A. A. Low Building 167-71 John Street Architect unknown 1850 Owned by the South Street Seaport Museum, this structure was built by traders who parked their China clipper ships across South Street. It was commissioned by the famous export firm of Abiel Abbot Low and Brother, illustrious merchants who amassed a fortune in trade between New York and China (A. A. Low was the father of Seth Low, whose career included serving as Mayor of Brooklyn, Mayor of New York City and President of Columbia University, among other things). This building, which was the firm’s home until well after the 19th century, is five stories high and eight bays wide. Many layers of stucco and paint were removed to uncover and restore the brownstone underneath. The cast-iron double storefront is notable because it was produced by Daniel D. Badger of the renowned Architectural Iron Works firm. As a whole, the building represents the success and importance of the company. The A. A. Low Building is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

Cellar doors at 165 John Street, ca. 1975. The five-story building at no. 165 dates to 1811. It was constructed for George Codwise Jr., and was one of a row of six countinghouses. The buildings original tenants were flour merchants. Likely built in a Federal style, the building underwent a reconstruction in 1835. That alteration gave it a Greek Revival facade to match its newly built neighbors, both the new building (at 181 Front Street) and the redo of 165 John were undertaken by a commission merchant firm. Once only four stories it had a fifth story added at some point in the late 19th century. It still remains shorter than its larger neighbor at no. 181, which had a sixth story added in 1917. It it unclear if the cellar door that remains extant dates to the building's earliest years or its reconstruction.

New York County Lawyers Association, ca. 1930. This very handsome little building, although basically an eclectic version of Federal architecture, is executed in stone instead of brick and vaunts a fine row of Corinthian pilasters, floral swags, and medallions. These features are reminiscent of Adamesque design and British prototypes.

In 1763 Henry Culyer, scion of a wealthy Dutch family involved in the sugar trade, built a massive six-story, brick sugar house at the corner of what was Prince Street (later Rose and William Street) and Duane Street. The building was impressive for colonial New York, standing six-stories tall. It was used for both refining sugar and the storage of sugar and molasses. The Culyer family remained Loyalists during the Revolution and as a result, lost their property (including this sugar house) when the Act of Forfeiture was passed. Sold at auction, the building was purchased by William Rhinelander, another son of an old New York family made rich by sugar. Improbably surviving the Great Fire of 1845 and the general destruction of much of the city's colonial architecture, the sugar house was still standing in the second half of the 19th century. Once the tallest building in the area, by the 1890s, when it caught the attention of photographer Robert Brackow, it was dwarfed by taller structures and was obviously suffering from neglect. The building was finally razed in 1892 and replaced by a new Rhinelander Building. Fun fact! Not all of the 1763 building was lost! Urban legend/local lore in the 19th century suggested that this sugar house was used as a prison during the Revolutionary War. It was not, but the Livingston Sugar House on Liberty Street was used as a prison. Regardless of the provable facts, stories persisted. When the building was demolished two windows were saved. One was donated to the National Society of Colonial Dames in the State of New York and placed near the Van Cortlandt mansion in the Bronx. The other window was installed at the new Rhinelander Building and when that building was razed in 1968 and the street demapped for the Civic Center redeveopment, it was placed within the Brutalist structure of One Police Plaza (where it can still be seen today.)

Bogardus Building 15-19 Fulton Street Designed by Beyer Blinder Belle 1983 This reinvented, four-story, white-gray building honors James Bogardus, who was instrumental in the introduction of cast-iron construction in the United States. The Laing Stores (1848-49), also known as the Bogardus Building, was initially located at the northwest corner of Washington and Murray Streets, an intersection that no longer exists due to urban renewal projects in the 1960s. In 1967, the area was surveyed by the LPC to determine potential landmarks before the demolition of blocks in what is now Tribeca. The LPC recommended that the façade of the Bogardus Building, the city’s oldest cast-iron structure, be dismantled and salvaged for use on a new building at Manhattan Borough Community College (which would occupy part of the urban renewal site). In 1971, the parts were catalogued and stored, but in 1974, some of them were famously stolen and sold to a Bronx junkyard. The LPC then moved the remaining parts to a secret location in a city-owned building, but when architects went to retrieve them in 1977, they had again been stolen. This shocking sequence of events is an often-told story in New York City architecture and preservation lore. Despite the lack of a connection to the South Street Seaport, an homage to the Bogardus Building was designed by Beyer Blinder Belle as part of the historic reinterpretation and revitalization of the Seaport in the 1980s. The new Bogardus Building reinterprets the original façade with its curved corner, ground-level canopy, columns and cornice, but the ensemble was executed with a modern twist: its outer walls are made of aluminum rather than cast iron. The Bogardus Building is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

Headquarters of the American Telephone and Telegraph Company, the mighty AT & T, and erected on the site of the early highrise headquarters of the Western Union Building (1874), 195 Broadway is an important address in the history of business communication. The monumental scale of the current landmark dates from a second building campaign in 1924 that completed the imposing mass. The building was constructed in two phases. In the first, it had narrow frontages on both Broadway and Fulton Street, as AT\&T did not have title to the corner. The tower was expanded out to the corner when the company was able to acquire that property. The western end of the Fulton Street façade is capped by a small stepped pyramid, formerly the plinth for Evelyn Beatrice Longman's figure in bronze, the Spirit of Communications. The sculpture was spirited away by AT\&T when it moved from 195 Broadway in the early 1980's first to midtown and subsequently to a new corporate campus in New Jersey. The building's lobby has an air of temple-like solemnity to it. Five rows of monumental Doric columns dwarf visitors. Distinctive chandeliers in a Greco-Roman style illuminate the space. At the center of the lobby is a poignant bronze monument to the soldiers of the First World War sculpted by Chester Beach.

Corbin Building ARCHITECT: Francis H. Kimball DATE: 1889 STYLE: Skyscraper The Corbin Building was constructed in 1888-89 as a speculative office building by Austin Corbin. Corbin was a successful banker and businessman who had developed Coney Island as a resort area. The Corbin Building was the tallest structure on the block when it was first built. It was constructed using the cage technique, with cast-iron columns and wrought-iron beams and non-load bearing masonry walls, before true steel skeleton structures had been developed. The flamboyant exterior, composed of a variety of materials, window shapes and decorative ornament belongs to the category of early, artistic skyscrapers that were built in New York City in the 1870s and 80s.

My Archive Spring 2019 "Tent & Trails: self-portrait with my buddy Nate on a downtown open house day in 1997." —Ethan Wolff

Saint Peter’s Roman Catholic Church ARCHITECT: John R. Haggarty; Thomas Thomas DATE: 1836-40 STYLE: Greek Revival, Church St. Peter’s Church is an outstanding example of Greek Revival architecture executed in fine materials. It is a temple-form building of excellent proportions and that it is one of the oldest Catholic churches in the City. St. Peter’s Church is a granite building with a fine six-columned portico and a low-angled gable. As an early Catholic church, the present building closely follows the tradition of Classic monumentality of so many of its predecessors in Rome.

New York can sometimes seem so immense that it would make sense that some of the world's largest animals would have roamed its streets.

New York State Attorney General Letitia James has led a political life deeply rooted in New York City. A few points of interest around town highlight the career of "Tish." Resources used include the New York Times; designation reports published by the Landmarks Preservation Commission; the City Council legislation database; the Office of the Attorney General; New York Amsterdam News; The Chiseler; the NYC Green Book; and HPD. By Andy McCarthy, Reference Librarian, NYPL Milstein Division of U.S. History, Local History, and Genealogy.

Keuffel & Esser Company Building ARCHITECT: De Lemos & Cordes DATE: 1982-93 STYLE: Renaissance Revival The 8-story Keuffel & Esser Co. Building was constructed in 1892-93 to the design of De Lemos & Cordes as the general offices and salerooms for the firm that imported and manufactured drawing materials, drafting tools, and mathematical and surveying equipment. The richly-detailed Renaissance Revival style primary façade of this building on Fulton Street has a tripartite division, with a 2-story, arched cast-iron storefront that bears the firm’s name and representations of its products, and buff brick- and terra-cotta-clad upper stories, with the midsection having a recessed monumental round-arched window capped by a foliated sculptural relief of a knight’s helmet, shield, and winged orb, and the upper section featuring a 2-story angled metal window bay and culminating in a decorative cornice and balustrade.

22 Cortlandt Street, 1936. This East River Savings Bank branch was constructed in 1933. Designed by the same firm, Walker & Gillette, as the National City Bank of New York on Broadway and Canal, the two buildings share a number of features. This Art Deco structure also includes stylized eagles surrounding the bank seal, towering over the main entrance of decorate metalwork. Today the building houses a section of the enormous flagship Century 21 department store.

“Aftermath of the Equitable Fire,” January, 1912. A fire broke out before dawn on January 9, 1912, spreading to an eighth floor kitchen via a dumbwaiter and eventually engulfing the entire structure. The ten-story skyscraper had been the headquarters of the Equitable Life Assurance Society since 1870, and was purportedly fire-proof. However, weather conditions rendered firefighting efforts ineffective: freezing temperatures and gusts measured at 68 miles per hour reduced spray from fire hoses to droplets, eventually encasing the building’s facade in ice formations while the interior structure continued to burn. The ice made the fire-damaged building something of a local attraction. As the New York Times reported: “\[the ice] settled over the building in a gleaming sheath of white that made the fire a wonderful thing to see. Ice converted the ruined building into a fantastic palace, with the rainbows arching at every turn as the sunlight filtered through the spray and smoke.” The building was unsalvageable and what remained of its facade was eventually razed. The new, 40-story Equitable Life building was built on its site in 1915, becoming a National Historic Landmark in 1978.

Manhattan Municipal Building, ca. 1980. By the late 19th century, and especially following the consolidation of New York City's five boroughs in 1898, existing office space was unable to meet the demands of new and swelling civic agencies. In 1907 a proposal by architect William M. Kendall of McKim, Mead & White was selected; the Municipal Building became the storied firm's first steel-frame skyscraper. The design incorporated numerous Classical references, most notably its entrance arch and Gustavino tile south arcade. "Civic Fame," a sculpture by Adolph Alexander Weinman, sits atop the Classical tempietto.

The fact that this interior and its building were design by a French and an American architect is an early reflection of the cosmopolitanism of New York. The building combines French elements with the Federal style. Building progress of this edifice was slow, primarily due to financial problems, but also owing to workers’ disputes and a yellow fever epidemic. By 1807 the building had only reached the second story window sill level. The City Hall Rotunda shares a sense of elegant spaciousness and even certain details, such as the single first flight of stairs with curved hand railing. The entrance hall, from which one first glimpse the Rotunda, is entered through five handsome arched doorways corresponding to the archways leading into the vaulted central corridor which laterally bisects the building.

Statue of Nathan Hale, the Revolutionary War spy, in City Hall Park, in front of the Woolworth Building, ca. 1980.

Sol Libsohn was a New York-born early documentary photographer whose large body of work chronicles, amongst others, the American oil industry, the life of the Ringling Brothers' and Barnum and Bailey circuses, and New York's working class. In addition to his work under the WPA, Libsohn co-founded the New York Photo League with Sid Grossman. This story showcases Libsohn's work in New York City.

New York Tribune Building, ca. 1960. Constructed in 1875 to the designs of Richard Morris Hunt, the New York Tribune Building was the tallest office building in the city when completed and the second tallest structure in the entire city. (The spire at nearby Trinity Church was just slightly taller than the Tribune Building's 260 feet.) The building was 10 stories tall and rendered in striking red and black brick and light-colored stone in the neo-Grec style. It was not particularly well received by critics, being derided for what one writer noted as expressing "the weariness, the fever and fret of modern life." The first tall building on Park Row, it would be joined by a number of other newspaper neighbors by the turn of the century (including the 1889 New York Times seen at right here). The New York Tribune moved out of the building by 1920 and the last of the newspaper vacated the street by the mid century. Despite surviving into the era of the Landmarks Law (enacted in 1965), the building was demolished with little to no notice in 1966 for the expansion of the Pace University campus.

Frank W. Woolworth, the five-and-dime store king, commissioned architect Cass Gilbert to design a Gothic-style skyscraper on a full block front on Broadway between Park Place and Barclay Street. When the building was erected it rose across the street from the main downtown Post Office by Alfred Mullett. This massive mansarded structure of 1875 was later demolished and the site reclaimed as part of City Hall Park. Woolworth wanted his building to become the tallest in New York, and in the world, which meant that it needed to raise more than 700 feet– the height of the Metropolitan Life Tower. As the height escalated from a projected 625 feet to 792 feet, the cost grew from an estimated $5 million to the final cost of $13.5 million. Extensive foundations and wind bracing necessary for the tall tower as well as the ornate terra-cotta cladding and sumptuous interior fittings both inflated costs and created one of the masterpieces of early skyscraper design. The exterior is clad in a cream-colored terra cotta with subtle blue and yellow accents in the glaze. The design evokes the guildhall architecture of France and Belgium. Above the 24th floor a tower rises to the equivalent of 55-stories and is capped by a high-pitched copper roof, now a green patina, crowned with tracery and gargoyles. An observation deck, once open to the public, has been closed for decades. The sumptuous lobby features marble, fine mosaics and a rich program of sculpture, including brackets with medieval-style caricatures, including Mr. Woolworth counting his dimes and Gilbert cradling a model of the building. Allegorical murals of Commerce and Labor and ceiling vaults accented with thousands of gold tesserae make the lobby seem like a church. Indeed, the gothic tower was nicknamed "The Cathedral of Commerce." Mr. Woolworth financed the skyscraper in cash, which was unusual for a project of this size and cost, and he noted that the tower would be a valuable generator of publicity for the company. Still, through the 1910s, the Woolworth Company only occupied one and a half stories of the building. The rest of the building was occupied by more than 1,000 tenants. For most of the twentieth century, the building never had a mortgage -- something almost unheard of for such a large commercial structure. In 1998 the Woolworth Company's successor, the Venator Group, sold the tower for $155 million: this was the first time the property changed hands in its 85-year history. At the time of its completion, the Woolworth Building was widely praised for its elegant massing and the slender proportions of its tower. It was a paradigm of responsible high-rise architecture for the slender tower. which did not significantly limit the amounts of light reaching the street. Its slender silhouette contrasts strongly with the bulk of 120 Broadway, the Equitable Building, completed in 1915. Still, as a business proposition, the building's tower section has always been impractical since its floor-plate allowed only a small number of elevators, hardly enough to serve the needs of the first class office space it was intended to house. This problem may be rectified with the tower's conversion to residential use - a program that will not require such high elevator capacity.

"When Joseph Pulitzer purchased the New York World in May, 1883, a typical front page consisted of a half-dozen columns of densely packed type, unrelieved by illustrations or eye-catching headlines... All that changed the moment Joseph Pulitzer got hold of it. An immigrant himself, Pulitzer saw himself as a champion of the weak and oppressed. The World, as he conceived it, would be a paper 'dedicated to the cause of the people rather than to that of the purse potentates.' …His method of achieving these lofty aims was to appeal to his reader’s lowest instincts. After all, he reasoned, the best a publisher could do was to 'go for a million circulation, and when you have got it, turn the minds and the votes of your readers one way or the other at critical moments.' And the most effective way to reach that million circulation was by printing the kind of wildly sensationalistic stories that ordinary people have always gobbled up... By March, 1885, the World had a daily circulation of more than 150,000 copies – an astonishing tenfold increase in less than two years. That figure would double again before the end of the decade. The age of 'yellow journalism' had arrived." For more on the World building and Joseph Pulitzer, check out this excerpt from Harold Schechter's The Devil's Gentleman in Gotham: A Blog for Scholars of New York City History.

Chamber of Commerce ca. 1902 The New York Chamber of Commerce was founded in 1768 to promote the development of business in the City. The organization held meetings at various locations until 1900, when it decided to build its prestigious marble headquarters on Liberty Street. Its Great Hall, with a stained glass ceiling, mahogany paneling, and gilded ornament, was acclaimed as one of the most impressive interiors in the City. Designated a landmark in 1966, the building was sold to the International Commercial Bank of China in 1979, and its restoration was completed in 1991.

Statue of Benjamin Franklin at Printing House Square, ca. 1975. Ernst Plassman's monument to Franklin, himself a prolific publisher, marks the epicenter of New York's bygone newspaper industry.

As we roam the modern streets of New York City, we can see the skyline and neighborhoods change each year. Given how complicated our city’s systems have become, it is difficult to imagine a time without the founding principles of zoning, planning, and preservation. The man who created many of those frameworks for modern-day New York is George McAneny. During his extensive civic career, he served in several official positions, including New York City comptroller, executive manager of The New York Times, first president of the Regional Plan Association, and Manhattan Borough President. The snippets of history that can be seen on Urban Archive are just a small part of McAneny’s legacy, making him one of the most remarkable New York City visionaries of the first half of the 20th century.

Oak and New Chambers Streets, decorated for St. Vincent’s festival, October 27, 1935. Buildings along both streets were razed between 1950 and 1953, ahead of the construction of the Alfred E. Smith Houses. The Municipal Building is visible in the background, as are the elevated tracks of the combined Second and Third Avenue Lines.

100 Gold Street, ca. 1921. When completed in 1920, the Hide and Leather building had the distinction of being the tallest concrete building in the world. Constructed by the Hide and Leather Realty Company, an association of merchants in that trade, the 17-story building was designed by the firm of Starrett & Van Vleck. The firm was best known for designing a series of department stores, including the flagship stores of Lord & Taylor, Bloomingdales, Saks Fifth Avenue, Abraham & Straus, and Alexander's. A mix of offices, showrooms, and lofts the building was demolished in the mid 1960s as part of the Civic Center urban renewal project. It was replaced in 1969 with the nine-story Tishman Downtown Center Building. Though the new building could hardly be called a skyscraper, as its predecessor was when completed in 1920, it is none the less considerable in size, with each floor covering more than an acre and a half.

Financial District Rooftops, June 9, 1938. Looking from 60 Wall Tower (at 70 Pine Street) northwest towards Broadway. On Cedar Street below are Chase National Bank and the Equitable Building; on Liberty Street is the U.S. Federal Reserve Bank, filling an entire trapezoid-shaped block; at 149 Broadway is the Singer Tower, with its famous domed top; and at 140 West Street is the York Telephone Building, upper right.

Railroad sheds at Pier 21 on the East River, March 30, 1937. Berenice Abbott's photo captures the pier shed of the Pennsylvania and Baltimore & Ohio Railroads at Pier 21 with the Brooklyn Bridge immediately above and Manhattan Bridge in the background. The pier was removed in the late 1960s.

57 Maiden Lane, ca. 1921. The origins of this now-long-gone building are a bit murky. What we do know is this: In 1790 while New York City was the capital of the United States, Thomas Jefferson moved to the city. Despite wishing for a residence on Broadway (where Washington had just taken a home), he instead ended up lodging briefly at a tavern before renting a small home here at 57 Maiden Lane. Jefferson's tenure in New York was brief; following the adjourning of Congress, he left the city on September 1, 1790. The capital then moved to Philadephia and Jefferson did not renew his lease at no. 57. The Dutch-influenced brick building seen here circa 1921 was likely a recent building on the site. The flourishes of the building, the stepped gables and lateral striping of bricks, along with its crisp lines and clean masonry, suggest construction in the Dutch Colonial Revival period in the early 20th century. Today a plaque on the 1965 building at 59 Maiden Lane recalls the location's illustrious (if brief) tenant.

Titanic Memorial Lighthouse Titanic Memorial Park, Plaza bounded by Pearl, Beekman, and Water Streets Designed by Charles Evans Hughes III 1913 This 60-foot lighthouse located within Titanic Memorial Park was originally installed in 1913 atop the Seamen’s Church Institute, then located at the corner of South Street and Coenties Slip. The lighthouse overlooked the East River and signaled noon to ships in the harbor with the falling of a black ball. In 1968, upon the Institute’s demolition, it was taken down and stored on a pier by the South Street Seaport Museum, and was then reinstalled in its current location in 1976. The lighthouse serves as a tribute to the passengers, officers, and crew who perished when the Titanic sank in 1912. Today, it sits at the main entrance to the Seaport. The Titanic Memorial Lighthouse is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

A walking tour of some of Lower Manhattan's most notable landmarks.

New York's City Hall is one of the oldest continuously used City Halls in the nation that still houses its original governmental functions. Designed by Joseph François Mangin and John McComb Jr. and completed in 1812, it is one of the finest architectural achievements of its period. The Landmarks Preservation Commission designated City Hall an individual landmark in 1966 and its central rotunda an interior landmark in 1976. In 1993, the African Burial Ground and the Commons, which includes City Hall and the surrounding park, was designated a Historic District.

The Hudson-Fulton Celebration began more than 100 years ago. Starting on September 25, 1909, over a million New Yorkers and tourists enthusiastically joined in the two-week festivities to commemorate the tricentennial of Henry Hudson’s discovery of the river that now bears his name and the centennial of Robert Fulton’s invention of the steamboat. This story can be read in its original format here.

Streetcars on Broadway, outside the Equitable Life Assurance Building, July 7, 1905. The photo was possibly taken from scaffolding for the construction of the new Trinity Building, at the southwest corner of Thames Street (visible at far right).

Schermerhorn Row Bounded by Fulton, Front, John and South Streets Designed by William W. Berwick 1811 This row is named for Peter Schermerhorn, a prominent New York merchant and ship owner who commissioned the Georgian-Federal style buildings to serve as ware- and counting-houses. Originally, the façades were made of soft, hand-molded brick in Flemish bond, though parts of the row have been altered and expanded. While the show windows at ground level were added later, originally there were arched brownstone entries with side quoins. The upper stories feature Federal style double-hung windows with splayed stone lintels. Dormer windows on the Fulton Street side were later additions to the steeply pitched roofs, and chimneys and party walls were built tall in order to inhibit fire from spreading across rooftops. Schermerhorn Row was restored by Jan Hird Pokorny Associates in 1983 and again in 2001 by Beyer Blinder Belle, when its interior along Fulton Street was renovated extensively to internally link the buildings for the South Street Seaport Museum. Schermerhorn Row is has the great distinction of being a New York City Individual Landmark, listed on the State and National Register of Historic Places as well as being located in the South Street Seaport Historic District, and the State and National Register of Historic Places South Street Seaport Historic District.

41 Park Row (building on the right), ca. 1975. The third building to house the operations of the New York Times, 41 Park Row is the oldest of the surviving buildings of "Newspaper Row." Designed by George B. Post in 1889 to replace a smaller 1851 building, the 16-story, Romanesque Revival style structure was constructed around the core of the earlier building. The printing presses did not even need to be moved during the construction. In 1896 when the newspaper was bought by Adolf Ochs (whose family still runs it), he had an architect remove the mansard roof and add three more stories. The New York Times moved uptown to their eponymous square in 1903. In 1951 the building was purchased by Pace University, who used the former cavernous area where the printing presses were located as a gym.

Woolworth Building ca. 1939 Frank Woolworth opened his first store in 1879. By 1910, he owned more than 600 Woolworth five-and-dime stores nationwide. On the prestigious site he acquired on Broadway across from City Hall Park, he envisioned a Gothic building soaring taller than the Metropolitan Life Insurance Building at the time the world's tallest skyscraper. Architect Cass Gilbert, knowing that an authentic Gothic building of this scale would be impractical, built a modern steel skeleton clad in masonry and terra cotta with Gothic details. From the 30-story base rose a 25-story tower, for a combined height of 792 feet. Nicknamed the Cathedral of Commerce, it reigned as the world's tallest skyscraper from its completion in 1913 until William Van Alen's Chrysler Building surpassed it in 1929. A 1980s restoration of the exterior cost more than the original construction.

“Newspaper Row” across from City Hall Park. Photographed by Berenice Abbott for the Federal Art Project, July 23, 1936. From left to right, the buildings are: New York World Building; New York Tribune Building, New York Times Building, Potter Building.

Mayor Fiorello La Guardia, honorary chairman of their tour, greeted 1936's champion "Maccabee" soccer team visiting from British mandate Palestine, here to play against the city's own All-Star team and American Soccer League team, as a fundraiser providing relief for Polish Jews, recently under siege by anti-Semitic riots.

The New York Sun Building, formerly Tammany Hall. Undated, prior to 1916.

Located in lower Manhattan along the East River waterfront, the South Street Seaport provides a pivotal connection to New York City’s early days as a center of maritime industry. Indeed, the city’s settlement and growth were inextricably linked to its success, and this history remains embodied in the area’s low-scale, early 19th century commercial buildings, as well as its historic piers and streets, complete with historic Belgian blocks. The area around Peck Slip was for centuries a Native American trading destination; its proximity to Long Island and the presence of a cove made this a natural landing point for canoes, linking footpaths on either side of the East River. Settlers of New Amsterdam took advantage of this geography by establishing the colony’s first official ferry service in 1642, linking Brooklyn to what became Peck Slip. The marshy shoreline was once peppered with inlets that became docks and wharves for the shipping industry, and the ferry service allowed for the transportation of agricultural goods from Long Island, spurring the creation of one of the city’s first farmers’ markets. In 1647, the Englishman Isaac Allerton constructed a warehouse here, apparently to store Virginia tobacco being shipped to Europe. The banks of the cove were filled in and extended to ease loading and unloading from the ships’ sides. This marked the beginning of the landfilling process, which extended from Pearl Street to South Street, forming the foundation of the low-rise “Seaport” district. The locations of the slips are discernible today as extra wide streets right at the edge of Manhattan, like Peck Slip. Despite lagging behind Boston, Philadelphia and Charleston for much of the 18th century, by 1797, South Street Seaport was the nation’s leading port. Several factors contributed to its success, including the opening of a trade route between New York and Guangzhou, when the Empress of China embarked on its maiden voyage in 1784. Soon after the Revolutionary War, the British re-established trade with the United States, and determined New York to be the most ideal export location. These international voyages aided the city tremendously in becoming a global force in maritime commerce. The 1825 completion of the Erie Canal opened shipping routes between the Atlantic Ocean and the Great Lakes, further cementing the city’s importance as a maritime trading center. The Seaport experienced a building boom at this time, and many of these structures still exist, providing today’s visitors with a clear reading of the area’s past as an early 19th century maritime neighborhood. Its range of buildings was largely designed in simplified forms of the Georgian, Federal, Greek Revival, Italianate and Romanesque Revival styles. Only a minority of early stores and warehouses were the work of professional architects, but by the late 19th century, architects including Stephen D. Hatch, Richard Morris Hunt and George B. Post, had designed buildings here. The second half of the 20th century brought much change to the Seaport, with efforts at urban renewal and its transformation into a tourist-friendly “festival marketplace”. In 1972, the South Street Seaport Historic District was listed on the National Register of Historic Places (expanded in 1977). The New York City Landmarks Preservation Commission (LPC) designated the South Street Seaport Historic District in 1977, followed in 1989 with the designation of the South Street Seaport Historic District Extension. The buildings in these historic districts date from a period of roughly 200 years, and serve to tell a rich and complex story about New York City’s roots.

New York World Building ca. 1933 Completed in December 1890, the World Building, officially called the Pulitzer Building, was an expression of the ambitions and business genius of its publisher Joseph Pulitzer. At a height of 309 feet to the top of the dome, the World's new home became the highest building in the city and the tallest office building in the world. Pulitzer, a Hungarian immigrant who had first arrived in New York in 1864 and fought in the Civil War, had his initial success the newspaper business in St. Louis. He purchased the New York World from financier Jay Gould in 1883 when the ailing paper had a daily circulation of only 22,000. A year later, Pulitzer had quadrupled the circulation, and by 1898 was selling a half million copies a day. In 1889, as the Times was completing its imposing headquarters on Printing House Square, Pulitzer planned a new home for the World that would outshine and overtop all his competitors. The site he acquired was on the northeast corner of Park Row and Frankfort Street overlooking City Hall Park. Pulitzer envisioned a dome that would symbolize both the ascendance of his paper and, as he professed, the highest ideals of journalism: liberty, justice, democracy and "true Americanism." Indeed, the World's 5-floor gilded dome, which housed the writers, editors, and Pulitzer's private office, lifted the publisher high above the city. In its booklet printed for the building's debut, the paper effused: "From Jersey's shores, from Brooklyn Heights, from the beach of Staten Island, from points far remote, it is first discerned as one approaches New York looming above the busy metropolis, above Trinity's lofty spire, above the tall towers and high roofs of its neighbors-a giant among the giants." In an architectural competition, Pulitzer selected George B. Post, architect of the Times Building, to design his tower. Some stories claim that Post won the commission by wagering $20,000 with Pulitzer that he could complete the project for its $1,000,000 budget. He got the job, but lost the bet, since the costs reached $2,000,000. No expense was spared on the elaborate façade of red sandstone, Renaissance ornament, and figurative sculpture that gave the tower an Old World character and made it look to be made of masonry rather than the advanced metal-cage construction that Post used within the walls. The language with which the World celebrated its new head-quarters was as richly laden with rhetoric as the building itself: "There is a sermon in these stones: a significant moral in this architectural glory. Fidelity to the Public Welfare, fearless opposition to the Wrong and vigorous defence (sic) of the Right, a persistent aspiring to loftier Ideals are the lessons it teaches."

Construction for the IRT East Side Line near the intersection of Park Row and Centre Street, November 13, 1902. The open pit, seen here, for subway construction, does its best to not disrupt the activity of this busy street. The trolley car #593 of the Metropolitan Street Railway still runs on the shored up roadway. The Old Hall of Records (at right) is likewise shored up and numerous elevated walkways and wooden sidewalks allow for movement over and around the construction.

Yep, NYC had a well-known firecracker district in the late 19th and early 20th century. Firecracker Lane was a short row of fireworks businesses on Park Place between Broadway and Church Street. James Pain was famous for his pyrotechnic shows, particularly his extravaganza in Manhattan Beach which for two weeks each summer nightly recreated the blaze that burned down the city of Pompeii (while "rebuilding" the city each day). This spectacle was an annual Manhattan Beach excitement for more than 25 years at the end of the 19th century. And Pain's Fireworks stood at 12 Park Place until they filed for bankruptcy in 1927, which was blamed in part (by the company and the press at the time) on a movement called "safe and sane Fourth." This was an effort by municipalities to prevent injuries and death from the explosives and instead to focus the holiday on family time and picnics.

Park Row Building, 1912. R.H Robertson's Park Row Building (1899) was the tallest in the world until 1908. Financed by August Belmont, a pioneer of New York's first subway, the building had 30 stories, nearly 1000 offices, and cost $2,750,000 to build. The Park Row Building is 391 feet tall.

My Archive Spring 2019 "Old family photo circa the early 1920s. Elizabeth Stasa and Frances Stasa, my mother, probably on a Sunday before or after going to St. Peter's Church on Barclay Street (at that time the family was living in the South Street Seaport area either Dover St. or Peck Slip). Formerly, they lived at 109 Washington Street and 66 Greenwich Street when they first came as children with their family from Moravia in Austria-Hungary (now the Czech Republic ) in 1912. By 1927 they were living in Brooklyn. My aunt and mother were seamstresses working in sweatshops near Union Square." —Joseph Svehlak

Robert L. Bracklow Stationary Store, 1916. This stationary and printing shop, specializing in legal wares, was owned by Robert L. Bracklow, a photographer. He sold prints of his photographs entitled "Glimpses through the Camera."

Foley Square Courthouse (today the Thurgood Marshall United States Courthouse), 1936. The Classical Revival courthouse at 40 Foley Square was designed by Cass Gilbert, and finished by his son, upon Gilbert's death in 1934. Completed in 1936, the colonnade entrance on Foley Square fits in well with its neighbors, including the Municipal Building and the New York County Courthouse. The imposing main tower is set back from the base and rises 20 stories to a pyramidal roof. One of the first federal skyscrapers constructed, it was originally called the Foley Square Courthouse. In 2001, the United States Congress passed a bill renaming the building in honor of Thurgood Marshall, the Supreme Court Justice, who had sat on the resident Second Circuit Court of Appeals in the early 1960s.

Tweed Courthouse, ca. 1975. The Old New York County Courthouse is better known as Tweed Courthouse, for the infamous Tammany Hall political boss who oversaw its funding (and the rampant kickbacks associated with construction costs). The massive Italianate courthouse, designed by architect John Kellum, quickly ran over its initial budget, with inflated materials costs used to fill Tammany coffers. In 1873, twelve years after the cornerstone was laid and two years after original architect Kellum's death, Tweed was convicted of embezzlement in an unfinished courtroom. Tweed's trial and imprisonment ground construction to a halt. Though architect Leopold Eidlitz was hired in 1874 to complete the courthouse interior and design a new wing, work did not resume until 1876. When Eidlitz's Romanesque south wing was completed in 1881, it was initially unpopular and considered incongruous to Kellum's Renaissance Revival design. For all its notoriety and expense, the Tweed Courthouse's utility as a civic structure was relatively short-lived. By the turn of the 20th century, the courthouse's association with political graft led politicians and press alike to call for its demolition, often as an element of redevelopment proposals for City Hall Park. When the new New York County Courthouse was completed in 1927, City Court operations shifted to the imperiled Tweed Courthouse. Over the next two decades, Mayor Fiorello La Guardia and Robert Moses each called for the structure's removal. Still, the Tweed Courthouse survived, albeit without its grand entrance stairway, a casualty of the 1942 widening of Chambers Street. In 1984, the Landmarks Preservation Commission recognized both the historical and architectural significance of the long-unpopular courthouse in its designation as a New York City Landmark. A lengthy restoration project commenced in 1999, with the Giuliani administration declaring that the courthouse would become the new home of the Museum of the City of New York. The Bloomberg administration reversed these plans, instead determining that the Department of Education would become the next long-term Tweed tenant.

Bridge Cafe 279 Water Street Architect unknown 1794 Adjacent to the Brooklyn Bridge, the Bridge Café is the district’s only extant wood-frame building. The building originally housed a grocery and a wine and porter bottler, and was initially only two-and-a-half stories high with a peaked roof. In 1888, the exterior was altered: its peaked roof was removed and the façade was covered with novelty Victorian-era siding. At present, the façade is painted brick red with black trim. The building has retained its commercial use for over 200 years. In fact, the Bridge Café was the oldest continuously running tavern in New York City until it closed in 2012 after Superstorm Sandy. Former Mayor Edward Koch was a regular customer in the 1970s. The owners are currently repairing the building and are hoping to re-open the Café in 2016. The Bridge Café is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

70 Pine Street ARCHITECT: Clinton & Russell; Holton & George DATE: 1930-32 STYLE: Skyscraper The Cities Service Building is a 66-story skyscraper that rises from a trapezoidal site bounded by Pine Street, Cedar Street, and Pearl Street. At the time of completion it was the tallest structure in lower Manhattan, and at 952 feet, the third tallest structure in the world. It was commissioned by a major American corporation and was an expression of the owner’s success. The Cities Service Company w quickly grew to become one of the largest corporations in the United States, controlling approximately 200 energy firms in thirty states, including numerous oil and power suppliers.

Downtown's first exemplar of the International Style contrasts dramatically with the sturdy brick and stone of its neighbors. Its 1960s architecture is stripped of historical references and ornament, and its grid of glass and aluminum mirror sunlight down to street level. The sixty stories are carried on twenty columns that, at great expense, were expressed on the exterior as long verticals, faced in white anodized aluminum. At the base, the columns are stilt-like supports for the double-height entry lobby, enclosed in broad expanses of clear glass. As innovative as the architecture of the tower is the plaza in which it sits. The Chase Manhattan Bank headquarters, called "1 CMP," Lever House, and the Seagram Building, created a new paradigm. These towers occupied only a portion of their building plot (in the case of Chase, thirty percent); the rest was a "public" plaza, maintained by the owners. This "tower-in-the-plaza" was encouraged in the 1961 Zoning Law, which allowed developers to trade a bonus of two square feet of extra floor space for every square foot of plaza. One Chase Manhattan Plaza occupies a full-block site for which the street pattern was changed. The tower and plaza rest on a plinth elevated above the street. Below plaza level is the flagship branch of Chase Manhattan Bank. This sleek modern room is lit with natural light from a glass-enclosed sunken garden cut out of the plaza above. The garden, by Isamu Noguchi, synthesizes elements of the traditional Japanese Rock Garden with a 1960's corporate aesthetic. Jean Dubuffet created the large sculpture, Group of Four Trees, in 1972.

Singer Tower at night, ca. 1908.

New York City is full of Revolution-related history and sites, but you need to know where to look. We’ve compiled 5 key places to visit and discover the American Revolution history that’s all around us. Check out these sites below in a family-friendly tour. As you make your way around town, be sure to take recreations and pictures and tag us on Twitter or Instagram at @nyhistory.

Singer Building, 1913. The Singer Building, constructed for the Singer Sewing Machine Corporation, was originally constructed as a small red brick building with a mansard roof in 1896. Designed by Ernest Flagg, the building was later incorporated into the larger, more well-known Singer Building, also designed by Flagg and completed in 1908. For a single year (1908-1909) it was the tallest building in the world. At 47-stories (the base was only 12 stories, while the tower topped out at 612 feet), the building was quickly surpassed by the Metropolitan Life Tower on 23rd Street. Visitors to the building could pay 50 cents to take in the view from the 40th-floor observation deck. The Beaux-Arts building had a marble columned and bronze trimmed lobby and was described by architectural historian Christoper Gray as having "celestial radiance." The building was sold in 1961 to Webb & Knapp, a real estate development company, who attempted to have the New York Stock Exchange moved into the structure. That bid was unsuccessful and in 1964 U.S. Steel purchased the building. It was demolished in 1967 (two years after the Landmarks Law was passed). Today the site is occupied by One Liberty Plaza, a 54-story office building completed in 1973. The Singer Building remains the tallest structure to be intentionally demolished.

20 Nassau Street, 1913. Stretching the entire block of Nassau Street between Pine and Cedar Street, this was the location of the Fourth National Bank. The six-story Second Empire Style building was suffering from intense structural problems when the Germania Life Insurance Company, who originally owned the structure, sold it to Fourth National. Most of the problems of the building came from its sinking foundation, which caused cracks and misalignments to appear in the facade's stones and windowsills. Many of the building's openings had to be braced by heavy timber. In some parts of the building, the ceiling sloped three or four inches and doors had to be trimmed down to be function at all. Despite the structure's impending doom, Fourth National purchased the building for 1.5 million dollars. This was "the highest figure yet paid in the financial district," at the time, at around three hundred dollars a square foot. The New York Tribune noted that the lot had ample light, and "unusual advantages," due to the building's squat neighbors. Though the building was purchased in 1909, the Germania Life Insurance Company didn't move out until two years later. In 1914, Fourth National merged with the Mechanics and Metals Bank and continued to occupy the building, despite concerns over structural problems. The Mechanics and Metals Bank was consolidated with Chase National Bank in 1926, who would ultimately call for the demolition of the building. However, razing a structurally-deficient building proved to be harder than anticipated. The safety vault of the bank was a "miniature fort in the heart of New York's financial district", according to a Connecticut newspaper, because it was encased in thirty inches of masonry and five inches of steel plates to withstand any bombing or burglary. Removing it required the effort of "fifteen men, consisting of drillers, blasters, burners, rock-men, and engineers...employed continuously trying to batter \[it] down." Once the ground was finally leveled, Chase National Bank had plans for a tower almost 500 feet in height, with stepped levels resemblant of a pyramid.

In its history, New York City has seen its fair share of accidents, disasters, and catastrophes. Some have been man-made, while others were the work of Mother Nature. These events have, over time, altered and shaped the city and its citizens.

By Atiba Pertilla William Allen Butler, Jr., the founder of downtown Manhattan’s Lawyers Club, would later explain that its creation was inspired by a disturbing encounter. One afternoon in the 1880s, he went out for lunch with his father and partner, William Allen Butler, Sr.—a respected corporate lawyer, son of a former U.S. Attorney General, and co-founder of the Association of the Bar of the City of New York. The restaurant was crowded, but moments later an office boy from his law firm finished lunch and “my respected father occup\[ied] that same stool to order a slice of roast beef.” Unable to find a seat for himself, the younger Butler ended up standing at the restaurant’s “oyster counter” and swallowing down a sandwich “of the genus warranted to stand on one’s chest for a couple \[o]f hours.” He found the blurring of class boundaries and the uncomfortable conditions troubling, wondering “Was there not some better way for the noon-day hour luncheon?” His conclusion was that there was a need for “a reputable and decent place” where men like himself and his father could enjoy a decent midday meal in private, dignified surroundings, away from their subordinates. He decided, in short, to establish a lunch club. Read this in its original format here

Potter Building, ca. 1980. The Potter Building, constructed from 1883 to 1886, was designed to the plans of architect Norris G. Starkweather. Commissioned by Orlando B. Potter, a prominent politician and real estate developer, he built the 11-story building to replace his former World Building, which was destroyed in 1882 by fire. In addition to employing the most advanced fireproofing methods that were then available, the newly erected Potter Building was designed in a combination of Queen Anne and neo-Grec styles. Making using of rolled iron beams, cast iron columns, brick exterior walls, tile arches, and terra-cotta, the building's elaborate details even provoked Mr. Potter to later start his own terra cotta company on Long Island. In 1980, the iron-frame office building was converted by Martin Raynes to a co-operative apartment building with 41 units.

Once the tallest building in the world, the Woolworth Building remains one of Cass Gilbert's Masterpieces.

St. Peter's Roman Catholic Church ca. 1916 A full-fledged example of the Greek Revival in temple form executed in stone. The great dignity of this church is at once apparent. The shafts of the columns consist of only three drums, each one about ten feet tall. Such large pieces of stone usually came in by barge and were brought up from the river on horse-drawn drays.

While most people think of chop suey as a specific dish, in reality, it is more of a style of cooking. It is an Americanized style, an often improvised stir fry of mixed ingredients, namely meat, vegetables, and a starchy gravy. First popularized in Chinatown around the turn of the 20th century, it spread throughout the city, becoming more Americanized (read-more bland) over the course of time. It is sometimes referred to as one of New York’s first fusion cuisines.

Manhattan Company Building ARCHITECT: H. Craig Severance; Yasuo Matsui; Shreve & Lamb DATE: 1929-30 STYLE: Art Deco, Skyscraper The Manhattan Company Building, built in 1929-30, was planned as the tallest building in the world. The 71-story, 927-foot-tall Manhattan Company Building was completed in a year, an unprecedented feat for such a project, and ready for occupancy in May 1930. The picturesque skyscraper, with an overall massing characteristic of Art Deco style skyscrapers in New York of the period, rises through a series of setbacks to a tower, clad in buff brick and ornamented with terra cotta, with continuous vertical piers and recessed spandrels, and is crowned by a pyramidal roof capped by a spire.

My Archive Spring 2019 "This is a photograph of my great-great grandfather’s jewelry store. His name was John William Day. He was born in New York in 1866 and died in 1908." — Todd Hirsch

Park Row Building ARCHITECT: R. H. Robertson DATE: 1896-99 STYLE: Skyscraper The 30-story, 391-foot Park Row Building was the tallest building in New York City and one of the tallest structures in the world between 1899, the year of its completion, and 1908. It is one of several surviving late nineteenth-century buildings that formed Newspaper Row, the center of newspaper publishing in New York City from the 1840s to the 1920s. Among its many tenants, the building housed the offices of the Associated Press news agency, as well as the headquarters of August Belmont’s Interborough Rapid Transit Company. The great height and irregular plan of this building led to the use of innovative construction techniques including a pile and steel-grillage foundation, a Roehling concrete floor system for fireproofing, and Sprague Electric elevators to transport the thousands of people using the building each day.

146 Beekman Street, date unknown. Constructed in 1885 as a smokehouse, the building at 146 Beekman has been tied to the NYC fishing industry, centered in this neighborhood, since its construction. By 1904, the building was also the headquarters of the New York Wholesale Fish Dealers Association. The painted signs on the facade that read "Fresh, Salt Smoked Fish" were in place by the 1930s, though likely were painted earlier. From 1914 to 1997 the building was home to the The Meyer and Thompson Smoked Fish Company. In 2004 a bar and cafe called Fresh Salt opened in the ground floor space and, despite damage endured during Hurricane Sandy in 2012, remains open, serving the neighborhood under its historic sign.

214 Front Street Architect unknown 1802 214 Front Street was built for merchant William Shotwell, and has been altered many times over the years.The cast-iron façade is ornamented with decorative, paneled square columns and a modillioned metal cornice. On the four upper stories, the smooth-pressed bricks were assembled in a stretcher bond pattern and several gudgeons from the 19th century shutters still remain at the windows. 214 Front Street is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

My Archive Spring 2019 "This is my great-great-great grandfather’s hat shop. His name was John Henry Day. He was born in New York in 1832 and died in 1909." —Todd Hirsch

ca. 1890 The Newsboys Lodging Home depicted here by Jacob Riis was, in fact, the third incarnation of the Newsboys Lodging home. Also called the Duane Street Lodging House or the Brace Memorial Lodging House, it was set up for young boys (not necessarily newsboys) who would be otherwise homeless. The boys would pay a fee and in return, they would receive schooling, food, and a clean place to spend the night. A replacement for a smaller lodging house, the Duane Street Newsboys Lodging Home opened in 1873. Costing more than 200,000$, the Duane Street location was aimed at expanding it mission to serve the ever-increasing homeless child population of New York. It was managed, like most of the Children's lodging houses of the city, by the Children's Aid Society. With a gymnasium, school rooms, dining hall, and washrooms, the home attempted to provide an education to those that lodged with them. If a boy wanted to stay the night, the ensuing classes were mandatory. Those that could not afford to pay could defer the payments until they had the means. The rules at the home were strict, the boys had to be out by 7 am and were allowed in no later than 9:30 pm. Moreover, all were expected to pitch in with the upkeep of the house, with duties from cleaning to laundry to cooking. During the day, the boys were out, selling newspapers, shining shoes, and earning money. The mission operated until 1919.

Hall of Records, ca. 1935. Built as the Hall of Records (to replace the old and decrepit Hall of Records in City Hall Park), the ornate Beaux Arts building was constructed between 1899 and 1907. Architect John R. Thomas had actually won the commission for a new City Hall building in 1896. When the state legislature decided that the city was not permitted to replace the old City Hall, Thomas adapted his design for a new Hall of Records. He would, unfortunately, not live to see the completed building. Thomas died in 1901 and the firm of Horgan & Slattery took over the project. The completed building was an impressive civic structure, very much in line with the in vogue "city beautiful" movement. Entered through a triple arched entrance with eight, thirty-six foot high granite Corinthian columns above, the building is also topped with a grand mansard roof. Though the Surrogate's Court was one of the original tenants of the building, it wasn't until 1962 that the structure was renamed the Surrogate's Courthouse (though the Department of Records is still housed there as well). Both the interior and the exterior of the building have been designated New York City landmarks.

Crowd gathers in City Hall Park for a Liberty Bond sale under the auspices of the the Mayor's Committee of Women on National Defense, ca. 1917-18. A man perched atop a fully extended firemen's ladder waves an American flag. In the background is the former City Hall Post Office and Courthouse; the mammoth French Second Empire civic building was torn down in 1938.

Evening Post Building ca. 1905. The Art Nouveau found little favor in New York, yet it offered many new possibilities to the designer. Here a beautiful expression of the underlying structure was combined with a novel, free-flowing design which subtly emphasized the vertical by means of elongation, both in the sculptured figures and in the niches behind them.

“Federal Hall National Memorial, ca. 1975. The Federal Hall National Memorial commemorates historic events at the former Federal Hall, which occupied the same site until 1812. The original building, completed in 1703 as New York’s second City Hall, became a meeting place for colonial delegates prior to the Revolutionary War, and later for representatives of the nascent American government in the First United States Congress. Federal Hall became the first Capitol of the United States in 1789, when the Constitution came into force. Under the first Congress, Federal Hall was the site of Washington’s Inauguration and the proposal of the Constitutional amendments that today make up the Bill of Rights. After Congress moved to Philadelphia in 1790, New York’s City government operations returned to Federal Hall until a new City Hall building was completed in 1812. The building was razed thereafter. The current temple-front Greek Revival marble structure was designed by John Frazee and completed in 1842.

In November 1952, the young Israeli state, a mere 4-years-old, sent their Minister of Police, Behar Sitreet, on an official fundraising tour. While in New York, Minister Sitreet paid a holiday visit to Mayor Vicent Impeliterri, who was also part of further holiday festivities at Madison Square Garden's massive Hanukkah pageant and fundraiser.

This office block was built as a speculative venture by the American Tract Society. Revenue from this investment would fund the charitable works of the Society which published and sold inexpensive Bible editions to Foreign Missionary Societies and newly arrived immigrants. Rising from a plot 100 by 94 feet, this 22-story building contained 700 offices. The tower is topped by an elaborate open-arched pavilion with spectacular terra-cotta caryatids on its four corners that recall the figureheads of nineteenth-century schooners. Inside the building's lobby, the elevator hall is a semicircular space with the cabs arranged around it in an arc, one of the few surviving examples of this early configuration in New York. The building is currently undergoing renovation for residential use.

One of the most interesting structures in the State and National Register of Historic Places South Street Seaport Historic Districts is the Romanesque Revival building that was erected in 1885 for Ellen S. Auchmuty, a Schermerhorn family descendent. It was designed by George B. Post, an architect trained in the Beaux-Arts tradition, who also designed the old New York Times Building (1889) at Printing House Square, Bronx Borough Hall (1897), and the New York Stock Exchange (1904).

The New York City Department of Sanitation was established in 1881 to attack an overwhelming problem. New York City of the late 19th century was plagued with relentless filth. Horses left 2.5 million pounds of manure and 60,000 gallons of urine on the streets every single day. The unceasing expansion of the city left layers of grime on the streets.

My Archive Spring 2019 "Apolina Stasa, my grandmother, from Moravia (now the Czech Republic ) worked Downtown as a cleaning lady. Old family photo circa the early 1920s probably on a Sunday before or after going to St. Peter's on Barclay Street." —Joseph Svehlak

The Corbin Building was erected in 1889 by architect Francis Hatch Kimball. The structure is a rare surviving example of late 19th-century commercial architecture. While hardly qualifying as a skyscraper today, at nine stories the building towered over its neighbors in 1889. Its slender form, dark stone, and eclectic detail stand in stark contrast to the neoclassical and International Style towers around it. This building is an early design of Francis Kimball, who emerged as a leading skyscraper architect in the 1890s and early 1900s. His buildings include 71 Broadway, 111 Broadway, and 115 Broadway.

Water Street, South from Fulton Street; January 15, 1928. The barber's pole is outside a storefront barbershop in the United States Arcade Building, a 1898 commercial building occupying a site on the south side of Fulton Street, between Water and Pearl Streets. In 1961, U.S. Arcade was sold and razed to developers Meyer Bros., who put up a parking lot. Later, the site would become part of the full-block footprint of 127 John Street (a.k.a. 200 Water Street), an International Style high-rise designed by Emery Roth & Sons and completed in 1971.

Edmund Vincent Gillon shot thousands of photographs documenting New York’s architecture and public art from the 1970s to the 1990s. Among Gillon’s rolls, his keen eye for civic sculpture stands out. Admire this set of memorable monuments, part of the Museum of the City of New York’s collection:

City government in New Amsterdam had met in the Dutch Stadt Huys, built as a tavern in 1642 on Pearl Street, then known simply as The Waterside. After the British takeover, in 1703, a new building, seen in the upper image, was constructed to serve as City Hall. Together with Trinity Church and the First Presbyterian Church, City Hall gave weight to the dignity of the west end of Wall Street. After the Revolutionary War, in 1788, Pierre L'Enfant, who was best known for his later planning of the new capital city of Washington D.C., designed the renovation and enlargement of City Hall, which became knows as Federal Hall when it housed the Continental Congress. The balcony served as the location of the inauguration of George Washington as the nation's first president on April 30th, 1789. The nation's capital moved to another temporary home in Philadelphia in 1790 and the building resumed its previous function of city hall until the current City Hall was constructed in 1812.

Singer Building ca. 1908 Architect Ernest Flagg had already designed two buildings for the Singer Manufacturing Company when, in 1906, the company declared it would build the world's tallest building. Flagg achieved the company's goal by utilizing innovative techniques in wind bracing and the anchoring of the building's steel frame, which allowed it to soar to a height of 612 feet. Completed in 1908, the ornate Beaux-Arts tower, with its distinctive lantern top, stood out in the Manhattan skyline and served as a billboard for the Singer Company. For 50 cents, visitors could ascend to the 40th-floor observation deck. In accordance with newly enacted zoning laws, the slender tower was set back from the street and occupied only one-fourth the area of the building from which it arose. The success of the design influenced the use of setbacks, which became a standard feature of successive skyscrapers. In 1968, the Singer Tower became the tallest building ever demolished when its new owner, U.S. Steel, sacrificed it for the glass and steel One Liberty Plaza.

This 30-story Park Row Building was the tallest office building in the world from the time of its completion until the completion of the Singer Building in 1908. Built as a speculative office building by a syndicate of investors lead by August Belmont (also the entrepreneur behind the Interborough Rapid Transit Company (IRT), a private company responsible for the building and operation of the original subway line) the office block originally accommodated 950 offices and over 4,000 workers. It exploited the newly developed all steel skeleton technology. The syndicate bought and consolidated seven smaller lots to create this large but very irregularly shaped site which lacked the corner lot. The exterior lacks the soaring profile and slender tower of the office buildings that would take the title of tallest building in the next decade, the Singer Building, Metropolitan Life Tower and Woolworth Building. The most distinctive elements of its design are the two three-story cupolas and four life-sized sculpted figures projecting from the fourth floor of the Park Row front.

The Federal Hall National Memorial commemorates historic events at the former Federal Hall, which occupied the same site until 1812.

122 William Street ca. 1913 This Dutch colonial building was made of brick imported from Holland and in 1913 was said to be one of the oldest homes still standing from the New Amsterdam settlement. Located near the site of the pre-Revolutionary War Battle of Golden Hill, the building housed the Golden Hill Tavern, which was a popular rendezvous for Revolutionary figures like George Washington, Marquis de Lafayette and Benedict Arnold during the Revolutionary War. The building was demolished in 1919.

Evening Post Building ca. 1926 Completed in 1875, the same year as the Tribune Building, the headquarters of the of the Evening Post was an imposing ten-story, 140-foot tall structure that stood on the southeast corner of Broadway and Fulton Street. Like the Tribune, it was a load-bearing brick structure with stone trim, but its vaguely Romanesque style was restrained and utilitarian, with the exception of a low mansard-like cupola above the central bay and heavy stone piers and columnettes that framed the main entrance. The architect was the little-known Thomas Stent, who took over the commission from an earlier architect dismissed from the project. The Post wrote in its July 1, 1875 supplement on the new building that its simplicity would be "admired more for its massiveness and substantiality, and for its complete adaptation to the uses for which it was constructed, than for anything peculiar or striking in its outlines or extravagant in the treatment of its interior." The main Broadway entrance, raised a half-story above street level, as was common at the time, led to the major commercial spaces and the lobby access to the hydraulic elevators. The upper floors were partitioned offices, all leased to tenants except for the top floor, which was reserved for the paper's editorial offices and space for the compositors. The printing presses and other machinery operated in the basement levels, and compositors of the job-printing department worked in the vault spaces below the sidewalks on Broadway and Fulton Street. The New-York Evening Post was originally established in 1801 by Alexander Hamilton and his political allies as a Federalist broadsheet after the election of Thomas Jefferson to the presidency. Famed poet and abolitionist William Cullen Bryant took over the paper in 1828 and served as its editor-in-chief for fifty years. The Post changed its format from broadsheet to tabloid in 1942, under the tenure of Dorothy Schiff, after which circulation grew by two thirds. Media mogul Rupert Murdoch purchased the paper in 1976.

On October 12, 2021, Municipal Archives digitization specialist Matt Minor presented an illustrated history of the Surrogate’s Court for DORIS’ “Lunch and Learn” program. As he reminded the audience, the original name of the building was the Hall of Records. It was the first purpose-built records hall for the City. The following is a condensed version of his talk. The original format of this story can be found here along with other excellent blogs.

World Building ca. 1890-1899 Completed in 1890, the World Building, (also known as the Pulitzer Building) was commissioned by editor Joseph Pulitzer as a headquarters for his paper the New York World. Designed by the prolific skyscraper architect George B. Post, it was the first building in New York to surpass in height the 284- foot spire of Trinity Church. The number of stories is disputed: estimates range from the 26 stories claimed by the World to the 16 or 18 suggested by recent scholars. The World and Tribune buildings were demolished in 1955 for the expanded automobile entrance to the Brooklyn Bridge.

City Hall Subway Station, ca. 1905. Considered the "crown jewel" of the original 28 IRT subway stations, the Old City Hall Station was in service from 1904 until 1945. Designed by architects Heins and LaFarge, the ornate station, with its curved track, was the showpiece of the city's new transit system. Tiled Guastavino ceilings rendered as soaring arches, brass chandeliers, and gorgeous leaded glass skylights wowed crowds on opening day October 27, 1904. By the 1940s the station was hardly being used. The nearby Brooklyn Bridge station was more convenient. Likewise the tight curve of this station made it difficult to operate as train technology developed and trains got longer. During the Second World War the skylights were blacked out and in 1945 the station was closed entirely. Renewed interest in the station prompted a plan for restoration and a museum annex location in the 1990s, but safety concerns (it sits directly under City Hall) stymied the plans.

Staats-Zeitung Building, ca. 1895. The New Yorker Staats-Zeitung, a Greman-language newspaper, began publishing in 1834. Originally founded by a by a society of German-American businessmen, it published weekly for the 10,000 German-born citizens in the city. The newspaper grew in length, population, and reputation over the next few decades. In 1852 a woman, Anna Uhl, took over management and five years later purchased a property on "Newspaper Row" (now Park Row). The first Staats building on the site was a simple narrow structure at 17 Chatham Street. In 1873, Anna Uhl and her now-husband and editor, Oswald Ottendorfer, commissioned German-born architect William Schickel to expand the building. The newspaper, which by the 1870s had a circulation comparable to major, local English-language newspapers, remained here until 1907. The headquarters was to be torn down for roadways for the Brooklyn Bridge. The newspaper moved just a few blocks away to a building on Spruce and William Street, which had previously housed the publishing operations of The New York Ledger.

Man in the excavation cut for the BRT Centre Street Loop, July 22, 1909. The Municipal Building, then under construction, is out of frame at right. Straight ahead is the Technical Press building at 236 William Street. That building has since been demolished; its site was near present-day One Police Plaza and the Brooklyn Bridge offramp toward FDR Drive.

If 1 CM Plaza typifies gossamer modernity, its neighbor represents the weighty historicism in vogue in the days before the Stock Market Crash of 1929. York & Sawyer turned to the fortified palaces of the Renaissance bankers of Florence for inspiration for this design. The fortress-like character is appropriate, as the Federal Reserve houses the world's largest concentration of gold bullion in its basement vaults. The elaborately wrought iron lamps flanking the main doorway on Liberty Street are the work of Samuel Yellin, the most noted artist of wrought iron of the twentieth century.

The NYC subway is more than a means of transit; it's a living, breathing entity that tells a story at every stop. It acts as the city's vascular network, essential in weaving together the rich mosaic of neighborhoods, cultures, and economic activities. This complex system embodies the heartbeat of New York, vibrating to the diverse culture of its people, each station providing a different window into the spirit of the city. It is also a great reflection on the dynamics of urban change by witnessing the disparity between stations that shine with modernity and those that languish in the shadows of neglect. This contrast raises critical questions about resource allocation, city planning priorities, and the impact on the communities that rely on this crucial transit network. A consideration of inequality in the subways provides a window to rethink what our city and its subway system should and could be. A place where infrastructure serves all communities with fairness and dignity, where the richness of each neighborhood is celebrated and preserved, and where the future of urban living is shaped by the voices of its people. Join me in this exploration, as we look at the layers of New York City's subway system. Together, we'll discover the challenges it faces, celebrate the vibrancy it harbors, and envision a future where it emerges not just as a transit system, but as a symbol of a more connected, equitable, and thriving city.

American Telephone and Telegraph Building, ca. 1917. The 29-story building, also known as 15 Dey Street, was designed by architect William Welles Bosworth as the headquarters of the American Telephone and Telegraph Company. Construction was completed in stages between 1912 and 1916. In 1915, the building hosted the Atlantic end of the purported first transcontinental telephone conversation (the technology had previously been tested (also from this building); this call was a demonstration for marketing purposes). Alexander Graham Bell reprised his famous call to Thomas Watson, who this time answered from San Francisco.

Several buildings in the South Street Seaport District are considered to be some of the oldest standing structures in Manhattan. From taverns to warehouses, built by the most famous American architects of the 19th century, the buildings of the Seaport have big stories to tell. Take a walk with us and discover the origins of New York's greatness.

New York Times Building ARCHITECT: George B. Post DATE: 1888-89 STYLE: Richardsonian Romanesque The New York Times Building, erected in 1888-89 as the home of the New York Times, is one of the last remnants of Newspaper Row, the center of newspaper publishing in New York City from the 1830s to the 1920s. The building was designed by the pioneering skyscraper designer George B. Post and is his sole remaining office building in the downtown area. The Times Building was Post’s first in the Richardsonian Romanesque idiom and was considered “a masterpiece of the Romanesque style.” It has rusticated limestone and granite facades that are articulated in a complex composition featuring a series of impressive arcades and carefully-scaled details including compound colonnettes, roll moldings, miniature balustrades, foliate reliefs, and gargoyles.

Western Union Building ca. 1885 At 230 feet tall, the Western Union Building, completed in 1875, became the city’s second-tallest office building after the Tribune, and its spired silhouette dominated the vista of Broadway. It was the first “skyscraper” – although that term was not used in print until the 1880s – of George B. Post, who in the following decades would become one of New York’s most prolific architects of tall buildings, designing twelve of the structures featured in our survey, including Joseph Pulitzer’s World Building, which in 1890, at 309 ft., took the title of the tallest office building in the city and in the world. Like its contemporaries, the Tribune Building and the Evening Post Building, Western Union was a masonry bearing-wall structure that also employed some cast-iron columns and wrought iron girders and beams. Architecturally, it was a horizontally striped Victorian pile of red brick and gray stone, crowned with a high mansard roof built over a metal frame. The ornate roof capped an arcaded eighth story where the company’s telegraph operators sent and received messages from a net of wires that crisscrossed rooftops. From the mid-19th century, telegraphs were the major method of long-distance communication. Using code developed by Samuel Morse to covey “written messages by electricity,” competing companies connected cities, the continent, and opposite sides of oceans with wires and cables that, for considerable charges, carried vital messages. By the 1870s, through inventions and business mergers, Western Union had become the dominant telegraph company. As an article on the new building in the journal The Aldine described: “No single enterprise, in the whole world, has grown so rapidly within a few years, as the telegraph interest of America, of which the Western Union Telegraph Company is the principal exponent; and perhaps it is quite correct that the Company should be the builder and owner of one of the most remarkable structures on the continent, if not in the world…. That the Telegraph Building is to be, architecturally and practically, an immense success, there can be no question; its great height making the amount of disposable space within, simply enormous; and its location, so near the Post Office and the great business centres, rendering its availability quite as marked as its size”.… Called by The Daily Graphic the city’s new “business palaces,” the Western Union Building, like the Tribune, advertised the success of their companies, but they also offered offices for rent on their middle floors.

EXCELSIOR POWER COMPANY BUILDING, MANHATTAN Address: 33-43 Gold Street Constructed: 1888 Architect: William Milne Grinnell The Excelsior Power Company Building is the oldest power generating station in New York City. 11 power plants, whose energy helped grow New York into the city that it is, have been demolished throughout the five boroughs. The monumental Romanesque Revival style building, complete with rough-cut ashlar and rounded, springing arches, features Queen Anne terra cotta details, while the Art Nouveau letters that read “Excelsior Power Co. Bldg 1888 A.D.” add the final touch. The building, an architectural anomaly in the Financial District, has overcome functional obsolescence in its conversion to residences. Its successful adaptive reuse is a gift to Gold Street. The Excelsior Power Company Building at 33-43 Gold Street is a Romanesque Revival structure designed by the architect William G. Grinnell. The Excelsior Steam Power Company acquired this Gold Street property in 1887 from the Columbia Heating and Power Company. Two buildings from the 1840s were on the property and were altered to meet the needs of the Excelsior Company. The red brick facade is distinguished by ornamental terra cotta detail. Incorporated in the terra cotta design detail is the name of the building and the date--"A.D. 1888."

Strand Book Store, South Street Seaport, ca. 1991.

The building at 280 Broadway has been known by a number of names since it was erected in 1846 (later additions and alterations occurred between 1852 and 1884). Built for the A.T. Stewart Company, it was not only the first commercial building in the Italianate style in the United States but is also considered the country's first department store. The John B. Snook and Joseph Trench-designed marble structure remained home to Stewart's dry goods store until 1876. During the last 14 years, it housed only the wholesale trade, as the retail business had moved further uptown to 9th Street. Converted into an office building (two new stories were added to the five-story structure), it became the home to the New York Sun newspaper when they purchased it in 1917. Known as the Sun Building, the new owners installed a bronze clock (seen here) at the building's southwest corner. The paper folded in 1953 and the city took the title during condemnation proceedings. Though the building was to be razed for a planned civic center development, it remained. Substantially renovated between 1995 and 2002, today the building is home to the city's Department of Buildings and lower level retail.

Municipal Building ca. 1976 The vaulting over the South Concourse of New York’s Municipal Building epitomizes the spatial genius of Guastavino Jr. This irregularly shaped area, punctuated by numerous columns supporting the 580-foot skyscraper above, presented him with particular challenges. Guastavino Jr. designed a deceptively simple and graceful array of vaults—no two of them alike—springing from asymmetrical structural bays. The open-air concourse provides access to the Chambers Street Subway Station below.

Westinghouse Building, 150 Broadway, ca. 1924. Architects Starrett & Van Vleck erected the 23-story Westinghouse Building in 1923-1924. According to architect and critic Robert A.M. Stern, the Westinghouse Building "marked an important step toward realizing the aesthetic potential of the zoning law," the 1916 statute governing skyscraper height and lot use.

This high-rise was erected as a headquarters for the venerable Bank of New York, which had occupied the same site on the northeast corner of Wall and William Streets since 1797. The famously conservative institution chose society architect Benjamin Wistar Morris to design a headquarters that would reflect the bank’s eighteenth-century origins. The building’s exterior is decorated in a Colonial Revival style. Windows set nearly flush with the wall and lightly incised quoins give the limestone an apparent thinness. Morris used a similar design for 25 Broadway. The tower telescopes to a slender spire crowned with a federal eagle. A marble plaque on the ground story relates back to the building of the bank’s first headquarters on this site. Note also the railings for the subway entrance at the corner, which incorporate complementary Colonial Revival motifs. The main banking hall, on the second floor, is reached via an elliptical, cantilevered, marble staircase. With its three enormous brass chandeliers and checkered marble floor, the banking hall feels as much like a ballroom as a Wall Street bank. Murals decorating the northern wall depict the bank’s founders. The five murals on the eastern wall represent facets of the bank’s business: Foreign Trade; Agriculture and Mining; National Credit; Transportation; Steel and Electricity. They were painted by J. Monroe Hewlett in 1929. The Bank of New York left its home of two centuries in 1997 and moved to One Wall Street, which it acquired in a merger with Irving Trust

Fulton Fish Market, ca. 1935. The origins of the market that would become the well-known Fulton Fish Market date to 1807, when the market opened on land that was donated to the city. In 1822 a new market building was constructed and opened on South Street between Fulton and Beekman Streets, selling fish and other goods. In its first decades the market largely sold to individual retail shoppers. After 1850 the enterprise become a majority wholesale market. In 1924, 25% of all seafood sold in the United States passed through the Fulton Fish Market. The market occupied two open-air structures, including the 1907 Tin Building. In 1936 the original 19th century market building slid into the river after its pilings failed. Mayor LaGuardia advocated for and opened the "New Building" in 1939. Still the largest consortium of seafood wholesalers in the country, the Fulton Fish Market left its lower Manhattan home of 180 years in 2005 when it was relocated to the Bronx.

Former A.T. Stewart Building 280 Broadway, Joseph Trench & John B. Snook, 1845-46 280 Broadway is one of New York’s most significant commercial structures. Built for Alexander Turney Stewart’s department store—the city’s first—the building and the business greatly impacted the city’s economic growth and American merchandising. With this building, Stewart introduced America to the pleasant shopping experience and to the idea that architecture can be employed to reflect a business’ image. Its marble façades emulated an Italian Renaissance palace, a trend for commercial architecture in London, with which Stewart was familiar. This style was a major departure from New York’s low-scale, simple commercial buildings, and it was imitated into the 20th century.

Listen to the Gotham Center and Gail Fenske's podcast on the history of the Woolworth Building, once the tallest building in the world, while examining these archival images!

Paris Cafe certainly fits the bill of New York's oldest watering holes. The pub has proudly served beer since 1873, as is noted on the building's facade. The bar was founded by Henry Meyers, an alcohol merchant, who opened the pub to accompany his hotel upstairs. In its heyday, the Meyer Hotel hosted numerous celebrities, including a young Theodore Roosevelt, the cowboy Buffalo Bill, and outlaw Butch Cassidy, to name a few. However, once passenger ships diverted traffic by docking at the Chelsea Piers rather than the Seaport, the hotel briefly fell into obscurity. Shortly after, the mob took over the business and the Meyer Hotel saw a rotating cast of mafiosos use its quarters. In 1951, the building was purchased from the Meyer family estate by Silvio (Steve) Schiaffino. It was Schiaffino who christened the establishment with its new name. At first, he renamed the eatery "Paris Bar and Restaurant," after his prior business which he lost to the city. The name has since been simplified to Paris Cafe. Schiaffino made extensive updates to the kitchen and dining area of the Cafe. Despite renovations, the longshoreman's pub kept its original ornate polished wood bar that was shipped from Germany. Both the bar and the sparkling mirrors behind it have maintained their illustrious sheen for almost 150 years, even surviving a devastating flood brought on by Hurricane Sandy. Sadly in 2020, the fabled bar was forced to close its doors due to the Covid-19 pandemic.

This historic masonry, cast iron, and timber-framed landmarked building, located at 167-171 John Street, was built in 1850 for the A.A. Low & Brothers, a famous export firm until well past the end of the 19th century. Founded by Abiel Abbot Low (1811-1893), the company was New York’s most successful firm in the China trade importing cinnamon, pepper, silks, porcelain, firecrackers, and tea. A.A. Low & Brothers occupied the building well into the 20th century, and as a whole, the building represents the success and importance of the original builder.

Potter Building ARCHITECT: Norris G. Starkweather DATE: 1882-86 STYLE: Queen Anne, Neo-Grec, Renaissance Revival, Colonial Revival The Potter Building was commissioned by Orlando B. Potter, a prominent figure in New York politics with prime commercial real estate holdings in Manhattan. Potter was determined to build a structure with the most advanced fireproofing then available. The eleven-story Potter Building was distinguished stylistically from most downtown buildings, with its picturesque, flamboyant fusion of Queen Anne, neo-Grec, Renaissance Revival, and Colonial Revival motifs. The vertically-expressed design is executed in red brick and brownstone-colored terracotta above a cast-iron-clad base. Among its distinctive features are continuous piers, some of the handsomest brickwork in New York City, a dramatic, colossal three-quarter-round column terminating in a pinnacle on the acute primary corner of Park Row and Beekman Street, walls elaborated by ornamental pediments, segmental arches, panels, and corbelling, and a roofline punctuated by finials and broken scroll pediments with urns.

Former National Park Bank Building, 216 Broadway, ca. 1895.

This iron-framed, brick building is a riot of robust clay capitals and classical details. What was viewed as its greatest innovation at the time of its completion was its virtually fireproof construction, a strength advertised by its iron-clad lower stories and storefronts. The richly ornamented façade is anchored by dramatic eight-story vertical piers in brick with enormous terra-cotta capitals, and the colossal eleven-story embedded column that seems to hinge the corner of Nassau Street and Beekman Place. A builder's plate giving the name of the foundry responsible for the cast iron work remains at the building's southwest corner. The Potter Building is a masterpiece of architectural terra-cotta, and its construction played an important role in the development of terra cotta as a building material in New York. Terracotta, a type of clay that is molded and fired, was chosen by the building’s owner, Orlando Potter, for its fire resistant properties and low price. At the time, no source of terracotta existed in New York, and a Boston company was hired to provide the material. Soon after the building’s completion, Potter founded the New York Architectural Terra-Cotta Company, which would manufacture much of the terra-cotta ornament widely used in later skyscrapers.

New York County Lawyers’ Association Building STATUS Designated Individual Landmark 14 Vesey Street ARCHITECT: Cass Gilbert DATE: 1929-30 STYLE: Federal Eclectic This building is four stories high, and above the third floor, there is an attic story set back behind a handsome rail (balustrade) and roof deck. The building is an example of Federal Eclectic architecture. It is built of stone, instead of brick, as it would have been if it had been built in the Federal Period in New York.

Federal Hall, built in 1703 as New York's City Hall, later served as the first capitol building of the United States of America under the Constitution, as well as the site of George Washington's inauguration as the first President of the United States under the Constitution. It was also where the United States Bill of Rights was introduced in the First Congress. The building was demolished in 1812.

The Fish Market on South Street between Peck Slip and Beekman Street, November 26, 1935. By the time Berenice Abbott took this picture in 1936, the South Street fish market filled a six-block area and was the largest wholesale seafood market on the Atlantic Coast. At the southern end of the block (Nos. 116-119) is Meyer's Hotel, notorious for selling alcohol during Prohibition.

In the United States, power and the ability to pass laws is spread out across three levels of government: the federal, state, and local levels. Each level has different responsibilities and is in charge of a different group of people. Government at the federal level is in charge of the entire nation. Members of the federal government include the President, the House of Representatives, and the Senate. They make laws and deal with issues that affect the whole nation. Members of the state government are in charge of making laws and protecting the interests of people in a specific state, like New York for example. The governor, and state representatives are examples of people involved with state government. Finally, every city, town, or county has their own local government. They deal with the most specific needs of a local group of people, like keeping communities clean and safe. Members of the local government, can include a mayor, city council members, or county executives. Throughout New York City's history different places have served government functions for each level of government. As you look through this story, consider some of the different responsibilities the various levels of government have and how they have changed over time. New York Social Studies Scope and Sequence Standards 4.4b,c For Teachers: Different Levels of Government Lesson Plan

Titanic Memorial Lighthouse and stores on Fulton Street, ca. 1976. Originally installed on the top of the Seaman's Church Institute in 1913, the Titanic Memorial Lighthouse has stood on the corner of Water and Fulton Streets since 1976. The 60-foot-tall structure was installed at the insistence of Titanic survivor, socialite, and philanthropist Molly Brown. Originally the ball on the top of the structure dropped every day at noon as a remembrance of the victims. The ball drop stopped in 1967 and the Seaman's Institute moved locations in 1968. The lighthouse was donated to the South Street Seaport Museum and was installed near the entrance of the museum's complex of buildings.

The Bennet Building, ca. 1928. The Bennett Building is a landmark structure constructed in 1872-1873 by Arthur D. Gilman for James Gordon Bennett Jr., the publisher of the New York Herald. Originally the French Second Empire structure was only six stories tall, but in 1890-1892, the mansard roof was removed and three floors and a penthouse were added by James M. Farnsworth for the building's new owner, John Petit. In 1894, Farnsworth constructed an extension of the building to Ann Street. In each case, Farnsworth's additions carefully mimicked Gilman's original design. The Bennett Building's key feature is its facade: it is the tallest structure in the world with an entirely cast-iron facade. Its richly decorated facades meet at these distinctive curved corners.

Guaranty Trust Building ca. 1912 Here the colossal Ionic order, set off by simple ashlar masonry walls, lent great dignity to the front facade, while an equally handsome colonnade screened the windows of the main banking room along Liberty Street. York and Sawyer proved their versatility in departing from their Romanesque mode of this more purely Classical theme.

"Backed by popular support, the City devised a plan to build a new market at the Fulton Ferry landing, on the block bounded by Fulton, Beekman, South, and Front Streets. This block had already been developed, and its lots and buildings were all privately owned; to take the property, the City would need permission from the State Legislature, which had the sole authority to grant the use of Eminent Domain. The Common Council submitted its request in January of 1816, and in March of that same year the Thirty-Ninth session of the Legislature passed a Law allowing the City the right to condemn and take the properties — with fair-market compensation to each owner — for the purpose 'of erecting thereon an extensive and commodious public market.' … It opened its doors as Fulton Market on January 22, 1822. It went on to become New York City’s premier destination market for several generations, then gradually transformed into the Fulton Fish Market — one of the largest and most renowned wholesale markets in the world, which remained at the Seaport until 2005 until its move to the Bronx. It continues generating business and employment for the city after 186 years of active trade." For more on Fulton Market, check out this article by Robert LaValva in Gotham: A Blog for Scholars of New York City History.

“St. Paul's Chapel, looking east from junkyard, general view of front entrance.” June 1, 1931. Built in 1766, St. Paul’s is the oldest church building in Manhattan. The Georgian chapel was designed by Thomas McBean as a northern “chapel-of-ease” outpost of the Trinity Church at Broadway and Wall Street. In its early years, St. Paul’s was a place of worship for early American luminaries like George Washington and Alexander Hamilton. More recently, St. Paul’s is known for its role related to the September 11, 2001 attacks and the aftermath. Despite its proximity to the World Trade Center site, St. Paul’s survived the towers’ collapse intact, without so much as a broken window. In the subsequent weeks, it served as a place of rest for first responders while its iron fence became the site of ad hoc memorial displays.

The Woolworth Building, 1913. The F.W. Woolworth Company commissioned the building in 1910 to serve as their new corporate headquarters. Initially conceived as a 20-story skyscraper, designed by Cass Gilbert, it eventually significantly outstripped the original plan. On completion in 1912, the Woolworth Building stood 57-stories and cost 13.5 million dollars. In fact the neo-Gothic skyscraper was the tallest in the world between 1913 and 1930. Frank Woolworth, the building's patron, was so pleased that he gave Gilbert a 15 pound commemorative silver Tiffany bowl. Though sold by the modern incarnation of Woolworth's in 1998, the building has been a National Historic Landmark since 1966 and a New York City Landmark since 1983.

By Rob Koehler New York City’s oldest continuously operating library is the New York Society Library, currently located on 79th St. just east of Central Park. The Library was originally founded in 1754 but was forced to close for fourteen years during the lead-up to the Revolutionary War, the British occupation of the city, and the ensuing Post-War depression. It was re-founded in 1789 as part of the larger cultural revival of the city in the 1780s and has been open since. The library has always functioned on a subscription basis, with members providing the funds by which the library continues to operate and buy new books. Yet, the re-founding of the library was not just the reemergence of a lapsed cultural institution during the post-war recovery, it was also a part of larger debates about the cultural resources necessary to sustain the new national government. Read this in its original format here.

The 40 Wall Street Corporation was formed in 1929 to construct a speculative skyscraper for the anchor tenant, the Manhattan Company (the Bank of Manhattan). Among the principal investors was the Starrett Corporation, a company owned by the men who were also the building’s general contractors, Starrett Brothers & Eken. Architect Craig Severance and associated architect Yasuo Matsui designed a simply ornamented, setback skyscraper with raised brick patterning and cast stone-ornament, and with an elaborate crown and spire in French Gothic style. The story of the building’s height, which topped out at 927 feet above the sidewalk, has become an urban legend. In the real estate boom of the late 1920s many developers sought a PR angle to promote their buildings. In 1929 there was a celebrated “race” to erect the tallest tower in the world. The rival for the title was the Chrysler Building, then under construction in midtown. Adding an edge to the competition was the fact that Severance had only recently dissolved his professional partnership with William Van Alen, the architect of the Chrysler Building. The race between the two towers was avidly reported by the press. Both buildings were topped out within a year of their first steel columns. Van Alen was ultimately victorious, having kept secret the Chrysler Building’s 185 foot aluminum spire, erected within the tower’s fire shaft. After 40 Wall Street had been topped out, that thin needle was hoisted from inside the tower to bring the height to 1046 feet and the title to Chrysler. Bested, 40 Wall Street went on to a lackluster career. The building opened after the Stock Market crash, and many of the prospective tenants reneged on their leases. The building was not fully rented until 1944, nearly fifteen years after its construction. Its bad luck continued. In 1946 an army transport plane en route to Newark Airport got lost in fog and crashed into the building’s fifty-eighth floor, killing all five people aboard. Badly in need of renovation and eighty-nine percent vacant, in 1992 40 Wall Street was purchased by the Trump Organization for less than eight million dollars. With a great deal of investment, 40 Wall Street has been well tenanted since the late 1990s.

The former "Idea Warehouse," 22 Reade Street, 1999. In 1973, Clocktower Gallery and P.S. 1 founder Alanna Heiss leased space in a city-owned building on Reade Street, under the imprimatur of the Institute of Art and Urban Resources. Studio occupants included the composer Philip Glass, performance artist Charlemagne Palestine, and avant-garde theatre company Mabou Mines, while an additional space was reserved for performances and exhibitions. The space closed in December 1975, following a fire. In materials for the New Museum's 1981 survey of the city's history of alternative spaces, "Alternatives in Restrospect: An Historical Overview 1969-1975," Palestine reflected: "Recalling the Idea Warehouse to my mind, I remember a space of haunted power, seemingly possessed by strange spirits. Any works that took place there seemed to contain something extraterrestrial, almost as thought it housed ghost refugees from a seance long ago. I loves that space as did many other people. Spaces like that are almost extinct now."

Mutual Life Insurance Building, ca. 1890. Erected during the Civil War for the Mutual Life Insurance Company, this ornate, mansard-roofed building was considered the "handsomest and costliest" building in the city when completed. The building's original owners occupied the structure for less than two decades. In 1911 the building was sold to the Guaranty Trust Company who planned to raze it and rebuilt. 'Engineering News,' trade magazine reported on the intricacies of demolishing such a large structure. The grand Guaranty Trust Building was completed in 1912.

St. Paul's Chapel This chapel, where George Washington worshiped, was designed to face the North River, with its very fine spire above the entry. The porch on Broadway provided a secondary entrance. The interior with its High Georgian detail appears today much as it did when built. It is the sole survivor of all those ancient churches which once abounded in lower Manhattan, including the Dutch Reformed Lower, Middle, North churches; the Garden Street Church; and the Old Brick Church.

Group of Four Trees.

Timbering below street level for construction of the BRT Centre Street Loop, July 31, 1911. Above street level, the steeple and church facade belong to the Church of St. Andrew at the intersection of Duane Street and City Hall Place. Today, these streets have been de-mapped with the plaza where they once ran part of the judicial complex at the eastern side of the Manhattan’s Civic Center. The church building pictured dates to as early as 1812, and was known as Carroll Hall, a meeting place for the Congregational Society of United Christian Friends denomination, until 1842, when it became the Church of St. Andrew. The church, just a short distance from the offices of the city’s major newspaper became known as the “printers’ church,” after Father Luke J. Evers established a 2:30am mass in 1900, accommodating the late hours of printers at work on morning editions. By the late 1930s — by which point St. Andrews was dwarfed by the adjacent U.S. Courthouse by Cass Gilbert — the structure’s condition had deteriorated, and construction started on a new church on an overlapping site. The original church was razed in 1938. The Centre Street Loop, was an early 20th century project connecting lines running over the Williamsburg and Brooklyn Bridge, thereby providing Manhattan transfer for the various Brooklyn lines terminating at Park Row and reducing the need for trains reversals at bridge terminals. The Center Street Loop connection to Brooklyn Bridge lines was not completed as planned. Instead, the Centre Loop connected to the companion Nassau Street Loop (designed to provide a similar service for Manhattan Bridge trains). Together, the remaining tracks form the BMT Nassau Line (J/Z trains) with extraneous loop tracks presently out of service.

Though now populated with shops and restaurants, the South Street Seaport used to be a bustling hub of commerce and enterprise. Come with us as we walk you through its historic past.

Mail and Express Building Completed in 1892, the odd skyscraper headquarters of the Mail and Express was an extraordinarily ornate and narrow 14-story slab embedded in a mid-block site, with a main facade on Broadway a mere 21 feet wide. The building was L-shaped, extending 211 feet deep into the lot; a second section on Fulton Street was wider, but only eleven stories. Designed by the Beaux Arts architects Carrère and Hastings, the Broadway façade had the appearance of the entrance to a French chateau squeezed and stretched vertically and capped with an attenuated mansard tower and spire. The Broadway entrance to the paper's business offices were adorned and overwhelmed by four large caryatids designed by the sculptors J. Massey Rhind and Philip Martiny representing the "four continents." The high degree of sculpture and architectural ornament, also seen in the World Building, seems to have been driven by the desires of the strong-willed client, the publisher Col. Elliott Shepard, who was married to the heiress Margaret Louise Vanderbilt. In 1888, Shepard purchased the newspaper from Cyrus Field, the prominent businessman responsible for laying the first transatlantic cable. An extremely religious man, Shepard included text from the Bible on the editorial page; the paper was politically Republican. The critic Barr Ferree reviewed the building in Stone Magazine, noting that the individual detail of the Broadway façade made a better impression than the structure as a whole. He credited Carrère and Hastings for doing the best they could under the difficult circumstances of lot size and shape and client demands, noting that, "commercial requirements, however, have little regard for the necessities of the architect." The presses of the Mail and Express occupied the basement and could turn out 98,000 papers per hour. The editorial offices and the composing room were located on the tenth and eleventh floors. Like all the other newspaper buildings of the time, the Mail and Express rented extra floors to tenants; these included technology companies and publishers, such as Electrical Engineer and the American Lithographic Company. The Mail and Express Building survived only until 1920 when it was torn down along with others on the block to make way for the monumental American Telephone and Telegraph Building.

Nathan Hale Statue, 1911. Designed by Frederick MacMonnies, the 13-foot-tall bronze statue of Nathan Hale was dedicated in City Hall Park in November of 1893. Hale, a 21 year old American soldier and spy for the Continental Army, infiltrated the British army in an attempt to gather information about the enemy’s Long Island military installations. Caught in September of 1776, Hale was hanged for treason. The figure was cast without life portraits for reference (as none existed) and unveiled by the Sons of the Revolution of New York State on November 25, 1893, which had long been celebrated as Evacuation Day, the date on which the final members of the British army finally left New York following the Revolutionary War.

New York Post Office, 1912.

Completed in 1875, the Tribune Building was the first tall building on Park Row. Whether or not one considers it a "skyscraper" it was the tallest office building in the city, with a clock tower stretching to 260 feet-just short of the Gothic spire of Trinity Church. This ambitious architectural statement was the project of Whitelaw Reid, who in 1872 became editor of the venerable New-York Tribune, which Horace Greeley had established in 1841. Reid aspired to erect a "printing palace" that would answer the paper's need for more space and be entirely fireproof, a consideration made key by recent major fires in Chicago and Boston. Reid closely controlled all decisions about the project, including the selection of the prominent architect Richard Morris Hunt, and he acted, in effect, as the contractor, hiring the various vendors of the construction work. The structure, typical of the 1870's, was traditional load-bearing masonry, but the mechanical systems entirely modern. The Scientific American wrote admiringly of the building on May 1, 1875: "On April 10, the 34th anniversary of its commencement, the New York Tribune opened the doors of its new office to the public. The structure is of great height and immense solidity, and is built of brick laid in cement, with dressing of stone and granite. The finial on the clock tower is 260 feet above the sidewalk, surmounting a building containing a sub-cellar, basement, nine stories, and attic. The walls of the lower portion, sustaining the great weight of the masonry, are 5 feet 2 inches to 6 feet thick. The building is claimed to be absolutely fireproof. No wood is used in its construction except for flooring, doors, and window frames; and the wooden floors are mere plankings laid over solid cement. No iron pillars are used, masonry being employed to carry the superstructure. The floors are ingeniously constructed, being flat arches of hollow concrete blocks, resting at the end on the flanged iron beams; they are made of plaster of Paris, coke dust and hydraulic lime of Teil. When the whole building is complete, it will certainly be an exceedingly handsome and commodious structure. "A Hoe web press is already at work in the new pressroom, and has a capacity of 16,000 complete copies per hour. The composing room is fitted up for one hundred compositors, and the editorial and other offices are intended to be models of comfort and convenience. Speaking tubes are used for intercommunication, and pneumatic tubes convey papers and documents between the editors' room, the counting room, and the composing room; and the elevators and heating and ventilating apparatus are all of the most modern design."

There were several successive Equitable Buildings on this site as the powerful insurance company headquarters expanded over the last decades of the nineteenth century to fill the entire block framed by Broadway, Pine, Nassau, and Cedar Streets. The first Equitable Building, a seven-story building designed by Kendall & Gilman, was finished in 1870 and was innovative both in terms of its structure and technology. Said to be the first office building in New York to use a passenger elevator, the building exploited technology to render the upper floors as convenient, and even more desirable, than the lower floors. In addition, the building's use of metal structural columns represented a major step towards the construction techniques that would later develop into steel cage construction. The building expanded in numerous construction campaigns, most notably George B. Post's extension of 1889 which more than doubled the building's Broadway frontage. It was a highly profitable investment that the Equitable Company was keen to optimize. On January 9, 1912, the Equitable Building was almost completely destroyed by fire, despite its much-touted "fire-proof" construction. Chicago architect Ernest R. Graham's firm was retained the day after the fire to supervise the stabilization and demolition of the ruin, and later the redevelopment of the site with a much larger structure. The company had previously discussed plans for the building's redevelopment with Graham for three years before the fire. The new Equitable Building was to represent once again the heights of modernity: ample and speedy elevator service, state-of-the-art heating and ventilation systems, fireproof construction, and fire- safety systems. At 38 stories, the Equitable Building was never the tallest, but it was the largest building in the world with 1,200,000 square feet of rentable office space. The massive size of this building galvanized the political forces necessary to enact the 1916 Zoning Resolution, which required high-rises to set-back at their upper levels. The main entrance to the building is on Broadway.

Manhattan Company Building, 1930. 40 Wall Street, a 71-story neo-Gothic skyscraper now called the Trump Building, was built in 1930 by Craig Severance for the Manhattan Company, a bank founded by Aaron Burr in 1799. The building was also known as the Manhattan Trust Company building. During construction, Severance's ex-business partner, William Van Alen was designing the Chrysler Building. The two architects were racing for the tallest building in the world. When completed, Severance's tower measured 927 feet, a figure soon surpassed by the Chrysler Building and its famous 125-foot spire. There was debate at the time because the highest usable floor in 40 Wall Street was higher than Chrysler’s, and the spire the Chrysler building was said to be cosmetic, not functional. The debate was short-lived: less than a year later, the 1,250-foot Empire State Building was completed, robbing both architects of the coveted "tallest building" title.

Isamu Noguchi's "Red Cube," ca. 1970. Noguchi's sculpture was installed in 1968, outside the Marine Midland Building at 140 Broadway.

251 Water Street, door detail, ca. 1960. Constructed in 1888 for John N. Eitel, a clothing merchant, the Romanesque Revival and Italianate building is a striking structure. The main entrance facade (at 22 Peck Slip) opens up into three sweeping archways and the residential entrance on Water Street features a detailed terra cotta plaque above the door, as seen here. Suffering through the middle of the 20th century, along with the rest of the Seaport area, the building lost some ornamentation, including its cornice. A more recent renovation has restored the facade of the building, and the once seafood wholesale market now has a bar and restaurant on the ground floor.

Stamp Center Building, Nassau Street, 1954. Nassau Street was a hub of New York’s stamp collecting community in the early 20th century. Collecting was especially popular during the 1930s, and stamp storefronts and dealers operated along the street until 1994, when the last shop relocated to Pennsylvania.

St. Paul Building & St. Paul's Chapel, ca. 1907. While many skyscrapers were made taller by pointed roofs or cupolas, George B. Post's St. Paul Building (1897) reached its lofty height with a flat roof. Its neoclassical style, with its many-layered rows of columns, was consistent with older neighboring buildings. The St. Paul Building was 315 feet tall. The 26-story building was demolished in 1958 and replaced by the Western Electric Building.

Mac Lac Shellac, November 29, 1935. Mac Lac Shellac was an early 20th-century shellac manufacturer that during the 1920s and 1930s (as shellac was utilized on more products) grew through a number of mergers. They had their headquarters at 80 Cliff Street before moving to 127 Maiden Lane. The streets depicted here, Cliff Street from Ferry Street, no longer exist. They were demapped in the 1950s and 1960s for the Brooklyn Bridge-Southwest Urban Renewal. Today the former location of this section of Cliff Street is on the land occupied by the Southbridge Towers.

View of the intersection at Chambers and Centre Streets from the Park Row Station, ca. 1925. The Surrogate's Court Building is at left, and the Municipal Building is at right.

American Tract Society Building ARCHITECT: R. H. Robertson DATE: 1894-95 STYLE: Romanesque, Renaissance Revival The American Tract Society Building was commissioned as a speculative venture by the American Tract Society, founded in 1825 to publish and distribute religious tracts and literature, which emerged as one of the largest American publishers prior to the Civil War. It is one of the earliest, as well as one of the earliest extant, steel skeletal-frame skyscrapers in New York, partially of curtain-wall construction. It was also one of the tallest and largest skyscrapers in the city upon its completion. The design combines elements of the Romanesque and Renaissance Revival styles, with two similar principal facades arranged with an overall tripartite vertical scheme, and the building is clad in rusticated gray Westerly granite, gray Haverstraw Roman brick, and buff-colored terra cotta.

The dark mass of 53-story One Liberty Plaza was an unusual departure from the glass curtain-wall typical of International Style office buildings. One Liberty Plaza's thick columns and horizontal steel spandrels, which have the appearance of massive I-beams, give the building enhanced strength and were appropriate for the tower’s original tenant, the U.S. Steel Company. The exterior walls, which are an integral element of the building's structure, showcase an advanced use of steel in high-rise construction. This structural system frees the building of most interior columns allowing for a more open and readily adaptable floor plan. One Liberty Plaza occupies the site of the Singer Building (once the world's tallest) and City Investing Company Building (once the world's largest) both built-in 1907 and demolished in 1969. The Singer Sewing Machine Company initially commissioned Ernest Flagg to design a 35-story tower, but soon decided to nearly double that height to 600 feet. Completed in 1908, just twenty months after the foundations were set, the Beaux-Arts style tower clad in red brick and bluestone stretched to 612 feet, besting 15 Park Row by more than 200 feet. However, the Singer Building held the title for only a year before it was surpassed by the Metropolitan Life Tower at Madison Square. The tower's demolition sparked a little protest at the time. Major losses throughout the 1960s -- Penn Station being the most prominent -- galvanized public concern regarding the preservation of landmark-quality buildings. Architectural critic Ada Louise Huxtable described the Singer Building's last hours: "Piranesi anyone? The master never produced a more impressive ruin than the Singer Building under demolition. Curious New Yorkers who risk a piece of Pavonazza marble on the head by looking beyond the boarding that surrounds the tower will find a scene of rich, surrealist desolation. Domed vaults supported by bronze trimmed marble columns await the sledgehammer in the half-light and plaster dust. The distinctive tower, a triumph of 'modern' steel construction that added its Beaux-Arts silhouette to the picturesque bouquet of early skyscraper spires, will probably be replaced by one more 'flat-top,' diminishing the character of the downtown skyline." Erected simultaneously with the Singer Building was the City Investing Building, a speculative office block that contained more rentable space than any other in the city at the time of its completion in 1908. Francis Kimball, the architect of many other early skyscrapers, designed it. The building occupied an awkward and long site with narrow frontages on Broadway and Church Street. Liberty Park occupies the full block directly to the south. The developers of One Liberty Plaza in exchange for additional floors created it under an incentive available under the 1961 Zoning Law. On the block that is now the open plaza to the south of the skyscraper once stood the Washington Life Building, an early skyscraper of 1898 by Cyrus L. W. Eidlitz.

51 Chambers Street ARCHITECT: Raymond F. Almirall DATE: 1908-12 STYLE: Beaux-Arts The Emigrant Industrial Savings Bank, established in 1850, was an important aid to Irish immigrants settling in New York during the second half of the 19th century. This building, the third for the institution on the same site, was designed by Raymond Almirall, a noted New York architect. Almirall’s Beaux-Arts style design represents an important stage in the early development of the design of skyscrapers. He pioneered the use the “H”-plan to provide good interior lighting.

100 years before Rosa Parks refused to give up her seat, a 24-year-old black New Yorker stood her ground on a streetcar. With courage and perseverance, she won the first recorded legal victory for equal rights on public transportation. This story appeared in its original format here.

Surrogate’s Court (Hall of Records) ARCHITECT: John R. Thomas; Horgan & Slattery DATE: 1899-1907 STYLE: Beaux-Arts This building was planned as a magnificent architectural symbol of the prosperity, importance, and achievement of New York City. The opulence, grandeur, and lavish decoration of the interiors are highly characteristic of the Beaux-Arts style. The main lobby, a vast and imposing architectural space, is one of the most splendid interiors in New York City. The magnificent mosaics of the ceiling in the foyer and vestibules are indicative of the high degree of artistic attention lavished on the building. The North and South Court Rooms on the fifth floor are unusually splendid. The building continues to play a vital role in City government as the Surrogate’s Court and Hall of Records.

142-144 Beekman Street Designed by George B. Post 1885 This fine Romanesque Revival style building was designed by George B. Post for Schermerhorn descendant Ellen S. Auchmuty. Post, who trained in the Beaux-Arts tradition, also designed such notable works as the New York Stock Exchange, Bronx Borough Hall and the Fifth Avenue mansion of Cornelius Vanderbilt II. The Beekman Street façade is ornamented with sea motifs, a fitting theme given that its first occupants were businesses associated with the Fulton Fish Market. The four stories above the cast-iron ground floor are decorated with starfish tie rod washers, fish keystones and a cockle-shell roof cornice made of terra cotta. 142-144 Beekman Street is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

In 1905, James Hazen Hyde threw one of the grandest parties of the Gilded Age: a Versailles-themed costume ball at Sherry's restaurant.

Just shy of the stock market crash and at the tail-end of a real estate boom of the late 1920s, a race to the top broke out between three buildings, who vied for the title of the World's Tallest Building. A clear rivalry developed between Craig Severance, architect of 40 Wall Street, and his ex-business partner, William Van Alen, who designed the Chrysler Building. Just uptown, the Empire State Building threatened to cast a shadow over its two competitors, topped off with an unlikely crown.

Wall Street bombing, 1920. At lunchtime on September 16, 1920, as banking clerks and businessmen bustled through the streets, a massive bomb tore through the Financial District. Set off from a rickety horse-drawn wagon at the corner of Wall and Broad Streets, the bomb was heard AND felt for blocks. It derailed a streetcar a block away, sent debris as high as the 34th floor of a neighboring building, and created a rain shower of glass from broken windows. In total 38 men and women were killed, while hundreds were injured. Though the investigation into the culprits and motivations of the terrorism went unsolved, it was believed that the business of J.P Morgan was the intended target (who some felt had profited from the horrors of World War I). Most of the dead though were not high-level bankers but secretaries and clerks. Historians believe that the action was carried out by Galleanists (Italian anarchists), who had been responsible for similar, though smaller bombings in 1910. This was the deadliest domestic terror attack until the 1995 Oklahoma City Bombing.

Of all the architectural styles, the Gothic seemed to lend itself best to skyscraper design. Cass Gilbert, using his West Street Building (Brady Building) as a trial balloon, arrived a remarkably expressive result in this high, self-washing, terra-cotta-clad building.

Across Chambers Street from City Hall Park is the 10-story granite Hall of Records. The richly sculpted exterior of this city government building is an example of "Beaux-Arts Classicism," a name derived from the Ecole des Beaux-Arts in Paris where many American architects pursued an elite education. Originally the architect John R. Thomas's design for the Hall of Records was the winning entry in a competition to replace City Hall. His design was adapted for this site and program after the project to rebuild City Hall became mired in political dispute. On the Chambers street façade is a spectacular three-story Corinthian colonnade, topped with the figures of mayors, administrators, and governors of New York and New Amsterdam. The interior, accessible to the public, is truly spectacular. The foyer has a mosaic tiled ceiling decorated with a pseudo-Egyptian theme, as well as four monumental bronze eagle-topped radiator grills. The three-story main hall, which is surrounded by staircases and hallways and clad at its height in a golden marble, is a work of baroque theatricality.

Northward view along Centre Street from Chambers Street, August 25, 1903. This survey photograph was taken in preparation for the construction of the original IRT East Side line. The building at left, behind the wooden barrier, is the Surrogate's Courthouse (also known as the Hall of Records). Began in 1899, the grand Beaux-Arts structure was under construction at the time of this photograph; it would not be completed until 1907, three years after the IRT subway had opened below. Other than that structure, literally nothing else pictured remains. The massive Municipal Building would rise across the street from the Surrogate's Courthouse in 1914, and the area north of Reade is now Foley Square, which is lined with courthouses and civic buildings constructed in the decades after 1915.

63 Nassau Street, ca. 1974. No. 63 Nassau Street, a New York City Landmark since 2007, included one of just five extant cast iron facades by James Bogardus. A trained watchmaker and inventor with Dutch colonial roots, Bogardus took out the first patent for the architectural use of cast iron in 1850. The Bogardus facade at No. 63 Nassau was an update to an 1844 structure owned by Augustus Thomas, the son of "kitchen tinware manufacturer" Thomas Thomas (real name). When the elder Thomas died in 1856, Augustus Thomas — who had offices in another Bogardus-designed cast iron-fronted building at 183 Broadway — contracted Bogardus to update his Nassau Street home to stand out among new commercial storefronts in the area's nascent jewelry district. The LPC attributes the facade to Bogardus, taking a number of indicators into consideration, including a distinctive detail: bas-relief medallion busts of Benjamin Franklin, visible at the third story. Similar details had been identified at confirmed Bogardus facades (he was known to retain and re-use wooden patterns for his cast iron molds).

Liberty Tower, ca. 1980. Rising 33 stories on a site only sixty-eight feet by eighty-two feet, Liberty Tower was a prominent feature of the early twentieth- century skyline. Its white terra-cotta cladding and steeply pitched copper roof evoke late English Gothic architecture. So slender a tower required elaborate wind bracing in its steel frame, and its foundations were also unusual, as caissons had to be sunk through quicksand to bedrock at a depth of 95 feet. In 1980, Liberty Tower became a pioneering example of the adaptive re-use of early office buildings when it was converted into condominiums.

Transportation Building (at left) Built in 1927. Architects York & Sawyer. The setbacks, which the building exhibits, were common following the 1916 Zoning Resolution.

US Navy Admirals arrive at City Hall Park, on their way to the unveiling of the USS Maine National Monument, 1913.

City government in New Amsterdam had met in the Dutch Stadt Huys, built as a tavern in 1642 on Pearl Street, then known simply as The Waterside. After the British takeover, in 1703, a new building, seen in the upper image, was constructed to serve as City Hall. Together with Trinity Church and the First Presbyterian Church, City Hall gave weight to the dignity of the west end of Wall Street. After the Revolutionary War, in 1788, Pierre L'Enfant, who was best known for his later planning of the new capital city of Washington D.C., designed the renovation and enlargement of City Hall, which became knows as Federal Hall when it housed the Continental Congress. The balcony served as the location of the inauguration of George Washington as the nation's first president on April 30th, 1789. The nation's capital moved to another temporary home in Philadelphia in 1790 and the building resumed its previous function of city hall until the current City Hall was constructed in 1812.

This temple-like building was erected as the U.S. Custom House. Its initial design was the work of Ithiel Town and Alexander Jackson Davis, one of the famous and talented partnerships in America in the early nineteenth century. The Greek Revival style temple form used here set the standard for commercial and government architecture on Wall Street in the pre-Civil War period. This building stands on the site of the first City Hall, later called Federal Hall. George Washington took the first presidential oath of office on the site in 1789. A designated National Landmark, the building is maintained by the National Park Service and open to the public with exhibits.

Federal Hall National Memorial prior to 1883 To place a circular rotunda in a rectangular building may seem illogical, but such were the vagaries of the Greek Revival. It was originally planned to build a Roman dome over the rotunda, set squarely in the middle of this Greek temple. The dome was never built, but the handsome rotunda may still be seen. This building is located on the site of the old Federal Hall, a Federal Style building designed by Major L'Enfant, on whose balcony George Washington took the oath of office as President.

127 John Street, 1971. Designed by Emery Roth & Sons, 127 John Street fills the full block from Fulton to John Street and Pearl to Water Street. The architects employed the corporate modernist style they were well known for in this period. The building was rendered in a straightforward and somewhat simple International style. The building's developers, though, hired an innovative designer named Rudolph de Harak for the graphic components. In fabricating the building's address on the facade, de Harak used four-inch diameter, pin-mounted silver balls in the typeface Microgramma. Microgramma was created in 1952 by Aldo Novarese and Alessandro Butti and was popular for use in technical illustrations, packaging, and science fiction films. The oversized addresses no longer grace the facade of 127 John Street; the 32-story office building was converted to residential use (an NYU dorm) in the late 1990s and was renamed 200 Water Street. ⠀ One of de Harak's other major design features does still remain on the site, though. No. 127 was constructed hugging a pair of low-rise 19th century brick buildings that stood on the northeast corner of John and Water Streets. Here on the Water Street facade of the old corner building the designer constructed a massive digital clock, 48 feet long and 24 feet high. Using Helvetica Medium for the numerals, the clock illuminates the hour, minute, and second. Current reports suggest that the clock no longer keeps accurate time. ⠀

331 Pearl Street, ca. 1870. In 1854, Harper & Brothers, the preëminent publishing house of 19th century New York, retained architects James Bogardus, the pioneer of "fire proof" architectural cast iron, and John B. Corlies to design a new building for its offices and printing operation. Facing what was then Franklin Square, the Harper & Brothers building was located where the Manhattan approach to the Brooklyn Bridge lies today. "The Harper Establishment; or, How the Story Books Dre Made," an illustrated guide to the state-of-the-art building and the company's printing processes, was published in 1855 by — who else? — Harper's. Although the historic building was razed in 1925, its legacy lives on: the New York Public Library's DeWitt Wallace periodical reading room includes a 1982 mural by Richard Haas documenting landmarks in the city's publishing history, in which Bogardus's facade is featured.

Havemeyer Building, ca. 1910. Built in between 1891 and 1893, the Havemeyer Building was a massive structure on a long, narrow plot on Church Street between Dey and Cortlandt Streets. Designed by George B. Post, who just the year before had completed the World Building, the city's and world's tallest office building, the Havemeyer was 14-stories tall with a footprint of 47 feet by 214 feet. It was described by Kings Handbook as "a majestic pile of architecture." Developed by Theodore Havemeyer, of the sugar-refining family, the building featured seven Otis elevators, a layout that allowed for bright, light-filled offices, and a killer view from its roof. The structure survived until the early 1930s when it was razed for a branch of the East River Savings Bank.

"Rudy’s Lunch, Hungarian American Home Cooking,” the Prohibition-friendly guise of the tavern at the corner of Water and Dover Streets, 1932. Built in 1794 (though the historic district designation report lists 1801), 279 Water Street is the only surviving wood-frame house in Manhattan’s Seaport district. Originally home to a “grocery and wine and porter bottler,” the building’s 19th-century tenants included a variety of alcohol-serving establishments and a brothel, matching the area’s reputation for vice and depravity. The building’s Victorian details date to an 1888 renovation — 5 years after the adjacent Brooklyn Bridge opened — and many of its interior features date to the original construction. The Bridge Cafe opened in 1979 but has been shuttered since Hurricane Sandy, when it was inundated with nine feet of floodwater.

New York Clearing House, ca. 1912. Founded in 1853, the New York Clearing House was a financial institution that facilitated the daily exchanges and settlements of money between the city's banks. The building, which stood five stories high with a marble front, was erected in 1896 by architect R.W. Gibson. Throughout its existence, the New York Clearing House dealt with many financial waves of panic and emergencies. By 1913, the Clearing House had begun to feel overwhelmed by surrounding skyscrapers and its growing company, but it wasn't until 1963 that it relocated to its new headquarters at No. 100 Broad Street. In 1964, the building was demolished for a Skidmore, Owings & Merrill acclaimed nondescript glass office tower.

A walking tour through Lower Manhattan's skyscraper canyons and more than a century of high-rise construction. This walk focuses on the buildings around City Hall. This story is adapted from the Skyscraper Museum's "Ten Tops" exhibition.

View of the intersection at Chambers and Centre Streets from the Park Row Station overpass, November 12, 1903.

Uptown entrance to the Brooklyn Bridge station of the IRT Lexington Avenue Line (4/5/6), ca. 1910. Originally known as Brooklyn Bridge, and later as Brooklyn Bridge—Worth Street, the station was connected to the BMT Nassau Line in 1914, a year after the Chambers Street station was completed.

251 Water Street Designed by Carl F. Eisenbach 1893 In 1788-89, Water Street was widened to its current size and paved with cobblestones, but Belgian blocks have since replaced them. John Eitel commissioned this tenement for eight families with stores on the ground floor. This building is an impressive example of the Romanesque Revival style, and features gracious terra-cotta ornament, especially above the entrance on Water Street. The building is separated into three tiers, demarcated between the second and third stories by a stylized foliate band course, and between the fourth and fifth by a geometric-patterned band course. The ground floor features a wooden entrance door in the style of a double-X brace barn door, as well as a set of double doors and wide fanlight enclosed within a large horseshoe arch. The fourth story round-arched windows feature terra-cotta keystones with faces peering down to the street below. The great variety of window treatments and decorative motifs enliven the façade and allow this former tenement building to shine. 251 Water Street is located in the New York City and State and National Register of Historic Places South Street Seaport historic districts.

Federal Reserve Bank of New York The Federal Reserve Bank of New York, at 33 Liberty Street, was designated a New York City Landmark on December 21, 1965. "This enormous building occupies an entire city block; it is fourteen stories high and has five stories below grade. The remarkable stone exterior is reminiscent of an early Italian Renaissance palace with the horizontal and vertical joints of the stones deeply grooved (rusticated). The wrought iron window grilles and lanterns represent some of the finest craftsmanship of this Century. The importance of the Federal Reserve Building lies in its vast size, fortress-like appearance, fine proportions and in the superb quality of its construction. It set a precedent for many later banks which were influenced by its design." On April 10, 1918, the New York Federal Board of Directors gave the Real Estate Committee the go-ahead to negotiate for the Maiden Lane/Liberty Street/Nassau Street block. The committee acquired a total of 45,750 square feet at the total cost of $4,797,881.72. Inside the cornerstone, sealed in a copper container, is a time capsule holding documents including a roster of current employees, the New York Times and Herald from the morning, the 1921 Annual Report of the Bank, several Federal Reserve notes and a 1922 Peace Dollar. Completed in 1924, the New York Fed's main building at 33 Liberty Street in New York City is the largest bank structure in the world, filling almost the entire block bounded by Maiden Lane, Nassau, Liberty and William Streets. The building is composed of rusticated limestone and sandstone ashlar with deeply inset bronze windows and doors. The auditing and accounting departments moved to the eighth floor of the new building on May 29, 1924, beginning a process that would take several months with the last of the 2,500 employees settled in the new quarters by the end of October. The Fed's $3 billion in cash and securities was transferred from the Equitable Building to the recently opened main building on September 21st, 1924. After months of planning, the move was carried out on a quiet Sunday morning taking nearly 100 trips with a fleet of 37 armored cars, 150 NYPD officers, 50 detectives, 15 bomb squad members, 60 Secret Service agents & 40 Federal Reserve guards armed with Thompson automatic rifles. In September 1933, the New York Fed was finally able to purchase a small building on the east side of the 33 Liberty Street block (known as the Montauk Building) for $356,250. This was less than their original bid over a decade before. It now holds ownership of the complete block. The timing was propitious. Its trucking enclosure was taxed to capacity and the space the extension provided permitted trucks to drive in one way and out the other. On January 17th, 1936, the William Street Addition (on the site of the former Montauk Building) was completed. The addition took two years and cost $800,000.

Municipal Building As a consequence of the consolidation of Greater New York in 1898, space was needed to house additional administrative offices and services for the expanded city. The architectural firm McKim, Mead and White won the 1908 Municipal Building competition with their design for the forty-story building that opened in 1914. I.N. Phelps Stokes, the respected New York City iconographer who was also an architect, said of the resulting building: "Of met actually the prototype of the upward tapering type of skyscraper with highly accentuated vertical lines, at least marked an important step in that direction and had a far-reaching effect upon the design of the modern skyscraper." Furthermore, the Municipal Building exemplified the large new "purpose-built" structures developed to accommodate the newly enlarged city's increasingly complex needs, both civic and commercial. The building's open U-shape encompasses the two triangular blocks bounded by Park Row, Centre, and Duane Streets and straddles Chambers Street, thus forming what has been called the "gate of the city." This view looks west toward the early modern emblem of the "progressive city," which towers over the lower profile of Peck Slip, a vestige of nineteenth-century New York's former maritime dominance. Among the first agencies housed in New York's Municipal Building were the city-owned and operated radio station WNYC, a new reference branch of the New York Public Library, and the city's marriage license bureau. The area around Foley Square, which quickly developed into a modern center of governmental activities, formed a marked contrast to the timeworn neighborhoods that bordered the area.

City Hall Post Office and Courthouse, May 25, 1938. Construction on the City Hall Post Office and Courthouse — nicknamed “Mullett’s monstrosity” for architect Alfred B. Mullett — began in 1869, but was not completed until 1880, by which time the building’s elaborate French Second Empire design had fallen out of fashion. By the early 20th century, calls for the reviled building’s demolition were frequent. It was finally torn down in 1938, about one month after Berenice Abbott took this photograph.

New York City Hall, 1917.

Singer Building ca. 1905 Entering the lobby of this building in the summer of 1908, one would have been struck by its appearance, so different from the staid Classical interiors of the day. Here, for the first time, was a commercial building with a twentieth-century feeling- an almost plastic flow of lines; rich, warm-colored marble edged with crisp bronze profiles; columns flowing upward into pendentives which once supported glowing saucers of glass; and above all a great feeling of height and elegance. Ernest Flagg, the architect, was one of the few who, having caught the spirit of the Ecole des Beaux Arts in Paris, were able to apply its principles with freedom of expression.

St. Peter's Roman Catholic Church, ca. 1979.

The Public Design Commission (PDC) was established as the Municipal Art Commission by the New York City Charter in 1898 (following the consolidation of NYC). The Commission was tasked with the oversight of all public artworks and monuments, but its purview quickly expanded to include public structures and open spaces. Renamed in 2008, the PDC reviews the design of permanent works of architecture, landscape architecture, and art proposed on or over City-owned property. Projects are submitted by City agencies and include the construction, renovation, or restoration of buildings; the creation or rehabilitation of parks, playgrounds, and plazas; installation of lighting and other streetscape elements; signage; and the installation and conservation of artwork, including monuments and memorials. The Commission also acts as caretaker and curator of the City’s public art collection, which is located throughout the city’s public buildings and open spaces, and maintains an extensive archive documenting the history of New York City's public works. The PDC Archive maintains a collection of projects reviewed by the Commission since 1902, documenting more than 7,000 sites throughout New York City and providing a unique view into the history of the City’s public works. The designs that have been reviewed by the PDC throughout its over 120-year history are representative of the policies and focus of Mayoral administrations while simultaneously following historical trends in public design, public health, and artistic and cultural movements in the city and country at large. The following examples illustrate the breadth of projects under the PDC's purview, from large scale developments to streetscape fixtures that often go unnoticed. For an in-depth history of the Public Design Commission, see Michele H. Bogart’s book, "The Politics of Urban Beauty."

The story of the New York World Building begins directly after the Civil War.

World Building, ca. 1910. In commissioning the controversial New York World Building (1890), Joseph Pulitzer hoped to assert his paper's dominance in American journalism. George B. Post's design stood out, not only for its imposing height (it was the tallest building in New York City in 1890), but also for its colorful facade and iconic dome. The building was 309 feet tall (349 at the tip of the spire). The building was condemned in 1953 and razed in 1955 for a new car entrance ramp onto the Brooklyn Bridge.

Cass Gilbert's final work, the United States Courthouse was completed by his son two years after his death in 1934. It is arguably the last classically themed skyscraper built in New York, which Gilbert used to reflect the building’s function as a public federal building. While the thirty-eight story, 590 foot tall tower lacks the rich ornamentation of earlier work, such as the Woolworth Building, or 90 West Street, its pared-down decoration seems more appropriate for a court of law. The building’s shaft emerges from a six-story classical colonnade, decorated with sculpted American eagles. The tower culminates in a dramatic gilded terra-cotta pyramid roof topped by a lantern. For security reasons, the building's interior is not accessible to the public unless on court business.

New York City Hall. Quite aside from its position as the key governmental building of Great New York, City Hall is an architectural treasure without peer. It was ostensibly designed by the architects Mangin and McComb, working together. However, it is now well established that this delicate creation, with its ample fenestration and curving double staircase, was principally the work of the Frenchman Joseph Francois Mangin.

This trompe l'oeil conceals what author Glenn Palmer-Smith called a "twentieth-century utilitarian intrusion," a Con Edison substation. Artist Richard Haas was commissioned by both energy company and City Walls Inc. to paint this Landmarks Commission-approved mural depicting a revivalist Greek facade with a view of the Brooklyn Bridge. The real bridge is, of course, blocked by the building.

The consolidation of the five boroughs into Greater New York in 1898 created the need for an impressive and suitably-sized headquarters for the city government. Between 1907 and 1908 the city sponsored an architectural competition for a large office building to consolidate various agencies. Urged by Mayor McClelland to enter, the firm of McKim, Mead & White won with a proposal for a classically detailed skyscraper. Designed by a partner William Mitchell Kendall (1856- 1941), the U-shaped structure was adroitly placed on an irregular site adjacent to the ramps of the Brooklyn Bridge and crisscrossed underground by transit connections. Completed in 1913, the 25-story block is surmounted by a central "wedding-cake" tower of spires, colonnades, obelisks and the sculpture "Civic Fame" by Adolf A. Weinman. This skyscraper grafts the language of traditional civic architecture onto a commercial office block form. The Municipal Building underwent a complete restoration of its exterior masonry in 1999, which entailed a the replacement of the badly corroded metal pins which hold the granite cladding in place.

Metal Exchange Building ca. 1910 Today we see only the stuccoed remains of this small masterpiece. Built as the Seventh Ward Bank, it later became the Metal Exchange, housing the Lion Brewery in its basement. This building with its delicate Corinthian pilasters is a fine late example of the Classic Revival in Manhattan, as it comes closer to Roman precedent than it does to Greek.

R. G. Hutchinson Stationer and Printer, 1897. Robert L. Bracklow worked as a clerk at this stationery store and printer in his early 20s. He soon took over ownership of the business and moved the store to 18 John Street. Bracklow was a member of the Camera Club of New York, known for his photography of New York in the late 19th and early 20th century.

Robert L. Bracklow Stationary Store, 1909. Pictured is Robert L. Bracklow's Stationary and Dutton's Restaurant. Robert L. Bracklow was a member of the Camera Club of New York. He sold prints of his photography at his store.

New York City Hall ARCHITECT: Joseph-François Mangin; John McComb, Jr. DATE: 1802-11 STYLE: Federal, French City Hall displays unusual architectural detail throughout representing both Federal and French influences. It is a marble building executed in the best tradition of fine craftsmanship. It is a building which – for over one hundred and fifty years – has provided the dignified setting in which the most important events in the history of the City have taken place. It is basically C-shaped in plan with two end wings projected forward at the front. It consists of two stories above a high basement. At the center, an attic story rises above the main roof level and is surmounted by a handsome domed cupola.

New York Evening Post Building ARCHITECT: Robert D. Kohn DATE: 1906-07 STYLE: Art Nouveau The Old New York Evening Post Building is one of the few outstanding Art Nouveau style buildings ever constructed in this country and its ornament and sculpture, attain a high artistic level. It is a fourteen-story building with steel-framed structure veneered with stone. Although Art Nouveau in inspiration, it is not copied from any particular building executed in that style. In general appearance, its ornament, windows, and copper roof are more Continental than American and are reminiscent of the boulevards of Paris.

Queen Insurance Company Building (right) at William and Cedar Streets, March 26, 1936. The Mutual Life Insurance Co., Chase National Bank and Equitable buildings are visible in the background, along Cedar Street. The Queen building, a steel-frame structure completed in 1897, was part of the “superblock” razed in the mid-1950s ahead of the construction of One Chase Manhattan Plaza.

Architect John McComb, who had designed Castle Clinton in Battery Park, joined forces with Joseph Francois Mangin, an emigré architect from France, to win the competition to design a new home for the city government. McComb and Mangin eschewed the standard English forms and simple materials that had until then defined the architecture of the new republic. Instead, their design referenced French sources reflecting post-revolutionary politics City Hall Park has recently undergone extensive remodeling which created an open space with a nineteenth-century character. The elaborate tiled fountain and gaslights at the center of the park are reproductions of the park's mid-nineteenth-century fixtures.

R. G. Hutchinson Stationer and Printer, 1902. Robert L. Bracklow was a photographer in the late 19th and early 20th century. He took over the R.G. Hutchinson Stationary Store in the early 1900s and moved it to 18 John Street in 1902 (notice the added name on the sign). The store specialized in legal stationary.

The Walter Franklin House (also known as the Samuel Osgood House), where President George Washington lived between April, 1789 and February 1790, making it the First Presidential residence. The building was demolished in 1856. Today, the Brooklyn Bridge approach rises over its site.

Manhattan Company Reservoir, 1855 The Manhattan Company Reservoir opened on Chambers Street in 1801. Rather than following a more costly plan to bring water from the Bronx, the Manhattan Company cut corners, using ground wells with risk of contamination by sewers, all supplied by the polluted Collect Pond nearby. Wooden mains made of pine logs supplied water to the area via principal streets, which risked freezing in winter or damage by tree roots. While the company promised a one-million gallon reservoir to support the city’s growing population, it delivered one 10% of the size. The reservoir was razed in the early 20th century, following the opening of the Croton System.

New York City is one of the most photographed places in the world. With globally-recognized icons like the Statue of Liberty and Empire State Building, this collection includes some of the city's most popular spots to recreate a historic photo, along with a few underrated gems. Remember, tag your photos on social media with @museumofcityny and @urbanarchiveny for a chance to have your before/after photos featured!

John Street Methodist Church ARCHITECT: Philip Embury DATE: 1841 STYLE: Anglo-Italianate Among its important qualities, the John Street Methodist Church is an outstanding example of the best architecture produced on a small scale in the Anglo-Italianate style. As the first home in New York City of Methodism, it serves as a fitting and important symbol of that faith. The church has remained virtually untouched in the heart of the financial district. This church is notable for its simple dignity, having as a central feature an extremely handsome Palladian window placed directly above the broad main entrance door.

By Harold Schechter When Joseph Pulitzer purchased the New York World in May 1883, a typical front page consisted of a half-dozen columns of densely packed type, unrelieved by illustrations or eye-catching headlines. Viewed from a slight distance, the page resembled a solid block of gray print, so dreary in appearance that the layout was referred to as a “tombstone.” The content was equally numbing. On May 10, 1883—its last day under the ownership of the financier Jay Gould—the World ran page-one stories on the recent nominations submitted to the Board of Aldermen, the forthcoming dedication of the Brooklyn Bridge, and the election of the executive committee of the American Cocker Spaniel Club. Little wonder that the paper had a daily circulation of fewer than 12,000 copies and was losing $40,000 a year. Read this in its original format here.

41 Park Row ca. 1975. The New York Times moved to Park Row in 1857 after outgrowing its rented quarters at Nassau and Beekman streets. 41 Park Row would be the third office location for the rapidly growing Times since its founding in 1851. The Times Building was designed by architect Thomas R. Jackson as two mirror-image five-story stone buildings facing onto Printing House Square and City Hall Park. Printing presses and other machinery occupied the basement levels and the paper's offices were located on the first, fourth, and fifth floors, leaving two floors available for rent. Tenants included the Surrogate Court Office and the Patent Office. By 1888, the high-rise development of Park Row and the demand for rentable space in the area prompted the Times to capitalize on its prime location with a building that would more than double their space and provide additional rental income. George B. Post, the country's pre-eminent architect-engineer, was hired to design and erect the new building on the same site without interrupting any of the paper's operations. As the cover of Scientific American here shows, the replacement literally went up around the old. Stone load-bearing walls were gradually replaced by a metal-cage construction favored by Post that embedded iron members within the granite walls. King's Handbook of 1893 declared the new Times Building: "discreet, moderate, bold, vigorous, perfect in every detail of ornamentation, in moldings, in capitals, in gargoyles, so beautiful that it charms the naïve and the refined, the ignorant and the most learned, in art; the Times Building is the Times expressed in stone." After the paper relocated to Times Square in 1905, the former Times Building was renamed 41 Park Row and enlarged. Architect Robert Maynicke designed the alteration, which included the removal of the original mansard roof and the inclusion of two additional stories. Today, Pace University occupies the building.

85 and 99 John Street, June 9, 1938. "Looking through the wrought iron railing on the roof of 60 Wall Tower (at 70 Pine Street). The buildings seen at center with the significant setbacks are 85 and 99 John Street at Gold Street. Generally from left to right: City Hall Park, the back of the Municipal Building (very top center), and the approach ramp of the Brooklyn Bridge. The Third Avenue El is visible on the lower right."

Cities Services, a petroleum company, erected this tower to house its corporate headquarters as well as rental floors. The company’s founder and chairman, Henry L. Doherty, an eccentric engineer and inventor supervised the design of the tower and intended to live in the penthouse, although poor health prevented him from ever doing so. The skyscraper was originally known as 60 Wall Street, a more prestigious address that was justified by the tower’s connection by a footbridge to a building with that address, now demolished. The 63 story tower rises as a slender shaft that is articulated with a series of shallow receding planes and at the top steps back to crest in a glass observatory which is illuminated at night. The brick cladding lightens from a browny-beige to a creamy-tan as the tower ascends. The base of the building is clad in a luxurious polished pink and black Minnesota granite.

Benziger Brothers, 1951. Benziger Brothers is a Catholic publishing firm that was founded in 1792 in Einsiedeln, Switzerland. In the middle of the 19th century the firm expanded to the United States with an office in New York opening in 1853 and English-language publishing activities here commencing in 1860. The firm produced not only religious books, but also lithographs of religious images and liturgical paraphernalia (including Catholic vestments). They occupied a number of offices and storefronts in New York City starting in 1854 at 333 Houston Street. This mid century storefront housed the Catholic shop between 1950-1966.