architecture – Nashville Historical Newsletter

Nashville-Tuskegee Ties, Part I: Medicine, Music, & Architecture

by Kathy B. Lauder.

Nashvillians have built some important connections with Tuskegee, Alabama, over the years, primarily in the fields of education, medicine, music, and the military.

*Dr. Halley Tanner Dillon Johnson (1864-1901)*

Booker T. Washington hired Dr. Halley Tanner Dillon (1864-1901) to be resident physician at Tuskegee Institute in 1891. After passing the state’s challenging medical exam, Dillon became the first woman, black or white, to practice medicine in Alabama. At Tuskegee she taught several classes, supervised the infirmary, established a dispensary where she mixed her own medicines, and founded a nursing school. She returned to Nashville after marrying Pastor John Quincy Johnson in 1894. When she died in childbirth at age 36, her death certificate listed her profession as “housekeeper.”

Dr. John Henry Hale (1878-1944), a member of the Meharry faculty for nearly 40 years, was chairman of the Department of Surgery (performing more than 30,000 operations) as well as associate director of the Tumor Clinic, while also serving as head surgeon at Nashville’s Millie E. Hale Hospital. President (1935) of the National Medical Association, he was a longtime patron of the Tuskegee Institute and oversaw the Surgical Clinics there.

Dr. John Christopher Ashhurst (1908-1995), a native of British Guyana, served as chief pathologist at the Veterans Administration Hospital in Tuskegee, Alabama, before moving to Nashville in the mid-1960s to become head of surgical pathology at Meharry Medical College, while at the same time serving as the county medical examiner.

Thomas W. Talley (1870-1952), acknowledged as Tennessee’s first African American folklorist, began collecting folk songs about 1900 and published a collection, Negro Folk Rhymes, in 1922, a decade before Lomax and Niles. A Fisk graduate who later taught chemistry and choral music at his alma mater, Talley had previously taught at Tuskegee Institute (1900-1903).

Marcus H. Gunter (1918-2003) earned a degree in music at Tuskegee Institute. During college he performed with the Tuskegee Melody Barons, a popular dance band, and he later studied at the New England Conservatory of Music in Boston. During World War II, Gunter, a warrant officer, was director of the 41^st Engineers Band in France. In 1947 he began a 39-year teaching career as music teacher and band director at Pearl High School. After retiring from his teaching career, he became owner and director of a Nashville funeral home.

Daughter of a Philadelphia longshoreman, Dorothy Coley Edmond (1927-2006) attended Fisk University, then earning a nursing degree from Meharry Medical College, a master’s degree from Columbia University, and an Ed.D. from Peabody College. She worked as a nursing instructor at Tuskegee Institute before marrying and returning to Nashville, where she established the School of Nursing at Tennessee State University. She is believed to be the first African American registered nurse ever to become a member of the Tennessee Nurses Association.

Born in Pulaski, Tennessee, Moses McKissack III (1879-1952) was the grandson of a slave who passed on his skills as a “master builder” to his descendants. As a teenager, Moses was hired by a local contractor to create designs and drawings for a Pulaski construction business. From 1895-1905 the youngster oversaw building crews in Tennessee and Alabama before moving to Nashville, where he and his brother Calvin opened their own firm –Among their first projects were Fisk University’s Carnegie Library and the residence of Vanderbilt’s dean of architecture and engineering. Later projects included Pearl High School and the TSU Memorial Library, as well as many other schools, homes, churches, and office buildings throughout the South. Now based in New York City and Washington, D.C., McKissack & McKissack remains the oldest minority-owned architectural engineering company in the U.S.

Like his older brother Moses, Fisk University graduate Calvin McKissack (1890-1968) earned his architecture degree through a correspondence course and from lessons passed down by their grandfather. Not long after they opened their Nashville firm (1905), Calvin started a satellite company in Dallas. However, he eventually returned to Nashville to teach industrial drawing at Tennessee Agricultural and Industrial State Normal School (now Tennessee State University), which had opened in June 1912. Six years later he was hired to be director of Pearl High School’s industrial arts department, and he presently became executive secretary of the Tennessee State Association of Teachers in Colored Schools. When the state enacted a law requiring architects to be registered (1921), the McKissacks were nearly banned from taking the licensing examination because of their race. State administrators eventually conceded, evidently assuming neither brother would be able to pass, but when the authorities continued to dither after both men sailed through the exam, the national media took up the story . . . whereupon the McKissack brothers promptly received their licenses, and their company officially became Tennessee’s first professional African American architectural firm. Their $5.7 million contract (1942) to design and build the 99^th Pursuit Squadron Air Base in Tuskegee, Alabama, was the largest federal contract ever granted to an African American firm up to that time. The base was the home of the Tuskegee Airmen, African American fighter pilots who would gain the admiration of the entire world for their skill and courage in combat. Moses McKissack, whom President Franklin D. Roosevelt appointed to the White House Conference on Housing Problems, continued to head the firm until his death in 1952. His brother Calvin succeeded him, handing the reins to Moses’s son, William DeBerry McKissack, in 1968.

Learn more about the Tuskegee Airmen in “Nashville-Tuskegee Connections, Part II.”

Some of this material has been adapted from the Greenwood Project.

Lost Nashville: The Second Presbyterian Church

by Kathy B. Lauder.

Nashville began to attract streams of visitors almost from the moment it became a frontier trading post. As time passed, tourists and settlers came for the music and theatre and food, for history and politics and education, for the casual atmosphere and friendly people. It was educator Philip Lindsley (1785-1855) who first referred to Nashville as the “Athens of the South” (Philip actually said “Southwest”), for the city has long been a center of educational and cultural activities. And high on the list of attractions is the intriguing variety of architectural styles to be discovered here.

One’s first impression of Nashville, the downtown skyline, features the “Batman” and “R2-D2” building silhouettes, several tall hotels and banks, and the dear old L&C Tower, whose 31 floors made it, at the time of its 1957 opening, the “tallest commercial structure of its day in the Southeastern United States.”¹ Church Street and Broadway feature some of our most interesting church buildings: the First Baptist Church; Christ Church Episcopal; McKendree Methodist, its earlier façades buried beneath layers of renovations; Downtown (First) Presbyterian with its rich and compelling history; and, a little farther out, the graceful Holy Trinity Episcopal Church on Sixth Avenue.

This 1880-era photograph, taken from the State Capitol looking east, shows the railroad bridge over the Cumberland River and the steeple of Second Presbyterian Church (right center), which stood on 3rd Avenue near where the Criminal Justice Center stands today. (TSLA photograph, used by permission)

Many tourists come to Nashville specifically to visit historic homes, and the city has a lovely collection of these as well: The Hermitage, fourth most-visited Presidential home in America (after the White House, Mount Vernon, and Monticello); Belmont, former home of one of the country’s richest women, and now the centerpiece of the Belmont University campus; Belle Meade and Travellers Rest, renowned for the breeding of magnificent horses; Cheekwood, with its exquisite gardens and galleries; and the wedding-cake charm of Clover Bottom and Two Rivers. Equally unforgettable are the stand-alone architectural delights of the Tennessee State Capitol, the Customs House, Union Station, Ryman Auditorium, and the splendid Parthenon, the crowning glory of Centennial Park and the only full-scale replica of the ancient Athenian temple in the world.

Yet if we could visit the Nashville of earlier days, we would be astonished, not only at the number of public buildings that have been transformed into more modern spaces, but also at the number that have disappeared forever.

Not all the stories have tragic endings, of course. Union Station was saved from impending destruction a few years ago, as was the Ryman. Moreover, the Metropolitan Historical Commission encourages preservation activities by presenting a number of awards each year to individuals and groups who have rescued and restored public or private structures throughout the city. But the very word “progress” conjures up an image of bulldozers, and Nashville, like many American cities, has seen far too many beautiful buildings destroyed to make room for, among other things, motels and parking lots!

One of the city’s loveliest lost buildings was the Second Presbyterian Church, once part of our riverfront skyline, but now only a fading image in a handful of old photos. The church stood on Third and Gay Streets, not far from the spot where the James Robertson Parkway crosses Third Avenue before swooping across Victory Memorial Bridge. Dr. John Todd Edgar and Dr. Philip Lindsley spoke at the church’s 1844 dedication.²

There are significant differences of opinion about the history of “2^nd Pres,” as John Berrien Lindsley called it in his 1859 diary.³ Many Nashvillians believe that William Strickland, architect of the Capitol, designed the church. However, according to James Patrick, author of Architecture in Tennessee, 1768-1897, the architect was James M. Hughes, a man the Nashville City Directory lists as a carpenter.⁴ Patrick refers to a silver plate deposited in the cornerstone of the church naming Hughes as the architect. In 1844 the Nashville Whig listed the full text of the inscription:

The Second Presbyterian Church
of Nashville,
OLD SCHOOL.
erected in the year of our lord 1844.
Rev. Robert A. Lapsley, Pastor.
Samuel Seay, William B. Shapard, William H Marquess,
James M. Hamilton, and Adam G. Adams, Elders.
Samuel Hill, Foster Williams, Abram Stevens,
and John McCrea – Deacons.
Organized February, 1844, with 32 Members.
JOHN TYLER, President of the United States.
James C. Jones, Governor of Tenn.
P.W. Maxey, Mayor of Nashville.
Population of Nashville, 8,000.
James M. Hughes, Architect.
Engraved by D. Adams.⁵

Adding further weight to Patrick’s assertion, Nell Savage Mahoney, a lifelong student of Strickland’s work, omits Second Presbyterian from her list of his creations.

Support for Strickland’s involvement, however, may be found in “William Strickland, Architect,” a 1986 article from the Tennessee Historical Quarterly. Author James A. Hoobler, Curator of the Capitol, compares the altar area of the Second Presbyterian Church with a Strickland drawing labeled “Second Presbyterian.”⁶ The structural similarities of shape and dimension cannot be denied. (Hoobler has also discovered compelling evidence that St. Mary’s Roman Catholic Church, long attributed to William Strickland, was, in fact, built by Adolphus Heiman, but that’s a story for another day.)

Actually, a fairly strong case can be made for the possibility of a collaboration between the two men, with Strickland as teacher/adviser and Hughes as apprentice/contractor. Mahoney herself provides evidence of an earlier such alliance between Strickland and one of his students. Strickland is believed to have drawn the original elevation used by his former pupil Thomas U. Walter when the younger man was appointed to design a building for the Girard College campus in Philadelphia.⁷

Further evidence of a Strickland-Hughes partnership comes from Circuit Court records, January term 1857. Strickland had been engaged by H.R.W. Hill “to serve as an architect for and superintend the erection of a Methodist church [in New Orleans] . . .. William [Strickland] was put to great expense in going to and from said city during the progress of said work . . .. The church was built at the same time that the St. Charles Hotel was erected – both the St. Charles and the Methodist Church on Pozdras street were burned in February, 1850 . . .. Strickland and Hughes were here at the time, as this witness learned from Hughes, to get a contract for [re]building the St. Charles.”⁸

So even finding James Hughes’ name inside the cornerstone does not rule out the possibility that the original drawings for Second Presbyterian came from Strickland.

Newcomers may wonder why William Strickland’s buildings are so valuable. In fact, many people consider them national treasures – Strickland is widely considered to be one of the most influential architects of the nineteenth century. Prior to his move to Nashville, he built so many notable buildings in Philadelphia, he was sometimes called “the city architect.”⁹ Among his important designs there are the Second Bank of the United States (His best-known portrait places him in front of the Bank, which strongly resembles the Parthenon.); the Merchants Exchange; St. Stephen’s Church; Masonic Hall; and dozens more. In Nashville Strickland contributed to the design and re-design of many private homes, burial monuments, and a wide variety of public buildings. Best known, however, are the Downtown (First) Presbyterian Church – now widely considered America’s finest surviving example of church architecture in the Egyptian Revival style – and his masterpiece, the Tennessee State Capitol. Many of Strickland’s buildings have been designated National Historic Landmarks.

In 1902, convinced that the neighborhood was becoming too commercial, the Second Presbyterian congregation sold the building and relocated to North Nashville, moving again in 1929 to better oversee the Monroe-Harding Children’s Home in Green Hills.¹⁰ They left behind not only the classical simplicity of the building’s exterior, but also the beautiful interior, which included a painted fresco behind the altar suggesting a classical porch with a view of distant hills, and a network of intricate trompe l’oeil panels and columns adorning the ceiling and walls. For many years thereafter, the original building – described at the time of its dedication as a “new and beautiful edifice . . . an ornament to that part of the city”¹¹ – was used by the Standard Candy Company as a warehouse.¹²

By the late 1970s the church building had become the property of Metro Nashville. The city’s plans to build a new Criminal Justice Center involved razing the old church and other nearby structures. Although preservation advocates from the Metropolitan Historical Commission and the Tennessee State Museum pleaded with city officials to be permitted at least to salvage significant architectural elements from the building, their requests were denied.¹³ In 1979 Nashville’s historic Second Presbyterian Church was bulldozed into rubble in order to provide a handful of parking spaces for the Criminal Justice Center.

Sources consulted:

¹ Zepp, George. “Nashville L&C Tower once offered bird’s-eye view of Nashville,environs,” Nashville Tennessean, 16 Feb 2005.

² Nashville Whig, April 27, 1844.

³ Lindsley Family Papers, ca. 1600-ca. 1940. Tennessee State Library and Archives.

⁴ Patrick, James. Architecture in Tennessee, 1768-1897. Knoxville: University of Tennessee Press, 1981.

⁵ Nashville Whig, April 27, 1844.

⁶ Hoobler, James A. “William Strickland, Architect,” Tennessee Historical Quarterly, Spring 1986.⁷ Mahoney, Nell Savage (1889-1986) Papers, 1825-1972. THS Acc. No. 457 & 681. Tennessee State Library and Archives.

⁸ Mahoney.

⁹ http://www.greatbuildings.com/architects/William_Strickland.html

¹⁰ http://www.secondpresbyterian.net/Home/ChurchHistory/tabid/14992/Default.aspx

¹¹ Nashville Whig, September 2, 1846.

¹² Hoobler, James A. A Guide to Historic Nashville, Tennessee. Charleston, SC: The History Press, 2008.

¹³ Hoobler, James A. A Guide to Historic Nashville, Tennessee.

This article was first published in The Nashville Retrospect. We thank publisher Allen Forkum for his permission to republish it here. Much gratitude also to Jim Hoobler, Cathi Carmack, Lori Lockhart, and Mike Slate for helping me untangle the knotted threads of this story. KBL

Adolphus Heiman’s Cemetery Stone Work

by John S. Lancaster.

At the height of his career in Nashville, 1837 to 1861, Adolphus Heiman designed over 30 structures, ranging from churches and public buildings to residences, forts, and even a bridge. By the mid-1850s his architectural skills and achievements had received so much recognition he was referred to as “Nashville’s Architect.”

Until recently, Heiman’s efforts in designing and creating tombstones and vaults had not been investigated, but three newly identified examples of his work show another side to the talents of this Prussian immigrant.

Located within the Old City Cemetery on Fourth Avenue South are two very different markers. The simpler of the two tombstones was made for Benjamin Sharpe in 1848. It has experienced such severe weathering that the acroteria on the four corners and much of the inscription have eroded away. Chancery Court records of a lawsuit between F. Scott, Adm., vs. Heirs of Benjamin Sharpe provide clear documentation that this stone is a Heiman creation.

*Benjamin Sharpe’s tombstone in the City Cemetery.* (*photo courtesy of the Nashville City Cemetery Association*)

As part of the docket evidence now preserved at the Nashville Metropolitan Archives, an entry on an itemized ledger page shows that A. Heiman was paid for a tombstone on September 8, 1848. Also included is a note written in Heiman’s own hand confirming payment from Mrs. Ann Sharpe for the “forty-seven dollars on account of a tomb for Benj. Sharpe deceased.” Heiman seems to have been a friend of the family: his name also appears on the Sharpes’ wedding bond and as an executor of Mrs. Sharpe’s will.

As further documentation is discovered, other tombstones in the Old City Cemetery may also be attributable to Heiman . One such record was recently discovered in the Chancery Court case of J. W. Birdwell & wife vs. William H. Harris: a payment receipt for William Harris’s monument lists the payees as Heiman and Stevenson. (Stevenson was a popular stonecutter in Nashville and signed his name to the Mexican War Memorial in Gallatin, Tennessee.) Although we know Mr. Harris was buried in Old City Cemetery, his stone has yet to be located.

The other Heiman tombstone in City Cemetery marks the grave of Nancy Maynor. The wife of Pleasant Maynor, Nancy passed away on the 28th of May in 1836. Pleasant Maynor remarried on February 21, 1837 to Jane M. Iredale. Of interest is the fact that Heiman is believed not to have arrived in Nashville until 1837. While there is sufficient space to carve another name on the opposite side, only Nancy’s information appears on the monument. This stone also bears the signature “A. Heiman” near the base.

*Nancy Maynor’s tombstone in City Cemetery*. (*photo courtesy of Nashville City Cemetery Association*)

Carvers and designers rarely signed tombstones unless the work was unique. The Maynor monument is an above-ground stone box topped with a shaft-like pedestal surmounted by an urn. Two notable details of this piece are the carved butterfly on the pedestal and the anthemion designs on the four corners of the tombstone. In memorial art a butterfly represents the soul and/or resurrection; the anthemion is purely decorative. The use of an above-ground stone vault was common in the Nashville area, but the bodies were buried in the ground beneath rather than inside the vault.

The third and most elaborate example of Heiman’s known stonework was the Franklin Vault in Sumner County, Tennessee. Located on the property of Fairview Farm, the vault was built for the wealthy slave trader Isaac Franklin and his family. Only seven years after marrying the much younger Nashvillian, Adelicia Hayes Acklen, Mr. Franklin died suddenly in Louisiana in 1846 at the age of 57. His wishes were to be returned to Tennessee for burial, and his remains were shipped in a lead-lined casket filled with alcohol. His body was placed in a temporary brick structure until a permanent vault could be constructed. Tragedy struck the Franklin household again only seven weeks after Mr. Franklin’s death when his two oldest daughters, Victoria and Adelicia, succumbed to croup and bronchitis only two days apart.

The loss of her husband and children devastated the young widow, who soon moved back to Nashville. Her father, Oliver Bliss Hayes, was appointed to handle her affairs. It is not clear who hired Heiman to create the Franklin Vault, but he designed it along with an octagonal cast iron fence for $2,500.00. By 1850 the mausoleum still had not been finished. The local builder hired to do the job had subcontracted the work. When the builder died in 1849, the subcontractor, who had not been paid, tried unsuccessfully to sue the trustees of the Franklin estate for monies still owed him.

The Sumner County Chancery Court case of Henley vs. Armfield specifies that the material for the vault was to be solid stone masonry except for the brick interior arches for the ceiling. The dimensions were twenty-eight feet square and fourteen feet high, excluding an obelisk. The walls were to be two feet thick with the outside rubbed and with four interior pillars, two feet square, to assist in the support of the superstructure. Four partition walls would create an eight-foot-wide central passage giving access to six apartments on each side, and two sets of stone shelves that were to be no less than six inches thick. The floor was to be made of “chiseled flagging of stone diamonding with stone of different colors” and the arched brick ceiling was to be “plastered with hydraulic cement.” The outward door was to be made of iron and the inner door of cedar. A window with an iron grate would provide ventilation. The roof was to be made of stone slabs five to six inches thick laid in such a way as to prevent leaks. As cost was not a prohibiting factor, the finest materials available were to be used.

It was specifically noted that Heiman himself was expected to erect the monument on top of the vault and to create the design on the two frontispieces. Some of the details appear never to have been finished, but the design of the frontispiece was completed as an Egyptian motif — an orb flanked by winged serpents. Almost certainly the largest vault Heiman ever designed, it had a style more readily found in the St. Louis Cemetery of New Orleans than on a Sumner County farm in Tennessee. A 1911 picture of the Franklin Vault has been published in Margaret Lindsley Warden’s booklet, The Saga of Fairvue, 1832-1977, p. 10.

In 1912 the vault was struck by a tornado and collapsed. Fortunately, the remains of Franklin and his children had been removed to Mt. Olivet Cemetery in Nashville years earlier. For years the Egyptian-styled lintel remained, lying in the tall grass. Today, with the fence long since removed, the ruins of the vault are threatened by development.

Although not common knowledge, many prominent architects of the early 19th century, including Robert Mills, Gideon Shyrock, and William Strickland, accepted commissions to design tombstones or monuments, in addition to their buildings. Even after the completion of his First Baptist Church project, Heiman continued to rely on stonemasonry as a primary form of income until after his return as a hero from the Mexican War in 1847. Thenceforth, his enhanced status thrust him into the spotlight of Nashville society and he began to be offered commissions for all types of building projects.

*Confederate Monument, Mt. Olivet Cemetery (photo from NHN collection)*

It is ironic that the favorite architect of ante-bellum Nashville would fade into obscurity. Most of Heiman’s work has now been destroyed, including the majority of his public buildings and private residences. Even his final resting place is uncertain. Adolphus Heiman lies in an unmarked grave beneath the forty-five-foot granite monument in Mt. Olivet Cemetery’s Confederate Circle. (2000)

S. H. Kress in Nashville: An Art Deco Parthenon

by Kevin Chastine.

The vision of Samuel Henry Kress (1863-1955), a Pennsylvania multi-millionaire and philanthropist, has enhanced many urban areas in Tennessee. In 1887, after seven years as a teacher, Samuel Kress had established a stationery and novelty shop in Harrisburg, Pennsylvania. When this venture prospered, Kress brought the concept of a 5&10-cent store to Tennessee, opening his first 5&10 in Memphis in 1896. One year later he opened his second 5&10 at 420 Union Street in Nashville. In 1900 Kress moved the store to 219 North Summer Street (which would become Fifth Avenue North five years later). In 1913 he opened a second store at 317 Third Avenue North. The Kress Company operated these two stores, two streets apart, until 1968.

Kress Building, 5th Avenue, Nashville. (photo courtesy of the author)

In its first few years in Nashville the Kress Company leased space in older buildings, unlike their previous policy in Memphis, Knoxville, and other Tennessee cities that had received architect-designed, one-of-a-kind Kress buildings. However, in 1936 the S.H. Kress Company constructed a new store in Nashville to replace the former building at 237-239 Fifth Avenue North. The new Kress Fifth Avenue building was hailed as “the finest type of mercantile building known to modern engineering.” According to a company advertisement, the store was Kress’s way of showing his gratitude to the citizens of the Tennessee Valley “for their enthusiastic acceptance of his merchandising principles.”

During the 1930s Kress stores were designed in the popular Art Deco style. Many of these modern stores also featured locally or regionally influenced ornamental details, the concept of Edward F. Sibbert, Kress’s supervising architect from 1929 until 1952. In the 1970s Sibbert stated that his architectural influences were “anything but classical,” a comment that increases the significance of the Fifth Avenue Kress building, because it is possible that architectural details of the Kress building were borrowed from the Parthenon in Centennial Park. Architectural historian Bernice Thomas first proposed this theory in her book, America’s 5 & 10 Cent Stores: The Kress Legacy. Although there are no design records or corporate documents to confirm Thomas’s theory, details of the Kress building illustrate several similarities between the two structures.

The likenesses begin with the four large fluted pilasters that extend upward from the marquee through the roofline. These pilasters may relate to the large fluted Doric columns that encircle the Parthenon. A second similarity is the stylized Greek key motif that extends in a continuous row across the building façade, just below the roofline. These Greek key motifs may relate to the anthemion pattern that lines the roof of the Parthenon. The final and most interesting details of the Kress store are the Greek-inspired panels located to either side of the Kress logo. The left panel illustrates a female figure; the right, a male figure. These decorative panels seem to mirror the painted metopes within the entablature of the Parthenon.

Anthemion, a stylized flower pattern found in Greek art and architecture

The female panel shows a woman holding a pole topped by a winged hat or helmet. The hat can be interpreted two ways: as the helmet of Hermes, the Greek god of commerce, an appropriate symbol for a 5&10-cent store; or as a woman’s hat that one might purchase in Kress’s millinery department. The background of the female panel is filled with modern skyscrapers, perhaps an image of the growth Samuel Kress foresaw in Nashville’s future. The male panel portrays an aproned man holding a stylized hammer. Its handle is in the traditional shape at the base but transmutes along its length into layered, gear-like disks. The background of the male panel is a scene of smokestacks which, along with the hammer and gears, serves to illustrate Nashville’s industrial past. The 1936 S.H. Kress building exemplifies the pride that Samuel Kress had in his company, as well as his respect for the cities where he located his stores. Unfortunately, the concept of civic responsibility is rarely a consideration of national chain stores today, thereby increasing our own obligation to preserve the distinctive buildings that are such an important part of Nashville’s heritage