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Bathhouse Row is a collection of bathhouses, associated buildings, and gardens located at Hot Springs National Park in the city of Hot Springs, Arkansas. The bathhouses were included in when the Federal Government took over four parcels of land to preserve 47 natural hot springs , their mineral waters which lack the sulphur odor of most hot springs, and their area of origin on the lower slopes of Hot Springs Mountain.

The bathhouses are a collection of turn-of-the-century eclectic buildings in neoclassical , renaissance-revival , Spanish and Italianate styles aligned in a linear pattern with formal entrances, outdoor fountains, promenades and other landscape-architectural features. The buildings are illustrative of the popularity of the spa movement in the United States in the 19th and 20th centuries. The Bathhouse Row contains eight bathhouses aligned in a row: These were independent, competing, commercial enterprises.

The area included in the National Historic Landmark also includes a Grand Promenade on the hill above the bathhouses, an entrance way including fountains, and a National Park Service Administration building. Completed in , the elegantly designed Buckstaff Baths operates under National Park Service regulations, its well-trained staff provides a range of services from tradition thermal mineral baths and body massages to Swedish style full body massages. The bathing tubs are private and bathing suits are optional, although visitors may cover themselves between the bathing stations.

The cream-colored brick building is neoclassical in style with the base , spandrels , friezes , cornices and the parapet finished in white stucco. It was a radical departure from the fanciful structures that preceded it, and compared to the Irish House of Parliament or the Treasury Building. Friezes above the two-story doric columns have medallions paterae that frame the brass lettered words "Buckstaff Baths" centered above the entrance.

Brass handrails border the ramp that leads up to the brass-covered and glazed wood-frame entrance doors. First floor windows are arched; second story windows are rectangular. Those on the third floor are small rectangular windows, with classical urns between them above the cornice that finish the columns. The first floor of the building contains the lobby and men's facilities. Women's facilities are on the second floor. The third floor is a common space containing reading and writing rooms and access to the roof-top sun porches at the north and south ends of the building.

It was closed on June 29, , the first of the Row establishments to fall victim to the decline in popularity of therapeutic bathing. Its surpassing elegance was intentional, as Samuel Fordyce waited to observe the Maurice's construction to find out if he could build "a more attractive and convenient" facility. Fordyce believed he owed his life. It represents the "Golden Age of Bathing" in America, the pinnacle of the American bathing industry's efforts to create a spa rivaling those of Europe.

The Fordyce offered all the treatments available in other houses. It offered a museum where prehistoric Indian relics were displayed, bowling lanes and a billiard room for recreation, a gymnasium for exercise, a roof garden for clean air and sun, and a variety of assembly rooms and staterooms for conversation and reading. In style, the building is primarily a Renaissance Revival structure, with both Spanish and Italian elements.

The building is a three-story structure of brick construction, with a decorative cream-colored brick facing with terra cotta detailing. The foundation and porch are constructed of Batesville limestone. On the upper two stories, the brickwork is patterned in a lozenge design. The first floor exterior of the front elevation to the west is finished with rusticated terra cotta shaped to look like ashlar stone masonry.

The remainder of the first floor is finished with glazed brick. A marquee of stained glass and copper with a parapet of Greek design motifs overhangs the open entrance porch. The north and south end walls have curvilinear parapets of Spanish extraction. These side walls have highly decorative terra cotta windows on the first floor. On the front elevation, the fenestration defines the seven bays of the structure and provides the architectural hierarchy typical of Renaissance Revival—style buildings.

The windows on the first floor are of simple rectangular design. The arches of those openings are incorporated into the terra cotta frieze that elegantly finishes the top of the wall directly below the cornice.

Visible portions of the roof are hipped, covered with decorative tile. Hidden portions of the roof are flat, with the exception of the large skylights constructed of metal frames and wire glass. The first floor contains the marble-walled lobby, flanked by terra cotta fountains, which has stained glass clerestory windows and ceramic tile flooring. In the vicinity of the lobby desk are a check room, attendant dispatch room, and elevators.

The north and central portions of the building house the men's facilities: The women's facilities, considerably smaller in size, are at the south end of the building.

Originally there was a 30 tub capacity. Although the men's and women's bath halls both have stained glass windows in aquatic motifs, the most impressive stained glass is the massive skylight in the men's area, with the DeSoto fountain centered on the floor directly below it. The second floor originally had dressing rooms, lockers, cooling rooms, and massage and mechano-therapy departments; now it is largely occupied by wood changing stalls, with entry to a centrally located quarry-tile courtyard for sunbathing.

The most impressive space on the third floor is the assembly room now museum where the segmentally arched vaults of the ceiling are filled in with arched, stained glass skylights. Arched wood-frame doors surrounded by fanlights and sidelights open out to the small balconies of the front elevation. After experiencing the curative powers of the thermal waters in treating a Civil War injury, he moved to Hot Springs and was involved in numerous businesses including the Arlington and Eastman Hotels, several bathhouses, a theater, the horsecar line, and utilities.

Fordyce had a hand in virtually every development which shaped the community and Bathhouse Row from the s to the s. The Hale was constructed in —93, replacing an earlier Hale bathhouse.

The Hale was probably the first of the Hot Springs 19th-century bathhouses to offer modern conveniences to its bathers, and thus became more cosmopolitan in nature. The first Hale Bathhouse, built in by John C. Hale, was the first to provide more than just a bath as a service. Within twenty years there were at least three establishments in Hot Springs bearing Hale's name, although none of these appear to have been situated at the location of the present Hale.

It is very likely that all the early structures were destroyed by raiders during the Civil War. Following the war, Hale rebuilt his bathhouse near the Alum Spring. John Hale died in and the bathhouse lease was sold or transferred by his heirs.

After the Hot Springs Commission settled land claims in the area in , William Nelson built a bathhouse adjacent to the existing Hale Bathhouse with the intent to replace it. The frame structure was razed in and a new building put up on the site the next year by principal owner Colonel Root. Over the entrance there is a double curved parapet with the name of the bathhouse.

On either side of the entrance are small windows barred by handsome wrought-iron grilles. The entrance arcade forms a wide sun room where guests could relax. An attractive great-hipped roof of red tile crowns the building on all four sides. The first floor contains the sun porch, lobby, office, and men's and women's facilities. The south side of the building the front half and the back two-thirds contains the men's area with dressing room, pack room, cooling room, and bathing hall with skylight.

The women's side contains similar facilities, but smaller in scale. The second floor, reached by stairs flanking either side of the lobby, has additional dressing spaces, cooling rooms, and massage rooms for men and women.

The partial basement has employee dressing rooms and a display spring. The basement underwent repairs following a flood in The bathing department had tile floors, 26 tubs, marble partitions, and nickel-plated hardware.

The tubs were rolled, rimmed, and porcelain lined. The Hale had two needle and shower baths, one hot room, six cooling rooms, a gymnasium, and 14 dressing rooms on the men's side; the women's department contained 8 tubs, one vapor bath, one hot room, two cooling rooms, one needle bath, and six individual dressing rooms.

The house included a subterranean excavation or cave in the tufa bluff directly to the rear of the building. This cave was used as a sweat room; it was known for some time as the "electric cave" until it was closed in The building ceased operation as a bathhouse in and was closed for several years. In it was remodeled for use as a theater and concessionaire operation snack bar, gift shops, and arcade.

A new emergency exit was installed at the south end of the lobby to meet fire code regulations. The concessionaire operation failed and the building closed nine months later.

It was originally built in in the Classical Revival style, with an enormous central cupola and possessed a flamboyant Victorian air. The latter renovation changed the facade from neo-Classical revival to Mission Style in — The building is generally rectangular in plan, and is two and one half stories in height.

By , the neo-Classical building had a hierarchy of fenestration typical of that style: The remodeling included changing the rectangular window openings of the sun porch at the front of the structure to arched window openings, like those on the second story, suggesting arcades of piers with capitals.

The brick was covered with stucco, and wrought iron grilles were placed over the two windows flanking the entrance. The entire effect became very "California". Interior modifications in conjunction with those remodelings are unknown. An unusual engineering feature in the basement is the use of brick vaulting as the form into which concrete was poured for the floor above. The Lamar Bathhouse was completed in in a transitional style often used in clean-lined commercial buildings of the time that were still not totally devoid of elements left over from various classical revivals: The sun porch leads into the lobby, whose north, south, and east walls are covered with murals of architectural and country scenes.

Facilities including cool rooms, pack rooms and bath halls are on this floor, with the men's at the north and the women's at the south. Centered in the building is the stair core that receives natural light from a skylight above. The second floor contains massage rooms, a writing room, dressing rooms, and a gymnasium.

The partial basement houses attendant rooms and mechanical equipment. The building's bathhouse operations ended in November The building is a two-story reinforced concrete structure finished with stucco on the exterior. A one-story enclosed sun porch spans nearly the entire length of the front elevation.

The two-story portion is rectangular in plan. The flat roof is finished with built-up roofing material, with the exception of the metal-framed wire glass skylight. Brick and clay tiles cap the parapet edges.


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