Sacred Architecture from the Encyclopedia of Cleveland History

Article on Cleveland’s Sacred Architecture written by Timothy Barrett

The link is here

ARCHITECTURE, SACRED – The Encyclopedia of Cleveland History

ARCHITECTURE, SACRED. Of the hundreds of sacred structures in Cleveland, there are several of national importance. ST. JOHN’S EPISCOPAL CHURCH (ded. 1838) is one of the earliest examples extant in the nation of the Gothic Revival style. Ethnic influence is readily identifiable in the 13 onion domes atop ST. THEODOSIUS RUSSIAN ORTHODOX CATHEDRAL. Architecturally, PILGRIM CONGREGATIONAL CHURCH (ded. 1894) expresses the late-19th-century American Protestant church’s concern for social reform and functional efficiency. Unusual engineering is noted in the concrete dome of PARK SYNAGOGUE (ded. 1950 aka ANSHE EMETH (PARK SYNAGOGUE)) by internationally known architect Eric Mendelsohn. Not to be overlooked are some of the outstanding furnishings that lend a distinctive quality to local sacred buildings. Noteworthy is the imported wooden statuary by 19th-century German sculptor Josef Dressel, installed during the early 1890s in the Church of St. Stephen (ded. 1876). The Von Beckrath tracker-action pipe organ installed in 1956-57 at Trinity Evangelical Lutheran Church (ded. 1873) is one of the first Baroque Revival organs built in this country. Fine examples of the stained glass of Louis C. Tiffany and noted Cleveland artist Toland Wright are to be found throughout Greater Cleveland (see CHURCH OF THE COVENANT, Presbyterian, ded. 1911).

Most early Cleveland churches were of a boxlike rectangular plan lacking columns, center aisles, chancels, or anything that might impede the sight or sound of the preacher or reader. Stylistically, most of these meeting-hall structures were commensurate with Cleveland’s young population and were modest expressions of the reserved Federal and Greek Revival styles. The few churches that were constructed in the Gothic form in this country during the first half of the 19th century were by either Roman Catholic or the ritualistically attuned Protestant Episcopal congregations. Since the early settlers of Cleveland were primarily of English lineage, the first Gothic Revival edifices here were by Episcopal builders; e.g., Trinity Church (ded. 1840) and Grace Church (ded. 1848). The first Roman Catholic church, Our Lady of the Lakes (ST. MARY’S ON-THE-FLATS, ded. 1840), displayed pointed windows, but the building itself was of the popular Greek Revival style.

By mid-century, the country had tired of the classic austerity of the Greek Revival idiom and turned to romanticized picturesque forms of other, more exotic past styles. Despite the innate exotic characteristics of the pointed or ogee arch, the use of the Gothic form remained limited primarily to Roman Catholic and Episcopal structures. Another architectural form became fashionable that used all the popular “medieval” vocabulary but was fenestrated with round arches. The Romanesque Revival, as it is sometimes called, presented a romantic but, politically neutral edifice and became popular for all denominations from the late 1840s to the early 1870s; e.g., Second Presbyterian Church (blt. 1850-52), Old Stone Church (ded. 1855), Plymouth Congregational/First Baptist Church (erected 1853), St. Mary’s of the Assumption Roman Catholic Church (ded. 1865), ST. MALACHI CHURCH (ded. 1871), and the German Reform Church (cornerstone 1868). Since a specific Jewish sacred architectural form historically never evolved on its own, it was common for the design of a synagogue to reflect the fashion of its time and locale. During Oct. 1845, the CLEVELAND HERALD announced that the first local synagogue (ANSHE CHESED, whose cornerstone was laid that year) was “to be built in nearly the same style as the Baptist Church.” When it was completed in 1846, it reflected the then-popular Romanesque Revival style.

After the Civil War, symbolism was slowly and sparingly reintroduced into American Protestant sacred buildings. The simplified symbolism that arose in the Protestant churches was usually confined to focal points such as the sanctuary, stained glass, and furnishings, and was as much decorative as it was symbolic. It was this reinterpretation of symbolism, including the lancet arch, that finally made the Gothic Revival an acceptable sacred style for all religious sects. The Gothic Revival idiom would remain popular for sacred buildings for the remainder of the 19th century and throughout most of the 20th. A few 19th-century examples include Franklin Ave. Methodist Church (ded. 1870),FRANKLIN CIRCLE CHRISTIAN CHURCH (DISCIPLES OF CHRIST) (ded. 1883), and Zion Evangelical & Reformed Church (ded. 1885). Running concurrently with the rise of Gothic form during the 1870s was the Richardsonian Romanesque, named after the American architect Henry Hobson Richardson of Boston. With its round, arched, massive designs, Richardsonian Romanesque was openly adopted by most Protestant American churches, since it was promoted as an American form designed by an American architect. National interest in American-produced entities was also evident in the preference for the American-invented stained glass (by John La Farge and Louis C. Tiffany) used in the Protestant sects over the traditional, more translucent cathedral glass that remained a staple in ritually oriented churches.

The Richardsonian Romanesque style was often coupled with another American phenomenon, the “Akron Plan.” Developed in 1868 by Louis Miller for the First Methodist Church of Akron, the Akron Plan served the Protestant desire for a space where all could see and hear. It was designed as a Sunday school space contiguous with the sanctuary or auditorium. The Sunday school included a circumscribing balcony, with the floors of both levels pitched to give an uninterrupted view of the speaker. Sliding walls were placed so that portions of the gallery or space under the galleries could be closed off from the general auditorium. There are some sterling, local examples of the Akron Plan, such as Bolton Presbyterian Church (ded. 1894), EUCLID AVE. CHRISTIAN CHURCH (ded. 1908), and NORTH PRESBYTERIAN CHURCH (ded. 1887). North is unusual in that the sanctuary and Sunday school are combined in the same space.

America’s pragmatic attitude is also evident in these Richardsonian/Akron Plan structures, which housed many functions under 1 roof, including the auditorium, the Sunday school, social rooms for education and recreation, libraries, and swimming pools. A pertinent factor in these multifunctional buildings is that these extra-religious services were opened to the entire public regardless of religious affiliation. The Reform Jews were part of this movement, as is evidenced in the Richardsonian Romanesque-inspired second synagogue for Tifereth Israel (occupied 1894). They also addressed social needs by opening several services of this functionally diverse building to the public. Of course, ritually oriented denominations were interested in social needs, but because of cultural differences, they were inclined to remain ethnically exclusive. The efficient Akron Plan church was as foreign to them as the English language, and they continued to build their religious centers with separate buildings, each serving a different function.

Usually, only 1 or 2 styles dominated American architecture at any given time during the 19th century, but by the last quarter of that century and for the next 50 years, antiquarian eclecticism, as exemplified by the Ecole des Beaux-Arts, ruled the day. America freely borrowed and mixed several styles from many antiquarian European and Classic Colonial American forms. People of English lineage tended to emulate English sacred monuments; e.g., AMASA STONE CHAPEL (ded. 1911) is strongly akin to St. Cuthbert, Somerset, England (ca. 1430). The so-called military tower of TRINITY CATHEDRAL (ded. 1907) bears a resemblance to the tower from the crossing of Wells Cathedral, England (13th century). Both Church of the Covenant (ded. 1911) and St. Peter Episcopal Church (ded. 1930) are said to be modeled after simple English and Scottish country churches. Interesting variations appeared, including First Methodist Church (1905), where the traditional Latin Cross floor plan is truncated and capped by an overscaled, squat Gothic tower, in an apparent attempt to present a more academically Gothic exterior while retaining the open central interior plan typical of a late-19th-century Protestant church. EPWORTH-EUCLID UNITED METHODIST CHURCH (ded. 1928) is an unusual combination of English and French Gothic, mixed with elements of the Art Deco period.

Prototypes such as the Roman Pantheon represent, among other things, an image of stability. Local sacred edifices influenced by this monument include First Church Christ Scientist (ded. 1931), Second Church Christ Scientist (ded. 1916, until the 1980s the 77th, St. Play House), Fifth Church Christ Scientist (ded. 1926), and B’NAI JESHURUN (ded. 1905–SHILOH BAPTIST CHURCH in 1993). At the turn of the century, there was a trend by older congregations to choose a prototype that reflected their religious or national origins. Several Roman Catholic churches followed this pattern. The exterior of the Church of St. James (ded. 1935) was based on Cefalu Cathedral, and its interior on Monreale Cathedral, both from Sicily. St. Agnes Church (ded. 1916, demolished 1976) had a facade patterned after that of St. Gilles-du-Gard (ca. 1140), a Romanesque structure in the south of France. The facade of St. Colman Church (ded. 1918) is reminiscent of the Basilica of St. John Lateran, the cathedral see of the bishop of Rome. Historical American forms also became popular. The American Colonial Georgian church form with its white-columned pedimented portico and slender spire or ogee-hooded cupola grew in use to rival the Gothic style as the leading form for sacred structures throughout the 20th century; e.g., Plymouth Congregational Church (ded. 1923) andARCHWOOD UNITED CHURCH OF CHRIST (ded. 1928).

Jewish structures of this period were also eclectic. Since many of the earliest-known synagogues were eastern in architectural form, 20th-century Jewish congregations often borrowed some of these ancient concepts. An early local example of this trend was seen in the eastern horseshoe arches designed throughout the facade of the Anshe Chesed Congregation (aka Scovill Temple, ded. 1887, now demolished). More than any other form, the dome, supposedly eastern in origin, became a favorite theme dominating many early 20th-century synagogues; e.g., the next Anshe Chesed Congregation site (aka the Euclid Ave. Temple, ded. 1912), B’NAI JESHURUN (aka the Temple on the Heights, ded. 1926), and the third structure of TIFERETH ISRAEL (aka the Temple, ded. 1924). Although the dome was commonly used, it was never solely identified as a Jewish architectural form. During the same period, other non-eastern idioms were incorporated; e.g., Anshe Emeth Synagogue (ded. 1904) is in the Gothic form, and OHEB ZEDEK Synagogue (ded. 1905) is Romanesque in form.

This eclectic environment was a timely setting for the development of a transplanted ethnic architectural expression. Several of the Central and Southern European groups who began arriving in large numbers during the 1880s were, by the 20th century, financially ready to build permanent churches. The exotic, nationally identifiable onion domes of the Russian, Rusin, Syrian, and Ukrainian churches did not seem as culturally foreign to the eclectic tastes of 20th-century America. Consequently, among the many ethnic peoples who settled in Cleveland, this group of sacred structures is perhaps the closest example of authentic 1st-generation ethnic architecture: St. Theodosius Russian Orthodox Cathedral, (ded. 1911), St. Valdimar Ukrainian Orthodox Church (ded. 1924), and Holy Ghost Byzantine Catholic Church (ded. 1910).

The Depression and World War II precluded the construction of many new sacred structures during the 1930s and 1940s. It was not until the suburban development of the early 1950s that new houses of worship sprang up in response to the expansion of urban centers such as Cleveland. The conservative approach dominated sacred building through the mid-1960s. It was basically a continuation of some of the eclectic attitudes of 19th- and 20th-century America, which retained architectural religious motifs both universally and nationally symbolic. The American Colonial Georgian style became the most popular expression of the conservative movement; e.g., Parma South Presbyterian Church (ded. 1950), St. Martin Episcopal Church (ded. 1956), and Forest Hill Church, Presbyterian (ded. 1964). During the 1950s and early 1960s, many descendants of Southern and Central European immigrants moved to the suburbs, but they maintained an unusually long allegiance to their first houses of worship in the inner city. As that changed and they began to build in the suburbs, many of the new Byzantine and Orthodox churches retained the traditional onion-dome form. In some cases, the chief difference between the churches built during the early 20th century by the 1st-generation immigrants and those built by their 3rd-generation offspring is the use of contemporary building materials; e.g., St. Josaphat Ukrainian Catholic Church (ded. 1985) and St. Sava Eastern Orthodox Church (ded. 1982).

The opposite fashion is sometimes referred to as the modern movement. It began shortly after the turn of the century and was articulated by schools of design such as the Bauhaus. The austere designs of the modern movement were first seen in commercial and domestic structures, and did not find their way into sacred architecture until after World War II. The first truly modern and perhaps the most significant sacred structure built in Greater Cleveland is Park Synagogue (ded. 1950), built by renowned architect Eric Mendelsohn. Its lines are simple and details minimal, yet religious symbolism was not sacrificed. Here again the composition is dominated by a dome, bearing eastern connotations and symbolizing the protective heavens of God. At Park Synagogue, Mendelsohn has spiritually circumscribed the congregation within a symbol of heaven, a conceptual function of the dome, with earth seen in the changing seasons through the building’s glass walls.

Other designs favored reducing symbolism to simplified emblems affixed to streamlined basilica or box forms. These sacred structures suggest a greater kinship to secular post-World War II modern buildings in their adherence to the modern postulate “Form follows function.” Such a religious edifice became more a secular assembly hall, sometimes accompanied by a campanile or bell tower form; e.g., the Roman Catholic Church of the Gesu (ded. 1958), St. Rose of Lima Roman Catholic, Church (ded. 1957), and BETH ISRAEL-WEST TEMPLE (ded. 1954). As utilitarian vernacular forms evolved to house the suburban middle class (the Cape Cod, bungalow, and ranch styles), a vernacular sacred form has also appeared. It is usually based on a rectangular or basilica plan enclosed by a gabled roof. The pitch of the roof ranges from nearly flat, like that of the ranch-style homes that surround it, to extremely steep, the A-frame becoming a muted echo of the lancet arch of the Gothic style.

By the mid-1960s, with the occurrence of such events as the 2nd Vatican Council in Rome and a movement toward ecumenical cooperation between some religious sects, a strong focus on congregational participation developed. In order to bring the congregation closer to the ceremony, a circular or round seating configuration gained favor. This arrangement dictated that the exterior shell be based on a central plan, in contrast to the common rectangular plan. Of course, a central plan had been used by many Protestant and Jewish houses of worship since the 19th century. As a result, whether in a square or round format, the central plan dominates many designs for the newest sacred structures. Many of the more recent (1970s-90s) sacred structures present a boldly abstract exterior design. When religious symbolism is retained, its presence is usually illusive, lending a more secular appearance to the sacred structure, e.g., B’nai Jeshurun (Pepper Pike, ded. 1980) and St. Pascal Baylon Roman Catholic Church (ded. 1971). Even though Greater Cleveland did not produce any nationally recognized innovations in sacred architecture, its importance can be seen in the diversity of houses of worship built by more than 46 different nationalities in Cleveland.

Timothy Barrett


Barrett, Timothy H., et al. Sacred Landmarks: A Selected Exhibit of Existing Ecclesiastical Structures in Cuyahoga County(1979).

“Libbie Braverman” Chapter written by Alan Bennett, The Women Who Reconstructed American Jewish Education, 1910-1965 edited by Carol K. Ingall

“Libbie Braverman” Chapter written by Alan Bennett, The Women Who Reconstructed American Jewish Education, 1910-1965 edited by Carol K. Ingall

The pdf is here

Libby Braverman was a Cleveland Jewish educator who greatly influenced Jewish education in the 1950s, 1960s, 1970s.

Her Encyclopedia of Cleveland History bio is here

The full book is here

Cleveland’s Chinese from the Encyclopedia of Cleveland History

Cleveland’s Chinese from the Encyclopedia of Cleveland History

The link is here

CHINESE. Cleveland’s Chinese population began to grow only after the 1860s. However, their numbers were small; in 1880 they were counted in the census with the Japanese, totaling 23. The 1890 census showed 38 Chinese, and by 1900 their number exceeded 100. The settlers were all Cantonese–from China’s southern province of Guangdong (Kwangtung), of which Canton, now Guangzhou, is the capital. The southerners among the Chinese were more ready to venture out of the country, and had migrated to all the countries in Southeast Asia and to Australia and New Zealand. The Chinese who settled in Cleveland did not come directly from China but moved here eastward from the West Coast. Their first settlement was on the street west of Ontario St., now W. 3rd St.; then they occupied a row of brick buildings on Ontario St. between PUBLIC SQUARE and St. Clair Ave. Wong Kee, who moved here from Chicago, opened the first Chinese restaurant at 1253 Ontario St., and later a second restaurant, the Golden Dragon, on the west side of Public Square. Most of the Chinese were proprietors of restaurants, waiters and cooks, or operators of laundries. Chinatown was a society of single men, as the 1882 Chinese Act barred them from bringing wives and children from China.

Even though they were a small colony, the Chinese established 2 merchant associations, the ON LEONG TONG and the Hip Sing Assn. Affiliates of national associations, these were societies of merchants engaged in mutual aid, self-discipline, matching funds and investment opportunities, and dispute reconciliation. The two associations were competitive, and at times their rivalry took violent forms. The associations were called tongs in Chinese, so their fights and killings were referred to as “TONG WARS.” In the late 1920s, as merchants needed the central sites around Public Square for major buildings, some of the Chinese moved east around E. 55th St. at Cedar Ave. and Euclid Ave. Eventually, in the early 1930s, the Chinese colony settled around Rockwell Ave. and E. 21st St. By then the Chinese population had grown to 800. In 1930 the On Leong Tong, the larger of the 2 associations, moved into new headquarters at 2150 Rockwell Ave. Since 1930, the block on the south side of Rockwell Ave. between E. 21st St. and E. 24th St. has been Cleveland’s Chinatown. Among Chinatowns of American cities, Cleveland’s is very small. By 1980 2,000-2,500 Chinese were living there. In the 1980s there were 3 Chinese restaurants and 2 Chinese grocery stores on this block. Next to one of the restaurants, the Shanghai, stands the On Leong Assn. Bldg. On the 3rd floor is the On Leong Temple, which is used for (Buddhist) worship a few hours a week, but more often serves as a meeting hall. The Sam Wah Yick Kee Co., the larger of the grocery stores, in its heyday delivered merchandise to 50 Chinese restaurants in Greater Cleveland and about 30 more downstate and around Pittsburgh.

From its beginning, the Chinese community maintained many Chinese values and traditions. They celebrated festivals on the Chinese calendar, most prominently the Chinese New Year in February. The Chinese were attached to their country of origin. Early in 1911 Dr. Sun Yat-sen stopped at Cleveland on one of his worldwide tours and spoke at Old Stone Church. Meetings were held at the Golden Dragon Restaurant on Public Square to rally support and to raise funds for his revolutionary movement to overthrow the rulers of the Qing (Ching) Dynasty. On 11 Feb. 1912, 4 months after the founding of the Republic of China, a celebration was held at Old Stone Church and a telegram of congratulations was sent in the name of the Chinese residents of Ohio to Dr. Sun, president of the Chinese Republic. Twenty-six years later, the Chinese were again active in fundraising to support the war effort and civilian relief in the Sino-Japanese War. They rallied behind the Chinese Consolidated Benevolent Assn., the Cleveland Chinese Student Club, and later the Chinese Relief Assn. About 500 Chinese residents pledged $3,000 a month. From 1937-43 $180,000 was donated for food, clothing, and medicine. In July 1938 the Cleveland Chinese Student Club published a quarterly, the Voice of China. Its editorials and articles strongly criticized the U.S. policy of selling scrap iron and oil to Japan; pointed out the weakness of the Neutrality Act; and urged the public to boycott Japanese silk. Three Caucasian Clevelanders served along with 4 Chinese on the editorial board. Sentiments toward the Chinese among segments of Americans had been changing, and the Chinese Exclusion Act of 1882 was repealed in 1943.

The Chinese population increased by about 100 between 1930-60. The 1960 census reported 905. After 1960 there was an influx of Chinese from Taiwan and Hong Kong. Some of the young Chinese who came to the U.S. in the late 1940s and early 1950s for university studies chose to stay permanently and were now establishing families in all parts of Cleveland and the suburbs. Beginning in the late 1970s, a small number of engineers and scientists from the People’s Republic of China came to Cleveland for graduate study, and these increased to over 100 at CASE WESTERN RESERVE UNIVERSITY after 1980. In 1990 the census estimated that 985 Chinese, Taiwanese, and Hong Kong immigrants resided in Cleveland proper. The new residents came from central and northern China and diluted the Cantonese concentration of the earlier settlers. Together with the offspring of the Chinatown residents, mostly college-educated, they advanced into the professions of engineering, medicine, and the sciences. The faculties of BALDWIN-WALLACE COLLEGE, Western Reserve Univ., Case Institute of Technology, and other colleges in Cleveland had increasing numbers of Chinese in their ranks. In the 1950s the active mainstream of the Chinese population in Cleveland was the membership of the Chinese Students’ Assn. of Cleveland. As the students completed their studies and advanced in their professions, they changed their organization in the 1960s to the Chinese Student & Professional Assn. of Cleveland, and in 1977 adopted the name Chinese Assn. of Greater Cleveland.

One institution in Cleveland that worked with the Chinese from the time of their early settlement was the Christian church, specifically Old Stone Church. For 50 years, starting from 1892, the church conducted a Sunday school for the Chinese, teaching them English and the Gospel. The church viewed its work as a mission comparable to that carried out by the missionaries it sent to China. Instrumental in this work were 2 members of the church, Marian M. and Mary F. Trapp, sisters and public-school teachers who worked for 30 years among the Chinese residents living near the church. The sisters obtained a working knowledge of Chinese (Cantonese) and assisted the Chinese in business problems and other matters. In Dec. 1941, with the support of the Cleveland Church Fed., Old Stone Church, and First Methodist Church, a Chinese Christian Ctr. was established in EUCLID AVE. BAPTIST CHURCH. Language classes, worship services, and youth activities were transferred from Old Stone Church to the center. Dr. Wm. Fung came to Cleveland to serve as director, and his wife, Shao-ying Fung, assisted in teaching classes. In 1948 Dr. Fung was succeeded by Rev. In Pan Wan, a Baptist minister. The center’s activities were continued until 1953, when Rev. Wan left. Language classes were conducted periodically at Euclid Ave. Baptist Church in the late 1950s, and Bible studies were held in homes.

In the early 1960s the Protestants among the Chinese were meeting in homes for prayers and Bible study. In 1965 their representatives appealed to Rev. Lewis Raymond, pastor of Old Stone Church, and obtained the free use of the church’s facilities. Sunday worship services in Chinese and Bible classes began at Old Stone on 12 June 1966 and the Cleveland Chinese Christian Fellowship was born. The Fellowship became the Cleveland Chinese Christian Church in 1975, having called Rev. Peter Wong to be its pastor. The average number of worshippers on Sundays rose to 110 by the end of the decade. In 1983 the church moved to its own sanctuary building at 474 Trebisky Rd. in RICHMOND HEIGHTS With membership grown to 200, the church added an annex housing classrooms and a gym in 1994. Outside of the Chinese Christian Church, Chinese Protestants worshipped at various denominational churches in Greater Cleveland. The number of Roman Catholics among the Chinese is estimated to be about 20-25% of that of Protestants.

With the growth of the Chinese community in the 1960s, the movement to preserve Chinese cultural values became strong. In 1966 the Chinese Academy was formed on the east side to give Chinese children instructions in the Chinese language and history on Saturday mornings. After using the facilities of two churches in CLEVELAND HEIGHTS, the academy settled at Noble Rd. Presbyterian Church in 1973. In 1980 Chinese residents in the west and south sides started the Academy of Chinese Culture, and since 1981 it had made use of rooms in schools and churches in STRONGSVILLE during weekends to conduct classes for children. Peter C. Wang, founder of the Chinese-American Cultural Assn. in 1961, offered tuition-free classes in Chinese in public libraries to those interested throughout the 1960s. In 1975 Laurence Chang wrote and produced 2 1-hour TV programs on “Values and Institutions of Chinese Culture,” which were broadcast over WVIZ (Channel 25). Through these activities Clevelanders gained broader views of China and Chinese culture. A symbol of the Chinese presence in Cleveland is the marble garden with a bronze statue of Confucius in the center, a gift to Cleveland from the City of Taipei, Taiwan, which was dedicated as part of the CULTURAL GARDENS in Wade Park on 21 Sept. 1985. The China Music Project, started in 1980, continued to bring to Cleveland musicians from Beijing, Shanghai, and Hong Kong and present them in concerts of traditional Chinese music.

K. Laurence Chang

Case Western Reserve Univ.


Fugita, Stephen, et al. Asian Americans and Their Communities of Cleveland (1977).

Last Modified: 11 Jul 1997 01:30:56 PM

“A History of Roman Catholicism in Cleveland, Ohio”, a Lecture by Dr. John J. Grabowski (Video)

“A History of Roman Catholicism in Cleveland, Ohio”, a Lecture by Dr. John J. Grabowski (Video)

“Diverse But Catholic-Immigration and Roman Catholicism in Cleveland”

A lecture by Dr. John J. Grabowski,

Thursday October 30, 2014 at 7:30pm at John Carroll University

Dr. John Grabowski takes us through the creation of Roman Catholic Cleveland during the tumultuous 19th Century as the various ethnic communities of Northeast Ohio were created. It’s the foundation upon which today’s Cleveland was built. A must see for anyone who wants to understand 20th Century Cleveland.

Dr. John J. Grabowski is the Krieger-Mueller Associate Professor in Applied History at Case Western Reserve University

Cosponsored by John Carroll Institute of Catholic Studies and Teaching Cleveland Digital

Teaching Cleveland Digital