Old Federal Building

FOREWORD

There have been articles written about the magnificent Old Federal Building from time to time. But nothing has been devoted to the changes during the years.

This booklet has been written in the hope of retaining some of the original past.

Since 1910, a span of seventy-four years, the Old Federal Building, now an Historic Landmark, is recognized by both local and national governments.

The dramatic changes of the growth of our government can be seen on entering the building. With the passing years, alterations went forward to fill the needs of time. As an example, the space on the first floor was completely altered, filling the needs of today's requirements.

Each floor has gone through some changes. However, on entering Courtroom 342, one gets the impression of time standing still. The decor of the past is in top conditions, with little alteration to mar that old elegance - a treasure to see today. This room is a tribute to the judges who have held court in it all these years and managed to preserve the early 1900's look in its original beauty.

Helen B. Lybarger

Old Federal Building from Public Square, as it looks today.

Earlier post office built in 1858 on land acquired from Leonard Case.

The Old Federal Building today is a Cleveland Landmark, and its citizens can be proud of it, for it is a gem in the heart of downtown Cleveland.

It stands on the site of an earlier post office dating back to 1858. This parcel of land originally belonged to Leonard Case, a land agent. In 1821 Leonard Case was obliged to take over a two-acre lot in settlement of a debt. Reluctantly, he paid $266.50 for it. He moved his family into a beautiful homestead he built on this property. But in 1856 he sold a portion of this land to the Federal Government for a post office - 199 feet on Public Square and 105 feet on Superior Avenue - for $30,000.

In 1899 President William McKinley signed a bill for the erection of a new post office and federal building.

At that time some farsighted Clevelanders who had been to the Chicago World's Fair in 1893 saw firsthand what sound planning for a Group Plan of Civic and Cultural Buildings could mean to a growing city such as Cleveland. Daniel Burnham was the inspiration for the architecture at that Fair and, consequently, was the ideal leader to carry out the Cleveland Mall Plan.

The overall Plan that was finally accepted, though modified, was that of Daniel H. Burnham, Arnold W. Brunner and John M. Carrere. Their report was submitted to Mayor Tom L. Johnson in 1903.

Arnold W. Brunner, famous architect of the late nineteenth and early twentieth centuries was known for his fine federal buildings across the country. He was chosen to do the Cleveland Customs House, Court House and United States Post Office.

The cornerstone was laid May 20, 1905.

It is to be noted that it took two years to lay the foundation, for this building is constructed entirely on quicksand. Also of interest, it was stated by one of the inspectors at the time of construction that more materials were rejected than accepted, for it was the first of the Mall Buildings. It was to be perfect in every way for, when finished, it would be a showpiece of community pride indicating what the balance of buildings would represent. This building turned out to be a monument not only to the farsightedness and public spirit of its citizens but also to the ability of its creator.

This impressive structure on the northeast corner of Superior Avenue and Public Square, was completed in 1910 and dedicated March, 1911.

The exterior is of granite. The first story of this building is rusticated and has arched windows and entrances with keystones and masks over the keystones.

The Superior side is distinguished by two freestanding sculptures done by Daniel Chester French:

"Jurisprudence" at the western end of the building presents a figure of justice, calm and serene. At the left is a mother clasping her baby indicating that it is for the protection of the family that law exists. On the other side is a felon crouching in chains.

"Commerce", the central figure of the other group, holds a model of a ship in one hand. Her other arm rests on a globe representing the world. At her right is "Electricity" holding a magnet with which she is catching wireless flashes. At her left is "Steam" represented by a male figure grasping a shield.

These two marble sculptures are wonderful creations, and Cleveland can be proud of them. Daniel Chester French, a top artist of his time, was born in Exeter, New Hampshire in 1850 and died in 1931.

Originally, there were splendid bronze doors at the entrance on Superior Avenue, Public Square, and East Third Street that led to the first floor. These heavy bronze doors became inoperable and were removed in the mid-sixties [1960s]. They were replaced with aluminum doors. Also, at the entrances were bronze pedestal lamp posts. There were removed from the Superior entrance and the western entrance, but a pair of lamps remain at the eastern entrance. It is hoped this remaining pair will always stand for future generations to see the type of monumental lighting used in the early 1900's.

The exterior of the next three stories is articulated with great colonnades of attached Corinthian columns between end pavilions which are surmounted by sculptured cartouches of shields. The United States symbol of the eagle is on top of the shields with wings free of the building. The wingspread of the eagle is twenty feet and cut entirely out of one piece of granite. On the east and west sides, the colonnades become pilasters with the same Corinthian capitals. All four facades are surmounted by a balustrade which conceals the fifth floor set behind it.

There is much to be said about the technical structure in the early years of this building, for few federal buildings in the United States represented almost every department of the government. It not only contained the Federal Post Office and Federal Court House, embracing District and Circuits, but also the Customs House and Internal Revenues Offices, Steamboat Inspection, Immigration and Pension Bureaus, Geological Survey, Hydrographic Office, Civil Service Examining rooms, etc. Indeed, this roof covered the official residence of every federal officer at work in Cleveland at the time.

The interior contains some unusual features worthy of notice. The main corridor with its three entrances extends the entire length of the building and is remarkable for its great dignity and its ingenious disposition of space. The corridor is thirty feet wide with a vaulted ceiling thirty feet high and is entirely constructed of Italian marble, including the vaulting. The intricately patterned decorations on the arches are beautiful. One should take a close look at the rosettes to be appreciated. The arched windows in the lobby are all trimmed in bronze.

The two banks of elevators at each end of the building in the early years had handsome bronze open work and were very lacy looking. The elevator doors were molded bronze. The cabs have since been encased in masonry and plaster to comply with today's safety reasons. However, the bronze trim on the top of the elevators has been preserved.

At the eastern and western entrances are eight Italian marble columns, four columns on each side of the entrance, giving a stately look. The floor is of Italian marble in a light sand color. At the entrances are large geometric design of subtle shades of slate, taupe, sand and white, giving a look of spaciousness. The lobby floor is brought together with a narrow black border.

Originally, the first floor served the main post office. The screen and post office windows on the north side of the building were of richly modeled bronze. Part of this screen still remains. The postmaster's handsome office, now partly converted into courtrooms, had decorative panels painted by F. D. Millet, portraying the collection and delivery of the mails all over the world, as follows:

Alcove Panels

Main Room Panels

At the time of the extensive alterations to this floor after the removal of the Main Post Office to its new building on Prospect Avenue in 1937, these panels were removed. The panels are outstanding works of art. They now are stored in General Services Administration Building, Washington 9, D. C. 20405, being held for historic preservation.

There also is a bronze plaque erected on the wall of the lobby, given by the Ohio Society of New York, honoring:

Joseph William Briggs

While acting as delivery clerk at the Cleveland, Ohio Post Office in 1863, Briggs conceived a system of mail delivery and collection to better serve the public; and with the cooperation of the local postmaster, he acted as the first letter carrier in Cleveland - or anywhere!

In recognition of his special interest in this service and his success in the work, the Postmaster General appointed Briggs special agent for the installation of city free delivery throughout this country, a work covering six years.

Briggs designed the first carrier uniform and was credited with the genius and perseverance which gave this service to the people. He died in Cleveland in 1872.

In 1950, when the General Services Administration took over the operation and maintenance of the building from the Post Office, two courtrooms, jury rooms and necessary offices were constructed in the space formerly occupied by the Post Office. The two new courtrooms are modern in design and very functional for today's usage.

The second floor has four modern courtrooms with jury rooms, secretaries' rooms, etc. In the southeast corner is Room 228; originally it was the office of the Appraiser. It has a fine painting by William Hicok Low of New York. The painting stands over a handsome dark green Italian marble fireplace.

The painting entitled "The City of Cleveland, supported by Federal Power, welcomes the Arts bearing the plan for the new Civic Center":

The figure of the City of Cleveland is enthroned by the Lake Shore, wearing the mural crown which typified the walls in ancient times which enclosed the cities; and supported at her side by a second figure symbolic of Federal Power. To these, alighting from a bark comes the figure of Art, bearing as her offering the new Civic Plan which has been designed for Cleveland and to which the Federal Building conforms. The coat of arms, disposed symmetrically, denoted the triple character of the building as a national, state and civic monument; while a festoon of grapes may be thought to further localize the subject to the region of Lake Erie.

"Passing Commerce pays tribute to the Port of Cleveland."

Commerce, with the attributes of Mercury, has aligned for a moment in his flight, and pours coins into the lap of a figure who represents the City of Cleveland.

To further describe these two monumental courtrooms: East Courtroom 342 is without doubt one of the most beautiful courtrooms that can be seen. Upon entering, it gives one the feeling of great dignity and beauty. The ceiling of ornate plaster, is executed in an abundance of gold leaf, possibly one of the finest ceilings of its kind in the United States. In one corner of the ceiling are the Latin words: Justitia, Lus, Potestas, Lex, Sapienta and Veritas. These translate: Justice, Light, Power, Law, Wisdom and Truth. Also featured are the Roman numerals for 1910, the year the building was completed.

This courtroom has most of the original charm and character as when first completed in 1910. Few changes have been made. The sconces on the side walls give little light, but are decorative. However, the two original large bronze chandeliers, still in excellent condition, add a soft glow to the room.

The side walls show unusual excellence of workmanship. Between the windows are Ionic pilasters made of Italian marble, soft gray in color and delicately fluted. The capitals are elaborately decorated with foliation with the United States Eagle on top executed in golf leaf. Between the windows and pilasters, which are beautifully spaced, are swags of fruit forming a partial border between walls and ceiling. The swags are painted the color of the walls which is wedgewood.

The woodwork throughout the room is hand carved even to the legs of the spectators' benches. The benches are of walnut. The judge's bench, chair and paneling are of African mahogany, intricately hand carved in the finest detail. It is a work of art.

There is a huge mural above the rostrum. It is entitled "The Law." It was painted by Edwin Blashfield of New York. The price at that time - $10,000. The description follows:

In the center of the canvas, a seated female figure personifies "The Law." On either side of her stands angels pointing to an inscription of the Decalogue, upon a table of stone, which fills the whole center of the panel and passes up beyond and above the limitations of the picture. One of the angels indicates with its finger the commandment, "Thou shalt not kill."

A female figure crouches at the feet of "The Law" and clings to her knees; and the lawyer who has just gained her cause for her is closing his book and turning to go. At the left, the evildoers are fleeing from before the face of "The Law". At either side of the picture and before two Doric columns are seated figures representing men who in the past have stood for civilizing influences and have thus opened the way for law making. At the left, beginning from the center, are Moses, Mahomet, Justinian, and a Bishop and a Knight of the time of Magna Charta in England. At the right are Alexander the Great, Charlemagne, Napoleon and Lord Mansfield.  

A visiting architect and artist walked through this room and said, "A Federal courtroom should look this way, for it is the symbol of the United States government. It should be impressive with dignity."

In the judge's chamber, the wood is a mahogany, or of the mahogany family - Korina. The paneling is veneer; the door frames, the trim, baseboard and chair rails are solid material. It is rubbed to show the grain and looks like satin.

Much credit must be given to Judge William K. Thomas for the fine condition of these rooms and for keeping them in the grandeur of the past. He has held court in this room since 1966, a period of eighteen years as of this writing.

The West Courtroom is a duplicate of the East Courtroom with the exception of the mural. There have been some changes in the room as to the ceiling lighting, the jurors' seats, etc. Chief Judge Frank Battisti was appointed in 1961, and has presided in his room since 1965.

The mural over the rostrum is entitled "The Common Law," painted by H. Siddons Mowbray of Washington, Connecticut.

The picture represents the coming together of the privileged classes and the people, a movement which brought about our Common Law, and in the thirteenth century, the beginning of the representation of the people in a Constitutional Government. The struggle between the classes has always been and probably always will be. It represents an understanding arrived at - a social contract tending to law and order.

The two central figures are representations of their adherence to a compact or mutual understanding. On the right is a group of those possessing power and privilege. On the left are artisans, farmers, toilers, etc., with the figure representing Law advancing and holding the Faces symbolical of power to enforce. A flying figure overhead holds in the air the scales of Equity and the palm of Peace.

The Court Library with its beautiful paneled woods has two murals painted by Frederick Crowinshield, entitled "Knowledge and Persuasion."

The right -handed panel is entitled "Knowledge." A seated philosopher and his disciples consult a manuscript of the law while Justice awaits their decision, holding the scales.

The left-handed panel is entitled "Persuasion." On the left an unarmed group - Messenger of Peace - persuades a warrior to lay aside his sword.

In Room 312, the former office of the District attorney and now a judge's chamber, is a mural by Rufus Fairchild Zogbaum of "The Battle of Lake Erie, September 10, 1813." The painting represents a moment of victory.

The American Squadron under Commander Olive H. Perry numbered nine vessels with fifty-four guns; the British under Commander Robert H. Barclay had six vessels and sixty-three guns. The engagement was fought in baffling winds and was severe and bloody. Both sides showed great courage and determination.

Perry's flagship Laurence, was reduced to a wreck under the heavy fire of the enemy. He transferred to the Niagara and hoisted a large square blue flag on which was displayed in white letters. "Don't give up the ship."

The fight had lasted from about noon until nearly three o'clock, when Perry, taking advantage of a favorable breeze, broke the British line. This is the moment that Rufus Zogbaum chose for his picture. In attempting to swing around to meet the attack, the enemy's line got into confusion with two of his ships, Detroit and Queen Charlotte, getting foul of each other. At this moment, the Niagara came steadily down, breaking through the line, delivering her fire right and left in passing, while the other American vessels closed in, raking the British with a deadly fire. It was all over in a few moments, and Barclay struck his flag, "after three or four hours of gallant and desperate fighting."

Perry's laconic dispatch, written in pencil on the back of an old letter, announced the victory in the words: "We have met the enemy and they are ours - two ships, two brigs, one schooner, one sloop."

Also, this room retains the handsome woodwork showing in fine detail the painstaking hand-carved work of the early 1900's.

The fourth and fifth floors contain offices of many departments and divisions including the Building Superintendent. All of the offices, in fact the entire building, had been air conditioned in 1966. This was done by lowering the corridor ceiling to cover the duct work. This has not done as much damage to the appearance of this beautiful building as has the careless use of modern fluorescent lighting throughout.

In many of the principal offices, courtrooms and judges' quarters, the original office furniture is still in use. The large wooden desks, chairs, and other pieces are handsome and were designed for their particular place. Many of the original electric fixtures still remain as those in the first floor lobby. These rooms can be characterized in a few words: "unusual excellence of materials and workmanship."

With the many changes that have taken place in the three-quarters of a century, this handsome building has not lost any of its grandeur. It is as impressive today as the day it was dedicated.

In closing, the following quote of 1911 still applies:

"The question of having mural decorations in the offices of the Cleveland Federal Building seems analogous with the question of having beautiful railway stations and good looking shops. It deals with the same general problem - the degree of beauty to be allowed in business places."

Philip S. Tyre
In The Architectural Record. May, 1911.

CREDITS

I am indebted to Judge William K. Thomas for
his patience and help; and also to:

Clay Herrick - Publisher
John Comperman, Director of Cleveland Landmarks Commission
Warren Thomas - Photography
M. G. Studios, Inc. - Photograph
Robert C. Gaede, A. I. A.
Dyke College