Cleveland’s 1903 Group Plan was a grand undertaking: one of the era’s most ambitious and successful attempts to turn what civic leaders saw as an irredeemable slum into a “City Beautiful,” replete with dignified new structures and striking public spaces. In 1910, the Group Plan’s first building opened and the bar was set high: Christened the Federal Building and U.S. Courthouse, the structure is an architectural masterwork with a Beaux Arts façade and interior spaces enhanced with fine art and marble and brass finishes. The building was renamed the Howard M. Metzenbaum United States Courthouse in 1998; it is the only Group Plan structure to border both Public Square and the Mall.

The Courthouse belongs to an elite group of 35 buildings commissioned by the U.S. Treasury Department under the Tarsney Act of 1893. That legislation gave permission to the secretary of the treasury to use private architects, selected through competitions, to create federal buildings around the United States. The Cleveland structure was designed by Arnold W. Brunner under the direction of James Knox Taylor, supervising architect of the U.S. Treasury Department.

As the first Group Plan building, the Courthouse—built at a cost of $3,318,000—became the model upon which most of its Cleveland brethren were later based. The Public Library (1925), which resides next door, bears a particularly close resemblance to the Courthouse. Most of the other Group Plan buildings—the Cuyahoga County Courthouse (1912), City Hall (1916), Public Auditorium (1922) and the Board of Education building (1931)—also emulate the Courthouse’s style, size, scale and overall appearance.

Brunner took as his architectural inspiration the Place de la Concorde in Paris. The similarity is evidenced particularly by the tall Corinthian columns that adorn all four of the Courthouse’s facades. Like the Place de la Concorde, the Courthouse also is festooned with statuary, including two pieces—"Jurisprudence" and "Commerce"—by Daniel Chester French who also designed the Lincoln Memorial.

The interior is equally notable. Entering through one of three arched doorways, visitors encounter a lateral corridor 30 feet deep that runs the entire width of the building. The hall’s vaulted ceiling reaches 30 feet in height and all surfaces, including the floor, are done in Italian marble. Cast-bronze, spread-wing eagles standing on globes appear over each pair of elevator doors. Windows are trimmed in bronze. On higher floors of the building, there also are small interior windows. When the building was used as a post office these “postal peeps” served much the same function as internal security cameras do today, allowing supervisors to keep an eye on workers below.

The third floor’s ceremonial courtrooms have often been at the center of history-making events. In 1918, Eugene V. Debs was put on trial in the East Ceremonial Courtroom for opposing US involvement in World War I. Civil suits relating to the May 4, 1970, shootings at Kent State University were held in the building’s upper courtrooms, which also were the site of Cleveland’s famous school desegregation (bussing) case that was decided in 1976 by Judge Frank J. Battisti.

Visible everywhere inside the building are fine artworks, many of which have Cleveland or Ohio themes: “City of Cleveland Welcomes the Arts” by William Hickok Lowe. “Passing Commerce Pays Tribute to the Port of Cleveland” by Kenyon Cox. “Battle of Lake Erie, Sept. 10, 1813” by Rufus Fairchild Zogbaum. The building also boasts a collection of 63 “Delivering the Mail” murals by artist Francis Millet, who also created the 13 murals in the Cleveland Trust rotunda and died on the Titanic.

Following a 1998 upgrade, the courthouse was renamed in honor of former U.S. Senator Howard Morton Metzenbaum. A major initiative to restore public spaces and modernize the mechanical systems was initiated in 2002. That same year, a number of functions of the U.S. District Court moved to the new Carl B. Stokes Federal Court House Building west of Public Square. Today, the U.S. Bankruptcy Court, Department of Agriculture, Department of Commerce, General Services Administration, Immigration & Customs Enforcement, and Office of the U.S. Trustee reside in the Metzenbaum facility. The upper courtrooms are still used for public hearings and proceedings.

One of more than 200 legacy properties under the stewardship of the General Services Administration, the Courthouse was listed on the National Register of Historic Places in 1974.

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In years past, when you traveled Martin Luther King Jr. Drive to the Cleveland Museum of Art, you likely noticed the formidable-looking bronze statue towering over the road's intersection with Jeptha Drive, the little road that takes you up to the Museum parking lot. The statue was erected as a memorial to Milan R. Stefanik, Slovakia's greatest and most treasured national hero. It had been a featured monument in Wade Park for nearly 90 years and was a source of pride for Cleveland's Slovak community. However, on your next trip to University Circle, don't going searching for this statue in Wade Park. It's no longer there. As a result of extensive road and sewer construction work in Wade Park, the statute was removed in 2013 from its site at this intersection and, in a somewhat controversial move, eventually relocated to to the Slovak Cultural Garden, down the road in Rockefeller Park.

It's easy to understand why the memory of Milan Stefanik is so treasured by Cleveland's Slovak-American community and why even after 90 years moving his statue to a new location created some controversy in this ethnic community. Stefanik, son of a Lutheran minister, was born in 1880 in a village in what is today western Slovakia. In his youth, he was a brilliant student. He attended Charles University in Prague where he earned a PhD in Philosophy. In 1904, he immigrated to France where in the space of a decade he achieved an international reputation as a Renaissance man who excelled in a number of different fields of scientific endeavor. In 1914, when World War I broke out in Europe, Stefanik joined the French Army becoming a military pilot, flying missions against Axis forces in Europe. Within a short time, he was promoted to the rank of general. In addition to his military duties, he traveled extensively in Europe and in the United States with future first president Tomas Masaryk and others lobbying for the creation of Czechoslovakia. After the war ended, Stefanik was returning to the new republic in May 1919 to become its first minister of defense, when the plane he was piloting--just after it had crossed over the border into Czechoslovak airspace, mysteriously crashed, killing him.

Within months of Stefanik's death, Cleveland's Slovak community undertook plans to have a statue sculpted in his honor. It was not an easy project to complete. Slovak-American leaders in New York and in other U.S. cities argued that the statue should be sited in a more important venue, Washington, D.C. Back in Cleveland, some members of City Council wanted the statue to be located in a park in Garfield Heights. Cleveland's Slovak community, however, led by ethnic journalist and civic leader, John Pankuch, was persistent and succeeded in 1924 in erecting the statue in Wade Park--where, according to Pankuch, it would be visible to thousands of members of the general public who "would pass by [it] every hour."

In 1929, just five years after the statue was placed in Wade Park, a proposal was made to move it to the new Slovak Cultural Garden that was being planned in Rockefeller Park. Drawings were made, footers were laid, and preliminary work to raise the statue off its pedestal was started. But then John Pankuch and others stepped in and persuaded the Slovak community to keep the statute in Wade Park where it remained ever since until its relocation in 2013. Now as the centerpiece of the Slovak Cultural Garden, the Milan R. Stefanik statue sits on a pedestal that was built upon the same footers that the Slovak Civic League had poured for it in the early 1930s. It is situated between the busts and pedestals of two other Slovak cultural heroes, poet Jan Kollar and Stephen Furdek, the father of American Slavs. While, as noted, this move was not without controversy, many in the Slovak community shrug it off and say that the statue has simply finally come home.

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Moses Cleaveland (1754-1806) was born and raised in Connecticut. After studying law at Yale College, he served as a Captain in the Continental Army during the Revolutionary War. Moses was a shareholder in the Connecticut Land Company which purchased land in the Western Reserve, or New Connecticut. This involvement led Moses Cleaveland on an expedition into the Ohio wilderness. He was responsible for surveying the land as well as negotiating land rights with the Native Americans living there, who initially challenged the surveying party's right to be on the land but ultimately accepted livestock, whiskey, and various trinkets from Cleaveland in exchange for an assurance of safety.

On July 22, 1796, Moses Cleaveland arrived at the mouth of the Cuyahoga River and decided that the land just to the east of it would be the capital of the new territory. His surveyors laid out a town, including a 9-1/2-acre Public Square, on the high bluffs overlooking Lake Erie and the winding Cuyahoga. Cleaveland and most of his men returned to Connecticut in October, having laid out towns and plots all across the territory east of the Cuyahoga River.

Ninety-two years later, in 1888, the Early Settlers Association of the Western Reserve erected a statue of Cleaveland on the very Public Square that his men had once plotted. Cast in bronze and standing just under eight feet tall, the statue, which cost over $4,000 to build, shows Cleaveland as a surveyor, holding a staff and compass. Despite the honored position that Cleaveland holds in the city's history, however, it is spelled Cleveland – without the extra "a." One legend has it that in 1830 the city's newspaper could not fit the "a" in its headline, so the city became Cleveland.

Cleveland further paid homage to its founder not only through the city’s name and bronze monument but through living monuments scattered throughout Greater Cleveland. In 1946, as part of the 150-year anniversary of Moses Cleaveland’s party arriving at the Cuyahoga River’s mouth, it was proposed that Arthur B. Williams and the Cleveland Museum of Natural History should locate and label trees that were alive in Cleveland when Moses Cleaveland first came to the city. There were 242 trees nominated from 23 different tree species. Each tree was checked to verify its age. The final list of official Moses Cleaveland Trees included 150 trees that the public could easily access. Each of the official Moses Cleaveland Trees was outfitted with commemorative metal plaques so that the public could easily identify the trees. Since 1946, more trees have been added to the official list of Moses Cleaveland Trees, while some of the first designated trees have died out. As of 2021, there are 273 Moses Cleaveland Trees, which stand as living history that connects present-day Cleveland to its founding.

Despite Moses Cleaveland’s vast impact on Cleveland, he never returned to the city that bears his name (minus an "a," anyway) after his surveying job was completed. On his return to New England he wrote:

"While I was in New Connecticut I laid out a town on the bank of Lake Erie, which was called by my name, and I believe the child is now born that may live to see that place as large as Old Windham."

Although it took time for Cleveland to grow and develop into a viable city after his departure in 1796, Cleaveland's prophecy proved quite an understatement.

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