The congregation of the Fourth Presbyterian Church of Chicago was first formed in 1871 and was originally supposed to be in an already existing Presbyterian church&nbsp;building on the corner of Wabash and Grand. &nbsp;Unfortunately, the church was destroyed in the Great Chicago Fire, which swept through the Windy City only a few hours after the congregation's first service. &nbsp;After the fire was finished, the congregation of the Fourth Presbyterian Church got to work on another church building and, in 1874, they created a stone church on the corner of Rush and Superior Streets. &nbsp;They stayed in that church for a few more decades, until 1912, when the church officials&nbsp;decided that the size of their congregation had outgrown the building. &nbsp;In 1914 the church that stands today was finished and services began in there. &nbsp;The church became very active in the social services of the city and were instrumental in providing support to the poor living in the slums near the church.&nbsp;<br><br>The church is still active in the community of Chicago. &nbsp;They host worship and sermons at the appointed times, as well as more unique religious observances, such as&nbsp;taizé prayer service and a labyrinth for contemplation. &nbsp;They&nbsp;also offer various community services too, including&nbsp;a nursery, a counseling service, a food bank, an urban farm, educational tutoring, a dance academy, and several different arts programs. &nbsp;Visitors can come to the church during its open hours and tour through their own leisure at this historic building that continues to give to the city of Chicago.

Exterior Fourth Presbyterian Church of Chicago

Interior Fourth Presbyterian Church of Chicago

Fourth Presbyterian Church of Chicago website's visitor's information page

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The Fourth Presbyterian Church of Chicago is the second oldest building on Michigan Avenue north of the Chicago River.  The only building that is older is the Water Tower, which precedes the Great Chicago Fire of 1871.  It was built as a worship place for Chicago's Presbyterian citizens, and it still operates as a fully functioning church, growing even larger in its activities than it was when it was first constructed.  "A Light in the City," as the church calls itself, has been serving the community of Chicago since it's founding in 1871, although the building itself was constructed in 1914.  This enormous religious structure is now on the National Register of Historic Places.  

Fourth Presbyterian Church of Chicago

This tour starts at the Chicago Water Tower which helped stem the destruction of the Great Chicago Fire of 1871 and includes landmarks, museums, and historic buildings throughout Chicago's Near North Side. Highlights of the tour include the Newberry Library, the Drake Hotel, the Driehaus Museum, and Chicago's iconic skyscraper that was long known as the John Hancock Center. For art lovers, the tour begins and ends just a few blocks from the Museum of Contemporary Art. 

<p>By the 1860s, there was a significant strain on Chicago’s water supply. Because the nearshore water of Lake Michigan was too polluted for safe use, in 1867 engineer Ellis S. Chesbrough created a water-supply tunnel system that ran two miles off shore. A pumping station was required to transport the water such a distance. In 1869, a more consistent pumping system was needed, so a standpipe system was designed and the famous Water Tower was constructed to house the system.&nbsp;Architect William Boyington designed the building almost entirely with Joliet limestone in his famous castellated Gothic Revival style. In 1882 during a visit to Chicago, Oscar Wilde famously remarked that the tower was a “castellated monstrosity with pepper-boxes stuck all over it.”</p><p>Because of the Water Tower being constructed primarily of stone, it became one of the few buildings to survive the Great Fire of 1871. During the fire, German immigrant Frank Trautman covered the tower with blankets and old ship sails and kept them wet in an effort to protect the building. Because such a grand building remained upright after the fire, it became a symbol of determination for the city.&nbsp;</p><span>The building underwent two renovations during the 20th-century, first between 1913-1916 and the second during 1978. The Water Tower is now an art gallery for the Chicago Office of Tourism and was added to the National Register of Historic Places on April 23, 1975.</span><br>

Located in the Near North Side neighborhood within its Magnificent Mile district, Chicago’s famous Water Tower remains a symbol of its pre-Great Fire past. Constructed in 1869, it held pumps to draw water from Lake Michigan as well as tall standpipes that could provide high-pressures for firefighting as well as regulate water surges. Architect William Boyington designed the building almost entirely with Joliet limestone in his famous castellated Gothic Revival style. Because of the Water Tower being constructed primarily of stone, it was one of the few to survive the Great Fire of 1871. The building underwent two renovations during the 20th-century, first between 1913-1916 and the second during 1978. The Water Tower is now an art gallery for the Chicago Office of Tourism and was added to the National Register of Historic Places on April 23, 1975.

Chicago Water Tower 

<div>The America Fore Building, located in Chicago's Near North Side neighborhood, opened in 1923 for the America Fore group, a group of four insurance companies with shared leadership. After decades of meteoric growth, notably in the wake of the Great Fire in 1871, Chicago had emerged as a dominant hub of transportation, commodities, and finance. The 1909 Burnham Plan, or "Plan of Chicago," sought to help organize a city that had grown faster than it could adjust its structures. Two decades later,&nbsp;the North Central Business District Association amended that broad plan. The American Fore Building grew out of those plans, which mostly focused on developing Chicago's now-famous Michigan Avenue and surrounding locations, all north of the Chicago River. Today, Michigan Ave (and Rush Street)&nbsp;exists as a center for commerce, nightlight, restaurants, shopping, and tourism.&nbsp;</div><div><br></div><div>Though Chicago was platted in as early as 1830 and incorporated in 1837, the city's significant growth occurred in the post-Civil-War area. Chicago's position far north of the fighting and its natural resources, among other variables, led investors and speculators to gamble on Chicago as a city worth developing. As a result, Chicago grew into the nation's largest commodities market and served as the center of the country's transportation network both for railways and maritime shipping. Thus, Chicago promptly expanded into a major metropolis and subsequently became home to a bevy of wholesale and manufacturing firms, wholesale commerce, large banks, insurance agencies and entrepenuers, to name a few.&nbsp;</div><div><br></div><div>The money pouring into Chicago resulted in the evolution of a dedicated financial center consisting of banks, commodities exchanges, stock traders, and insurance companies, mostly located within the central downtown region surrounded by its Elevated Trains, or "EL," an area affectionately referred to as the "Loop."&nbsp;</div><div><br></div><div>Between 1912 and 1914, more than one-million square feet of office space was added to the Loop, only to see that pause due to World War I and a Recession during 1919-1920. By the 1920s, amidst a booming national economy, the amount of office space in Chicago nearly doubled, mostly within the Loop and also on the newly developed Near North Side, which enjoyed notably development after enduring significant damage during the Chicago Fire of 1871&nbsp;</div><div><br></div><div>At first, The Near North Side stood divided with its western edge dominated by factories and warehouses and its eastern side noted for its wealthy residential areas. As well, the eastern section saw the creation of the Newberry Library (1891) and the Chicago Historical</div><div>Society (1892) while rooming hotels and low-income housing filled the dividing lines.&nbsp;</div><div><br></div><div>The constant rebuilding and re-zoning created issues for Chicago with crowded roads. blight and a lack of cohesiveness. Thus, in 1909. prepared by Daniel Burnham and Edward H. Bennett the Plan of Chicago was devised and addressed the need to expand the central business district and improve connections north across the Chicago River.&nbsp; Michigan Avenue and nearby streets were identified as the major connecting link between the Loop and the area north of the Chicago River, and the plan called for extending and widening the avenue, as well as for constructing a prominent bridge over the river and widen Michigan Avenue.&nbsp;</div><div><br></div><div>The North Central Business District Association (NCBDA) was founded in 1913 and promptly provided recommendations to limit the height of buildings to ten stories, with a continuous “balcony” line between the second and third floors that would allow for the formation of a consistent uniform base of two stories, all part of a plan to create a look similar to the large boulevards found in Paris and other European center, while also creating a commercial corridor similar to New York's Upper Fifth Avenue.&nbsp;</div><div><br></div><div>The NCBDA plan included construction of office buildings, banks, hotels, and shops and recommend the city refrain from building automobile showrooms, saloons, warehouses, and industrial buildings along Michigan Ave and vicinity.&nbsp; Although Chicago largely accepted the NCBDA recommendations, the city in 1923 adopted its first comprehensive zoning ordinance, allowing North Michigan Avenue to serve as the “fifth volume district,” which including allowances for buildings to far exceed the building height recommendations, although they were still limited to 25 percent of the lot area.&nbsp;</div><div><br></div><div>The Michigan Avenue Bridge over the Chicago River and the widening of Michigan Avenue, completed in 1920, opened up the Near North Side for redevelopment as an extension of the central business district and made it easily accessible. As such, building such as the American Fore -- owned by four united insurance companies -- arose in 1923, which at twelve stories made it the tallest building in the district at the time. However, new ordinances offered architects to turn Michigan Avenue into a street filled with high rises.&nbsp;&nbsp;</div><div><br></div><div>The American Fore Building represents the turning point of Chicago, from one that had enjoyed tremendous growth after the Civil War through World War I to one that operated as an established metropolis in need of planning and organization. Moreover, the development of Michigan Ave profoundly changed Chicago's makeup, with the north side seeing tremendous growth in white-collar industries, skyscrapers, shopping and eventually becoming a popular tourist destination (known as the "Mag Mile," or magnificent mile). Streets near the Mag Mile, such as Rush Street, are at the heart of the city's nightlife and restaurant industry.&nbsp;</div>

Built in 1923, the American Fore Building stands a a reminder of Chicago's transition from growing city to an established metropolis in need of urban planning and an expansion of its business district. As a result, Chicago widened Michigan Avenue and constructed a bridge across the Chicago river that opened its North Side, allowing for the development of such buildings at the American Fore Building and a slew of white-collar industries, such as banking, insurance, wholesale commerce, hotels and more. Over time, the entire northern section of Chicago grew tremendously, with Michigan Ave (and Rush Street) servicing as the city's most popular tourist destination. 

American Fore Building

Although many confuse the Hancock Center and the Sears Tower (both are Black super-towers in Chicago), the Hancock Center is unique in that it is a single tapered tower while the Sears Tower consists of several individual towers that give the structure its collective strength. With a single steel exoskeleton with a tapered shape, the 100-story tower is visibly unique from all other buildings in Chicago. 

John Hancock Center

<div>The Palmolive Building (919 North Michigan Avenue) was built in 1929 after years of a national and civic economic boom that fostered a demand for office space. The demand for space inspired Chicago to change its zoning laws in 1920 and 1923 that had restricted heights, which led to the led to a profound increase in the construction of taller, larger skyscrapers within the city, including the Palmolive Building. But, the Palmolive Building is likely most remembered for its role as the office headquarters to the Playboy Enterprise, from roughly 1965 to 1989. While Playboy occupied the building, a large "P-L-A-Y-B-O-Y" sign adorned the exterior, which lit brightly at night, easily seen to those approaching downtown from the north on Lake Shore Drive.</div><div><br></div><div>The Burnham Plan (Plan of Chicago) in 1909 and subsequent plans resulted in the eventual widening of Michigan Avenue and a bridge that connected the road to the north side of the city. The street grew to become a commercial hub of Chicago by the 1920s, helped in part by a booming national and local economy and the city's decision to remove height restrictions, which had been put in place at a time when the economy lagged. Modern technology, a strong economy, a need for large offices, and a legacy of innovative skyscraper-architecture in Chicago all worked towards making North Michigan Ave in Chicago -- now known as the Magnificant Mile (or "Mag Mile") -- a home to many of Chicago commercial skyscrapers, including the Palmolive Building. The building at 919 North Michigan gained fame because of its eye-catching, innovative stepped design and what most consider to be one of the finest examples of Art Deco architecture in the world.</div><div><br></div><div>The Palmolive Company started in 1864 as the B.J. Johnson Soap Company in Milwaukee. By 1916, the company changed its name to the Palmolive Company and moved to Chicago. Later, Palmolive merged with Peet Brothers Manufacturing Company which generated a need (or desire) to find a tall office building for which to conduct business. Thus, the Palmolive-Peet Company commissioned the Palmolive Building in 1927 as the first tall office building to be built at the far northern end of North Michigan Avenue.&nbsp;</div><div><br></div><div>Original plans called for the construction of a 42-story building built incrementally over several years. However, a final merger with the Colgate Corporation in 1928 ultimately led to a new design -- a 37-story, 468-foot structure built continuously. Despite harsh weather conditions due to the building's location near the Lake Michigan shoreline, the Palmolive Building was completed in April 1929 and then occupied by June.&nbsp;</div><div><br></div><div>The Palmolive Building added, in 1930, a two-billion candlepower, 360-degree-rotating beacon, named the Lindbergh Beacon to honor famed aviator Charles Lindbergh. The beacon was intended to help with airport navigation into Chicago's Midway Airport.&nbsp; That striking feature turned the building into a popular landmark and it remained in operation until 1981.&nbsp;</div><div><br></div><div>Complaints from nearby residents forced building owners to turn off the Lindbergh Beacon in 1981 and it remained that way until 2007 when new owners turned it back on, but in modified fashion -- it now runs only from 8 p.m. to midnight and focuses all its light over Lake Michigan by rotating north and south along the lakeshore.&nbsp;</div><div><br></div><div>The Colgate-Palmolive-Peet Company moved its central offices to New Jersey in 1934 but retained ownership of the building until 1943. Ownership of the building varied in subsequent years until it was leased by Hugh Hefner and his Playboy Enterprise in 1965. The building operated as the home to Playboy until 1989 when it officially moved all its offices to Southern California. Since then, the building's ownership has changed on numerous occasions but currently operates as a high-end condominium complex.</div>

Built in 1929 at the tail end of a long period of economic growth and construction in Chicago, this served as the home to the Palmolive-Peet-Colgate company for only five years although the company continued to own the building until 1943. Hugh Hefner and his Playboy Enterprises began leasing the company in 1965 and for awhile, the Playboy name was illuminated at the top of the building. Atop the building, a powerful beacon named after famed pilot Charles Lindbergh was put in place to help traffic into Chicago's Midway Airport, but it also helped turn the building into a highly-recognizable landmark along Chicago's Lake Michigan shoreline. The light shines today atop what is now a building filled with high-end condominiums.  The Palmolive Building is renowned among architectural historians for its stepped design and Art Deco features. 

The Palmolive Building (A.K.A. Playboy Building)

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This historic Chicago hotel opened on New Years Eve in 1920. The hotel's construction was financed by John B. Drake and the hotel soon earned a reputation as one of the centers of Chicago social life with its afternoon tea service and dinners and cocktails at the Cape Cod Room. Hilton acquired the property in the 1980s. 

Drake Hotel Chicago

<div>Bryan Lathrop amassed a fortune in Chicago as a real estate and insurance mogul, which presented him with the capability to engage heavily in philanthropy, notably the funding and development of the Chicago Symphony Orchestra. He also worked most of his life towards the progress of one of Chicago's most well-known cemeteries and parks. He and his wife Helen (married in 1875) had the house built in 1891 within Chicago's Gold Coast neighborhood -- an area renowned for its wealthy residents.&nbsp;</div><div><br></div><div>Bryan Lathrop was born in Alexandria, Virginia in 1844, but his family moved to Chicago at the onset of the Civil War -- Bryan's uncle worked in the real estate business in Chicago. However, Bryan did not arrive in Chicago until the war was nearly over in 1865. Instead, for roughly four years, Lathrop studied in Europe where he developed a sincere appreciation of art and landscape design that guided his philanthropic activities.&nbsp;</div><div><br></div><div>Lathrop joined his uncle in real estate when he returned to Chicago. Both men enjoyed shared an appreciation for landscape gardening, so it is no surprise that Lathrop's uncle allowed him to work on the development of Chicago's famous Graceland Cemetery, the resting place for some of Chicago's most famous and influential residents. Lathrop later joined the board of managers (1867), and then when his uncle moved to Washington in 1877, Lathrop became board president. He managed the cemetery's development for nearly forty years, up to the time of his death.&nbsp;</div><div><br></div><div>He championed the idea of planning and constructing more parks in Chicago. As vice president of the Lincoln Park board, he led an effort to extend the park along the Lake Michigan shore.&nbsp;</div><div><br></div><div>As Lathrop's fortunes grew, so did his philanthropy.&nbsp; He donated money and time to the Chicago Relief and Aid Society, as well as the Newberry Research Library. Lathrop, though, is mostly known for his ties to the Chicago Symphony Orchestra. Lathrop donated nearly $700,000 (worth $1.8 million in 2018), for the development of the Civic Music Student Orchestra, the predecessor of the current Civic Orchestra.&nbsp;&nbsp;</div><div><br></div><div>Moreover, he became a trustee of the Orchestral Association in 1894, its vice president in 1898, and then president in 1903. Under his direction, the symphony moved to Orchestra Hall and changed its name to Chicago Symphony Orchestra (1913).&nbsp;&nbsp;</div><div><br></div><div>Lathrop died from heart disease at his historic home on Bellevue Place in the Chicago's wealthy Gold Coast neighborhood in 1916. His love of art can be seen in the items donated to Chicago institutions after his passing. For instance, his extensive collection of Whistler's artworks went to the Art Institute of Chicago, and the Newberry Library obtained possession of his comprehensive library.&nbsp;</div><div><br></div><div>The funeral service was held, appropriately, at the Graceland Cemetery chape. Frederick Stock, Chicago Symphony Orchestra conductor, canceled their concert in Buffalo and returned to Chicago in time for the funeral. He and his wife, who died in 1935, were buried next to each other in Graceland. Cemetery.&nbsp;</div><div>&nbsp;</div><div><br></div><div><br></div>

This home was constructed in 1891 for the family of businessman and philanthropist Bryan Lathrop. Like many who built mansions along Chicago's Gold Coast Bryan at the turn-of-the-century, Lathrop's influence in Chicago is striking. As a real-estate mogul, he proved instrumental in the development of Graceland Cemetery, the resting place for some of Chicago's most famous citizens. As well, he served as President of the Chicago Symphony Orchestra and provided more than $700,000 (1910 value) to the cause. Much of his artwork and library found its way to the Art Institute of Chicago and the Newberry Library. Meanwhile, his house that he shared with his wife Helen, stands as a reminder of the growth of the Gold Coast, an area noted for its abundance of wealthy residents.  

Bryan Lathrop House

<div>The Great Chicago Fire of 1871 had a profound influence on the city, and the city's architecture usually serves as monuments to that time of substantial growth and construction, which includes the William Waller house. Built in 1875-76, the Waller residence emerged in a neighboorhood that became known as the Gold Coast -- home to some of the city's wealthiest residents. As such, it also became a place that embraced "the finer things in life," including the arts. The Wallers resided in the house for a few decades, but since 1921, the house has served as the home to an art organization known as the Palette &amp; Chisel Art Acadamy.&nbsp;</div><div><br></div><div>In 1876, William, the oldest of four Waller brothers, and his wife, Ann Adelia Johnson of Louisiana, moved into the Italianate-designed house. Most houses built in the city at that time were connected, but the Waller House was freestanding, a sign of the Waller wealth. The Italianate design included a stone exterior, a double bay front, a bracketed and ornamented cornice, arched windows, and ornate keystones.&nbsp; The Waller House exists as one of the best-preserved examples of a free-standing Italianate Designed home in the city.&nbsp;</div><div><br></div><div>The house arose in an area known referred to as the "Gold Coast" area, which existed as somewhat exclusive until around 1920 when the Michigan Ave. Bridge fostered movement from the city's central and southern portions to the north. However, the Gold Coast largely remained a place for financial elites.&nbsp;</div><div><br></div><div>Though the Waller family proved highly influential in the city for several generations, the house remained the property of the Wallers for only a few decades.&nbsp;</div><div><br></div><div>Ownership of the house changed hand several times before it was finally purchased in 1921 by its current owner, the Palette &amp; Chisel Academy of Fine Arts— a lauded organization comprised of well-regarded painters, etchers, sculptors, and illustrators.&nbsp;</div><div><br></div><div>In fact, while one can argue that its history is tied to its original owner, Palette &amp; Chisel has existed in the city for more than 120 years and occupied the Waller building for nearly a century.&nbsp;</div><div><br></div><div>Moreover, much occurred in the building during that span. From the organization's website, it states "From iconic artists and not so famous artists to the bullet holes in the wall, the Palette &amp; Chisel has a history as colorful as the art we produce." And adds, "The bullet holes in the wall?&nbsp; &nbsp;What’s wrong with a drunken housekeeper shooting up the place now and then? Oh, and by the way, rumor has it that Al Capone’s henchmen hid their get-away cars in our coach house."</div><div><br></div><div>Furthermore, the history of the art program is worth noting, too. Palette &amp; Chisel is not an art school, but rather an art community focused on realism and serving diverse types of artists, age ranges, and skill levels -- mostly through workshops, classes and informal gatherings.&nbsp; Members today usually dedicate 60 hours every week to attending open studio sessions with live models.&nbsp;</div><div><br></div><div>All told, the house enjoys many layers of history. It's an architectural reminder of both Chicago's post-fire rebuild and the development of a wealthy neighborhood. The building first served as the home to an affluent family that proved influential in Chicago for decades to come, including in the art world. And, given the area's ties to prosperity, the community flourished in the Gold Coast, allowing for a place such as the Palette &amp; Chisel Academy to successfully operate in the building for nearly 100 years.&nbsp;</div>

The Waller House emerged during Chicago's expansive rebuild following the Great Fire of 1871.  The house, built in 1875-1876, was located in one of the city's wealthiest neighborhoods, now known as "The Gold Coast." Besides standing as a monument to those two histories, from 1921 until today, it has served as the center for the Palette & Chisel Art Academy, part of a long historical tie between the art community and the Gold Coast. 

William Waller House (A.K.A. Palette & Chisel Academy of Fine Arts)

<div>Built in 1883 for dentist Luke Burlingham to house his professional offices, the building represents a popular style of urban construction during the 19th century consisting of storefronts on the first floor and apartments on the floors above. Initially four stories tall, two additional stories were added in 1897.&nbsp;</div><div><br></div><div>Architect Alfred Smith designed the Victorian building; an example of the numerous, familiar Victorian corner buildings of the era. Borrowing lessons learned from the Chicago School of Architecture, the structure consisted of a cast iron turret on the corner and three matching cast iron bays that project from the building; each features slate shingles and colored glass in the central windows. The rest of the building includes red brick intertwined with sandstone trim.&nbsp;</div><div><br></div><div>The construction of the building by a dentist, Luke Burlingham, represents the development of Chicago's near north side, notably in areas along Clark Street in Chicago, where the Burlingham Building is located. The area north of the Chicago River had generally remained undeveloped the first few decades of Chicago's transformation from swamp town to major metropolis. However, bridge development during the mid-19th century and real-estate speculation turned the north side into an area filled with wealthy residential areas near Lake Michigan and the Chicago River with low-income housing (for laborers) industry to the west, away from the water. In between, along Clark Street, numerous businesses, and service industries arose, effectively acting as a transition zone from residential north side to industrial, as well as a dividing line between the middle class and the poor.&nbsp;</div><div><br>Today the building stands as a monument to that early development of Chicago and the architecture befitting that growth.&nbsp;</div>

Constructed in 1883 for Dentist Luke Burlingham, who maintained his offices on the first floor with apartments located on the floors above, this building which is listed on the National Register of Historic Places. The building is historically significant for its architecture as it reflects an innovative and functional design that would come to typify building design in cities in future decades. The building's location on Clark Street speaks to the nature of Chicago's near north side development, notably after the Great Chicago Fire of 1871. Middle Class and profoundly wealthy residents lived east of Clark near Lake Michigan and along the Chicago River to the south, while laborers lived east, close to the industrial districts -- Clark Street served as the buffer zone, consisting of apartments and service industries. Two additional floors were added in 1897.

Burlingham Building (A.K.A. Henrotin Hospital Professional Building)

<p>The Newberry Library was established with an endowment from Chicago businessman and investor Walter Loomis Newberry. Newberry moved to the relatively new settlement of Chicago in 1833 and amassed a fortune through successful ventures in real estate, banking, and railroads. Newberry was also very active in the development of the city and was a founder of the city’s Young Men’s Library Association as well as the president of the Chicago Historical Society. Newberry also served on the boards of education and health and supported a number of charitable causes.&nbsp;</p><p>Walter Newberry passed away while returning home from France in 1868. In his will, he set aside a $2.2 million estate for the establishment of a free public library (which Chicago did not have at the time) in the event that his two daughters died without heirs. By 1885 Newberry’s wife and two daughters had passed away, so the trustees of his estate, William H. Bradley and Eliphalet W. Blatchford began the process of establishing the library.<br></p><p>The Newberry Library was officially founded in 1887. By this date, the Chicago Public Library had been established, so the executors of Newberry's will decided that his library would not operate as a lending library but rather serve as a repository for rare books and manuscripts to support research in the humanities. Walter Newberry’s private book collection had been destroyed in the Great Chicago Fire of 1871, so the new library had to acquire its own collection through donations and purchases. By 1894, the library had amassed 120,000 books. William Frederick Poole, who had also served as the first librarian of the Chicago Public Library, was hired as the first librarian of the Newberry.&nbsp;</p><p>During the first several years of operation, the library moved locations three times. The library was first located on La Salle Street before moving to Ontario Street, then moved to the corner of State and Oak Streets. The library moved to its present location at West Walton Place in 1893. The location was chosen for its close proximity to public transportation, and for the amount of sunlight owing to a lack of tall buildings compared to more central locations in the city center. The building was designed by Henry Ives Cobb in the Romanesque style. The building was constructed with pink granite from Connecticut and has been expanded and renovated several times in the past century.&nbsp;</p><p>The Newberry Library continues to promote the humanities and research. The librar has offered public exhibitions since the 1890s and offered fellowships to scholars for advanced research since the 1940s. It also hosts a variety of conferences, seminars, lectures, and performances. The library’s ever-expanding collection consists of over 1.5 million books and 600,000 maps that date back over five centuries.&nbsp;</p><p>The primary subjects of the collection are Native Americans; American history; European history; genealogy and local history; music and dance; and religion. Some of its most interesting items include a copy of <i>Shakespeare’s First Folio</i>; Thomas Jefferson’s Federalist papers; letters written by Alexander Hamilton; and a first edition of <i>Alice in Wonderland</i>. It is currently home to four research centers; the Center for American History and Culture; the Center for American Indian and Indigenous Studies; the Center for the History of Cartography; and the Center for Renaissance Studies. The library also holds an annual book fair, in which more than one hundred thousand donated used books are available for sale.</p><p>In January 2018 the Newberry Library began a six-month, $11 million renovation of the first floor. When completed, it will feature a new orientation center; remodeled bookstore; a permanent exhibition space; digital signage; and restored architectural details.</p>

The Newberry Library is a private, independent research library in Chicago that began operations in 1887 thanks to an endowment from Walter L. Newberry. Newberry amassed a fortune in real estate and railroads and donated a portion of that fortune to create a substantial library for the city of Chicago. The research library specializes in materials related to the humanities and supporting the work of humanities scholars with programs, grants, and a collection of over million books and documents. The library's collection is known to scholars around the world and its non-circulating collection includes many rare materials dating as far back as the Middle Ages. The library holds thousands of rare books and millions of original documents related to early American history, European history, and Western culture. The library operates a wide variety of programs to encourage public engagement and research. These programs include lectures, classes, and fellowship opportunities opportunities for scholars.  

Newberry Library

<div>The Isaac N. Maynard Rowhouses, built in 1880-81 by Issac N. Maynard, consist of three groups of connected rowhouses located at 119-123 W. Delaware Place in Chicago’s Near North Side neighborhood. Maynard was one of many developers who helped rebuild the residential area around Washington Square after the Great Chicago Fire, which mostly consisted of affluent residents.&nbsp;</div><div><br></div><div>Isaac N. Maynard arrived in Chicago as an adult in 1868, a few years after the conclusion of the U.S. Civil War. He exemplifies the typical post-fire investor on Chicago's north side. During his first year, he lived as a boarder Revere House but quickly found work in Chicago’s flourishing pig iron industry, needed for producing the nails, spikes, bar and sheet iron used in everything from Chicago’s booming railroad industry to factories and warehouses. By 1870-71 , Maynard worked his way up the proverbial latter and became a partner in the pig iron firm that hired him, resulting in the new name of Piatt, Thorn &amp; Maynard.&nbsp;</div><div><br></div><div>Maynard moved to Washington Square area during the 1870s; first, one block north of the Rowhouses that he would eventually commission and then one block south after the Great Fire destroyed his first Washington Square residence.&nbsp; By the end of the decade, in two separate transactions (1879 &amp; 1880), Maynard purchased the land for the Rowhouses.&nbsp; On September 27, 1880, Isaac N. Maynard was issued a building permit that eventually turned into the now historic landmark.&nbsp;</div><div><br></div><div>The American Land Company donated land to the City of Chicago in 1842 on the condition that it forever remain an open public square, which eventually became Washington Square. The Isaac N. Maynard Rowhouses deigned in the Queen Anne style by the architecture firm of Treat and Foltz are located within the space surrounding that donated parcel of land. In fact, the development of the Rowhouses occurred during a twenty-year span following the donation that involved the development of numerous elegant housing districts. Though the Great Chicago Fire of 1871 interrupted development of the Washington Park area, post-rebuilding repeated the development patterns that existed before the fire, mostly attracting wealthy investors who purchased lots and built residential structures.&nbsp;</div><div><br></div><div>However, the demographic makeup of the area changed with the approach of the turn of the century, which included the emergence of rooming houses, cheap cafes and a multitude of saloons and cabarets. By around World War I, the business and industrial development also encroached upon the area, as well as the numerous immigrants who worked as laborers. As a result, the wealthy vacated the area. It was not until the 1970s that the area around Washington Square once again transitioned into an appealing location for prosperous Chicago residents.&nbsp;</div><div><br></div><div>To see the rowhouses is to peer into the window of Chicago’s Gilded-Age past when the city proliferated on the shoulders of the railroad and the industries which relied upon them. The growing wealthy class, who owned many of the industries, lived together in areas such as the ones near Washington Square, including in many structures built in the massive rebuilding that took place after the Great Chicago Fire.&nbsp;</div>

The Isaac N. Maynard Rowhouses, built in 1880-81 by Issac N. Maynard, consist of three groups of connected rowhouses. Maynard, who made his fortune in Chicago's burgeoning pig iron industry, was one of many developers who helped rebuild the residential area around Washington Square after the Great Chicago Fire, which mostly consisted of affluent residents. 

Isaac N. Maynard Rowhouses (119, 121, and 123 Delaware Street, Chicago)

<div>Built in 1902 and located on the prominent corner of Clark Street and Chicago Avenue in the city's Near North Side neighboorhood, the Bush Temple of Music's size, eye-catching roofline, and French-inspired elegance has allowed the structure to serve as a visual landmark for more than a century.&nbsp; The building served as the headquarters and showroom of the Bush and Gerts Piano Company, one of the city's largest and most renowned piano companies, at a time when Chicago was the second largest piano manufacturing center in the country.&nbsp; It stands as a reminder of the popularity of the piano among middle-class families during the turn-of-the-century era.&nbsp;</div><div><br></div><div>William H. Bush, a founder of the Bush and Gerts Piano Company in 1885, conceived The Bush Temple of Music. Bush, along with his son, William L, founded their piano company in 1885 along with John Gerts, a native German who emigrated to Chicago in 1870. Bush, a pioneer Chicagoan, cut his teeth in the fast-growing city's burgeoning lumber industry. However, he had also possessed an appreciation for beauty and subsequently channeled that love into the construction of the elaborate, elegant Bush Temple of Music.&nbsp;</div><div><br></div><div>The company and building reflect the prevalence of middle-class cultural and social appreciation of the piano in the U.S during the late nineteenth and early twentieth centuries. As middle-class economic fortunes expanded in the 1880s and 1990s during a time of prosperity (mostly), families often purchased a piano -- one of the first luxury items to reach the mass market.&nbsp; Numerous parents considered piano instruction a vital part of a child's education.</div><div><br></div><div>In fact, by 1900, 263 companies produced pianos resulting in more than one million pianos occupying American living rooms. Chicago became a major contributor to that cultural trend, helped in part by The World's Fair (Colombian Exposition) in 1893 which garnered substantial publicity for Chicago piano manufacturers, including Bush &amp; Gerts who displayed nine pianos, two of which gained enormous praise due to its design (no surprise given Bush's eye for design). Indeed, in the wake of the World's Fair, by 1900, Chicago grew to become the second largest piano manufacturer center in the country, after New York.&nbsp;&nbsp;</div><div><br></div><div>The growing success realized by Bush and Gerts during the 1890s inspired Bush, company president, to build an expansive, larger, lavish headquarters that also worked functionally as a space for offices and studios, a showroom, and concert facility.&nbsp;</div><div><br></div><div>Bush gambled by hiring a&nbsp; young, unproven J.E.O. Pridmore as his architect in 1901 because he was well-traveled (notably in Europe) and possessed a knack for extravagant, sophisticated designs. Sadly, the elder Bush died that same year, but William L, his son, managed the project to its completion. When it was completed, the building not only served as the&nbsp; Bush and Gerts Piano Company headquarters and showroom but also existed as a leading cultural venue during the first decades; the building contained an auditorium, three recital halls, artist and music studios, a photography gallery, lodge room, banquet hall, restaurant, shops, and offices.&nbsp;</div><div><br></div><div>Today, the building has undergone a major renovation and now operates as an apartment complex. Under the umbrella of an apartment group known as "The Flats," the building still enjoys the name "Bush Temple."&nbsp;</div>

At the turn of the century, pianos became the first luxury item to reach a mass market and Chicago was second only to New York in piano production. The Bush and Gerts Piano Company was one of the most prominent piano manufactures in the city, and the Bush Temple, which was built as a showroom for the company in 1902, reflects that status. The building served as a sales floor and provided office spaces, but it was best known for its auditorium, recital halls, banquet hall, restaurant, shops, and studio spaces. Prospective piano buyers from all across the country came to this space for the experience of buying a piano. 

Bush Temple of Music

<div>Holy Name Cathedral (built in 1874-75), has functioned as the seat of the Archdiocese of Chicago, one of the nation's largest Roman Catholic dioceses, since its opening. Its imposing Gothic Revival features and lavish decor speaks to its significance within the local Roman Catholic community, as well as the influence of the church, itself.&nbsp;Moreover, its presence also speaks to the influence of&nbsp;Poles, Germans, Irish, and other immigrants from Catholic-majority nations&nbsp;who came to Chicago during the 19th century. They not only fostered substantial population growth but also brought with it a robust Catholic culture that eventually supplanted Protestants as the city's majority regarding faith.&nbsp;</div><div><br></div><div>Political and economic turmoil present in Europe during the nineteenth-century, as well as the Great Irish Famine, resulted in large numbers of Irish, German, Polish and other predominantly Catholic immigrants coming to Chicago. Arriving in droves, they settled into new neighborhoods and quickly created ethnic enclaves within the city; the houses of worship often served as the community's most prominent feature. In fact, from 1844 to 1879, Irish and German immigrants established 31 territorial parishes, 22 of them created by Irish immigrants while another nine emerged in German areas.&nbsp;</div><div><br></div><div>Immigrants routinely took pride in the churches; they existed as community-wide statements of religious identity. As such, new immigrants of Catholic faith often built large churches as a means of differentiating themselves from what was then Chicago's Protestant majority during the late-nineteenth-century. <br><br>As well, churches served as community centers. Churches, notably through the work of its nuns, provided new-coming immigrants assistance as they attempted to adjust to America (and Chicago). Immigrants relied on the church for finding jobs, day care services, English classes, financial assistance, nursing, and a host of other "social services."&nbsp; Moreover, churches often operated or managed schools and hospitals.&nbsp;</div><div><br></div><div>Holy Name Cathedral, which today can seat 1,100 people, was designed by architect Patrick Keely, one of more than six hundred churches and sixteen cathedrals he developed. Holy Name exhibits classic, Gothic Revival features including towering verticality with steeply pitched roofs, lancet windows, pointed arches, bell tower and 210-foot-high spire.&nbsp;&nbsp;</div><div><br></div><div>Overall, the cathedral features motifs intended to represent an idea of physically dwelling within the biblical tree of life.</div><div><br></div><div>Some notable features include:&nbsp;</div><div><br></div><ul><li>Colossal bronze doors that weigh 1,200 pounds each and feature a "Tree of Life" theme.</li><li>A bishop's throne, or cathedra.&nbsp;</li><li>An ornate altar adorned with artwork and tabletop comprised of nearly 12,000 pounds (six tons) of reddish-Black granite.</li><li>Large, suspended resurrection crucifix along with bronze and marble "Stations of the Cross" display adorning the walls.&nbsp;</li><li>Two pipe organs, one noticeably large and the other a smaller version.&nbsp;</li><li>Numerous bronze statues of Biblical figures, as well as bronze panels depicting the Holy Names of Jesus.&nbsp;</li></ul><div>In 1979, Pope John Paul II visited Chicago and held a prayer service for Bishops at Holy Name Cathedral. As well,&nbsp; Luciano Pavarotti and the Chicago Symphony Orchestra played a concert in the cathedral in the Pope's honor.<br><br></div><div>Though Roman Catholicism is renowned globally for its massive cathedrals displaying opulent decor, its presence in Chicago and other (mostly Eastern and Midwestern U.S.) urban centers during the 19th century speak to the significance of immigration during the era. The need to establish a church, a large and imposing one, allowed for small "nations" to exist within the broader urban environment. As more Catholic immigrants arrived in Chicago, the Roman Catholic power grew - eventually allowing for Holy Name Cathedral to emerge as a home to a Bishop and serve as the seat of the Archdiocese of Chicago</div>

Built in 1875, four years after the Great Chicago Fire, Holy Name Cathedral sits on Chicago's famous State Street amidst Chicago's towering skyscrapers. Holy Name operates as the seat for the Chicago Archdioceses, one of the largest and most influential Roman Catholic archdioceses in the United States. It also serves as a reminder of the influence of the church in Chicago and its neighborhoods, which increasingly grew Catholic as Germans, Irish, Polish and other immigrants from predominantly Catholic nations arrived in Chicago. 

Holy Name Cathedral 

<p>Background on the house&nbsp;</p><p>Originally home to banker Samuel Mayo Nickerson, the Driehaus Museum is a 19th century residential building of Chicago.&nbsp;In 1879, Nickerson acquired the home from Buring &amp;
Whitehouse of Chicago, designers of the First National Bank where Nickerson had
been president since 1867. The interior
was designed by William August Fiedler, George A. Schastey &amp; Co., and R.W.
Bates &amp; Co.</p><p>Prominent Features</p><p>The&nbsp;&nbsp;Driehaus Museum is home to the Driehaus Collection of Fine Arts. The collection features works by Tiffany, the famous glass &amp; furniture maker, and the Herter Brothers. The collection features both furniture and artwork. The collection is also not limited to American works but also features European works as well.</p><p>Tours</p><p>Tours can be guided and arranged but the museum also allows unguided walk-through. There are many exhibits throughout the year which can be attended.</p><p>Admissions</p><p>$20 Adult<br>$12.50 Senior (65+)&nbsp;<br>$10 Student with valid I.D.<br>$10 Youth (6-12 years)*</p>

The Driehaus Museum was founded by the Philanthropist Richard H. Driehaus in 2003. The museum is housed in the former home of banker Samuel Mayo Nickerson, and underwent a five-year restoration before becoming the museum. The museum offers original furnishings and historic pieces from the Driehaus Collection of Fine Arts.  The Driehaus Museum also features an extensive collection of fine furnishing from the turn of the 19th century into the new millennium of the 20th century. 

Chicago's Near North Side Walking Tour

Fourth Presbyterian Church of Chicago

Introduction

Images

Backstory and Context

Sources

Additional Information