Croxton is a section of Jersey City in the New Jersey Meadowlands in Hudson County, New Jersey, United States. It is bounded by Secaucus at Penhorn Creek; the Riverbend of the Hackensack River and the Hudson Generating Station and the Marion Section lie to the south and Truck 1-9 and Western Slope to the east. Nearby North Bergen Yard and Croxton Yard are parts of the North Jersey Shared Assets Area; the Yard is known as the North Jersey Intermodal Terminal. The area is informally named Croxton after Croxton Yard on the Norfolk Southern Freight Line. Much of the area is filled with New Jersey Transit commuter lines and freight lines. There are no passenger stations; the area is home to the Metropolitan Bulk Mail Facility for New Jersey. The only major road crossing the district is County Road, which connects Jersey City Heights with Secaucus. In 2005, the New Jersey Turnpike opened Exit 15X to allow access to the newly built Secaucus Junction train station, the access road to which acts like a huge U-turn, dominates the landscape.
The name Croxton was given to the railroad yard after Philip Croxton, the traffic manager for Lorillard Tobacco Company, which opened a factory at 888 Newark Avenue in the nearby Marion Section during his tenure. New Jersey Transit bus route #2 travels along County Avenue from Secaucus Junction to Journal Square. Crescent Corridor List of rail yards New Jersey Meadowlands Commission Hudson Generating Station List of neighborhoods in Jersey City, New Jersey Tonnele Circle Marion Junction Northeast Corridor Pulaski Skyway U. S. Route 1/9 Wittpenn Bridge Main Line Bergen County Line Pascack Valley Line Passaic and Harsimus Line West Hudson Wittpenn Bridge
Ross Corner is an unincorporated community and census-designated place located in Frankford Township, in Sussex County, New Jersey, United States. As of the 2010 United States Census, the CDP's population was 13. According to the United States Census Bureau, Ross Corner had a total area of 0.495 square miles, including 0.492 square miles of land and 0.003 square miles of water. As of the 2010 United States Census, there were 13 people, 5 households, 5.000 families living in the CDP. The population density was 26.4 per square mile. There were 7 housing units at an average density of 14.2 per square mile. The racial makeup of the CDP was 100.00% White, 0.00% Black or African American, 0.00% Native American, 0.00% Asian, 0.00% Pacific Islander, 0.00% from other races, 0.00% from two or more races. Hispanic or Latino of any race were 0.00% of the population. There were 5 households out of which 20.0% had children under the age of 18 living with them, 80.0% were married couples living together, 20.0% had a female householder with no husband present, 0.0% were non-families.
0.0% of all households were made up of individuals, 0.0% had someone living alone, 65 years of age or older. The average household size was 2.60 and the average family size was 2.40. In the CDP, the population was spread out with 7.7% under the age of 18, 0.0% from 18 to 24, 0.0% from 25 to 44, 46.2% from 45 to 64, 46.2% who were 65 years of age or older. The median age was 64.5 years. For every 100 females there were 116.7 males. For every 100 females ages 18 and older there were 140.0 males
Bernard William "Berne" Nadal was a typeface designer, among other things. He was born in Louisville, February 28, 1869, when but four years old manifested a talent for art, his mother was an artist of the French school, no doubt it is to her teaching and example that the early development of his artistic temperament is due. The talent was cultivated until the death of the mother, when he was placed under the instruction of H. Clay Woolford, a prominent artist of the south. Two years Mr. Nadall began studying with Al. Legras, a classmate of the famous Carl Brenner, from that time he made rapid progress, he afterward went to the Louisville School of Design for a term, in less than a year he was working for the Louisville daily papers, the Post, the Daily Commercial and others. It was during his connection with the Post that he cartooned the "Newman Ward Granite Steal," an exposé of a swindle on the city, the result was a suit for damages in the sum of $200,000 against his paper; as a consequence, he left Louisville for Chicago, where he was employed for a time in designing and decorating, his services were soon sought by printers and publishers.
During this period he did good work in designing initials and tail pieces, page ornaments and titles, until he found congenial work for Barnhart Brothers & Spindler, the Great Western Type Foundry, of Chicago. This proved an incentive to greater exertion and closer study, he soon determined to go abroad to make a careful study of design in its application to the typefounder's needs, he first went to Birmingham, the great industrial center, where every facility is afforded the student, afterward he spent some months in Paris. He returned to Birmingham and applied himself diligently, he went abroad at the end of 1896, with the exception of a brief visit to Chicago and his old home in the early part of 1899, he has remained continuously at work. Besides devoting a large part of his time to study, he has found employment for the remaining portion in designing type faces and ornaments for English typefounders. In this capacity he has not only had an opportunity to improve his art sense of the best features of the type face to be made, but he has gained a general knowledge of the possibilities and limitations of the typefounding business.
Experience of this sort can only be to his ultimate advantage, must result in reaching the front rank of designers, because it is backed by great energy and persistence. Of Mr. Nadall's productions in England, American printers have not had an opportunity to judge, as there is little type of English manufacture which finds its way into their offices, he is yet a young man, has his reputation to make, but he is bound to make it. The work he did for Barnhart Brothers & Spindler was not extensive, but showed an originality of treatment and a latent talent in letter designing which give promise of better things. For this firm he designed a considerable number of borders and ornaments, all of which have met with a hearty reception from Printers, his principal type designs are Mazarin, Mazarin Italic, Fifteenth Century, Tell Text and a lightface type of pleasing design known as Nadall. This latter was cut lighter than the designer intended, its usefulness thus somewhat impaired, as it has not been found durable at the press.