens een grote onderhoudsklus aan de Amercentrale in het Brabantse Geertruidenberg. Erwin van Laethem, CEO van Essent (rechts), reikte de prijs uit aan de heren Walter (links) en Voßkühler (midden) van Sensoplan.
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36% of contractors think that in 2014 the construction market will expand more than in any other single year. The construction industry is on the rise: that’s the encouraging news from Lance Surety Bonds’ new infographic. www.suretybonds.org/blog/construction-industry-rise
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Flying Tigers was the popular name of the 1st American Volunteer Group (AVG) of the Chinese Air Force in 1941-1942. Arguably, the group was a private military contractor, and for that reason the volunteers have sometimes been called mercenaries. They were mostly former United States Army (USAAF), Navy (USN), and Marine Corps (USMC) pilots and ground crew, recruited under Presidential sanction and commanded by Claire Lee Chennault. The group consisted of three fighter squadrons with about 20 aircraft each. It trained in Burma before the American entry into World War II with the mission of defending China against Japanese forces.