Archive for the ‘Houses of worship’ Category

This alley was once an exclusive New York street

September 18, 2017

These days, it’s a dark, narrow footpath between Laight and Beach Streets in Tribeca, with Belgian block paving yet no streetlights or street signs telling you where exactly you are.

But in the 19th century, this was St. John’s Lane, a rich and fashionable residential street that faced the back of St. John’s Chapel (below) on adjacent Varick Street.

Completed in 1807, St. John’s Chapel and nearby St. John’s Park (or Hudson Square, as it was supposed to be called originally) were the centerpieces of the booming city’s new St. John’s Park neighborhood.

By the 1820s, what was once a swampy area called Lispenard’s Meadows in colonial times had become a posh, genteel English-style enclave for Knickerbocker merchants and other well-heeled professionals whose fortunes rose in the first half of the 19th century.

Trinity Church owned the land, and church officials sold lots surrounding the private park to upscale buyers. (They tried to rent them at first, but New York’s wealthy didn’t like that arrangement.)

Those buyers in turn built Georgian-style row houses surrounding the park and chapel. They also fenced in the park and planted beautiful gardens.

“Catalpas and cottonwoods, horse chestnut and silver birch trees were planted throughout, and gravel paths wound among them and the ornamental shrubs and flower beds,” wrote Charles Lockwood in Manhattan Moves Uptown.

St. John’s Park had a well-deserved reputation as a polite and refined neighborhood with a peaceful green space. But its standing changed when Cornelius Vanderbilt put down railroad tracks on one side of the park. In the late 1860s, Trinity Church sold the park to Vanderbilt, who built a railroad station where once were flowers and trees.

The rich left, and their homes became boarding houses and tenements. Commercial enterprises and poorer New Yorkers moved in.

St. John’s Lane still survives in a once-again-posh Tribeca, unmarked and unknown. A plaque at Albert Capsouto Park on Canal Street recalls St. John’s Park as well.

The gorgeous chapel itself hung on until 1918, when it was bulldozed. You can still see images of it at the Canal Street 1 train station, where it’s memorialized on the subway mosaics opposite the platform.

[Second image: unknown; third image: NYPL; fourth image: Wikipedia; fifth image: NYPL]

The 1984 murder of a Studio 54 “miss party girl”

September 18, 2017

Connie Crispell lived in New York City from 1974 to 1984.

Her life in the city hit many of the cultural touchstones of the 1970s and 1980s—nights at Studio 54, after-hours clubs downtown, panic over AIDS. Yet her name and her tragic murder have mostly been forgotten.

Born to a prominent family in Virginia, Crispell came to Manhattan at age 22. She rented a two-bedroom at 12 East 86th Street for $500 a month and tried her hand at various jobs—marketing jewelry made out of subway tokens, founding a bartender-for-hire service.

But her true place in the city seemed to be on the dance floor at Studio 54.

Crispell and her roommate, “fell into a routine that began with taking a nap after work,” stated New York magazine in a 1984 article, which quoted a friend describing her as “miss party girl of New York City.”

“They rose at about 10 p.m. and showered. They put on disco music to get themselves in the proper spirit, and Crispell often made a pitcher of vodka tonics. Then they hopped in a cab and headed for Studio 54,” arriving back on 86th Street (below left) at 4 a.m.

By the end of the 1970s, her roommate gave up the party scene and moved out; Studio 54 shut down briefly. Crispell continued to spend money she didn’t have and was evicted from her apartment.

“With some financial help from her family, Crispell moved into a studio apartment in the old FBI building, on East 69th Street,” wrote New York. “She seemed to identify with the heroine of Breakfast at Tiffany’s, and she sometimes called her place ‘my Holly Golightly apartment.'”

As the 1980s began, Crispell worked in an office position with designer Carolina Herrera, then as an account executive at Ogilvy & Mather and later as a salesperson at Brooks Brothers.

Studio 54 reopened again, and Crispell returned night after night. “She became a kind of celebrity of the dance floor and was often admitted to the club without paying,” according to New York.

She dated a blue blood preppie and then moved in with a 60-something diamond tycoon. After that relationship ended, she took a $120 a week room at the all-female Martha Washington Hotel on East 30th Street.

She supported herself by signing up with an escort service that gave her a beeper and sent her to meet men at the city’s poshest hotels.

As her former roommate and other friends fell into more settled lives, Crispell continued to live on the edge. She told people she thought she might have AIDS, and she did a 10-day stint in Bellevue after threatening to jump from a 9th floor apartment.

Once she was released, she was back at Studio 54, inviting fellow club-goers home with her to her new sublet at 58 West 58th Street (above right) in the wee hours of the morning. “Soon Crispell’s home became a kind of salon,” wrote New York, attended by heiresses, designers, and Village People band member Randy Jones.

One of those after-hours party guests, however, was a 20-year-old convict named Charles Ransom. According to newspaper accounts, Ransom said that he and Crispell had sex after she hosted a Kentucky Derby party in April 1984. Afterward, Crispell told him that she thought she had AIDS.

Ransom said he blacked out and strangled Crispell, stuffed her nude body in a trunk, and put the trunk on the balcony of the apartment. He invited two prostitutes to stay at the sublet for several days before the owners returned and called police.

Ransom got a minimum of 25 years in prison. A month after the murder, Crispell’s friends held a memorial at Fifth Avenue’s St. Thomas Church to mourn “the loss of the girl who always wanted one more moment of fun,” wrote New York.

[Top photo: New York; second and third photos: Biography.com; fourth photo: Manhattan Scout; fifth photo: streeteasy.com; sixth image: Binghamton Press and Sun-Bulletin; seventh photo: New York Post via New York]

A faded memorial marks a horrific 1904 tragedy

June 5, 2017

The faded marble fountain dedicated to the 1,021 victims of the General Slocum disaster is not easy to find in Tompkins Square Park.

It’s beyond the brick comfort station that blocks off much of the park from the northernmost end, near the pool and across from the lovely brownstones on 10th Street.

This lonely statue marks the city’s second-biggest tragedy after 9/11 in terms of the number of people killed—and almost all of the dead came from the heavily German “Kleindeutschland” neighborhood of today’s East Village.

The disaster is remembered every June 15, the anniversary of the day St. Mark’s Evangelical Lutheran Church on Sixth Street chartered the steamship General Slocum for a day excursion up the East River.

The ship, packed with women and children expecting to have a picnic, caught fire as it steamed past 97th Street at about 10 a.m.

As the boat  continued to burn while sailing up the river, passengers—weighed down by the heavy clothes of the era and unlikely to know how to swim—were forced to either stay on the ship and die by fire or jump into the river and risk drowning.

The huge death toll rocked the German neighborhood, and two years later, the fountain was dedicated—paid for by the Sympathy Society of German Ladies.

The inscription, “They were earth’s purest children young and fair” (from a Percy Bysshe Shelley poem) has cracks and chips in it, and a powerful sadness.

The Art Deco WWII memorial on an 1830s church

May 29, 2017

Though it’s been renovated extensively during its 183 years at the corner of Sixth Avenue and Washington Street, St. Joseph’s Church still has Georgian features and Greek Revival touches—two architectural styles that were popular when it was built.

And there’s a third design style on the Sixth Avenue facade of the church: Art Deco.

That’s in the form of a gilded World War II memorial listing the names of hundreds of men and women from the parish who served in the war.

It’s astoundingly beautiful and unusual in this low-rise neck of the Village, and worth a look next time you find yourself in the neighborhood. St. Joseph’s remains the oldest Catholic church edifice in the city.

[Bottom photo: Wikipedia]

This skyscraper lobby will take your breath away

May 1, 2017

You’ve heard the phrase “cathedral of commerce,” which is used to describe lots of beautifully designed skyscrapers in New York City.

But the term really applies best to the Trinity Building, opened in 1907 beside Trinity Church at Broadway, with its 21-story Gothic silhouette covered in Indiana limestone.

And if the gargoyles, grotesques, and other Gothic details of the outside of the building (along with its twin next door, the U.S. Realty Building) make your eyes pop, then take a look at the inside lobby.

Here, gilded grotesques adorn the elevators like guardians.

The colored stained-glass exits and elaborate arched ceiling make you feel like you’re in a European house of worship . . . until the security guard asks you where you’re going, and you remember that you’re actually waiting for the elevator in a 20th century Lower Manhattan office tower.

As in many city architectural treasures that still function as office buildings, photos are probably not permitted officially.

But next time you’re in Lower Manhattan, sneak in and let the Gothic wonder around you take your breath away.

Two forgotten Broadways nobody knows about

April 21, 2017

Broadway, the 13-mile road that began as an Indian trail and grew to define the city, is synonymous with greatness.

To put “Broadway” in the name of a new street is to aspire to something big — which was the idea behind East Broadway and West Broadway.

City fathers in the 19th century gave these names to existing streets in Lower Manhattan to divert traffic from the real Broadway and create what they hoped would be successful thoroughfares, states The Street Book.

So how do you explain Old Broadway and Broadway Alley, two narrow byways all but forgotten by the early 20th century?

Old Broadway is actually a leftover piece of another street. This lane runs from 125th Street to 129th Street (at left in 1932) just east of the real Broadway, then picks up again between 131st and 133th Streets (below, also 1932).

It’s a vestige of the old Bloomingdale Road, a colonial-era road that started around Madison Square and crossed to today’s Upper West Side.

In the late 19th century, Bloomingdale Road was straightened and made part of the real Broadway.

The remaining seven blocks of Bloomingdale Road didn’t fit anywhere, so it was given the moniker Old Broadway and allowed to remain on the map.

“Why the few blocks of Old Broadway were left no one knows exactly, but probably because the wiping out of the thoroughfare, with many of its old houses, would have entailed unnecessary hardship upon the residents,” explains a 1912 New York Times article.

Vestiges of rural Manhattan remained through the 1930s. “For nearly a block, on the west, huge signs hide a bit of raised, rocky ground — pasture, no doubt, for goats in days gone by,” states another Times piece from 1930.

Today, the only reminder of a bygone city is the Old Broadway Synagogue (on the left side of the above photo), built in 1922 for Harlem’s Jewish population.

Broadway Alley has a more colorful past. It’s a one-lane drive between 26th and 27th Streets and Lexington and Third Avenue with a street sign on the 27th Street side.

Laid out around 1830, according to a 2005 Times article, the street was given its name at some point by owners who hoped to associate it with the glamour of Broadway theater.

For much of the 19th century, it was actually associated with crime and poverty; the alley was home to narrow tenements where residents had a fondness for gambling and drinking.

Rumor has it that Ringling Brothers once kept their circus elephants here — hopefully when it was a dirt drive not littered with debris behind wire and iron fencing, as it is today (at left), from the 26th Street end).

Broadway Alley is mostly covered in asphalt now, but it was once considered one of the last unpaved roads in the city.

Though maybe it doesn’t technically count, since Broadway Alley is privately owned and only one occupied building uses the street address, according to the Times.

[Second photo: MCNY; 33.173.174; third photo: MCNY: 33.173.175]

A streetcar, a drunk, a fight, and murder in 1871

April 17, 2017

Every few years a shocking murder occurs in New York, one that overwhelms the city’s attention and provokes fear and outrage about the randomness of urban crime.

The “Car-Hook Tragedy” of 1871 was one of those murders.

It happened on the evening of April 26. Avery Putnam (below), by all accounts a mild-mannered Pearl Street merchant, was escorting a dressmaker family friend identified as Madam Duval to the Church of the Advent at 55 West 46th Street.

Madam Duval’s younger daughter was at the church singing in the choir. Putnam was taking Duval and her older daughter, 16-year-old Jenny, to the performance from their home on Broadway and Ninth Street.

The three boarded an uptown streetcar at University Place. The main form of public transportation at a time when elevated trains were still in infancy, streetcars were pulled by horses along steel tracks embedded in the street.

For a nickel fare, passengers could expect a sometimes noisy, smelly, bumpy ride — an increasingly in the Gilded Age, crime.

The streetcar carrying the three traveled up Broadway. At about 29th Street — as it passed the then-new Gilsey House (right), a hotel and now an apartment house still standing today — Jennie went on the car’s outside platform to look at the clock.

At that moment, a drunk, recently fired conductor named William Foster (below left) leered at Jenny, and then her mother, “in a most offensive manner,” reported the New-York Tribune.

Only a few other passengers were in the car. Putnam had words with Foster, asking him to leave the women alone. Foster began cursing him out, declaring that he would “fix [Putnam] when he got off.”

At 46th Street and Seventh Avenue, Putnam and the Duvals left the streetcar. True to his word, Foster followed behind them with a car-hook (an iron tool conductors used) and bashed Putnam over the head with it.

The merchant was left mortally wounded in the street, the Duvals shrieking in horror. He died at St. Luke’s Hospital two days later.

The savagery of the murder was rivaled by the callousness of passersby.

“None of the passers-by stopped to assist the ladies in dragging the body of their unfortunate friend to the sidewalk, out of the way of a down car, which was rapidly approaching,” wrote Harper’s Weekly.

Foster, a hulking New York native had a previous job working for Boss Tweed, was arrested and arraigned on murder charges. “Foster had very little to offer in his own defense,” states Murder by Gaslight.

“There had been several witnesses to the murder in addition to Madam Duval and her daughter, and at the time of his arrest, Foster admitted to the crime. He denied that the murder was premeditated and claimed he was too drunk to know what he was doing.”

As Foster himself put it: “Drink had crazed my brain, and to that cursed demon . . . I render thanks for the position I now occupy.”

Prosecutors, however, said the murder was premeditated, in part because Foster forced the driver to give him the car-hook four blocks before Putnam left the streetcar.

At his trial in May, the jury found him guilty, and Foster was sentenced to hang in the Tombs.

The focus of the car-hook tragedy now turned to Foster’s sentence. Many New Yorkers supported it; others felt he deserved mercy, as he was a husband and father.

There were also allegations that Foster’s wealthy father and friends tried to bribe Madam Duval to ask the governor to pardon the killer.

Foster got several reprieves. But in the end, he died for his crime, in front of 300 witnesses in the yard inside the Tombs (right).

[Top photo: typical streetcar in 1872, Alamy; second photo: Harper’s Weekly; fourth photo: “The ‘Car-Hook’ Tragedy; fifth photo: New York Times headline; sixth and seventh photos: “The ‘Car-Hook’ Tragedy]

What if this actually happened to Trinity Church?

April 17, 2017

Early 20th century New York was a lot like the city of today.

The skyscraper era was dawning, business was booming, and development was rampant. Many of the city’s low-rise buildings were being bulldozed in favor of steel-frame office towers topping 20 stories.

On Lower Broadway, new office buildings were going up up up. This real-estate madness is the likely inspiration for this Puck illustration from 1907, by Albert Levering.

Levering gives us a Trinity Church — until 1890 the tallest structure along the city’s skyline, which welcomed ships coming into New York Harbor — almost entombed in glass and steel, its graveyard chopped away.

I wonder how many developers took this cartoon seriously?

[Image: Library of Congress]

Tiny Jewish cemeteries hidden in busy Manhattan

April 10, 2017

They’ve been there for centuries, just steps away from traffic lights and the rush of crowds: three small burial grounds tucked behind iron fences and shaded by untended trees.

They’re not in the best shape. Some of the headstones are broken or knocked askew, as this photo of a cemetery on 21st Street and Sixth Avenue shows. The Hebrew lettering on the stones has been worn down by the elements. Graffiti marks a brick wall.

But the story behind how these cemeteries came to be starts with the story of the first Jews to live in New York City.

That means going back to the 17th century. In 1654, a ship carrying 23 men, women, and children docked in Lower Manhattan. They were refugees fleeing Brazil, which the Portuguese had just recaptured from the Dutch.

This little group of Spanish and Portuguese Jews felt that New Amsterdam might be a more welcoming place.

Eh, not exactly. Peter Stuyvesant tried hard to throw them out. The refugees wrote letters to Holland to solicit support so they could stay.

A year later, the Dutch West India Company gave them the go-ahead to remain as long as they “do not become a burden.”

Free to build new lives here, the group quickly founded the continent’s first synagogue, Congregation Shearith Israel. And though the synagogue had no permanent space until 1730, space for the deceased was established in 1656.

That original burial ground has disappeared. But what’s considered the first Jewish cemetery in the city still remains in Chatham Square (above), in a pocket facing St. James Place behind several tenements (below right, in a 1900 photo).

This cemetery opened in 1683. It once contained 256 graves, including those of Jewish Revolutionary War veterans. The above sketch of what Chatham Square looked like marks the “Jews Burying Ground” at the top right.

Speaking of the Revolution, the cemetery made an important appearance. In 1776, Major General Charles Lee wrote to George Washington:

“The East River, I am persuaded, may be secured in such a manner that [British] ships will scarcely venture into it…A battery for this purpose is planned at the foot of the Jews’ burying ground.”

An expansion of the Bowery cut the burial ground down in size to closer to 50. Some of the lead epitaph plates are missing because during the Revolutionary War, British soldiers melted them down to make bullets.

In 1805, a second cemetery opened on the outskirts of the city, at Sixth Avenue and what was then Milligan Place (below). The expansion of the city grid chopped its size as well to a tiny triangle.

“Initially, this graveyard was the burial site for victims of communicable diseases like yellow fever and malaria, for recently immigrated Jews who did not have strong ties to Shearith Israel, and for those who died at their own hand through suicide,” states the Shearith Israel website.

After the city banned burials below Canal Street in 1823, the Sixth Avenue cemetery became the main Jewish burial ground — until a third cemetery opened in what was then the bucolic country fields of Chelsea and is now a big-box shopping mecca (below).

“The lot for the Third Cemetery was purchased in 1829 for the then-princely sum of $2,750,” wrote Tablet magazine. “The cemetery operated until 1851, after which a law was enacted forbidding burial anywhere south of Manhattan’s 86th Street.”

Shearith Israel operates out of a majestic synagogue building on Central Park West with some spectacular history of its own; the wood floorboards under its reader’s desk are the same floorboards from the first permanent synagogue built in 1730 on Mill (now South William) Street.

The congregation maintains these three burial grounds, and near Memorial Day, members hold a ceremony at the Chatham Square cemetery, honoring the Jewish Revolutionary War veterans interred there.

Each cemetery has a story to tell about Jewish life in the city and the development of New York as a whole. Look for these ghostly reminders of Gotham’s first residents next time you’re nearby.

Manhattan is a necropolis of other little-known burial grounds, especially in the East Village.

[Fourth photo: NYPL; Sixth photo: MCNY: 93.91.359; Tenth photo: NYPL]

13 stories of Art Nouveau beauty in Manhattan

March 13, 2017

The magnificent boulevards of Prague and Vienna are resplendent with Art Nouveau building facades, lobbies, and public transit entrances.

But the sinuous lines and naturalistic curves characteristic of this artistic style never caught on in turn-of-the-century New York, where architects seemed to prefer the stately Beaux Arts or more romantic Gothic Revival fashion.

It’s this rarity of Art Nouveau in Gotham that makes the 13-story edifice at 20 Vesey Street so spectacular.

Completed in 1907, this is the former headquarters for the New York Evening Post—the precursor to today’s New York Post, founded in 1801 by Alexander Hamilton.

The building is across the street from the graveyard behind St. Paul’s Chapel off Broadway, a wonderful place to look up and linger.

Architect Robert D. Kohn designed the limestone structure with three rows of wavy windows and crowned it with a copper roof.

At the 10th floor, Kohn added a playful touch for a media company: four figures meant to represent the “Four Periods of Publicity“: the spoken word, the written word, the printed word, and the newspaper.

Note the “EP” insignia decorating the iron railings that link the four figures.

The Evening Post moved out in 1930, and today 20 Vesey is known as the Garrison Building, which houses a fairly typical mix of businesses behind its European-like facade.

Art Nouveau–inspired buildings are scattered in different pockets of New York, such as this former department store on Fifth Avenue and 34th Street.

Plans for an Art Nouveau hotel around the corner on Church Street drawn up in 1908 by Spanish architect Antoni Gaudi, unfortunately, never panned out.

[Third photo, 1910, MCNY x2010.7.1.887]