lined with trees. In 1872, Frederick Law Olmsted and Calvert Vaux were called in to replant the park, as an open glade with clumps of trees. At first the square, the last public space that functioned as the entrance to New York City, was largely residential: the Union League Club first occupied a house loaned for the purpose by Henry G. Marquand at the corner of 17th Street and Broadway. After the Civil War the neighborhood became largely commercial, and the square began to lose social cachet at the turn of the twentieth century, with many of the old mansions being demolished. Tiffany & Co., which had moved to the square from Broadway and Broome Street in 1870, left its premises on 15th Street to move uptown to 37th Street in 1905; the silversmiths Gorham Company moved up from 19th Street in 1906. The last of the neighborhood's free-standing private mansions, Peter Goelet's at the northeast corner of 19th Street, made way for a commercial building in 1897. The Rialto The Rialto, New York City's first commercial theater district, was located in and around Union Square beginning in the 1870s. It was named after Venice's Rialto, a commercial district. The first facility to open within the Union Square Rialto was the Academy of Music, which opened at Irving Place in 1854. The theater district gradually relocated northward, into less expensive and undeveloped uptown neighborhoods, and eventually into the current Theater District. Before the Civil War, theatres in New York City were primarily located along Broadway and the Bowery up to 14th Street, with those on Broadway appealing more to the middle and upper classes and the Bowery theatres attracting immigrant audiences, clerks and the working class. After the war, the development of the Ladies' Mile shopping district along Fifth and Sixth Avenues above 14th Street had the effect of pulling the playhouses uptown, so that a "Rialto" theatrical strip came about on Broadway between 14th and 23rd Streets, between Union Square and Madison Square. At the same time, a transition from stock companies, in which a resident acting company was based around a star or impresario, to a "combination" system, in which productions were put together on a one-time basis to mount a specific play, expanded the amount of outside support needed to service the theatrical industry. Thus, suppliers of props, costumes, wigs, scenery, and other theatrical necessities grew up