Marceline Historical Society

MO_Linn County_Marceline Masonic Temple 481_0001

June 12 2025

Marceline Masonic Lodge: Description of Property, Part 1

Marceline HistoricalSociety Architecture, Historical Buildings, Marceline Historical Society, Masonic Lodge, Masons architecture, Beaux Arts, historic buildings, historic preservation, historical society, history, Marceline, Marceline Historical Society, Masonic Lodge, Masons 0

Designed by the Hutchinson, Kansas architecture firm of W.E. Hulse & Co., erected between 1923-1924, and dedicated in 1924, the Marceline Masonic Lodge #481 at 201 N. Main St. U.S.A. (N. Kansas Ave.) in Marceline, Linn County, Missouri is located on a prominent corner in Marceline’s downtown commercial district and its size, style, design and color all combine to make it stand out from the other buildings in the area. This rectangular, two-story structure was built to accommodate Marceline’s Masonic brotherhood and its chapters and allied organizations. The lodge stands on the northwest corner of N. Main St. U.S.A. (N. Kansas Ave.) and West Ritchie Avenue immediately west of Ripley Park, located across the street on N. Main Street U.S.A. Measuring 50 feet x 100 feet, the building is divided vertically into three bays at its east elevation (façade) and nine bays at its south elevation, both of which are faced with buff brick the west elevation is a smooth, parged wall with red brick, while the north elevation abuts the one-part commercial block building and shows common red brick on the exposed second floor. The lodge’s primary and secondary façades (the east or N. Main Street U.S.A. façade and the south facing Ritchie Ave façade) with limestone highlights, and emphasizes a symmetrical, linear composition. The east façade features a central entrance flanked by stacked limestone cavetto moldings. Masonic symbols are placed over the main entrance and embedded in the stepped parapet with a stone capping at the top of the building; the west elevation is parged. In contrast to the stylized decoration on its primary façades, the building’s interior is functional and conservatively decorated with mostly classical historic detailing.

The 2018 Marceline Survey assessed the Lodge as “generally characteristic of” Beaux-Arts.[1]

The historical integrity of Masonic Lodge #481 is largely intact. The external limestone and brick remain unaltered for 100 years. Each elevation maintains the historical material used to build the nominated property. Most changes occurred because of storm damage and changes in laws and regulations (such as ADA requirements) but have not significantly altered the general layout of the property. Both the interior and exterior maintain their historical integrity of location, design, setting, materials, workmanship, feeling, and association.

While the building has undergone no structural changes it has been updated with new electrical, lighting, and custom-made energy efficient windows that fit the original window openings and have a similar look and feel to the historical windows (Figure 23).[2] Several minor alterations, such as boarded up basement windows (Figure 24 shows an internal view of the historic windows), new entry door, the majority of original plaster on both floors replaced with drywall, the combining of two rooms on the first floor to create a bathroom in order to comply with ADA regulations, and the sealing off of a staircase leading from the first-floor entrance to the basement, have been made.

While there have been alterations between 1923 and the present day, “the overall sense of past time and place is evident.” [3] Given its style and maintained historical integrity, the Marceline Masonic Lodge #481 is locally significant and eligible for listing in the National Register of Historic Places under Criterion C: ARCHITECTURE as an excellent example of BEAUX-ARTS style in Marceline.

SETTING

The Marceline Masonic Temple covers most of two lots, approximately 5000 square feet, at the intersection of N. Main St. U.S.A. (N. Kansas Ave.) and W. Ritchie Avenue is in Marceline’s downtown commercial district that extends five blocks, running north and south along Kansas Avenue (locally known as Main Street U.S.A.). The downtown district is mostly intact, with a mix of non-historic and historic buildings ranging from a now-closed historic hotel to one- and two-part commercial block buildings and an historic theatre. Only three lots do not contain permanent structures; two are urban parks and one contains a patio area for a social organization. Most properties are at least 50 years old, with some being at least 100 years old.

ELABORATION

Setting

The previous two-part commercial block building that housed the Masonic Lodge located at this corner burned down in 1903. The new building built in its place that covers the original corner lot and includes the building on the lot to the north to replace the 1903 building was also a two-part commercial block building. Figure 16 indicates it was a two-part commercial block. The 1903 building later burned down in 1923 and was replaced by the current building.[4]

During the construction of the current building, the grade was maintained. When viewed from the south elevation facing north, a 5-to-10-degree slope exposing more of the building as it slopes down toward the west elevation is obvious.

Landscaping is minimal; the building is slightly obstructed by one small tree when looking west from across the street toward the east façade. The Masonic Lodge constitutes a major architectural presence along N. Main St. U.S.A. (N. Kansas Ave.), which is at the north end of the downtown commercial district. The Lodge shares its block with a one-part commercial block building directly to its north, the brick, three story, two-part commercial block IOOF/Magnolia Building two doors down, a brick one-part commercial block building, a modern, steel paneled Knights of Columbus Hall, a lot with a patio next to the Knights of Columbus building, and a non-historic building with metal siding and a front façade of non-historic plaster. Ripley Park is directly across from the Lodge.

A small green space exists at the west elevation extending from the west façade to the alley making up the west boundary of the property.

All terms used in the follow sections and subsections use the terminology found in the original blueprints. Some of these terms may differ from those used today for similar structures, but to ensure accuracy to the original plans, those are the terms being used.

Exterior of the Marceline Masonic Lodge

Because of its height, mass, buff brick color, and position on a corner lot and the near absence of trees in its landscaping, the Marceline Masonic Lodge #481 dominates the intersection of N. Main Street U.S.A. and W. Ritchie Avenue. It is rectangular and measures “approximately 50’ 0” wide; 100’ 0” long and two stories high.”[5] The main entrance door is centered in the main façade of the east elevation and two sealed non-historic maintenance doors are located at the north and south sides of the west elevation.

On the east (primary) and south (secondary) façades of the building, courses of blond brick in an alternating Flemish bond face all floors, as specified in the original contract which states, “Every seventh course of brick will be laid in a Flemish bond course with alternate brick being laid as headers and stretchers. The headers extending full length into the brick backing.”[6] Cut standard gray Indiana Oolitic limestone is also used for the embellishments at various divisions on the south and east façades.[7] A metal sign with incandescent lighting that illuminates a pane with the Masonic orders that meet in the building hangs from the south bay of the primary façade. The other two façades (north and west) are of red brick laid in common bond, with parging with a thin layer of mortar over at the west elevation (Photos 3-4). The second-floor wall is the only part of the north elevation wall that is externally visible. It towers above the area where the Masonic Lodge meets the one-story one-part commercial block building to its north. Historic wooden window and door frames on the south and east elevations hold non-historic windows and the main entry. The top of the building’s basement wall, which holds six boarded up basement windows, are visible along the south elevation as the grade slopes downward toward the west from the east elevation.

The southeast corner of the building contains the limestone cornerstone.

The roof is non-historic sheet metal. All windows and doors are non-historic unless otherwise noted. These alterations took place at various times and are discussed in more depth in the “Alterations” subsection below.

East Elevation (Primary Façade)

The east façade consists of three bays organized into three vertical units and five horizontal sections as indicated by four limestone divisions. The lowest horizontal section encompasses the basement area. Moving up, the second section is the first floor, the second floor, followed by a thin strip of brick topped by a parapet and capped with limestone.

The walls are covered with buff brick. The cornerstone is embedded in the southeast corner of the building with one side visible on the east elevation and another side is visible on the south elevation; it is of Corinthian stone. Clearly visible on the eastern side of the elevation is an inscription reading: “Aug. 14, 1923 A.L. 6923 Bert S. Lee, Grand Master”. The southern side inscription is: “Marceline Lodge No. 481 A.F. & A.M.” with the Masonic “G” symbol centered between “No. 481” and “A.F. & A.M.”. The buff brick wythe is over a common brick wythe of number one grade hard burned shale brick and include the 35,200 old bricks saved from the original building.[8] A non-historic metal neon sign hangs out about three feet from the wall of the southernmost bay of this elevation (Photo 5).

First Floor

All windows and doors are non-historic unless otherwise noted. Two short straight-run steps lead to the main entrance’s central bay. The non-historic double door is framed by stacked limestone cavetto molding. Stacked stone flush on the left and right sides of the door and soldier flush course above it, adding more depth to the entrance. The doors are mostly glass with a metal frame and one each horizontal handle that extends across the front of the glass and another along the same internal space. Immediately above the entrance door is a non-historic transom with twelve (12) panels. Over the window is a floral embellishment with the Masonic interlocked compass and square around the “G” symbol centered in it.[9] A rowlock of brick extends from the north to the south of the building breaking only at the central entryway.

The center bay extends out 6” according to the blueprint specifications, making the south and north sides recessed and creating advancing and receding planes; the measurement is accurate today. All corners are highlighted by stacked buff bricks in running bond with a soldier course recessed 3/4^th of an inch.

The rectangular windows on the first floor contain 24-panes each; these windows are close facsimiles to the planned historic windows. The original planned windows appear to have two rectangular sashes that allowed the windows to open; aside from minor other details, that is the only major difference between the original windows shown in the blueprints and the current windows. These changes are elaborated in the “Alterations” section below. Each window measures 6’ 6” by 6’ 2” and framed by stacked and soldiered buff bricks that are flush with the windows on three sides, with the left and right sides being stacked brick and the top being a flush soldier course. The two courses blend in the upper corners.

The brick pattern of the lowest region of the first-floor façade face is in running bond course interspersed with a Flemish bond course every 6-7 courses giving depth to the façade and the appearance of masonry rustication. This pattern extends up about five feet to a rowlock course topped with a limestone water table division.

The first floor continues to the water table. At this point, the dividing line between the first and second floors is the belt course extending north to the architrave, located between the first and second floors. From the water table, the upper section of the first floor is comprised of running bond course with a Flemish bond course after four (4) courses. This pattern switches to soldiering, then to five running bond courses with the middle course being Flemish bond.

Each soldier course in recessed approximately 3/4^th of an inch. This pattern is repeated two more times. The final soldier course (the fourth in the series) is flush with the soldiering at the top of the rectangular windows in each of the north and south bays. Above this are six more courses—five running bond and one Flemish. This section of the first-floor façade ends at the above the running bond.

The same patterns repeat throughout the north and south recessed bays of the east façade.

Second Floor (East Façade)

All windows and doors are non-historic unless otherwise noted. Above the belt course and up to the entablature the vertical aspects seen in all three bays of the second floor include pilasters, the window fenestrations, limestone plinths, arched windows with panels framed by buff brick and accented with voussoirs, imposts, and limestone keystones. The lintels of the north and south bays are formed by an arched soldiering of the buff brick used throughout the facades while the central bay is topped with a limestone arch and stone spandrels with no evident keystone.

Unless stated otherwise, the second floor is in buff brick in a running bond course from the water table to the architrave.

All three of the second story windows and accompanying arches are flanked by two pairs of pilasters which mimic Doric or Tuscan designs. There are a total of six pairs of pilasters for a total of 12 pilasters. The pilasters project out four (4) inches. The north and south non-historic windows are the same style and measurements as the first-floor windows; the window has a non-historic fan light. It’s unknown how these differ precisely from the historic windows since there is no record of what they ended up looking like; the same holds true for the central bay window described below. The south and north windows set atop a buff brick design that has 6 rows of standard running bond surrounded by buff brick soldiers (top and bottom of running bond) and stretchers (left and right/south and north). The standard running bond is recessed 3/4 of an inch project ¾ of an inch. The central bay’s window is larger than the other four windows on this façade. It is three sections over three sections. The north and south sections each contain eight panes in a 2 x 4 pattern. The central section of the window is 12 over 12 with a 3×4 pattern flanked by two sidelights.

The southernmost pilaster has approximately a 6-inch recess to the left of it that blends into the south elevation. The northern most pilaster has the same detail.

A sign showing the Masonic-related orders that met at the Temple hangs at the south edge of the east façade.[10] It is black metal all around. In the center on both sides sit pieces of glass with the logos/symbols of each order that met there. They are lit up by internal lighting. One piece of glass is faded beyond recognition on the south side of the sign.

Entablature and Parapet

There are three bays on this level. It is just below the cornice and extends up to the top of the property. The north and south bays have no embellishments at all. The central bay below the cornice is limestone. In the limestone extending across the central bay is the phrase “MASONIC TEMPLE”.[11]

Above the cornice (as described in the original blueprints, see Figure 6 which includes terminology the architect used to describe each aspect of the façade) in the central bay are two protrusions of buff brick. These are located directly above the pilasters below them. They are not pilasters but do occupy the same width as the pilasters. Limestone squares are centered between these raised brick areas.

As seen in Figures 6 and 8 and Photo 1, there is a running course, above which is another stone course, then an additional standard course, and a rowlock with a 3/4^th inch projection. On the north and south bays, above the rowlock course are 11 rows of running bond that have one Flemish bond interspersed in them. Closers end each course. The central bay of the building is topped with a stepped parapet with limestone running as the cap to the entire façade. The central area includes the same brick pattern seen throughout this horizontal space. The center portion holds three metal plaques. From left to right they are “19”, the Masonic interlocked compass and square around the letter “G” symbol,[12] and the number “23”, denoting the year the building was erected.

South Elevation (Secondary Façade)

This elevation exhibits most of the elements and arrangement patterns from the east façade with the notable exception being the window fenestration at the basement level and the number and alignment of windows. The elevation has two protruding sections at the east and west corners respectively and one long middle section. The elevation is divided into nine bays. The east and west sides of this central bay hold one bay each. The central section contains bays containing seven windows and is recessed by 6 inches from the east and west sections.

The same buff brick and courses are found on both the first and second floors with the same divisions as the east façade. The first floor continues the same patterns and contains the same type of windows as the first floor of the east façade’s first and third bays, while the second floor has the same pattern– including pilasters that flank the same arched windows—as seen on the east façade’s first and third bays. The pilasters are laid out thusly: The east and west sections are flanked by paired pilasters; along the seven bays in the long, recessed central section of this façade a pair of pilasters that are one-and-a-half pilasters (a half pilaster is in the recessed corner of the central section next to a full pilaster), flank the center section. Each of the seven bays are divided by one pilaster, for a total of six. There are a total of eight (8) complete pilasters and two (2) half pilasters in this central section.

The basement level is exposed due to a downward slope toward the west elevation. These windows are smaller than the other windows, square and boarded over. They align with the fenestrations of the first and second floor windows. Otherwise, the courses and recesses are identical to the east façade. There are no windows behind this infill. Further research is required to determine when the glass of the windows was removed.

The second, exposed side of the Lodge’s corner stone lies at the southern end of this elevation and is inscribed: “Marceline Lodge No. 481 A.F. & A.M.” with the Masonic “G” symbol centered between the “No. 481” and “A.F. & A.M.”.

North Elevation

All windows and door are non-historic unless otherwise noted. Only the second level of this elevation is exposed, with the first level abutting against the one-part commercial block building to the north. The exposed elevation is common red brick. The upper one-third of the wall was repaired and re-pointed resulting in the color variation of the mortar. Modern ventilation pipes jut out from the wall toward the west elevation. A section of the wall that meets with the west elevation wall at the parapet is covered in steel siding material and the roof is capped with metal flashing. The steel siding material and metal flashing was installed to cover the wall damage caused by the removal of the chimney.

The reason for the variance in the brick color on the exposed wall of this elevation is unknown.[13]

West Elevation

elevation constitutes the rear of the building. It faces a small green space that ends at an unpaved alley. The roof edge is lined with non-historic metal gutter material and flashing. The wall meets the south elevation at which a wythe of historic buff brick blends around to the south elevation corner. The red brick wall is parged; some of mortar has worn off to expose the brick. It contains ten historic openings (one is infilled). Moving from the north to the south at the basement level (all materials within the historic openings are non-historic) there is a single door followed by a drainpipe, an electric meter, three A/C units with wiring going into the building, the infilled coal chute, another gas meter, a vent pipe, a boarded over double door. another drainpipe, a boarded over window, and two utility service boxes. On the main level, four of the six window openings of similar size are fitted with windows and two are utilized to accommodate kitchen ventilation equipment. These are spaced out as follows, moving north to south: one window approximately six feet above ground level and nearly flush with the northwest corner then a window (now kitchen ventilation) about 4-5 feet to the south (right), then two centered windows (approximately 6 feet from window to the north. This pattern repeats to the south with a window located approximately 6 feet to the south, and ending with a window that is nearly flush with the southwest corner of the building.

The fenestration of the elevation is different from the blueprints. Changes, minor in this case, made during the construction, as opposed to after it was built, dealing mostly with the number and location of openings on the basement and first floor levels, are not recorded on the blueprints.

Interior of the Marceline Masonic Lodge

All aspects are historic, unless otherwise noted. Non-historic ceiling tiles exist throughout the first and second floors.

Basement

The only entrance to the basement is through the northwest stairs leading to them from the kitchen (Figures 9 and 12). The basement is comprised of some all reused/recycled material from the building that previous occupied this space. The type of walls and foundation depends on the area of the basement.

These stairs lead down to the original boiler room; it is not named as such on the blueprints (nor are any other rooms in the basement). Approximately three-quarters south on the west wall of the boiler room is an opening leading to the historical coal storage room.

The south door of the boiler room leads to a storage room. This room has stairs in an east/west orientation leading to the west wall and double exterior access doors. The original blueprints have these stairs traveling north/south. When the stairs were changed to an east/west orientation rather than how they are shown on the blueprints is unknown. The opening was originally wider to allow the boiler to be installed. The walls use the brick from the previous Lodge building.

A large general basement with a dirt floor occupies the length of the building not occupied by the boiler, coal and storage rooms. This area is separated by a masonry wall from the above rooms. Twelve (12) support posts hold up the building. Two are non-historic metal beams and ten (10) are wood. The beams are historic and original to the 1923 erection of the Lodge; however, the bases of the metal posts have been replaced with non-historic concrete. Stairs led to the east side of the building. These have been sealed in, but originally led to the east elevation foyer . The stairs are aligned the same way as the original blueprints show.

First Floor

A small foyer greets guests when they enter through the main doors. To the south when facing west, is a wall that covers the basement stairs (See “Basement” section above). The walls are non-historic drywall. Five steps lead up into a hallway. This hallway leads to the bathrooms and a reception room to the left/south, a reception room with a non-historic door and janitorial closet to the left/south, and the dining hall straight ahead (west). The janitorial closet was originally the men’s bathroom and coat closet.

The dining hall (accessed through double doors) and kitchen take up the majority of the first floor. It is a blending of historic and non-historic features, which includes original historic pass-through windows between the dining hall and kitchen. The historic hardwood floor, doors, milk glass lights, and some features in the kitchen, like the counter and built-in cabinets. Non-historic features include updates to the ventilation system, the non-historic lowered ceiling grid, modern lighting, the addition of fans, and all appliances in the kitchen. The non-historic rectangular windows seen externally while facing north toward the south elevation line the dining room. Two non-historic metal beams faced with wood are spaced equidistance in the dining hall.[14] The kitchen has all its historical cabinets as well as the historic kitchen prep area.

Facing east from the dining hall entrance, a historic wood stairwell leads to the second floor. Hanging above the landing located halfway between the first and second floors is a non-historic chandelier.

To the north are non-historic bathroom facilities. Originally, this area held an alcove, coat room and toilet and reception room. The alcove was extended to incorporate the toilet and coat room, while the reception room were altered to install ADA-compliant restrooms. Otherwise, the layout of the first floor remains largely the same as the original.

Penciled-in changes can be seen on the original blueprints for the first floor. For example, the original plan was to have three entrances into the dining hall. The change took place during the erection of the Lodge.

Kitchen Area

The kitchen area maintains the same footprint with one exception: the orientation of the steps and platform in the storage room at the southwest corner of the first floor have changes. According to the original blueprints, they had a north/south orientation and led to the coal room in the basement. Now it has an east/west orientation that leads to the south bay’s window. The orientation was changed at some unknown time and for an unknown reason.

Second Floor

The second floor remains largely the same layout seen in Figure 5. Facing west, a landing leads to the Tilers Room and which leads to the main lodge room where meetings are held. While in the landing facing the Tilers Room (18), to the south (left) is a former smoking room that is currently being remodeled. To the north (right) is a room labeled “Ladies Rest R’m” on the original blueprints. It was never used as a restroom, but instead as the meeting room for the Eastern Star (the women’s branch of the Masons). A door to the toilet and “retiring room” are centered in the middle of the west wall. The layout remains relatively unchanged. The current layout shows the toilet has been moved from the original toilet area, installed in the “retiring room”, and the toilet room is used as a storage room.

Facing west, a centralized door leads from the landing to a room before leading to the main lodge meeting room. This room between the meeting room and landing is identified as “Tilers Rm”. The Tilers Room is a small area with a historic door, lighting and built-in cabinet. To the north (right) of the room is the coat room (now a general storage area) and the men’s toilet (which still exists); the adjoining coat rooms measure 3 ft. by 3 ft. All doors in this area are historic. The former coat room connects to the former locker room that runs most of the north elevation wall. No lockers appear to have been part of this area.

To the south (left) of the Tilers Room is an historic door to The Red Cross Room. This room is currently used as a reception room. The original blueprints show a penciled-in area that shows the plans for this room were modified. According to the revision on the original blueprints the Red Cross Room (which contains its original wood flooring and doors) was combined with an unidentified room directly to its north (directly south of the Tilers Room).

A 45-degree dogleg/chamfered corner was added to the east side of the room when the untitled and Red Cross rooms were combined, and the east wall of the unnamed room extended east to align with the Red Cross Room’s east wall.[15]

These alterations are recorded in the minutes[16] and penciled-in changes can be seen on the original blueprints for the second floor. While faint, the marks clearly indicate the dogleg of the wall was a late revision in the plans; the plans do not show the combining of the untitled room and the Red Cross Room. The walls seen dividing the unnamed room between the Tilers Room and Red Cross rooms were taken out prior to building. These changes are not reflected in the blueprints, but the 5 June 1923 minutes allude to “changes in the partitions” of these rooms.[17]

Both Comm Rooms and the Prep Room remain as they are seen in Figure 5. All retain their original, historic flooring and doors.

The rectangular main meeting room is accessed through either a door in the Tilers Room, through the Prep Room or through the door from the storage area in the far northwest corner of the second floor. This room occupies the majority of the second floor. It occupies 50% of the east to west area of the floor and ends with the platform and covers about ninety percent of the north to south space ending at the locker room (north central part of second floor) and storage area (northwest corner). The meeting room is adorned with historic sconces and lighting. It also has platforms against each wall; these platforms represent the different levels of Masonry based on the number of steps needed to reach the top of the platform: one step, Entered Apprentice, or general brotherhood (these are on the north and south walls), two steps are for Fellow Craft (east wall) and three steps of the Master Mason (west wall).

INTEGRITY

The historic integrity of Marceline Masonic Lodge #481 is largely intact. Despite the alterations, most of which were required to bring the property up to code, “the overall sense of past time and place is evident” in the look and feel of the Lodge.[25]

The external limestone and brick remain unaltered for 100 years. Each elevation maintains the historic material used to build the nominated property.

While updates have occurred as noted above, these alterations do not significantly impact the overall integrity of the building.

Internally, as noted above, most of the doors and flooring are original, and very little remodeling has been done (a room was changed on the second floor and new bathrooms were installed on the first floor), and a first-floor bathroom was changed into a janitor’s closet.

Some of the alterations are a result of laws and regulation changes, but they have not significantly altered the general layout of the property. The only major changes that altered the footprint of the property after the date of construction was the conversion of the northeast reception room into ADA-compliant restrooms; otherwise, every room maintains the same dimensions it did when it was erected. Additionally, the Lodge has attempted to approximate the original look by installing near-period replicas of lighting and very similar looking windows, though they function differently. Thus, both the interior and exterior largely maintain their historical integrity of location, design, setting, materials, workmanship, feeling, and association.

The location of the building remains precisely where it was erected in 1923. The exterior design has been left largely unaltered (some windows and doors have been boarded over for various reasons, the chimney removed, a new roof, and flashing added to the upper portion of the northwest area of the roof). Internally, there are alterations, however, except for the new ADA-compliant bathrooms on the first floor that replaced the north reception room, the alterations have been largely aesthetic (windows, doors, ceilings, etc.) and altered to align with building code updates, help preserve the integrity of the building, or to repair damage from leaking roofs. Likewise, the setting remains the same with the exception of new pavement on Ritchie Ave. and the trees planned by the city at an unknown date; no new buildings surround it, thus the area appears much as it did at the time it was erected. The original design is largely maintained. It still functions as a Masonic Lodge, and externally has the same scale, color, texture and fenestrations as the original blueprint show; internally, the design is largely intact with the exception of the alterations noted earlier. The external materials used in the construction of the property—the bricks from the previous building in that location (see Section 8 for more on this) were used for part of the foundation, the limestone, buff brick, wood flooring, and more—all remain after 100 years with the exception of the modern steel sheeting over the northwest parapet placed there as discussed above, the non-historic windows, and the non-historic doors. The material used inside the building remains largely intact, except for the above-mentioned alterations. Built in cabinets and all internal doors remain. Workmanship is evident throughout the property, particularly externally with the use of subdued Beaux-Arts features (discussed in Section 8); the workmanship is evident in several places internally, too, such as the dining room floors and the original woodwork in the coat and locker rooms. Finally, the association of the property remains the same as it was when the lodge was built in 1923 and remains an operating Masonic lodge.

[1] “Architectural/Historic Inventory Form.” Marceline Survey. Commissioned by Missouri Department of Natural

Resources, State Historic Preservation Office. Masonic Temple. April 2018. Survey No. LI-AS-001-037, pages 232-233. [Marked “Individually Eligible].

[2] The original design of the windows can be seen in Figure 6. When compared to Figure 23 and Photo 1 it is evident

the Lodge attempted to maintain historical looking windows since the Lodge was erected.

[3] National Register Bulletin: How to Complete the National Register Registration Form. U.S. Department of the

Interior National Park Service, Cultural Resources. 1997.

[4] These buildings were all two-part commercial block properties as indicated by the ‘2’ in the upper north corner of

the property on the 1903 and 1911 Sanborn Maps.

[5] “Specifications of All Labor and Materials Included in the General and Mechanical Equipment Contracts for A

Masonic Temple Building at Marceline, MO.” 1923, Marceline Masonic Temple Association archives, p. 1.

These specifications are confirmed in “Temple Directors Meet Architect, To-Day.” The Marceline Journal-Mirror. 30 March 1923.

[6] Ibid, p. 28.

[7] Ibid, p. 26.

[8] Ibid, p. 35.

[9] In the Masonic tradition, the compass and square are tools of the Master Mason and represent reason and faith. The

tradition also states the “G” stands for God and geometry. “Learn About Freemasonry: What does the G

Stand For?”, Museum of Freemasonry. Accessed 13 November 2023. https://museumfreemasonry.org.uk/blog/learn-about-freemasonry-what-does-g-stand.

[10] It is unknown if this sign is original to the building because there are no records stating when it was installed.

However, the electrical set up for it, indicates it could be historic.

[11] This section is using those terms used on the original blueprints and that are evident in the finished product.

[12] See Section 8 for a discussion about the “G” symbolism within Free Masonry.

[13] Missouri SHPO asserts that there are two possible reasons for this: The mortar used during repair work to the area after the chimney work damaged the area gives the appearance of a different color or the bricks may have been cleaned when the repair work was completed. However, the true reason for the variance is unknown.

[14] Via Fred Lewis directly during November 2023 SHPO visit: “the metal beams are original to the building and that they extend to the second floor. They are not part of any repair, only that the concrete surrounding the base of the beams had been increased to encapsulate the base an additional height to reduce lateral movement. The two columns in the dining room are the beams continuing to the second level and have a covering to conceal the fact of the metal beams. The floor on the second level has two areas that correspond with the support beans and those areas have not settled to the extent that the rest of the second level floor has.”

[15] There is some debate as to when and why this chamfered corner was created. It is clear from the etchings on the

original blueprints that this was discussed during construction and that at least three variations of the wall were considered. The dogleg corner was the option that was used. See Figures 5, 11 and 17.

[16] These alterations are all discussed in more depth in Section 8 in the section about the construction of the building,

which indicate these changes were part of the original plans and not later alterations.

[17] “Minutes of the Marceline Masonic Temple Association.” Marceline Masonic Temple

Association, 5 June 1923, Marceline, MO.

[18] See Section 8 discussion.

[19] “Wind and Rainstorm Hits Marceline.” The Marceline Journal-Mirror. 13 June 1924.

[20] Ibid.

[21] Compare Figures 4 and 10 for alterations.

[22] Lewis, 2 February 2024.

[23] Figures 4-10 show that the internal layout remains largely the same.

[24] See Figures 4-12.

[25] National Register Bulletin: How to Complete the National Register Registration Form. U.S. Department of the

Interior National Park Service, Cultural Resources. 1997.

June 9 2025

Marceline, Missouri Adds Four Properties to National Register of Historic Places

Marceline HistoricalSociety african american history, african american schools, Architecture, Beaux Arts, Black History, black schools, Christian Church, Churches, Classical Revival, Coal, Coal Industry, Gucker Coal, Historical Buildings, Historical People, Marceline Historical Society, Marceline Mercantile, marcelineproject, Masonic Lodge, Masons, segregation architecture, Beaux Arts, black history, christian church, churches, Classical Revival, Education, first christian church, Gucker Coal Company, historic buildings, historic people, historic preservation, historical society, history, Lincoln School, Maceline timeline, marceiine historic society, Marceline, Marceline Historical Society, Marceline Mercantile, Masonic Lodge, Masons, missouri 0

On May 17, 2025 at the Marceline Masonic Lodge, the official Marceline Historical Society (501c3, trademarked) presented four more Marceline properties with plaques commemorating the addition of the Gucker Coal Office, Marceline Masonic Temple (which hosted the event).

Marceline Historical Society Executive Director and Founder Ed Comber stated, “Our hope is that these properties will act as inspiration to the rest of the community. Five properties on the National Register will attract new tourism, tourism that helps everyone. The Marceline Historical Society is definitely leading the city’s preservation efforts.”

“We’d like to thank Marceline for trusting me to get these five places of the Register. It has been a great honor for me and the Marceline Historical Society’s Board to do this work. Personally, I have been blessed to get to know those representing each property and the intimidate reasons these properties are so profoundly important to not only to them and Marceline, but to Missouri and our great nation,” Comber said. “We hope this opens the door to others seeing the importance of preservation, particularly preserving the beautiful historic buildings in this city.”

While Marceline is famous for the six years Disney lived here, Comber noted, “each of these properties,” Comber noted, “have been standing for decades. This building [Masonic Lodge] has been standing for 102 years; the Gucker Coal office is over 90 years old; the Lincon School is 95 years old; and the First Christian Church is 115 years old! And that’s what Marceline should be celebrating.” The Uptown is 95 years old this year.

Over 40 people attended the event, both in person and over Zoom.

Each of the property representatives gave a speech discussing their property and what being on the Register means to them.

For the Mason Lodge, Dennis Hurlbut, discussed the importance of the building to Marceline and how it “was on the verge of being demolished [but] Fred Lewis said we could save it, and we have.” He went on to say that at one point, “this was the only place to have public gatherings [in Marceline].” A round of applause went out for Fred Lewis.

Deli Borel, representative for the First Christian Church, led the room with a prayer. In her speech, Borell stated, “This honor recognizes more than just a beautiful building—it celebrates the faith, history, and enduring spirit of a community that has called this church home for generations. It is a symbol of our shared past and the values that continue to unite us today. The church has long stood as a symbol of spiritual strength, fellowship, and service in Marceline—and now its story will be preserved and honored for generations to come.” She went on to thank Patsy Dorrell and Lex Cavanah for their special contributions to helping the church get listed.

Adam Skinner, the current owner of the Lincon School, accepted the plaque for that property. In his acceptance speech, Skinner stated he’s grateful for the help in getting the property listed. After Skinner, Ms. Helen Toland, a former student at the Lincoln School, offered her thanks, saying that because the Lincoln School has been listed on the Register, “a lot of people know the name Marceline who didn’t know it before. I was born there. Went to Lincoln School there…and always your name and your thoughts were part of mine.”

Dolores “Dodo” (Gucker) Collins (the only living former employee of Gucker Coal Co. and Frank and Inez’s immediate family) accepted the plaque for the property, listed on the National Register as “Marceline Mercantile.” Michelle Lewis, current property owner and Gucker family member, gave the acceptance speech. She pointed out that at 14, Mrs. Collins did just about everything at the coal office, from scooping the coal into the truck to weighing and delivering to patrons. She continued by going over the rich history of the property and added that “Gucker Coal Company would deliver coal to families even if they could not pay their bill, and to this day we have a ledger up there and we do have past due bills.”

“The Marceline Historical Society is currently working on two more Marceline properties for the National Register. Once accepted, Marceline will truly be an even more attractive stop for cultural and historic tourism than it just became. These types of tourists spend on average one more night in historic towns and about $175 per day more than those who are in and out of places like small town museums. They go into more businesses too, often looking at the architecture. The longer they’re in the store, the more potential there is for purchases, too. That leads to more money for the city through tax revenue. Everyone benefits from this type of tourism; just look at Hannibal and similar places that have grown as a direct result of the city’s cultural and historical heritage.”

A video of the event is HERE.

“This marks a significant turning point in Marceline’s attractiveness as a booming tourism hub,” Comber concluded. “We’re looking forward to continuing our efforts to preserve the history of Marceline. Our organization is honored to be leading Marceline into a new future as we look to the past. The past is truly Marceline’s future.”

Interested in being a part of and/or donating to the legal 501c3 Marceline Historical Society? CONTACT US.

June 4 2025

Marceline’s First Christian Church: The Historic Description, Part 1

Marceline HistoricalSociety Architecture, Churches, Classical Revival, Historical Buildings, Marceline Historical Society, marcelineproject, segregation architecture, christian church, churches, Classical Revival, first christian church, historic buildings, historical society, history, Marceline Historical Society 0

The Christian Church of Marceline, now known as the First Christian Church (Disciples of Christ), at 116 West Gracia Avenue in Marceline, Linn County, Missouri was designed and built in 1915 by Albert (A.J.) Richardson, a Marceline contractor, architect, and member of the church. It is located half a block west of Marceline’s southern block of the downtown commercial district on West Gracia Avenue, a mostly residential street. It is a local example of Classical Revival/Neoclassical architecture in the city. This structure was built to accommodate the growing congregation of the church. Four non-contributing resources sit on the property: A small prayer garden with benches and a marble monument (assembly counted as one non-contributing structure) is directly northwest of the building and a parking lot (non-contributing structure) occupies most of the western half of the property; a flag pole occupies the southwest corner approximately 10 feet from the southwest corner of the primary façade, while a welcome sign sits about four feet away from the southeast corner of the primary façade. The church is located immediately west of the east border with the alley. The two-story brick building with a basement and a shingled hipped cross-gable roof is divided into three bays on its south elevation (façade), five bays on its east elevation, a north elevation with four bays, and nine bays on its west elevation. All elevations (south, east, north and west) are faced with red brick and recessed fields of lighter red bricks occurring in some areas at the primary level of each side of the building. The south façade features a central portico with central steps flanked by a pair of Ionic columns on either side. The secondary elevations (east, north, and west) are brick with stone lintels and sills. The building’s interior upper levels are functional and conservatively decorated with historic detailing, such as a domed nave, stained and painted lead glass, a flat ceiling throughout the back portion of the building where offices, storage and classrooms are, and original organ pipes; the basement maintains many of its historical features, such as room dimensions and locations. The interior and exterior maintain historical integrity.

The 1915 building had parapets at the top of each tower when it was originally built. Those were removed prior to 1963.[1] More research is needed to know when these were removed. Among the changes are the installation of non-historic entryways on the east and west sides of the building, and an ADA compliant ramp (Photo 2) for those with mobility issues at the east elevation. A flood caused damage to the basement resulting in the bathroom and some other areas being repaired and updated, but no structural work has been done.

Jump to Part 2.

ELABORATION

SETTING

The First Christian Church of Marceline (known at First Christian Church (Disciples of Christ) of Marceline) covers most of its historic lot along West Gracia Avenue (a brick/cobblestone road) plus 3.5 other lots (three to the west and a half lot to the east). It is situated one block west of the southern part of Marceline’s downtown commercial district. The area is a residential neighborhood with a mix of late-19^th – early-20^th century homes and some vacant lots.[2]

Setting and Site

The 1894, 1902, and 1911 Sanborn Fire Insurance Maps (Figures 21-23) indicate a building was located on this spot, but its outline is different than the current building. Each map shows the same boundary. In 1894, the historical boundary of the church was lots 24 -26;[3] three houses with other buildings on lots 27-32[4] are now occupied by a parking lot and a green space. To the east was the plot that would later be acquired by the church. The 1902 Sanborn map shows the same layout (Figure 22). By 1911, the church owned lot 23, which contained the house and two unidentified buildings to the east. The house due west on plots 27-28 stayed largely the same, but it appears the two houses which occupied lots 29-30 and 31-32 respectively were combined into two houses on one large lot covering lots 29-32 (Figure 23).

The building seen in the 1894 Sanborn map (Figure 21) was the congregation’s original 1890 church located on the same plots as the current building (the historical boundary). The building seen in these maps still exists as the shell of the middle section of the current building. The old church, which faced W. Gracie Avenue as does the current resource, was raised up and rotated 90 degrees so the south-facing primary façade faced either east or west.[5] The basement was dug under the old church as it was lifted. It was then set down on top of the basement. It does not appear to be visible inside the new church.[6]

The lots to the west of the church stretching to the border with Chestnut Street were donated to the church in 1989. The lot due east of the building is owned by the church; the house that formerly sat on the lot was demolished in 1972 and the plot was split in two and half of the plot donated to the church in 1982.[7] The land currently occupied by the garage in the northeast corner of the property is not owned by the church; it is private property (Figures 2-3).

The First Christian Church (Disciples of Christ) constitutes a major architectural presence along West Gracia Avenue and in Marceline. The church shares its block with its parking lot to the west and a small garage building not associated with the church in the northeast corner of the block occupied by the church, a parking lot to the west, signage in front of the south primary façade, a ramp attached to the building to the east, a flagpole near the southwest corner of the church, and a seating/prayer garden to the north of the building.

Exterior of the First Christian Church of Marceline

South Elevation (Primary Façade)

The south elevation is the church’s primary façade and is used as the main entrance into the building. It contains three bays. One bay is a central recessed portico. The other two bays are towers (Photo 1).

The historic water table divides the basement from the upper floors.

On the south façade a two-sash window flanks the stairs to the porch, on the east side and the other on the west side, respectively. These are found behind the shrubs.

Portico Area

The portico is topped with a flat roof and a stone-like parapet with a subdued, flowing battlement that is rounded and curving embrasures rather than is the typical square ones, but with squared merlon (Photo 1).

The portico, which measures 22′ x 10’9″,[8] is accessed via a rise of eleven concrete stairs with non-historic handrails and is flanked by two two-story towers on each side (east and west respectively).

The portico is a masonry and wood interpretation of a classical Ionic temple portico and employs metal Ionic columns. This central bay has a large portico. There are four paired Ionic columns with two on each side of the stairs leading to the portico. The columns have rounded plinths. The columns support a wood entablature. The entablature has a stucco parapet above the wood. These columns were identified as all steel;[9] however, the capitals are wood.[10]

A pair of wood doors with stone lintels flanks the porch on both the west and east sides of the portico (Figure 15). A stone inlay (described below) is centered in the north wall below four stained-glass window pairings—a small stained-glass window, topped by a longer stained-glass window (Figure 14). These stairs are flanked by two historic stacked brick pedestal which have a large square base at ground level with a smaller square brick pedestal on top of it, and the entire column capped with an historic globe light. The lights rest on a concrete cap while the prick pedestal itself rest on stone (Photo 1). It appears the smaller brick pedestal is a later addition; the date of this addition is unknown. At both the east and west walls of the recessed porch area the walls of the towers.[11]

The backwall (north wall) of the recessed porch holds a set of four historic stained-glass and painted lead windows (Photo 1). Each window consists of a large, vertically oriented rectangular panel with a small, horizontally oriented rectangular panel at the top and bottom. A more in-depth discussion of the stained-glass windows can be found below in the “Stained Glass/Painted

Leaded Glass” subsection.

Below this row of windows is the date stone with the date of construction. It reads:

First Christian Church

Erected 1915

This stone is surrounded by a flat segmented brick surround.

The ceiling material under the portico is historic bead board. There is also bead board in the east stairwell.

Jump to Part 2.

Towers

On the first floor of both towers is the multicolored quoining referenced above. These areas are seen centered on each wall (Photo 1). The quoining effect is seen at every corner of this façade. Both towers have a centered wood-framed, two-sash stained-glass window with a stone sill and lintel on the first floor. The second-floor windows are functional. There are external historic windows covering the stained glass on each elevation. The second story of each tower has a single one-over-one wood window, also with concrete sills and lintels. These areas are standard red brick.

Roof

The roof is non-historic asphalt shingle. Facing north toward the primary façade the building’s hipped, cross gabled roof over the entablature gives the appearance of a triangular gable typical of this style.

East Elevation

The east elevation is divided into three bays. The southernmost section is the east side of the eastern tower of the south façade. This is followed by a recessed section and a larger section to the north (Photo 2). The historic water table divides the basement from the upper floors.

A non-historic entryway with a ramp leads to a non-historic door in the east tower; it measures 15’6 1/2″ x 31’11” long and 4’11” wide. The ramp extends from the entry way along most of the central section (Photo 2). It extends out from the church about 15 feet and consists of two slopes, the first of which moves up toward the north and the other continues upward to the south where it connects with the non-historic door to the sanctuary.

Southern Bay

The southern bay—the east wall of the east tower—has similar features as to what is seen on the tower when viewed from the southern exposure. The same quoining feature exists on this wall and wraps around the north corner of the bay blending into the short north wall connecting to the recessed central bay.

The tower wall holds an historic wood-framed door with a transom topped with a stone lintel on the first level. A non-historic wood ramp was built in the mid-1900s to comply with ADA regulations for individuals with mobility issues (Photo 2).[12] The tower’s second level contains a wood window with a single light in the upper sash. The bottom sash has non-historic infill with a vent.

Central Bay

The central section is recessed by approximately 12 inches meeting with the north wall of the east tower. The south wall of the recessed area is red brick. This recessed wall of the bay has the same quoining seen on the towers. It holds a set of four stained-glass and painted lead glass windows. There are three rows of windows: small upper and lower transom windows and a central row made of four large, fixed panels. The central windows display scenes from the Bible, the lower transom windows have names of donors in them, which the upper transom windows have no elaborations.[13]

There are no second-floor windows in this bay because this bay is the outer wall of the church’s sanctuary/nave; the sanctuary is one large room with a domed ceiling (see below for more details about the sanctuary. A modern, non-historic entrance has been added to this bay. The entrance is reminiscent of a shed. It is a square wooden entrance painted white and containing a non-historic metal door facing east. It occupies the north corner of the bay and is approximately 7 feet in height.

Along the basement are six two-sash windows that line the east elevation with three obscured by the ramp; one of these windows at the far north end of this wall is boarded up.

Northern Bay

This bay has three levels of windows and the same quoining effect see elsewhere. also has a one-over-one historic window with concrete sills and lintels on the second floor (Photo 2). This section has three equally spaced bays from east to west. Each bay contains a one-over-one non-historic window set into historic wood frames with an historic concrete lintel and sill.

The basement level holds two of these windows (central and north bays) while the south bay of this wall is boarded over. The first-floor bays are set in a lighter red brick than that used for the quoining. Each non-historic window is set in the same kind of setting as those described above and are larger than the windows set into the basement and those on the second floor. The second-floor windows are identical in description to the previously mentioned windows, and the same size as those seen at the basement level, but smaller than those at the first-floor level.

A concrete block of unknown origin is directly to the south of the southernmost second story window. However, a conversation with SHPO during their on-stie visit on 8 November 2023 focused on this area and that of the eave at the north corner of this wall having to do with a removed hip return. Additional research is needed to determine if this area is where a return was removed. Modern utilities are affixed to this section.

Some of the windows on this elevation contain wood infill (Photo 7).[14] Additionally, most of the exterior windows are non-historic with non-historic aluminum storm windows.

An historic chimney extending up approximately four feet occupies the roof of this bay, standing in the southeast corner of this bay.

North Elevation

The north elevation, divided into four bays with one window at each of the three bays from east to west; the westernmost bay has a window, as described above, at the first and second floor and a non-historic door and screen door at the basement level (Photo 3). The quoining effect seen on the south and east elevations exists on this elevation as well.

This elevation’s version of the quoining effect covers the majority of the first floor and part of the second-floor area across all four bays. Each window, like the others on the south and east elevations, have concrete sills and lintels. The second-floor windows are smaller than the first floor and basement windows (which sits below the painted white stone water table), which are the same size.

The roof is broken into three sections. The large central part of the roof of this elevation slopes at about a 45-degree angle toward the north and flattens out slightly before the non-historic eave. To the east and west, are two smaller areas in which the roof slants at about a 60-degree angle to the middle of the second-floor windows.

The historic chimney described above in the east elevation description is seen at this elevation as well. It sits at the corner of the west side of the roof’s large central bay.

The historic water table divides the basement from the upper floors.

West elevation

The west elevation is divided into five sections. There are nine (9) bays on the first level, four on the second, and 8 bays at the basement level. The below description moves from north to south.

First (Northernmost) Section

The northernmost section contains two bays (Photo 4). It is a deeply recessed space containing wood-paneled windows as described above, including the stone sills and lintels in the first and second floors and one below the water table at the basement. A door acting as a second bay is located between the first and second floors on the south side of the first bay. It leads to a fire escape ladder. It contains the quoining. The historic stone water table divides the basement from the upper floors and continues along each section of this elevation.

Second Section

The second section, immediately south of the first section, protrudes west from the northernmost section by about three feet but remains recessed from the central section. It has two bays with the northern bay of this section containing one non-historic one-over-one window per level but with the historic sill and lintel. The window at the basement level has been replaced with a vent for a non-historic air conditioning unit that sits on the ground just outside of the former window.

The second bay of this section, to the north of the other bay, contains two non-historic wood-framed windows with historic stone sills and lintels seen on the other elevations and that are typical for this building. There is one each on the first and second floor. A non-historic single-story, shed-roofed entrance addition like the one on the east elevation (Photo 4) is at the southern corner of this bay where it meets the central bay. Modern utilities are attached to this bay. One former window is covered; it is where the air conditioning pipes enter.

Additionally, the windows on the first floor are contained within the same quoining seen on the other elevations of the building and create a clear border demarking the first and second floors (Photo 4).

The historic stone water table divides the basement from the upper floors.

Third Section

The central section is the largest bay on this elevation. It is the west wall of the sanctuary. No windows appear on the second-floor area since there is no second floor in the sanctuary.

The basement section has two windows, one of which is boarded up and has air conditioning cables running into it. The coal chute door occupies the central bay.

The first-floor section of this elevation has three bays and holds three wood-framed historic stained-glass windows with the concrete sills and lintels seen on the rest of the building. These windows are also contained within the same belt course pattern using color instead of projecting the brickwork, with a color change at the corners seen on other elevations of the building.

Fourth Section

The next section is also part of the sanctuary and has no second-floor windows. Instead, this consists of one bay which is recessed as far back as the northernmost bay of this elevation. The first level holds one historic stained-glass window in the same style as all the others and is within the quoining, but it is not centered as are all other windows. Instead, this window rests against the north edge of this quoining pattern. The basement also has a window matching those of the other basement windows (Photo 4).

Fifth Section (Southernmost)

The southernmost section protrudes from the previous section but extends only as far as the second section described above does. This section is the west elevation of the west tower seen on the south façade. It contains one bay (Photos 4, 7).

There is a small wood-framed one-over-one window (like Figure 17) on the second floor with a ventilation grate substituted for a bottom pane of glass. A stained-glass window is centered within the quoining, with a color change at the corners that is seen on other elevations of the building. The two-sash one-over-one basement windows match the other windows used for the basement.

Roof

The church has a hipped, cross gabled asphalt shingle roof that extends across the entire building. The slope of the roof viewed from the south elevation creating the illusion of the porch being a portico (Photo 1). Gabling is seen throughout the rest of the roof with some being shorter than others. The roof has relatively consistent sloping except for two small areas on the north elevation side of the building (Photo 3). A more detailed discussion of these two sections on the north elevation side is in the above “North Elevation” discussion. The east and west elevation roof designs are seen in Photos 2 and 4.

The two two-story towers have flat roofs with wide eaves. The towers from each side of the façade (Photo 1). The towers were originally parapeted with a blocked and squared-off look for, with an often seen merlon and embrasure pattern (Figure 12).

Three brick chimneys protrude from the roof. Two, a large one and a smaller one, are located on the west elevation side of the building (Photo 4). The smaller chimney sits above the northernmost section of the west elevation, above the first bay. The larger chimney sits over the first sections’ southernmost bay and abuts the central section containing the sanctuary. The third is on the east elevation side (Photo 2). It is situated above the second and third bays of the third (northernmost) section of the elevation.

Jump to Part 2.

Interior of the First Christian Church (Disciples of Christ)

The overflow room of the church and the classrooms on both floors are the frame of the original 1890 church (Figure 12) used in the construction of the current church.[15] As noted earlier, the original church was lifted off the foundation, a basement was dug, and the original church was then rotated 90 degrees and set over the basement.[16] Recent measurements indicate the church has not been altered from the measurements discussed in a 1915 Marceline news article and in conjunction with the 1964 layouts (Figures 4-6).[17]

First Floor

Entry Points/Vestibules

When originally opened in 1915, the congregation was able to enter through either door leading from the façade’s portico to get to the sanctuary (Figures 1, 2, 16; Photo 1). There are now three entries into the sanctuary from the outside: Through either of the doors flanking the portico (Photos 1) or the one on the east elevation for those with mobility issues (Photo 2). Both doors flanking the porch enter prayer rooms through which people pass into the Sanctuary (Photos 10-12). The ceiling of these prayer rooms is the access to the second floor of the towers seen in Photo 1. The ceiling panels, when removed, expose a ladder to the second floor of the towers, which have no floor.

Sanctuary

The Sanctuary is a large octagonal domed room with a plaster ceiling painted white. The ceiling detail includes beams with bracket detailing that move from the wood moulding lining in the upper corners of the room toward the center of the dome. These meet in the center of the dome where the dome flattens out. Through a small hole in one of these beams can be seen a wood frame that has been covered in plaster (Figure 19). These beams are decorative and not structural (Figure 19; Photos 7-8). An historic elongated light hangs from the center of the dome over the center pews. Two identical lights hang over the outer pews, respectively. A non-historic florescent light has been attached to the ceiling over the east entryway (Photo 7).

Four lights hang from the ceiling. The lights are over 50 years old but are not the original lighting for the 1915 erection. More research is required to determine when these lights were installed. The Sanctuary is primarily lit by the sun through the stained-glass windows. One non-historic florescent light hangs above the east entry doors (Photo 7).

The metal double doors to the southeast facing from the pulpit lead to the east side entry vestibule. The single metal door leads to the ramp on the east elevation side of the church. The non-historic wooden door to the south (when viewed from the pulpit) (Photo 7) leads to the southwest prayer room seen in Photos 10-11.

The Sanctuary is filled with 22 pews, an organ, a stage for the choir with non-historic seating, and the dais (Photos 7-8). To the left of the east entry is the former west entry, now a prayer room. The windows are all historic stained glass and painted lead glass and are the same windows viewed from the exterior (Figure 14; Photo 14). The pews and the organ pipes are original to the 1915 structure.

Wainscotting wraps around the southern walls of the Sanctuary. Modern speakers are affixed to the top of two walls while a non-historic fan and two lights hang from the ceiling above the choir alcove (Photos 7-9).

The rake of the Sanctuary’s floor moves from southeast to northwest, with the lowest point being where the floor meets the dais (Photos 7-8).

Overflow Room Area

There is a non-historic accordion door separating the overflow room from the Sanctuary. To the east of this accordion door is a doorless entry point to the overflow room .

Circling the overflow room on three sides (which is the frame of the original 1890 Christian Church) are several rooms . Most of these were once classrooms. Each now has a different purpose. More non-original historic lights outline the edges of the overflow room. Unless otherwise stated, all lights are known to be at least 50 years old, but not original.

The historic second story balcony overhang acts as the ceiling for approximately half of the first-floor area (Photo 13). It is a wood base with metal railings. The balcony overlooks the overflow room below . The ceiling of the part of the room not covered by the balcony is the ceiling of the second floor.

Most interior doors are historic . The original flooring is under the carpet. The original flooring has not been altered in any known way since its installation in 1915. The date the carpet was laid over it is unknown.

There are a total of seven rooms off this area and two stairwells—one to the east and one to the west—leading to the second floor, basement and to outside.

When looking north from the accordion door, an office with an historic door is due east (all doors are historic unless noted otherwise) (Figures 4 and 7; Photo13). Next to it in the extreme northeast corner of the floor is a study that is connected to the office through an historic door (Figures 4 and 7); it is used as an overflow room for the office. To the west of the study is the library room (now used for storage) (Figures 4 and 7; Photo 18). To the west of the library room is the Fisherman room (now a classroom) (Figures 4 and 7; Photo 20). To the west of the Fisherman’s room, is the KUM-JOY-NUS room used as a nursery (Figures 4 and 7; Photo 19). An unlabeled bathroom is next to the west staircase (Figures 4 and 7). To the south of the bathroom is an unlabeled room which is being used as a kitchenette (Figures 4 and 7). This room has a smaller room just outside the kitchenette to the south. This room holds the hose/water hookup for the baptismal. The baptismal entry is located outside this room in the southwestern most part of the overflow room. The baptismal is beneath the first floor’s flooring. The baptismal is part of the original design, but not shown on the 1964 floorplans (Figures 4, 7 and 18).

The walls of each room are historic, painted over, plaster.

Second Floor

The second floor maintains the same layout seen in Figures 5 and 8. All rooms remain without any structural changes. All the doors are historic unless otherwise stated.

The second floor only occupies the north one-fourth of the building and overlooks the overflow room on the first floor.

The balcony that skirts the overflow room below is crescent in shape (Photos 13 and 27). No known changes have been made to this balcony.[18]

Six rooms take up this space as well as the two stairwells to the east and west that lead to the first floor, basement and to doors leading outside (Figures 5 and 8; Photos 18-28). One room is named, four have designations and one is unlabeled. Windows are historic in this area (Figure 17).

As seen in Figures 5 and 8, from the east moving north then west, the rooms are: G10 (currently storage) (Photo 28). To the north is G11 (northeast corner of the floor) (Photo 22). G11 connects through a door to the west to the appears to read as “Berean” or “Barman” (Photo 21). This room is used for meetings. To the west of this room is an unlabeled room currently in use as storage (24). Next to this to the west is “G8” (Photo 25) which encompasses the northwest corner of the floor; it is currently a storage room, too. The final room, located south of the west staircase is labeled as “G9” (Photo 23). This is currently a kitchenette with eating area.

The original wood flooring is under the carpet on this floor as well. Aside from being covered has not been altered in since its installation in 1915.[19]

Stairs go down to the first floor and basement on both the east and west elevations (Photo 26).

Most doors and window frames are historic (Figures 16-17).

Basement

The basement dimensions also remain intact. Going down the east stairs from the first-floor overflow room leads to a dining room (Figures 6 and 9; Photo 29) at the north end of the church. No doors in the basement are historic. The ceiling is a non-historic drop ceiling and obscures the upper portion of the non-historic windows; see discussion of infill in “East Elevation: North Bay” section.

There are six (6) support beams covered with modern laminate paneling with a drop ceiling (Photo 29). At the far west side of this section is the kitchen (Photo 29). The kitchen is separated from the dining area (where elementary classes were held according to Figure 5) by a counter with a canopy. To the southwest, of the elementary classroom/dining area and due south of the kitchen are the men’s and women’s bathrooms (labeled “W.T.” (women’s toilet) and “M.T.” (men’s toilet), respectively). To the south of the elementary classroom/dining area is an entry into the rest of the basement (Photo 30). This central room (labeled “Preschool classes on Figure 6) is now used for Sunday School.

To the west of the Preschool Classroom/Sunday School of the classroom area are the burner/furnace room is (Photo 32). The coal room is separated by a hall across from the furnace room (Figures 6 and 9); the coal chute has been removed and replaced with non-historic utilities. To the south of this room is the basement of the west tower (Photo 33); it is currently used as storage. Running along the south wall of the basement and to the east of the south tower basement room is a rectangular room currently used for storage (Figures 6 and 9), and directly east of that is the basement of the east tower (Photos 30-31). It is currently part of the Preschool Classroom. The west section of the Preschool Classroom/Sunday School room is partitioned off (Photo 31). This partition is non-historic and not permanent; no date is known as to when it was installed.

Only standard updating of areas has taken place. All rooms seen in Figure 6 exist. For example, the coal room is now a storage room, and the coal chute has been sealed off (see Photo 4 for external view of boarded over coal chute).[20]

Some of the basement windows have been altered due to the ceiling; as noted earlier in the EXTERIOR discussion, they have wood infill now. The only windows that have not been altered are two on the east side of the building. These were not impacted because a non-historic box was built around them, ensuring that they didn’t need altering or that the ceiling partially blocks them.

Jump to Part 2.

Stained Glass/Painted Leaded Glass

The historic windows found around the sanctuary all contain depictions of Biblical scenes (Figures 13-14 and Photo 14). Each window also contains a leaded glass panel located under the window in which the name of the donor appears. The four sets of three windows of stained-glass and painted leaded glass facing south and located in the porch area are sets of three windows: A transom, them a 6 feet long window, then a donor window. The same set up of four sets of three windows can be seen on the west and east sides.

The uppermost and lowest panes appear to be operable (or at least were—the mechanisms seem to have ceased up over time). The small, lower stained-glass windows identify the persons, business or group that donated the window. The longer, central panels depict various Biblical events and people. Much of the central panels as well as all lettering are painted on.

No maker mark has been located. No records exist giving more details about these windows.

These windows are not solely stained glass. They also contain leaded glass windows which have been painted to give the appearance of stained glass throughout. There are spots on the painted glass where it is flaking off. In other areas, brush strokes can be identified.

The upper and lower panels of these windows were designed to be able to pivot open. It is unknown if they were designed to operate in unison.

INTEGRITY

The earliest layout plans for this nomination are from 1964 (Figures 4-6). However, dimensions and descriptions of the church appear in multiple articles in Marceline newspapers; using these articles as guides shows significant architectural aspects of the church remain largely intact. The Marceline Journal-Mirror, for example, indicated the church will be 90×56, have a front with columns and gables and the “main auditorium will be 44×44 feet”; additionally, it will “have two vestibules opening off the porch in front of the roof of which will be sustained by four steel columns, thirty inches through. A roling [sic] partition will separate the main auditorium from the Sunday School room, 36×50, two stories high in which there will also be seventeen class rooms [sic].”[24] The article further states the “basement will contain the dining room, 35×36 feet, with kitchen, work room, etc. and the furnace room.”[25]

Thus, the historical dimensions of the church are fully intact with the general layout of the property both the interior and exterior maintaining their historical integrity of location, design, setting, materials, workmanship, feeling, and association and thusly illustrates “the overall sense of past time and place is evident.”[26] The red brick remains intact.

The external limestone and brick remain unaltered for over 100 years. Each elevation maintains the historical material used to build the nominated property. Most repairs are either cosmetic or due to changes in laws and regulations (such as ADA requirements) and have not significantly altered the general layout of the property. The only significant alteration was the removal of the battlements resting on the towers’ parapets.

Internally, the original organ pipes remain, the ceilings in the nave and overflow room area are historic, while the basement’s ceiling was updated and impacted some of the historic windows. The dimensions of the rooms listed in the Marceline Journal-Mirror and other articles are exact.[27] Figures 4-9 and 15 and 16 also illustrate there has been no significant loss of historical integrity internally or externally and that all the original areas still exist, though some of them have different names now; most of the original plaster walls and ceilings on the first floor remain largely intact with few areas having been re-plastered. Most of the historic windows have been altered or replaced.

The internal and external dimensions match those described in local news articles.

As noted, the building has undergone no structural changes but has been updated with new electrical, lighting, non-historic windows; it also has several over minor alterations such as boarded up basement windows on the west and east elevations, the addition of an ADA compliant ramp, and non-historic doors. The most evident alteration was the removal of the battlements sometime prior to 1964 as indicated in Figure 11; there is no record of when or why they were removed.

The Christian Church of Marceline preserves its prime historical features, such as the columns, porch/portico, and masonry as well as its original dimensions in every way. Each elevation of the church has been virtually unaltered in appearance, updated only for safety and to improve access for those with mobility issues, since the building’s construction by local contractor and architect, A. J. Reynolds, over 100 years ago.

Despite these alterations, in the case of the First Christian Church of Marceline, as noted earlier, “the overall sense of past time and place is evident.”[28] The changes have not diminished its historic integrity as a strong representative of Classical Revival work in churches, because the look and feel of a Classical Revival building remains very evident. Given its style and maintained historical integrity, the Christian Church of Marceline, now known as the First Christian Church (Disciples of Christ), is locally significant and eligible for listing in the National Register of Historic Places under Criterion C: ARCHITECTURE as an excellent example of LATE 19TH and EARLY 20TH CENTURY REVIVALS/Classical Revival.

Jump to Part 2.

[1] No other data has been found regarding this alteration.

[2] The nomination is citing what exists within the current boundaries; however, the parking lot was not part of the

historic boundary.

[3] The church sat on Lots 25-26, but the church owned Lot 24.

[4] Marceline, MO. Sanborn Fire Insurance [Map], 1894.

[5] As yet, no information has been found to determine which direction it was turned. However, a 90-degree turn

means the former façade face either east or west.

[6] Confirmed during 8 November 2023 site visit.

[7] Based on church archival records.

[8] Confirmed by a physical measuring on 17 August 2023.

[9] “Plans Ready for Christian Church.” The Marceline Journal-Mirror. 16 April 1915, XXVII.

[10] This was discovered upon the Missouri SHPO’s 8 November 2023 on-site inspection. Newly peeling paint

exposed the wood.

[11] Visual inspection of the doors by SHPO on 8 November 2023 confirmed that the doors are historic.

[12] Cavanah, Lex. Personal Interview. 8 November 2023.

[13] A more in-depth discussion of the stained-glass windows can be found below in the “Stained Glass/Painted Leaded Glass” subsection.

[14] Missouri SHPO states that they believe that the windows were replaced due to obstructions caused by the drop ceiling installation. As a result, the window openings were filled in with shorter windows could be installed. Only the windows that ended up extended after the ceiling was lowered have the infill. This is a hypothesis because no construction records exist for most of the alterations.

[15] Petska, Beulah. First Christian Church: 1888-1963 (Sixty-Fifth Anniversary). 24 May 1953.

[16] “Linn.” The Chariton Courier. 7 May 1915, p. 6. It is unknown which direction the church was rotated. The

original church’s primary façade, however, will be pointing to the east or west.

[17] “Plans Ready for Christian Church.” The Marceline Journal-Mirror. 16 April 1915, XXVII outlines the many of

the measurements. Measurements physically taken on 17 August 2023, confirm these measurements have not changed.

[18] Church archival records show no changes to the balcony since its completion in 1915.

[19] Cavanaugh.

[20] There are no records of the chute being sealed, but the church, according to Cavanah, transitioned from coal to fuel oil in the 1950s.

[21] See Figures 15 and 16 for a comparison between the church’s original look with the parapets and the current

appearance.

[22] All information regarding alterations came from Cavanah through email or verbally, unless stated otherwise.

[23] Marceline: The Magic City.

[24] “Plans Ready for Christian Church.” The Marceline Journal-Mirror. 16 April 1915, XXVII.

[25] These dimensions remain true in the church and therefore are being used in conjunction with the 1964 footprint

(Figures 4-6) when describing the layout of the church.

[26] National Register Bulletin: How to Complete the National Register Registration Form. U.S. Department of the

Interior National Park Service, Cultural Resources. 1997.

[27] On 8 May 2023, Lex Cavanah, Chair of the Church’s Board measured the areas listed in the various articles and

confirmed that they are accurate, thus indicating that the church’s historical integrity is identical to the original plans of the building.

[28] National Register Bulletin: How to Complete the National Register Registration Form. U.S. Department of the

Interior National Park Service, Cultural Resources. 1997.

April 28 2025

Mary Alice Hill, A Pioneer in Women’s Sports, PART II

Marceline HistoricalSociety Famous Females, Historical People, Marceline Historical Society, marcelineproject historic buildings, historic people, historic preservation, historical society, history, marceiine historic society, Marceline, Marceline Historical Society, Mary Alice Hill, Mary Hill, missouri, Title IX 0

This is Part 2 of the Story of Mary Hill.

POST-ACADEMIA

After SDSU, Hill wasn’t done fighting for equality.

In 1989, Hill set another first for women by becoming the Director of Recreation at Camp Pendleton Marine Corps Base during which she received the Federal Woman’s Achievement Award, letters of appreciate from President Reagan, Vice President Quail and British Prime Minister Margaret Thatcher, and a Unit Commendation from the U.S. Secretary of Defense for founding the “Operation Desert Shield Support Walk.”.

Hill was also executive director of the National Association of Girls and Women in Sports (NAGWS). During this time, Hill was the member of committees, task forces and foundations that furthered female’s rights. “At NAGWS I implemented the HERo Award…a program “designed to promote role models for women in sports.”

Hill also dove into horse racing. In fact, one of her horses, “Pardon Dolly”, won Delmar. The horse still holds the highest payoff in Delmar history. As it turns out, the horse’s name became a kind of good omen. Hill met Dolly Parton by chance multiple times. Once on a plane bound for Hawaii with the SDSU football team, Parton stopped and spoke with the entire team. Later, while flying from an NCAA council meeting in Tennessee, Parton again approached Hill.

“The important thing about this [Tennessee] meeting was I needed to schedule two non-conference football games. The two Athletics Directors wanted to meet her [Parton]. So, I said I need to schedule games with them. They agreed. Several ADs had told the press that I would not be able to schedule the non-conference games. I sure proved them wrong.”

MARCELINE MATTERS

When Hill settled in back in Linn County, specifically in Marceline, she shifted her attention to revitalizing Marceline. She became the executive director of the Marceline Industrial Development Authority (MIDA), and a member of the Marceline Project Charitable Foundation and other local organizations.

Between 1995-2001, during her time as MIDA’s executive director, Hill had a role in publicizing Marceline’s connection to Walt Disney, asking the Missouri State Historical Preservation Office (MoSHPO) if Marceline could be named an historic district (SHPO found several of the properties in Marceline eligible for the National Register), implemented the copyright for Main Street USA, was the event director of the world premiere of THE SPIRIT OF MICKEY at the Uptown Theatre (a property now listed on the National Register of Historic Places) and the event planner for the international celebration of Walt Disney’s 100^th birthday party. Furthermore, Hill was instrumental in the completion of the first phase of Main Street USA’s renovation and the Santa Fe Depot’s rehabilitation into the Walt Disney and Railroad Museum, a $35 million project. “I did get several grants for the renovation of downtown Marceline and the Disney Museum [which totaled] 1.5 + million.”

Simply put, Hill’s bravery was the catalyst for the full enforcement of Title IX protection. Without her, women’s and girls’ sports might still be treated as “separate but equal,” receiving paltry amounts of funding compared to boys’/men’s sports. Hill’s dedication to Marceline can’t be understated either. Without her, Marceline wouldn’t look like it does, and Disney’s legacy could have been lost. So, the next time you see her around, thank her for all she’s done for the nation, women, and the city.

Ed is the Founder and President of the Marceline Historical Society, a 501c3 nonprofit (marcelinehistoricalsociety.com).

April 19 2025

Timeline

Marceline HistoricalSociety african american schools, black schools, Churches, Coal, Coal Industry, entertainment, Historical Buildings, Historical People, Marceline Historical Society, Masonic Lodge, segregation, Uptown Theatre history, Maceline timeline, marceiine historic society, Marceline, missouri 0

OUR CITY’S TIMELINE

Interested in what’s happened and who is happening in Marceline? Here’s a developing timeline of our city.

1888

March 6, 1888: City of Marceline is incorporated
The City of Marceline was incorporated on March 6, 1888.
March 6 1888
Claud C. Dail is the first child born in Marceline. He was the second son of Mr. and Mrs. R. J. Dail. He was born March 6, 1888, the same day Marceline was incorporated
Ruth Cannon is the first girl born in Marceline. She was the daughter of Mr. and Mrs. W. A. Cannon. She was born July 22, 1888.
The first newspaper of the city, The Marceline Journal, began publication around June, 1888, and it was closely followed by the appearance of The Marceline Mirror.

1889

First Opera House opens on the corner of Kansas Avenue and California Avenue
First coal mine (Marceline Mine #1, owned by Marceline Coal Company/Marceline Coal & Mining Company ) opens southeast of town

1896

First Phone Exchange: The first telephone exchange in Marceline was built about 1896

1902

New coal vein hit (20 May 1902 at 3:00 pm)

1905

Coal Mine #2 opens north of Marceline

1907

First Nickelodeon opens

1908

Second Nickelodeon opens (2 competing at the same time)

1909

Jeweler Albert Zurcher (pronounced like WORKER) moves to Marceline and soon becomes head timekeeper for the Marceline region of the railroads

1912

Two Nickelodeons close and a new one opens

1913

April 10, 1913: the Marceline Santa Fe Depot was dedicated

1915

First Christian Church is build by integrating the original church into the new design (a National Register of Historic Places property) opens

1920

February 9, 1920: Theodore Roosevelt American Legion Post #264 was chartered
November 1, 1920: Marceline Carnegie Library opened with 1,701 books ready for use. At the end of the first year, there were 990 borrowers and 3,024 volumes in stock

1923

Current Marceline Masonic Lodge (a National Register of Historic Places property) opens
First hospital, the B.B. Putnam Hospital opens on Howell Avenue. It is later taken over and run by the nuns of St. Francis

1924

Joseph Hemmings, the co-founder and superintendent of the Marceline Coal and Mining Co. opens his new Marceline Mercantile & Supply Co. at 125 E. California Avenue. It would later be run by the (Frank) Gucker (“Goo-ker”) Coal Company. It is a National Register of Historic Places property
1929
June 7, 1929: Marceline News puts out its first issue

1930

The Dickinson Theatre opens across the street from the Cater Opera House on Kansas Avenue

1933

Lincoln School is opened and runs until the end of Segregation in 1954 (a National Register of Historic Places property)

1936

The Dickinson Theatre becomes the Uptown Theatre (a National Register of Historic Places property) after a dispute between owner A.B. Cantwell and Leaser Dickinson Theaters
The Chief Theatre, run by Dickinson, opens

1942

May 1, 1942: Marceline’s first hospital, the B. B. Putman Memorial Hospital, closes on May 1, 1942. The nuns of St. Francis take over the day-to-day operations, expanding the hospital to include more beds

1955

December 20, 1955: Engine #2546 was placed in Ripley Square and dedicated to Marceline

1956

July 4 1956: The Walt Disney Municipal Park was dedicated on July 4, 1956
July 4 1956: Walt Disney’s movie “The Great Locomotive Chase” premiered at the Uptown Theatre

1960

October 16 1960: Walt Disney Elementary School was dedicated on October 16, 1960

1992

July 4 1992: the Veterans Memorial is dedicated in Ripley Square

2001

September 21 2001: Walsworth Community Center dedicated
The Walsworth Community Center is dedicated on September 21, 2001

2004

August 23 2004: The Walt Disney Post Office is dedicated on August 23, 2004

2023

Uptown Theatre placed on National Register of Historic Places, thanks to our efforts as the Marceline Historical Society (501c3, trademarked)

2025

Thanks to our efforts as the Marceline Historical Society (501c3, trademarked), four more historic properties are placed on the National Register of Historic Places: Masonic Lodge, First Christian Church, Lincoln School, and Marceline Mercantile/Gucker Coal Company Office.

Want more details about the history of our city? Read what the Linn county Compendium has to say:

THE FULL EARLY HISTORY OF MARCELINE

May 2 2024

Uptown Theatre, Part III

Marceline HistoricalSociety entertainment, Historical Buildings, Hollywood, Marceline Historical Society, Uptown Theatre Cantwell, Dickinson, entertainment, historic buildings, history, Marceline, Marceline Historical Society, spanish revival, Uptown, Uptown Theater, Uptown Theatre, Walt Disney 0

The following information is from Ed Comber’s MAKING HISTORY column published in the Linn County Leader.

Everyone knows the Uptown Theatre was a community hub where people fell in love, owners buzzed their customers’ chairs, pageants and homeless benefits were held, and the World War II war effort was aided, but did you know it’s also an important work of architecture in rural Missouri?

Theater historian Maggie Valentine asserts that the “motion picture theatre served as a significant architectural experience for millions of people [and where] a significant architectural type, distinguished by program, emphasis, imagery, and history; one must read the building as such, as an architectural type, rooted in popular culture with its own symbolic program, to appreciate the architecture.” If you’ve ever stood across the street and looked at its façade, you can see how it fits Valentine’s description and is one of the exceptions due to its Spanish Revival architecture.

The Spanish Revival Style: External Architectural Aspects

What is the Spanish Revival style? It was popular in the United States between 1915 and 1940 and is most closely associated with the Southwestern United States. Virginia McAlester notes that Spanish architectural influence followed the Santa Fe Railroad as it extended northeast through Missouri. Sound familiar? That certainly explains why there are multiple buildings in Marceline and along the Santa Fe line that have Spanish-style architecture.

McAlester goes on to say that the range of “decorative detail found in Spain was extraordinarily diverse.” In other words, it was seen as a diverse medley of designs and styles. Thus, there is no one aspect most closely associated with Spanish Revival style architecture.

The Uptown Theatre is no exception. The Marceline News described the theater in the following way at the opening of the original theatre in 1930: “The entire front of [the theater is in] buff colored textured brick with vari-colored insets of terra-cotta.” The buff color indicates that the building is designed with one of the main characteristics of the Spanish Revival style, add in the floral designs and creatures in various configurations and you’re looking at a beautifully designed building in the style.

Furthermore, it’s a simple rectangular 3-story building in brick running bond with a rectangular plan shape and a flat, steel and stucco roof mimicking a tile roof that slants slightly between the two end pilasters, which imitate the columns typically seen in traditional Spanish Revival style homes.

While ornamentation is not uncommon in this style, the Uptown Theatre’s detailing includes urns, lions, and flowers, all of which are not typical of the style. However, ornate decorative façades with floral designs and creatures in various configurations is most representative of some 15^th century Spain embellishments, so there could have been some influence from that style as well.

Nonetheless, the theatre illustrates the intention of an application of a high style commonly associated with theater buildings.

The Spanish Revival Style: Internal Architectural Aspects

What was wonderful to see when I inspected the theater last year is that its interior space retains both its original function as a theater and much of the original 1930 architecture too.

A Marceline News reporter described it at its opening as follows:

Entering the lobby [the] walls are of a textured color plaster…Flex-O-Tile…presents much the same appearance as tile or terraza [sic]…. Just on leaving the lobby stands the… foyer.

The first impression upon entering the foyer is the [carpet]. Here again are notice soft lights reflected from the side wall fixtures…. The walls are of a soft shade of tan of textured plaster with a ceiling very subdued in color… In the center of the front wall will be installed the drinking fountain of the latest design and at each end of the foyer are the retiring rooms and the ‘cry rooms.’

The first impression on entering the auditorium is of a riot of color distributed haphazardly…. The ceiling is crossed with heavy beams… Bordering the celling and around the proscenium arch is a rich design of cast ornamental plaster…

At each side of the proscenium arch are decorated plaster arched grills thru which the house will be heated in the winter. These grills are finished with the same decorative plaster…. The walls are finished in a heavy textured plaster….

If you’ve been in the theatre in the last 50 years, you’ve noticed how strikingly similar the inside is to this description. Sadly, the only things missing now are the “cry room”.

Marceline Comparisons

Per the 2018 Marceline architectural survey, the subtle influence of Spanish architectural styles is evident in several buildings in the city; however, only one other commercial building in Marceline has significant Spanish architectural characteristics. That building, built in 1900, is the former mortuary. It exhibits more traditional Spanish architectural characteristics which make it more reminiscent of Spanish Missionary than Spanish Revival.

Another building that displays Spanish architectural characteristics is the Santa Fe Depot (also eligible for the National Register), built in 1913. It is the most traditional example of Spanish Revival in Marceline and is generally reflective of Santa Fe Railroad’s corporate styling.

The reason the Uptown Theatre is so much more important architecturally than the depot is because Cantwell and Wolfskill understood it needed to blend into the commercial district without standing out very much, as the Chief would a few years later. As a result of this thinking, the theater remains unimposing and unostentatious, exuding an earthy feel that blends well with the other buildings in the downtown commercial district at the time of its erection. You’ll note that the Masonic Temple does a similar thing. Given that it was built in 1923, my guess is Cantwell and Wolfskill decided to imitate the blond buff brick look, which just happened to be part of the Spanish Revival style.

Ed is the Founder and President of the veteran-owned Midwest Preservation Group, LLC, a historical preservation company dedicated to assisting rural communities with preserving their history. For more details about the company and historic preservation, please visit the FAQ page of midwestpreservationgroup.com.

No part of this article can be reproduced without the expressed written permission of the author.

April 22 2024

Uptown Theatre, Part II

Marceline HistoricalSociety entertainment, Historical Buildings, Hollywood, Marceline Historical Society, Uptown Theatre, Walt Disney Cantwell, Dickinson, entertainment, historic buildings, history, Marceline, Marceline Historical Society, spanish revival, Uptown, Uptown Theater, Uptown Theatre, Walt Disney 0

The following information is from Ed Comber’s MAKING HISTORY column published in the Linn County Leader.

The Uptown saw an increase in importance through the 1940s and into the 1960s, when changes in movie-goers habits began to change.

1940s Era

World War II had just started when Glen Dickinson’s partner, H. J. Griffith bought him out to become the sole owner of the Uptown Theatre in April 1940. Griffith updated the equipment and continued the tradition of community-based entertainment, first-run movies, and added even more community outreach programs, many a direct result of World War II. For example, the theater hosted the “Miss Marceline” beauty pageant and various dance contests, like the “Big Negro Jitterbug Contest” on New Year’s Eve 1940 to give the community a different focus than the war the U.S. was supporting but hadn’t officially entered yet.

As part of the theater’s community involvement, the Uptown began showing anti-Hitler and anti-Japanese news reels. It also sponsored aluminum collection programs, ‘March of Dimes’ fundraisers, sold Defense Stamps, was approved as an official issuing agency for the sale of war bonds, held war bonds rallies, hosted benefits for veterans, did a fashion show, had a benefit for raising kitchen fat, held an amateur night for aspiring showbiz folks, and hosted a cooking show.

Community-based events continued through the 1940s. In 1941 around the time the U.S. officially entered World War II, for example, manager David Dallas had a “woman’s friendly neighbor program” that included “book readings, musical numbers, lectures and other features of particular interest to women”. The first of these was for the Daughters of the American Revolution. During this decade, the theater continued to host community fashion events, beauty contests, and rallies.

After the end of World War II, a 1946 advertisement confirms the theater was still showing first-run features like “A Thousand and One Nights” with roughly a 6-month delay in the showings, presumably due to the movies being shown in metropolitan areas first.

Plays, indoor sporting events, concerts and similar entertainment continued to be held at the high school during this period.

But the Uptown remained a steadfast, important part of life in Marceline and the surrounding areas. It played a significant role in helping the U.S. war effort through to the end of the war. After that, regrettably, the theater became just a regular part of the community.

1950s – 1970s

In 1951, the Uptown Theatre was sold to Louis Higdon, a former manager of the theater. By all accounts, it doesn’t appear he did much with the theater, but I know from speaking with Marceline residents in person and on the Facebook page “Marceline Memories”, that the newspaper and other media failed to publicize the theater.

Despite the sudden media blackout on the theater, the Uptown remained the only movie theatre in town until October 12, 1952, when the Star Drive-In theater opened at the corner of Missouri State Roads 36 and 5, approximately three miles north of the Uptown Theatre. The drive-in held 300 cars and closed in 1977. The Star was seasonal; thus, the Uptown continued as the only local place to see movies year-round and the sole place during the winter.

Four years after the drive-in theater opened, the Uptown Theatre hosted a movie premiere by Marceline’s most famous former resident: Walt Disney. In 1956, Walt and his brother Roy Disney held the Midwest premiere of The Great Locomotive Chase in Marceline attracting thousands to the city (PHOTOS?).

Throughout the 60s and 70s, the only two venues that existed in Marceline for films were the Star Drive-In and Uptown Theatre. The nearest other theaters that were advertised in Marceline’s newspaper were the Lin-Vi Drive-In in Brookfield, MO and the year-round Macon Theatre in Macon.

During this time and after, the Uptown continued its role as a center of the community, continuing as a place for films and various gatherings, though there appears to be only one notable event at the theater of note occurring after the 1970s: the Disney’s premiere of the Spirit of Mickey in 1998.

The stories I’ve heard from locals about their time at the Uptown Theatre have been wonderful. The number of people who had their first date there, or who remember “The Tingler” one owner (Basil) had rigged up for the Vincent Price movie. From what Hank and others have told me on the Marceline Memories Facebook page, Basil would walk up and down the aisles and knocking the boys’ feet off the chairs, or two ladies named Mary Belle and Ivorine, or the tales of people who used to live in the apartments above the theater, have been eye-opening. It is a place that is deserving of historic preservation for reasons that go far beyond Walt Disney. From its rocky beginnings with legal battles and a direct competitor to helping with the World War II war effort to it making memories for so many people, it is a place that brought the community together for decades and generations.

No part of this article can be reproduced without the expressed written permission of the author.

April 4 2024

Mary Alice Hill, A Pioneer in Women’s Sports, PART I

Marceline HistoricalSociety Famous Females, Historical People, Marceline Historical Society, Walt Disney historic people, historic preservation, historical society, history, Marceline, Marceline Historical Society, Mary Alice Hill, Mary Hill, Title IX, Walt Disney 0

This article can be found on the Linn County Leader site as well.

MARY ALICE HILL, A Pioneer in Women’s Sports

Generally, I write about inanimate objects and dead people. This column is different. It is about a woman who is alive and who I greatly admire and respect. Her name is Mary Alice Hill. Her contribution to our nation is undeniable; without her bravery, girls and women might have continued being discriminated against in high school and college sports. As a girl dad, I can’t thank Mary enough for her tenacity. This column is different in that it discusses a trailblazer who’s still alive, but because I’m letting Mary tell her story. I’ve edited for space and clarity.

“I was born in Kirksville. I [worked on my family’s] farm prior to college. My father only had 2% hearing in one ear. So, as a child I went along with him to hear for him. As Dad would say I was his little ears. I helped with all the farm chores. We’d milk 20-30 cows twice a day. Also drove the tractor, planted, tilled, and harvested the crops. Before I started college, we … sold all the livestock and farm equipment. My family had built a restaurant they ran when I was in college. The name of the restaurant was “Hill’s Duck Inn.” [It] was there for many years.

My father, Clyde E Hill, [was] killed in a vehicle accident May 3, 1980. My mother died September 9, 2006, of natural causes. I have three sisters: Harold & Clydene (Hill) Jones, Loyd, Gene & Catherine (Hill) Finch, John & Lonia (Hill) Collins. They all live in the Brookfield area. I also have several nieces and nephews. I moved back to my home on the farm in 1995. My mother was getting older and asked if I could come back with her. Which I did.”

Mary’s love for sports started in college.

“I taught myself to throw the discus and javelin while at NEMSTC [Northeast Missouri State Teachers College]. I was a Physical Education Major. There was going to be a Track and Field meet in Columbia, Missouri and the instructors asked if I would throw the discus and javelin. I said ‘Sure.’ [The problem was that the meet was] in three days. They asked if I had a discus and a javelin. I didn’t, so they supplied one for me. The main issue was that ‘no one could help me [because] they did not know how to throw them either.”

So, Mary taught herself using a book. “I went to the meet and placed in the events…. When I got back home, I wanted to work on the events and do better the next year. So, I went about trying to get help from the Men’s T&F coach. He said he could not help me [because] he did not have time. So, I asked if I could use the weight room. He totally said, ‘Absolutely not. Women are not allowed in the weight room.’ Now one must realize that this was the early 1960’s. So, my family got the discus, javelin, and weights for me. I worked all year on the events. Then [came] the competition in the spring in Columbia. I had improved and [I] won both events [event setting a record in javelin]. In fact, my javelin throw record stood into the 80’s. On my way home all I could think of was the song ‘Is That All There Is’.”

She started her career at Colorado State University. “While at CSU the women’s program received $5,000. as the men’s program received $1.5 million. The women’s programs had to travel by college vans, paid for their uniforms, their food, and lodging… the men flew, and uniform’s, charted buses, all food and lodging were paid. Plus, they had scholarships, [unlike] the women.” The university president recognized this inequity and increased the budget to $24,000, still far less than men’s sports. At CSU she recruited two Olympic athletes who set American records.

After being dismissed, Hill filed and won a federal sex-discrimination and First Amendment case that drew widespread attention to collegiate sports inequities and the need for Title IX.

“When I interviewed at SDSU [San Diego State University], the committee was 12 educators. I also had a one-on-one interview with [Athletic Director] Ken Karr. At the interview I asked if he was concerned that I had a lawsuit against CSU. He looked at me and said: ‘That takes spunk.’ I thought to myself ‘Spunk is good.’ CSU’s president was also very supportive. I have always given Ken Karr the credit for my advancement in athletics. Ken was a wonderful mentor. He only had daughters [and I] learned that men with daughters are more receptive to women in a workplace.”

In 1976, Hill became SDSU’s Associate Athletic Director of Women’s Athletics. Two years later, she was appointed Associate Athletic Director for both Men and Women, a first for an NCAA Division 1A school. Four years later, in 1982, Hill was appointed the Director. This was ten years before the next woman was appointed to that position (About Mary Alice Hill; https://topmotivationalspeakers.wordpress.com/about/). In that position, Hill brought new opportunities for women including scholarships and televised women’s sporting events.

Ed is the Founder and President of the Marceline Historical Society, a 501c3 nonprofit (marcelinehistoricalsociety.com).

No part of this article may be reproduced without the expressed written permission of the author.

April 1 2024

Uptown Theatre, PART I

Marceline HistoricalSociety Architecture, entertainment, Historical Buildings, Historical People, Hollywood, Marceline Historical Society, segregation, Spanish Revival, Uptown Theatre, Walt Disney architecture, Cantwell, Dickinson, entertainment, film, historic buildings, historic people, historic preservation, historical society, history, hollywood, Maceline timeline, marceiine historic society, Marceline, Marceline Historical Society, missouri, spanish revival, Uptown Theater, Uptown Theatre, Walt Disney 0

The following information is from Ed Comber’s MAKING HISTORY column published in the Linn County Leader.

The Uptown Theatre is well known in the county. Perhaps you went to a movie there when you were younger. Maybe even your first date. You likely also know about the two Disney films that premiered in the theater—the 1956 Midwest premiere of Walt Disney’s The Great Locomotive Chase and the 1998 premiere of The Spirit of Mickey. But these premieres are simply footnotes in the theater’s marvelous history. It has a much more interesting existence and story than its flirtation with the Disney Corporation.

The Uptown Theatre is a 286-seat theater with a raised stage, apartments on the second and third floors, and storefronts in the north and south bays of the façade. If you’ve been in town in the last year, perhaps you have even enjoyed a coffee at Café Marceline.

PRE-UPTOWN HISTORY and CONSTRUCTION

In October 1924, A.B. and Ivah Cantwell bought the Snappy Theatre, housed in the north side of the theater, next to a Kaiser-Koch clothing store that occupied the south portion of the original dual-purpose building. Cantwell remodeled the Snappy Theatre and renamed it the Cantwell Theatre within the first year of owning it.

In 1929, Cantwell purchased the clothing store and started building his new theater. While local contractor Fred Wolfskill was erecting the new theater, Cantwell took over the lease of the Cater Opera House to continue showing movies until his new theater was complete. According to newspaper accounts, Cantwell and Wolfskill gutted much of the circa 1894 building housing the Snappy Theatre and Kaiser-Koch store. The Marceline News reported that “virtually all of the old Kaiser-Koch and Cantwell Buildings will be torn down.” There is some evidence that suggests the party walls of the circa 1894 building (the walls abutting the buildings on either side of it) were incorporated into the new building.

Originally, the theatre was to have a seating capacity of 550 with a balcony holding an additional 200 seats to be built later. However, no balcony was built, and the theater was finished with a seating capacity of 286.

During construction, the theater was renamed the Dickinson Theatre when Glenn W. Dickinson, a regional theater chain magnate, leased it from Cantwell. It opened as Dickinson Theatre on June 30, 1930.

ENTERTAINMENT THROUGH THE 1930s

Prior to the Uptown Theatre, Marceline had the Cater Opera House for all major entertainment events, such as movies, plays, dances, and sporting events like boxing. According to local newspaper accounts, while leasing the Cater Opera House Cantwell showed films there until the grand opening of the Dickinson Theatre. Within two years of the Dickinson Theatre’s opening, the Cater Opera House temporarily closed. For what reason was not reported. The Cater would quickly re-open, but only as a place for large gatherings like dances and meetings. It operated in that capacity until 1957 when it burned down.

When the Dickinson Theatre opened in 1930, it showed first-run movies, held dances and rallies, and hosted vaudeville acts, beauty contests, and community-based parties. These events combined with the first-run feature films made the theater an integral part of the community. The Cater seemed to be only for dances, plays, and indoor sporting events like boxing.

One example of non-feature film entertainment designed to bring in crowds was a vaudeville act booked shortly after opening in 1930. The theater hosted a “Twin Party” featuring “Siamese twins”, a famous vaudeville act at the time.

The theater opened on 20 June 1930 with an R.C.A. sound system with “improved Simplex design” projector lamps “assuring a perfect picture [with] perfect sound.” The Marceline News reported that the grand opening of the theater had over one-thousand people in attendance.

For the next six years, the Dickinson Theatre ran unopposed as the only place for first-run films and community entertainment, like fashion and style reviews and holiday parties.

But a theater war was on the horizon…

The lack of comparable competition ended in 1936 when A.B. Cantwell canceled Dickinson’s lease. This was big news in town and may have had something to do with the lawsuit a woman had filed against Dickinson a year or so prior; she alleged he broke off their engagement and sued him. The Marceline News was more than happy to let the community know about the drama. Cantwell leased the theater to R. C. Jones, who remodeled the theater and reopened it on 29 August 1936 as the Uptown Theatre.

Dickinson vowed to open a competing theatre within the year and as promised, he opened a new Art Deco-style theater, the Chief Theatre, within the year. It was located at 209 N. Main St. U.S.A., about two blocks north of the Uptown. This started a three-year battle between the two theaters.

During the three years’ war between the Uptown and Chief, the theatres fought for Marceline movie supremacy. Based on ads and news articles, it appears the Uptown was the more dominant. The Uptown continued to show first-run movies, hold beauty contests, throw holiday parties, and be a community centerpiece, whereas the Chief advertised only one holiday party and movie ads were sporadic.

In 1938, the Uptown Theatre became a unit of the Commonwealth Theatre company, the largest independent theatre operator in the Kansas City territory. This meant the Uptown could book movies earlier than before; now patrons would be seeing new releases even sooner, again one-upping the Chief.

Something odd happened between the time the Uptown became a Commonwealth theater and 21 July 1939. On this day, it was announced the Griffith-Dickinson Theater Group, the largest independent theatre circuit in the United States, had bought the Uptown Theatre and would take over operations on 22 July 1939. Dickinson claimed the Uptown would be closed. However, after the merger, references to the Chief Theatre virtually disappeared. It seems the new manager of both the Chief and Uptown decided to only keep the Uptown open. The Chief officially closed in September 1939. It’s not clear why it closed, and the Uptown remained, though. The Chief burnt down in February 1942 under what might be called suspicious circumstances. It never re-opened as Dickenson promised. Again, as the only theater in town, the Uptown Theatre continued as the entertainment Mecca of Marceline. And in the 1940s the theater was ready to help the War Effort.

TO BE CONTINUED…

No part of this article can be reproduced without the expressed written permission of the author.