Cooper-Hewitt House, Gramercy Park, June 1925. In 1848, Peter Cooper left his longtime residence at Fourth Avenue and 28th Street (then a busy industrial area and slaughterhouse district), for a new mansion in the Gramercy Park neighborhood. Cooper shared his 35-room residence with his extended family, including son-in-law and future Mayor of New York City Abram Hewitt. Hewitt had befriended Cooper’s son Edward Cooper — himself the city’s 83rd Mayor — while traveling abroad in Europe. The Cooper-Hewitt bond was cemented when both me survived the capsizing of their return ship off of Cape May. Hewitt would go on to marry Edward’s sister, Sarah Cooper. Hewitt’s family continued to reside at 9 Lexington Avenue after Peter Cooper’s 1883 death, and even enlisted Gramercy Park neighbor Stanford White to design updates to the structure. The building was eventually replaced by a 13-story apartment building, completed in 1951.

The first Madison Square Garden, ca. 1891. Originally a station for the Cornelius Vanderbilt-owned New York & Harlem Rail Road, P.T. Barnum converted the terminal space into the Great Roman Hippodrome Arena in 1871. It became Gilmore's Garden, named for the entertainment impersario Patrick Gilmore, in 1876. The following year, the area hosted the first edition of the competition that would become the Westminster Kennel Club Dog Show. Following Vanderbilt's death, William Kissam Vanderbilt assumed control of the site, changing the name to Madison Square Garden. In 1889, the younger Vanderbilt sold the aging venue to a group of Gilded Age industrialists who hired architect Stanford White to design a new Garden on the same site.

Southward view of Fourth Avenue, from East 29th Street, during the construction of the IRT Lexington Avenue Line, April 2, 1901. The crossing in the foreground is East 29th Street. The towers in the middle-distance at center-left are atop Madison Square Garden, between East 26th and 27th Streets.

3-4 Gramercy Park West, ca. 1970-1990.

Metropolitan Life Insurance Company Tower ca. 1909. New York boasts few campaniles, yet here, the architects arrived at the ingenious scheme of combining skyscraper offices, a commercial symbol ("The Light that Never Fails"), and a large office building into one structure. In 1908 it was the tallest building in New York, and the clock faces are larger than those of Big Ben in London.

Madison Square Presbyterian Church, ca. 1903-1906.

Farragut Monument ca. 1924 This monument represents the collaboration of the sculptor Augustus Saint-Gaudens and the architect Stanford White, who designed the base. We readily sense the stance of a seafarer braced on deck to withstand the rolling sea. The base, with its beautiful lettering, sea-drenched maidens, and dolphins, is a superb allegory unique in its style at that date and foreshadowing the Continental Art Nouveau.

Hotel St. Germain ca. 1855 Though now long gone, the Hotel St. Germain certainly attracted some attention when it was built in 1855, especially when compared to the nearby stately Fifth Avenue Hotel. An 1862 Vanity Fair recounted a particularly critical exchange "What started that horse to run away?” asked the Architect. “I don’t know sir, he took fright up at the St. Germain Hotel.” “Took fright at the St. Germain? Sensible horse. I don’t wonder!” replied the Architect. This short exchange sums up the public's feelings about the Hotel St. Germain and it was eventually demolished by real estate investor Amos Eno to make way for better-loved buildings (though not that better-loved since they too were demolished around the turn of the century for the Flatiron Building).

Provident Loan Society of New York, 1917. The Provident Loan Society was established in response to the panic of 1893, with Gilded Age industrialists providing its initial capital, and expanded its operations in the early years of the 20th century. In 1908, the organization moved into its new headquarters at Fourth Avenue (now Park Avenue South) and 25th Street, an Italianate palazzo designed by J. Lawrence Aspinwall. Today, the building is unaltered, despite the development of skyscrapers on all sides.

Victory Arch at Madison Square ca. 1919 This monument, conceived during World War I both to spur enlistment in and patriotic support for America's military efforts overseas and to memorialize New York City's war dead, became mired in committee politics long enough for the November 1918 armistice to have ended the war. Accordingly, the structure was transformed into a municipal Victory Arch, using temporary material and design by architect Thomas Hastings (1850-1929). The project took form with all the speed earlier denied it, and it was completed in time for the triumphant homecoming of New York's 27th troop division in late March 1919. Subtlety was not the concern of such grand civic gestures. Modeled after the ancient Arch of Constantine, the arch featured tripartite construction and an honor court displaying allegorical figures of Peace, Justice, Power, and Wisdom. Relief panels commemorated important battles, war service organizations, and the contributions of American industries, such as shipbuilding and munitions manufacture. Rising to a stunning height of 100 feet, the white archway's ample form straddled 125 feet of Madison Square at the intersection of Broadway, 24th Street and FifthAvenue. The purposeful siting probably reminded many New Yorkers of a similar arch, also made of plaster and wood, erected at this location in 1899 to salute Admiral George Dewey's victory over the Spanish at Manila Bay in 1898. Like its predecessor, the Victory Arch enlisted volunteer talent from the National Sculpture Society and was constructed with the expectation that it would be rebuilt in some permanent form. However,just as the earlier "imperishable" monument had failed to materialize when subscriptions lagged and Dewey's popularity ebbed, plans for the World War I memorial erupted in controversy over the commission's choice of artist and the proposed iconography. As debate escalated over the necessity of perpetuating this "Altar of Extravagance," as Fiorello La Guardia branded the project in 191 when campaigning for the presidency of the Board of Aldermen, the arch joined New York's City's growing registry of demolished commemorative structures.

Madison Square Presbyterian Church, interior dome, ca. 1905.

In 2021 Madison Square Park was awarded Level 2 Arboretum Accreditation for its continued diversity of tree species. Madison Square Park Conservancy cares for nearly 300 trees that sequester carbon, filter rainwater, and provide shade that keeps our neighborhood cool.

Flatiron Building 175 Fifth Avenue, 1901-1903 Architect: Daniel H. Burnham Developer, Structural Engineer, MEP Engineer, General Contractor, Original Owner & Tenant: George A. Fuller Construction Co. Current Owner: Flatiron Associates Current Tenant: St. Martins Press, Springer-Verlag Inc. Height: 285 ft / 87 m Floors: 21 The Flatiron Building, also called the Fuller Building, stands at 175 Fifth Avenue, at the intersection of 23rd Street, Fifth Avenue and Broadway. The client was Fuller Construction Co., who also built the 22-story, steel-framed triangular shaped building clad in limestone and terra-cotta. The eclectic decoration borrows form Greek, Gothic and Renaissance traditions. It is often mistakenly described as of the first skyscrapers or first steel-framed buildings. It is more aptly described as one of the first Chicago-style tall buildings in Manhattan with its unbroken, columnar block with a distinct base, shaft and capital instead of the more traditional New York-style skyscraper which features a tower rising above the building. The Flat Iron Building is 285 feet tall, but the rounded corner, like the prow of a ship featured in this view, is only 6 feet wide. When it was under construction it was nicknamed "Burnham's Folly" since its triangular shape was considered unsafe. Gawkers used to dawdle in front of the building to watch as the drafts created by the building lifted women's skirts as they passed. This is said to be the origin of the phrase "23 Skidoo" which police officers would shout out to disperse the gawkers. The entrances to the Flat Iron are in the middle of the long facades which houses retail space and elevator banks. When it opened, the building had an electric generator to provide its own electricity and heating and an early type of hydraulic elevator. There were no designated ladies' rooms since the restrooms of alternate floors were assigned to opposite sexes. On the left is Broadway and Fifth Avenue is on the right in this view. Behind the Flat Iron on the right is the dome of the Merchants Bank of New York, 141 Fifth Avenue (Robert Maynicke, 1897) at the southeast corner of 21st Street. Barely visible to the extreme right is the tower of Sohmer Building at 170 Fifth Avenue (Robert Maynicke, 1898) on the northwest corner of 22nd Street is seen behind it. Although they are rather short, both the Sohmer Building and the Merchants Bank are typical of the New York-style tall building.

“Stanford White’s city house,” ca. 1884. Stanford White was one of the leading American architects of the Gilded Age, a leading practitioner of Beaux-Arts architecture and a partner in the firm McKim, Mead & White. His New York City buildings include the second Madison Square Garden, the Washington Square Arch, the Gould Memorial Library, and the Judson Memorial Church among several others. White moved into 121 East 21st in 1898, and immediately began an extensive interior renovation which included ornate furnishings, sculptural elements and antiquities imported from Europe. White is also known for the spectacular circumstances of his 1906 murder: he was shot in the head on the roof of his own Madison Square Garden by Harry Kendall Thaw, whose wife, the actress Evelyn Nesbit, had been assaulted by White years earlier, and later carried on an affair with the architect. Thaw’s murder trial became a tabloid spectacle, bringing the unsavory acts of White’s private life into public view. After White’s death, his art collection was auctioned off and the house was sold to the Princeton Club in 1907. The building was demolished in 1924, with construction on the Gramercy Park Hotel commencing later that year.

Martha Washington Hotel ARCHITECT: Robert W. Gibson DATE: 1901-03 STYLE: Renaissance Revival Martha Washington Hotel was developed by the Women’s Hotel Company for the purpose of providing comfortable, independent living arrangements for middle-class working women. This company was formed by a group of people active in the Charity Organization Society to fill an unmet need for housing for working women. This building displays the popular Renaissance Revival style using classical elements such as rustication, columns, strong cornices with dentils and modillions, Palladian windows and quoins, to give a sense of dignity to this important structure. The hotel continued to provide women-only facilities until 1998, when it was converted to a co-ed hotel.

The Fifth Avenue Hotel, across from Madison Square Park, following an 1899 snowstorm. "The Fifth-Avenue Hotel has borne a conspicuous part in the public life of the metropolis, and has been identified with the most notable local events of the generation since its opening, in 1859. The house fronts upon Madison Square, the most charming of the smaller parks of the city, at the junction of Broadway and Fifth Avenue the two great thoroughfares. It is unequalled in the number and spaciousness of its corridors, halls, and public rooms, and the commodious character of its guest rooms." This description by King's Handbook of New York (1893) demonstrates The Fifth Avenue Hotel's luxurious reputation. When Amos Eno built the hotel in 1859, the neighborhood was still dominated by town houses and it was thought to be so far uptown that it was called "Eno's Folly." Luxurious touches including a fireplace in every bedroom, private bathrooms, lavish public rooms, an Otis elevator and four hundred servants and fifty conveyances standing ready to serve the hotel's 800 guests, compensated for its location and assured its success. The hotel was razed in 1908, ahead of the construction of the Toy Center Building on the same site.

146 East 24th Street, ca 1974. In the late 19th-century, this Beaux-Arts building was home to the Fiss, Doerr & Carroll Auction Mart. According to an 1895 advertisement, the firm was once "the largest dealer of horses in the world.'' The mart would host crowds of up to 1,000 people in a huge interior rink that was 65 feet by 197 feet. Before torn down, it was caught in a preservation battle against Baruch College, who eventually demolished the building to construct their William and Anita Newman Vertical Campus.

New York Life Insurance, 1929. Between 1879 and 1925 this plot at Madison Avenue and 26th Street was home to the first two incarnations of Madison Square Garden. MSG II (by famed architect Stanford White) was never a great financial success. In 1925, the New York Life Insurance Company who owned the land decided to demolish the Garden for their new headquarters. Completed in 1928, the New York Life Building stands 40-stories-tall and is topped by a gleaming gilded pyramidal roof. While its ornament is solidly Gothic Revival, its massing and shape are distinctly more Moderne.

The Madison Avenue Baptist Church once stood on the corner of 31st Street and Madison Avenue, just next door to this small structure. The building was replaced in 1930 with a 17-story residential hotel with space for the church in the first four stories. The previous church had been constructed in 1858 in the Romanesque Revival style, which informed the design of the much later Parish House, which itself replaced a chapel on this site. The Parish House retains an old sign with its previous namesake. On a much grander scale, just down the block, is an Eclectic loft building at number 36, which originally housed garment industry firms. The structure features double-height fluted columns at the first and second stories and the top two stories, as well as ornamental brickwork and carved stone accents.

Church of the Transfiguration, ca. 1912. This Neo-Gothic Episcopal Church, completed in 1849, is the earliest house of worship still extant in the neighborhood of Madison Square. The sanctuary, also known as the Little Church Around the Corner, sits a few yards back from East 29th Street, leaving room for an entrance walkway and small front garden. The entrance to the church grounds is marked by a lich-gate designed by Frederick C. Withers and installed in 1896 as a gift of Mrs. Franklin Hughes Delano.

This house, which attempted to re-create the glories of Second Empire Paris, was built by Leonard W. Jerome as the American Jockey Club, complete with stables and a small private theatre. It later became the University Club and then the Manhattan Club after that. Though it was given landmark status, it was torn down in 1967 when a buyer couldn't be found. Jerome's grandson, child of his daughter and her husband Lord Randolph Churchill, was the famed Winston Churchill.

Saint Stephen’s Church ARCHITECT: James Renwick, Jr. DATE: 1853-54 STYLE: Romanesque Revival James Renwick used the Romanesque Revival style for St. Stephen’s, early use of this style and an unusual choice for a Catholic church at this time. The deeply-set round-arched openings, the corbel tables, and blind arcades create a lively façade on this densely developed street. St. Stephen’s Church was established at a time of great expansion by the Catholic Church due to the huge numbers of immigrants to New York from such heavily Catholic countries as Ireland and Germany.

Manhattan Trade School for Girls, 1929. The first vocational school for girls—the Manhattan Trade School for Girls—was organized in 1902. Here, young underprivileged female students were trained in a trade (dressmaking, millinery, etc) and given physical education until the age 14, when they aged out of mandatory education and entered into the industrial workforce. After continuously outgrowing smaller spaces, Superintendent of School Buildings C. B. J. Snyder was tasked with designing a new larger home for the school. The resulting building was rendered in the Collegiate Gothic style (a Snyder favorite) with a gleaming white terra cotta facade. The 10-story building could accommodate 1,200 student for classes during the day and 2,000 in the two sets of night classes. Completed in the summer of 1918, much of the training at the start was devoted preparing women to work in the war effort. They learned to drape military garments, cook for canteens, and being nurse's aids. While work for the war effort ended by the close of 1918, the school did continue to produce items that could be sold. An article in 1932 stated that items for sale included "children’s clothes, towels, hats and dresses for adults, neckwear, lampshades, novelties, cakes, cookies, and pies." Over the next few decades the curriculum of the school slowly changed with the times. By the 1980s, the school, then known as Mabel Dean Bacon Vocational High School, was concentrating on business education, nursing, dental assistance and cosmetology. Today the once again gleaming white building (following extensive restoration and upkeep) is the School of the Future, a middle and high school facility focused on small class sizes and an “ethnically, economically, academically, and geographically” diverse student body.

SERBIAN ORTHODOX CATHEDRAL OF SAINT SAVA & PARISH HOUSE, FORMER ARLINGTON HOTEL 15 West 25th Street, Richard Upjohn, Cathedral: 1850-55; Parish House: 1860 18 West 25th Street, Israels & Harder, 1901 Across from one another on this block are two formidable structures. On the north side is the brownstone-clad Serbian Orthodox Cathedral of Saint Sava, designed in the English Gothic Revival style by Richard Upjohn, one of the most prominent church architects of his day, as an uptown branch chapel of Trinity Church. The West 25th Street façade features a steeply pitched gable with an impressive rose window and a pointed arch entry with slender columns. Next door to the east is the Parish House, also designed in the English Gothic Revival style, which features a charming arched belfry at its crown. The Serbian Orthodox Cathedral of Saint Sava & Parish House was designated a New York City Individual Landmark in 1968. Across the street is the Renaissance Revival style former Arlington Hotel, a much later structure than the church. It is richly decorated with sculpted limestone quoins, bandcourses, window surrounds and a dentilled cornice.

Madison Square Presbyterian Church, ca. 1906. Designed by Standford White and completed in 1906 (just a few months after White was killed), the Madison Square Presbyterian Church was a High Renaissance style building. It replaced the 1853 Gothic church building that occupied the lot across the street at the southeast corner. The main entrance was reached through a portico supported by six light green granite columns, which were 30 feet tall. The building had a huge central dome, which was decorated in the interior with mosaics and Guastavino tiles. It also featured a number of Tiffany windows. The final feature of the church to be completed was the pediment (the triangle over the portico) which only had its heavenly themed terra cotta sculpture installed in 1910 (after this photograph was taken).

AMERICAN ACADEMY OF DRAMATIC ARTS/COLONY CLUB 120 Madison Avenue McKim, Mead & White, 1905 Like Madison Square Park, Madison Avenue was named after James Madison, the fourth President of the United States. The Avenue begins at 23rd Street and extends to the Madison Avenue Bridge at 138th Street. When the Manhattan street grid was mandated in 1811, there was no avenue between Fourth (now Park) and Fifth Avenues. Madison Avenue was carved out in the 1840s due to the wide distance between Fourth and Fifth Avenues and in order to create more building lots with avenue frontage. This southern section of Madison Avenue is characterized by its fine assortment of large-scale hotels, lofts and office buildings. The Federal Eclectic style American Academy of Dramatic Arts/Colony Club is a graceful six-story structure of red brick with limestone trim. This Individual Landmark features a shallow balcony supported by pilasters at the ground level, five arched window openings at the second story, a perforated stone cornice and five dormer windows at its crown. The Colony Club was the first women’s organization in the city to build itself a club house for social and recreational activities.

College of the City of New York, formerly the Free Academy of the City of New York. July 25, 1927.

Martha Washington Hotel ca. 1907 Designed by Robert Gibson and completed in 1903, the twelve-story Martha Washington was designed to house 400-500 “business women” and to provide specifically for this groups’ needs, at 30 East 30th Street. From the start, the hotel was conceived as a profit-making venture, organized and executed by the Women’s Hotel Company (incorporated in 1897), and funded by investments from New Yorkers such as William Schermerhorn, John D. Rockefeller, Helen Gould, and Olivia Sage (the wife of Russell Sage and founder of the Russell Sage Foundation). In practice, women were responsible for the success of the project. By the time the hotel opened, much of the stock was owned by individual women backing the idea of a women’s hotel. An early promotional brochure describes the Martha Washington as a “world-famous and interesting hostelry … well appointed, thoroughly modern, strictly fireproof and equipped with every facility for the comfort of its guests.” These included a drug store, ladies tailor shop, millinery, manicurist, and newspaper stand. The staff was entirely female, down to the elevator operators. The brochure also highlights the role of women in planning the interior design of the hotel: “woman’s wit has been used to provide the little necessities and comforts so much appreciated by her…” Promotional materials emphasized a unique aspect of the Martha Washington Hotel: Not only was it was intended for professional women, but it was planned without “paternalism or philanthropic idea,” and had “no harassing restrictions…imposed on the hotel guests other than those prevailing in the best hotels.” At the Martha Washington, female residents were afforded the same freedoms allowed their male counterparts. In contrast to the supervisory homes, this women’s hotel was explicitly linked with feminist ideals of independence, the ability to earn one’s own living, and the conscious presentation of white-collar working women as “business women.” It was a success: The building was fully occupied immediately with both permanent and transient guests and 200 more women on a waiting list. The hotel’s philosophy was met with approval by important feminist groups, including the Interurban Women’s Suffrage Council, who made the hotel their headquarters beginning in 1907. The novel hotel caught the public’s eye, so much so that residents complained it had become a tourist attraction, complete with “lectures on megaphones” given atop tour buses.

College of the City of New York, formerly the Free Academy of the City of New York. Ca. 1912.

Madison Square Garden (second iteration), 1903. This building on the corner of Madison Avenue and 26th Street was the second on the site to bear the name Madison Square Garden. The first, built by William K. Vanderbilt in 1879, was a drafty structure that presented athletic attractions, most notably boxing matches featuring John L. Sullivan. Unable to make a profit, Vanderbilt razed the building in 1889, after which the Horse Show Association gained control of the site and hired Stanford White of the renowned firm McKim, Mead, and White to design a new structure. White's Madison Square Garden was a Moorish fantasy that cost three million dollars, was the second-tallest building in New York, and boasted an 8,000-seat auditorium that was the largest in the United States. (It also featured a roof garden where White would meet his end in 1906, shot by Harry Thaw on suspicion of having seduced Thaw's young wife, Evelyn Nesbit.) The second Madison Square Garden, which presented horse shows, dog shows, bicycle races, boxing matches, and the Democratic National Convention of 1924, became profitable once promoter Tex Rickard leased the building, but it, too, was razed in 1925 to make way for the new headquarters of New York Life Insurance Company. Rickard kept the name Madison Square Garden but moved the sporting and entertainment facility across town and uptown to Eighth Avenue, first at 50th Street and then to its current location at 32nd Street.

In the 1880s, the Lyceum Theatre sat here on Fourth Avenue between 23rd and 24th Streets. The theatre was eventually acquired by the Metropolitan Life Insurance Company as it looked to expand. The theatre owner, Daniel Frohman, moved his theatre to 45th Street and Broadway at a time when that area was only beginning to emerge as the New York City Theatre District. Frohman's new Lyceum opened in November 1903 with a few bricks from the old Lyceum in its cornerstone.

Bramhall Playhouse,1915. On March 27, 1915, the New York Times reported on "Manhattan's Tiniest Theatre." The Playhouse was hosted in a former residence and later a church and was the brainchild of playwright and theatrical entrepreneur Butler Davenport. Davenport, who lived in an apartment above this theatre was fond of addressing his audiences each night by saying, "I’ve been tremendously rich in everything but money.” The theatre later became known as the Gramercy Arts Theatre which produced avant-garde productions in the 1960s. In 1968 Gilberto Zaldívar and René Buch formed Repertorio Español, "to produce excellent theatre in Spanish." In 1972 the troupe moved into the Gramercy Arts Theatre and remain here to this day presenting works directed, designed, and performed by Latino theatre artists from the U.S. and diverse Spanish-speaking nations.

East side of Fifth Avenue between 30th and 31st Streets, ca. 1907. 291 Fifth Avenue, which sat in the middle of the depicted block, was the location of Edward Steichen and Alfred Stieglitz's Little Galleries of the Photo-Secession. Originally painter and photographer Steichen's studio, in 1905, the space initially developed into a gallery for exhibiting work by Photo-Secessionist photographers. (They held the somewhat unpopular idea that the significance of a photograph was not the subject but the manipulation of the image by the artist/photographer to achieve his or her subjective vision). The space was later a preeminent center for the exhibition of modern European and American artists. Known as "291," it was a pioneer, being the first American gallery to exhibit works by Rodin, Matisse, Cézanne, and Picasso. The Armory Show of 1913 introduced these modern artists to a large audience. (Stieglitz served as an honorary vice-president for the event.) In the years following the Armory Show, he focused on new American artists, most notably, Georgia O'Keeffe. O'Keeffe's one-woman show at 291 in 1917 was its final exhibition. 291 closed in 1917 amid Stieglitz's financial troubles prompted by the war and his doubts about his role in the promotion of modern art.

23 Skidoo. Today crowds gather around the Flatiron Building to admire its architecture and place in New York history, but back in the early part of the 20th century, men gathered there for a vastly different reason. As many New Yorkers know, the Flatiron sits at the intersection of Broadway and Fifth Avenue, directly across from Madison Park; the layout of the streets and the park, combined with the building’s placement, can create gusts of wind strong enough to lift women’s skirts. Back in an era when showing any part of one’s legs was risqué, men would gather on 23rd Street hoping to catch a glimpse of a woman’s ankle or maybe even a little more. A contemporary viewer may not conclude that the man in the postcard to the left is admiring the woman’s ankle; I initially thought he was looking at her posterior, but a fellow cataloger clued me in. While it isn’t used heavily today, some say the phrase “23 skidoo” came from this phenomenon. Popular in the early part of the 20th century, getting the “23 skidoo” refers to either leaving an area quickly or being forced to leave. Apparently, the effect of the wind at this intersection was well known and crowds of men would gather in hopes of seeing some skin. As Andrew S. Dolkart in his online article Birth of the Skyscraper: Romantic Symbols describes, so many men loitered in this area that police would eventually come to 23rd Street to usher the crowd away: In the early twentieth century, men would hang out on the corner here on Twenty-third Street and watch the wind blowing women’s dresses up so that they could catch a little bit of ankle. This entered into popular culture and there are hundreds of postcards and illustrations of women with their dresses blowing up in front of the Flatiron Building.

Cadillac Cafeteria, ca. 1922. Despite extensive research, little can be discovered about the history of the Cadillac Cafeteria, a dining establishment on 23rd Street just east of Broadway. But upon closer inspection this photograph taken circa 1920 happily captures the cafeteria's architect, Louis Abramson (second from right) and three unnamed companions. The dining spot was no longer operating in 1966 when a fire tore through the basement of the building behind this one on 22nd Street. Unaware that the two structures shared a basement and a supporting wall had recently been removed, the firefighters attempted to approach the blaze through the drug store now occupying 6 East 23rd Street. The fire weakened the flooring, causing a collapse that killed 12 firemen. Prior to September 11, 2001, this disaster claimed the lives of more fire personnel than any other disaster in the city.

Wealthy painter and philanthropist Ellen Dunlap Hopkins founded the New York School of Applied Design for Women in 1892. Its mission was to "afford \[...] women inspiration which may enable them to earn a livelihood by the employment of their taste and manual dexterity in the application of ornamental design to manufacture and the arts." This meant illustration, book cover design, interior design, wallpaper, and textile design and architecture. The school also helped the students and graduate sell their pieces. The school moved into a brand new building in 1909. Designed by Harvey Wiley Corbett, the five-story neo-Classical building was funded largely by J. P. Morgan and John D. Rockefeller. Despite its classical temple look and Greek details, a contemporary architecture journal derided it as "drastically modern." The New York Times' Christopher Gray was kinder if more expressive when he noted in a 2008 article that "the steeply sloping roof provides a pungent termination." Following a brief partnership with Columbia University between 1910 and 1912, the school continued as originally organized until 1944. A merger with the Phoenix Art Institute turned the school into a co-educational facility. A further merger in 1974 with Pratt. The now-named Pratt-New York Phoenix School of Design operated until the 1980s. Today the building, whose facade has not been seriously altered since its construction, is home to a high-end fashion showroom.

On May 3rd, 1913, marchers arranged themselves, as the New York Times described, “In straight and graceful lines which were brightened with resplendent decorations, passed in attractive and impressive dignity up Fifth Avenue…it was the greatest spectacular triumph ever won by women in this country in their pursuit of the ballot.”

The Holland House was designed by George Edward Harding and William T. Gooch in 1892. The Indiana limestone building was ten stories tall. The royal structure boasted 350 guest's suites, a restaurant with capacity for 300 patrons, second-floor promenade, a foyer lit by electric "torcheres," and a drawing-room in the style of Louis XVI. Notably, the design is a careful copy of the Holland House in London. The main staircase, called the "handsomest in America" by a London magazine, was carved of Siena marble and bronze. Each guest room was equipped with a "Herzog Teleseme," a dial sunk into the wall that allowed quests to communicate directly with the offices downstairs. The quest would move a pointer to a desired item, such as "towel," or "newspaper," and the item would be relayed up to the room.

3-4 Gramercy Park West, 1935.

Statue of William Henry Seward, Madison Square Park, March 20, 1936. Seward served as the a U.S. Senator, the Governor of New York, and Lincoln's Secretary of State as part of the "Team of Rivals," responsible for the 1867 purchase of Alaska from Russia for $7 million — known as "Seward's folly."

New York School of Applied Design for Women ARCHITECT: Harvey Wiley Corbett DATE: 1908-09 STYLE: Neo-Classical This building was built in neo-Classical institutional design, and it long housed the New York School of Applied Design for Women. It is a five-story building and stone neo-Classical institutional building. Harvey Wiley Corbett designed this building as a school of art, and it has been used exclusively for that purpose since its completion in 1909

Construction of the Madison Avenue Presbyterian Church, 1906.

Woman's Suffrage parade, 1915. On October 23, 1915, 50,000 people took to the streets for the country’s largest women’s suffrage parade up until that time. The parade route took the participants from Washington Square Park to 59th Street along 5th Avenue. (This photograph was taken on 5th Avenue at Madison Square Park.) Along with the 50,000 marchers, more than 250,000 people lined the route and were largely a supportive crowd. Unsurprisingly, participants carried signs and banners for added advocacy. Some of the signs included “YOU TRUST US WITH THE CHILDREN; TRUST US WITH THE VOTE” and “GETTING THERE AFTER TRYING FOR FORTY YEARS," which was a crowd-pleaser, being carried by an elderly woman on the parade route.

2 Park Avenue ARCHITECT: Ely Jacques Kahn; Buchman and Kahn DATE: 1926-28 STYLE: Art Deco This building is one of the most important examples in New York of Art Deco or Modern style architecture, a popular architectural style for commercial structures at the time of its construction. Ely Jacques Kahn’s ornamental vocabulary was representative of the period’s concern with movement and technology and included brick and terra cotta in abstract geometric patterns, sometimes inspired by native designs or suggestions of the warp and weft of fabric, and emphasized the surface tension inherent in steel-framed commercial buildings.

United Charities Building ca. 1928 The United Charities Building was built (as the name suggests) to assist the Charity Organization Society. Founded in England in 1869, the Charity Organization Society was aimed at uniting protestant charities to combat social problems. A wealthy new yorker banker, John Stewart Kennedy wanted to provide the charities under its umbrella (which represented thousands of prominent families and hundreds of churches) with a headquarters from which to conduct their work. Similarly, Kennedy wished to include other New York Charities that weren't strictly protestant such as the Children's Aid Society or the New York Mission and Tract Society. The remaining space could be rented by charities at rates significantly below what they would be paying elsewhere. Kennedy selected the architect Robert Henderson Robertson due to Robertson’s previous experience working with charities. Built in 1893, the building housed charities for more than a century until it was sold in 2014 to developers. It was made a national historic landmark in 1991 due to the work of its inhabitants.

The graceful Metropolitan Life Tower overlooks Madison Square Park. This story is of its beginnings, as adapted from the Skyscraper Museum's "Ten Tops" exhibition.

MARBLE COLLEGIATE CHURCH 272 Fifth Ave Samuel Warner 1851-54 Marble Collegiate Church contains components of several architectural styles, resembling a Colonial wood frame church in its form, but with Gothic and Romanesque Revival style details. The symmetrical marble edifice, which gives the church its name, features an impressive central tower with a belfry, clock and octagonal spire, as well as Romanesque arches, molded cornices and octagonal turrets on its façades. Marble Collegiate Church was designated a New York City Landmark in 1967.

Labor College, ca. 1972. The Mayan-inspired B.W. Mayer Building was completed to the plans of architect Herman Lee Meader in 1916. The facade of the seven-story building is awash in brickwork, terra cotta snakes and skulls, and turquoise details. Originally offices, the building was bought in 1923 by the International Ladies Garment Workers Union, a trade union, and in 1930 it became a trade school for the Electrical Workers. The Labor College was established in 1971 as the first such program in the United States. Affiliated with the SUNY system it focused on work, workers and the working-class presence — social, cultural and institutional — in a historical and contemporary context. The building was bought in 1994 by the Society of Friends (Quakers) who converted it into the Friends House, a residence for people with AIDS.

Roof Tree Inn, 1913. Combination curio shop and cozy eatery, this 28th Street locale was one of New York's more eclectic and atmospheric venues for natives and tourists alike in the 1910s. The former stable building was converted into an antique store by Edward Elmore, a passionate collector of relics. Elmore was less inclined to sell his treasures than most shopkeepers, so the scene was a bit more gallery than traditional store. Wishing to drawn more visitors to his courtyard of Grecian stones and Egyptian sarcophagi, he rented the loft space, shaded by a large elm tree, to a Ms. Millar, who established a tea room called the Roof Tree Inn. In the winter diners ate up in the loft with open stoves for heating, while in the summer tables were set up in the courtyard for open-air dining under the shade of the tree that gave the spot its name and among the stone and iron-work curiosities of the past. Popular among tourists looking to experience one of New York's more "queer" (here meaning the traditional definition of odd or peculiar) destinations, it was also popular among the city's literary set. Ms. Millar, the inn's proprietor, held Sunday morning breakfast for authors, after which the poets, dramatists, and novelists would read from their works, followed by an open forum discussion. In 1921 Ms. Millar also opened a second Roof Tree Inn location further uptown at 25 West 51st Street, complete with equally picturesque antique furnishings and dimly lit by candlelight. References to both locations can be seen in newspapers through 1934, though the later history and dates of closure are unknown.

"Designed by Robert Gibson and completed in 1903, the twelve-story Martha Washington was designed to house 400-500 'business women' and to provide specifically for this groups’ needs, at 30 East 30th Street... By the time the hotel opened, much of the stock was owned by individual women backing the idea of a women’s hotel… At the Martha Washington, female residents were afforded the same freedoms allowed their male counterparts. In contrast to the supervisory homes, this women’s hotel was explicitly linked with feminist ideals of independence, the ability to earn one’s own living, and the conscious presentation of white-collar working women as 'business women.' It was a success: the building was fully occupied immediately with both permanent and transient guests and 200 more women on a waiting list. The hotel’s philosophy was met with approval by important feminist groups, including the Interurban Women’s Suffrage Council, who made the hotel their headquarters beginning in 1907." For more on the Martha Washington and other Industrial Era female-only housing, check out this article by Nina E. Harkrader in Gotham: A Blog for Scholars of New York City History

Washington Centennial Celebration Parade, along Fifth Avenue at Madison Square Park, 1889. The Arch seen here was one of many, including one that would inspire Stanford White's stone arch in Washington Square Park.

Hoffman House Hotel, ca. 1905 Located in what was once an exclusive residential area, the Hoffman House Hotel was considered one of the first hotels/commercial ventures in the Madison Square area. Opened in 1864, the original hotel occupied the building one in from the corner (though this circa 1905 image depicts the original locale with a late 19th-century rooftop addition). In 1870 as Broadway and Fifth Avenue lined with newer and fancier hotels, the Hoffman opened a large annex at the corner The hotel was well known for its cuisine, artworks, and opulent decoration, and was a popular headquarters for Democratic politicians. On January 22, 1870, the New York Herald announced that sisters Victoria C. Woodhull and Tennessee (Tennie) C. Claflin had rented Parlors No. 25 and 26. They established a stock brokerage firm, becoming the first female brokers, before decamping to a Broad Street office with the help of friend Cornelius Vanderbilt. By the middle of the 1890s, the annex had been replaced with the grand Moorish-influenced building seen here at the corner. The original building gained an extra three stories around the same time, only to be completely demolished and replaced with a new gleaming white limestone structure in 1907. Alas, the loss of revenue during the reconstruction and the Panic of 1907 signaled the early death knell for the hotel. After entering bankruptcy in 1910, the hotel closed its doors (both of them) in 1915. Both of these buildings, and its hotel neighbor on the block, the Albermarle, were demolished for a 16-story loft building soon after.

The growth of manufacturing and industry in Northeastern cities during the early to mid-19th century increased demand for female labor in the United States. The newly arrived women workers were expected to find their own lodging, but there was no precedent for housing single women in cities. So, hotels like the Martha Washington were planned to provide women with safe places to stay.

The images gathered here attest to the Forward’s unwavering commitment to public service journalism and to the importance of enhancing Jewish community engagement here and abroad. The paper was founded by socialists and read by a community of workers who saw calls for social justice, protests and demonstrations as means to attain their democratically achieved rights – and also as a way to inform the public.

The 51-foot monument to General William Jenkins Worth near Madison Square Park is the second oldest monument in NYC. (The oldest is the statue of Washington in Union Square.) It is also one of only two New York monuments that serve as a mausoleum. (The other is Grant’s Tomb.)

Russell Sage Foundation Building and Annex ARCHITECT: Grosvenor Atterbury; John A. Thompkins II DATE: 1912-23 The Russell Sage Foundation Building was constructed in 1912-13 for one of the leading reform social service organizations of the Progressive era. The Russell Sage Foundation was established in 1907 with an unprecedented ten million dollar bequest of Margaret Olivia Slocum Sage that was to be applied “to the improvement of social and living conditions in the United States of America.” Grosvenor Atterbury’s elegant design was inspired by the sixteenth-century Florentine palazzo but adapted to a twentieth-century office building. The structure’s principal facades are almost entirely clad in rock-faced Kingwood sandstone of a light brown/pink color.

Dewey Arch ca. 1899 This wood-and-plaster arch and colonnade at Madison Square was the focal point of Commodore George Dewey's triumphal procession through New York City on September 30, 1899, after defeating the Spanish forces at Manila Bay on May 1, 1898. The temporary construction, erected by the National Sculpture Society under the leadership of architect Charles R. Lamb and sculptor Frederic W. Ruckstall, was completed on September 29, just one day before the procession. The arch was intended to attract subscriptions for a permanent structure, but Dewey's popularity waned and the project was abandoned. The heavily deteriorated temporary monument was removed in late 1900.

Appellate Division Courthouse of the Supreme Court of New York ca. 1900 Extremely rich in its use of materials, this small courthouse seems almost overburdened by its pediment and balustrade crowned with statues. Yet it is significant as a building in which the arts, including sculpture and mural painting were liberally represented through the efforts of the Municipal Art Society.

FORMER HOTEL SEVILLE 90 Madison Avenue Harry Allen Jacobs, 1901-03; annex: c. 1905 Like Madison Square Park, Madison Avenue was named after James Madison, the fourth President of the United States. The Avenue begins at 23rd Street and extends to the Madison Avenue Bridge at 138th Street. When the Manhattan street grid was mandated in 1811, there was no avenue between Fourth (now Park) and Fifth Avenues. Madison Avenue was carved out in the 1840s due to the wide distance between Fourth and Fifth Avenues and in order to create more building lots with avenue frontage. This southern section of Madison Avenue is characterized by its fine assortment of large-scale hotels, lofts and office buildings. The Former Hotel Seville (currently the Carlton Hotel) replaced the former Scottish Rite Hall. The elegant Beaux-Arts hotel features red brick and limestone façades with a rusticated base, alternating bandcourses at the second and third stories, decorative cornices and projecting bays from the fourth to the tenth stories. One of these bays is located at the building’s chamfered corner, which is clad in limestone along with the building’s full height. An annex between 28th and 29th Streets was added a few years after its construction.

The former Aberdeen Hotel. The Aberdeen Hotel features red brick with a rusticated limestone base and projecting bay windows, as well as richly decorated balconettes and cornices. The Aberdeen had originally been built as an apartment hotel, but began accepting transient guests in 1912 and was one of the first hotels to accept unaccompanied women in the 1920s.

Mattachine Society & Daughters of Bilitis Offices, 1133 Broadway. From at least December 1958 to July 1968, this building near Madison Square was the location of the offices of the New York Area Council of the Mattachine Society, Inc., and its successor after 1961, the Mattachine Society Inc. of New York. Mattachine was one of New York’s most important early homophile groups, predominantly for men. Another pioneering homophile group, the Daughters of Bilitis, New York Chapter, shared office space with Mattachine until September 1961.

Supergraphic on the facade of architect James R. Doman’s East 25th Street firm, ca. 1972. Doman’s offices are described in an October, 1972 Life Magazine feature on supergraphic painting: “The blueprint on the facade, painted by two of the firm’s architects in four days, is a replica of the plan the firm used in renovating the building."

Flatiron Building, ca. 1977. Located on a site once known as "the Cow Catcher," this building amazed New Yorkers with its dizzy, slender height as seen from the north. Actually, it was almost as sturdy as a rectangular building, though triangular in plan. The exterior treatment, overly rich to our modern eyes, was considered quite conservative in 1902 when it was designed by D.H. Burnham & Company.

105 MADISON AVENUE Buchman & Fox 1912-13 Like Madison Square Park, Madison Avenue was named after James Madison, the fourth President of the United States. The Avenue begins at 23rd Street and extends to the Madison Avenue Bridge at 138th Street. When the Manhattan street grid was mandated in 1811, there was no avenue between Fourth (now Park) and Fifth Avenues. Madison Avenue was carved out in the 1840s due to the wide distance between Fourth and Fifth Avenues and in order to create more building lots with avenue frontage. This southern section of Madison Avenue is characterized by its fine assortment of large-scale hotels, lofts and office buildings. The imposing store and loft building is clad entirely in terra-cotta, much like Cass Gilbert’s famed Woolworth Building, which was constructed at the same time. At 20 stories tall, it has a strong presence on Madison Avenue. The structure features Gothic Revival style ornament, with grand arches at the ground level and at the crown.

Roscoe Conkling Statue, ca. 1976. Mayor of Utica, New York, New York State Congressman and Senator, Roscoe Conkling was a well-established and popular politician until an 1881 dispute with President Garfield over patronage dispensation and federal appointments caused him to resign his Senate seat. He is perhaps best known as the most famous victim of the Great Blizzard of 1888. After leaving his law office, Conkling was walking to the New York Club on 25th Street. He ended up caught for some time in a nearly chest-high drift in Union Square. Though he made it to the club, his health soon began to decline, starting with an ear infection. He died April 18, 1888. In the early 1890s friends advocated for a statue of Conkling in Union Square. Park officials declined the proposed site, supposedly they did not feel he was an appropriate fit with Lincoln and Washington in Union Square. The statue, created by John Quincy Adams Ward, depicts the man while delivering a speech before the United States Senate. Installed in early December 1893, the eight-foot-tall statue did not have a dedication ceremony. The statue was moved 20 feet to its current location during the renovation and redesign of Madison Square Park in 2000.

New York Yacht Club ca. 1893 The New York Yacht Club, the oldest such organization in the country, was founded in 1844 and incorporated in 1865. In 1901 the club moved from its headquarters at 27 Madison Avenue to its current Beaux-Art clubhouse on West 44th Street. The New York Yacht Club is most famous for its founding of the famed Americas Cup competition.

Cedar Creek, once visible, still flows west to the East River under Madison Square Park. It was buried as the city industrialized during the 19th century.

Originally known as the South Asian Gay Association (SAGA) when it formed in 1989, the volunteer-based organization was renamed the South Asian Lesbian and Gay Association (SALGA) two years later when several women joined. SALGA currently serves Desi LGBT people who trace their roots to countries such as Afghanistan, Bangladesh, Bhutan, Burma, India, Nepal, Pakistan, Sri Lanka, and Tibet, and those of South Asian descent from countries such as Guyana, Trinidad, and Kenya. The group has met at the LGBT Community Center since its founding. Madison Square Park was an important gathering spot for SALGA to protest in the years when the group was banned by the Federation of Indian Associations (FIA) from marching in the India Day Parade, an annual event on Madison Avenue that has been organized by FIA since 1981. These protest gatherings were called “Desi Dhamaka” (a SALGA member said that “dhamaka” essentially means “blast” in Hindi). SALGA first marched in the parade in 1992 after the New York City Human Rights Commission intervened on its behalf. However, a year later, FIA stipulated that SALGA could only participate if its members did not carry signs that stated their homosexuality, which the group refused to do.

Houses on Gramercy Park West, ca. 1923. The two Greek Revival houses at left (Nos. 3-4) share a cast iron porch designed by Alexander Jackson Davis. The pair were build around 1844, the same year planting began with the gates of Gramercy Park, signaling the beginning of the surrounding neighborhood's development. No. 4 (furthest left) was home to John Harper, Sr., a former Mayor of New York who moved to Gramercy Park West after leaving office. Harper’s tenure is commemorated by the twin gas lanterns at the gates of No. 4, a borrowed Dutch tradition marking mayoral residences. No. 4 also has a place in music history: the cover image of Bob Dylan’s “Highway 61 Revisited” was shot on its front steps; Albert Grossman, Dylan’s manager at the time, was the building’s owner.

Entrance to the Domestic Relations Courthouse, August 13, 1940.

Terry & Tench Building, ca. 1918. This Edwardian loft building by J.B. Snook Sons was built in 1910 for Terry & Tench, a steelmaking firm responsible for materials used in the Manhattan Bridge, Grand Central Terminal, among many New York infrastructure and construction projects.

Wood-frame farm house and carriage house, East 29th Street, ca. 1965. The history of this odd, sideways-oriented farmhouse is subject to speculation among researchers and preservationists among who there are two major theories: first, the house dates to the 18th century and may have been moved from its original location; or this house built on this site after the Commissioners’ Plan of 1811 laid out the street grid, as late as 1840. In a 2006 “Streetscapes” column, the New York Times’ Christopher Gray examines the first theory: the house was built during the 18th century, on the grounds of John Watts’ Rose Hill Estate. When the Commissioners’ Plan was adopted, the lots on 29th Street included a small, peculiar parcel at No. 203. Gray suggests a hypothesis: the small lot was set aside, “perhaps to receive an outbuilding relocated from the Rose Hill estate because it lay in the path of new roadways?” Tax and property records make the picture even murkier: 1830 records note a building, but don’t describe it; 1840 documents refer to a three-story structure; and the 1880 tax inventory definitively refers to the four-story structure standing today. It’s possible that these records all describe the same building — but just as likely that they don’t. And then come the experts. Gray’s column references the assessment of Alan Burnham, a former executive director of the Landmarks Preservation Commission. Burnham initially believed the gambrel roof indicated an old farmhouse of Dutch construction, but eventually dated the building at ca. 1845. However, a preservation consultant hired by the building’s 1980s owners dates the house’s frame elements to 1790. While its early history may be uncertain, recent events are relatively clear. By 1900, the house had been subdivided into apartments. For many years, it was a junk shop, likely with residences upstairs, and was later abandoned and boarded up. The house was purchased in 1979 for $80,000, gutted, and converted to single-floor apartments with a faithful exterior restoration.

THE MANICE BUILDING 159 Madison Avenue Wallis & Goodwillie, 1911-12 Like Madison Square Park, Madison Avenue was named after James Madison, the fourth President of the United States. The Avenue begins at 23rd Street and extends to the Madison Avenue Bridge at 138th Street. When the Manhattan street grid was mandated in 1811, there was no avenue between Fourth (now Park) and Fifth Avenues. Madison Avenue was carved out in the 1840s due to the wide distance between Fourth and Fifth Avenues and in order to create more building lots with avenue frontage. This southern section of Madison Avenue is characterized by its fine assortment of large-scale hotels, lofts and office buildings. The Manice Building is a 12-story, Renaissance Revival style loft building, with arched openings at the ground level and a large, bracketed, overhanging cornice.

International Toy Center, ca. 1916 Construction began on the beguilingly named International Toy Center in 1908 and was completed the next year. It had large shoes to fill, as it replaced the famed Fifth Avenue Hotel, one of the first (but hardly the last) of New York's luxury hotels. Moreover, the building showed the speed at which the city was industrializing; only 70 years before, this area had been farmland. Though initially named the Fifth Avenue Building, it earned its new moniker during the First World War when scarcity in European manufactures caused a boost in the toy industry. By the end of the following World War, many of the industry's largest players inhabited the building and in the 1960s manager Helmsley-Spear restricted the leases to toy companies. By the early 1980s, 95% of toy transactions in the United States were handled by the complex's 600 toy tenants (by then the Toy Center comprised two buildings). Though a series of sales and changing markets left the building partly unoccupied during the early 2000s, 200 Fifth Avenue now hoasts Eataly, Tiffany, and many others.

The men and women of the New York City Department of Sanitation are vital first responders. History has thrown many challenges the agency’s way and each time DSNY has risen to the occasion.

Croisic Building, 1912. Designed by Frederick C. Browne in a neo-Gothic style, the 21-story Croisic Building completed in 1912. While the lower section of the building rises plainly, the six-story crown is richly decorated with stone eagles, seated figures dressed in armor, and projecting gargoyles. While this drew its inspiration from Cass Gilbert's neo-Gothic West Street Building, this building in turn, influenced two other nearby buildings (212-216 Fifth Avenue and 228-232 Fifth Avenue), both designed by Schwartz & Gross.

Johnston Building, ca. 1905. This corner Beaux-Arts building was completed between 1902 and 1903 to plans by the firm of Schickel & Ditmars, for a female owner named Caroline Johnston. The limestone building's most noticeable feature is rounded corner bay topped by an ornate tempietto. Though the ground floor has been significantly altered, the building above the first floor remains remarkably intact. In 2012 the building was converted into the NoMad Hotel, a fancy lodging venue, one of the many office buildings converted into hotels in the first decade of the 21st century.

PRESIDENT CHESTER A. ARTHUR HOUSE, MANHATTAN Address: 123 Lexington Avenue Built: c.1860s 123 Lexington Avenue is the former residence of President Chester A. Arthur and his wife, Ellen. Arthur served a short term as Vice President of the United States, and became president after taking the Oath of Office in this house in 1881 after President Garfield was assassinated. Arthur left Lexington Avenue during his presidency in Washington, and returned after his term and lived in the house until he died there in 1886. The entire block of once-elegant brownstone townhomes remains along this stretch of Lexington. All of the buildings have converted storefronts, speaking to the evolution of Lexington Avenue from upper-class residential to a commercial corridor. The President Chester A. Arthur house was originally one of nine similarly designed five storied structures completed in 1855 on the east side of Lexington Avenue between 28th and 29th Streets. Today, only their upper three floors are the same, the first and second having been altered to such an extent, that the row house architectural character of the group has been all but destroyed. The Arthur house and adjacent number 121 remain the least altered, particularly number 121 which still retains its outside steps and trim iron railings leading from the sidewalk level to the second, or parlor floor. The high entrance doors and transom at the second floor, of greater height than the others, is framed by a wide molded stone band, segmental head, and a horizontal series of moldings above supported on a row of brackets. Although extremely simple, the proportions of the whole register dignity and scale. On the Arthur house, no doubt originally a facsimile of Number 121 the doorway motive has been altered to provide a street level entrance leaving only the segmental head and cornice with the frame terminating at the second floor level. The upper floors each have three segmental headed double hung windows with molded stone sills and cap molded lintels. A metal cornice on brackets, typical of so many brownstone fronts, crowns each building at the roof level. The buildings, of native brownstone color originally, are now painted white. It was in this house on September 20, 1882, that Chester Arthur took the oath of office President of the United States following the assassination of President Garfield. The house had been purchased by his wife Ellen Herndon Arthur in 1858 and remained their home when he left office in March 1885 until his death the following year. The report that William Randolph Hearst who occupied Number 119, the southern corner building of this historically distinguished row of houses, bought the Arthur house later for his own residential use has been disproved.

The 1913 Armory Show The Armory Show took place from February 17 to March 15, 1913 at the 69th Regiment Armory on Lexington Avenue and 25th Street, and in just less than a month it changed the way Americans thought about modern art. It has been called the most important exhibition ever held in the United States. The International Exhibition of Modern Art took place in the 69th Regiment Armory on Lexington Avenue between 25th and 26th Streets. Its enormous drill hall provided over 30,000 square feet of display space for the estimated 1,400 works on view. The hall was divided into eighteen octagonal galleries with burlap covered panels. The space was decorated with greenery, pine trees, flags and bunting, and yellow streamers that formed a tent-like cap to the exhibition space. The Armory Show was a stunning exhibition of nearly 1,400 objects that included both American and European works, but it is best known for introducing the American public to the new in art: European avant-garde paintings and sculpture. One hundred years later it is hard to imagine what it would have been like to see works by Pablo Picasso, Henri Matisse, Marcel Duchamp, Paul Gauguin, Paul Cézanne, and Vincent Van Gogh, all together for the very first time. The exhibition created a huge sensation in New York. It traveled to Chicago and Boston, and was even more controversial in Chicago, where students burned paintings by Matisse in effigy. The exhibition’s travel turned it into a national event, and the polemical responses to the show have come to represent a turning point in the history of American art.

World War I-era U.S. Navy recruiting station in Madison Square Park, ca. 1917. In the foreground, the front page of a New York Evening Telegram is visible, with above the fold headlines reading “Save Venice Allies; Mr Poincare Acts to End Cabinet Crisis; Kerensky Wins; Finn Report,” dispatches from the wartime and political crises on the Continent. In September, 1917 (a possible date of this photo), Venice endured aerial bombardment, French President Raymond Poincaré endeavored to form a government, and Alexander Kerensky, then the Russian Premier proclaimed the short-lived Russian Republic.

Trinity Chapel ca. 1926 Designed by Richard Upjohn, the architect of Trinity Church on Broadway, this chapel is one of the finer evocations of the Gothic Revival. The straightforward design utilizes wood trusses instead of simulated rib vaulting. The handsome yet simple apse provides a fine setting for the altar and closes the long nave of the chapel most effectively.

27th Street at N. E. corner of Lexington Avenue, ca. 1931. In the 1930s, this storefront was home to the Armenian bookstore of H. Mamasian.

Sixty-Ninth Regiment Armory ARCHITECT: Hunt & Hunt DATE: 1904-06 STYLE: Beaux-Arts, Military Among its important qualities, the Sixty-Ninth Regiment Armory is an outstanding example of military architecture, notable for its unique synthesis of Beaux-Arts design principles and clear expression of military function. It is an important work of the firm of Hunt & Hunt. The vast drill hall is an outstanding example of innovative engineering technology.

Madison Square Arch, 1918. The Madison Square Arch, also known as the "Victory Arch," was built in 1918 to commemorate New York City's war dead. Conceived by Mayor John F. Hylan and designed by Thomas Hastings, the arch was made of temporary materials and modeled after the Arch of Constantine in Rome. Although the intent was for arch to be rebuilt out of permanent materials, the plan was scrapped over arguments about the cost and the design of the monument.

Institute for the Protection of Lesbian and Gay Youth (IPLGY), 112 East 23rd Street. Between the fall of 1983 and early 1986, the full third floor of this building was the first office of the Institute for the Protection of Lesbian and Gay Youth (IPLGY), which in 1988 was renamed the Hetrick-Martin Institute (HMI) after its founders. During the period at this address, IPLGY established the Harvey Milk High School, the first high school in the nation for LGBT youth. Today, HMI is the nation’s largest agency serving LGBT youth, with a dual focus on providing services and shaping policy.

Henry William Poor House, 1899-1901. Formerly known the Cyrus W. Field mansion, this turn of the century photo depicts 1 Lexington Avenue after renovations by the architect Stanford White (a fellow Gramercy Park resident) on behalf of its new owner, the banker Henry William Poor. Poor purchased adjacent townhouses, both previously in the Field family, in April 1899, with the intention of building a larger and more modern mansion on their site. Apparently, White was able to convince Poor to abandon his tear-down project. Instead, the architect led a comprehensive interior renovation in characteristically opulent style. Outdoors, the building’s entrance was shifted to Lexington Avenue, in order to accommodate a windowed conservatory facing the park. Poor, for whom Standard & Poor’s is named, was forced to sell the mansion and its furnishings after the 1908 failure of certain investments and the subsequent liquidation of his assets. The house was razed in 1910 to be replaced by a 12-story apartment building.

Marble Collegiate Church ca. 1900 Designed by its architect, Samuel A. Warner, as a Romanesque church, this is an early example of the first phase of the Romanesque Revival- a style which, in the hands of Henry Hobson Richardson, was destined to become more powerful and original in expression.

Gramercy Park North, November 24, 1919.

Madison Square Presbyterian Church, ca. 1910. The church was often referred to as the "Parkhurst Church" after its pastor, Reverend Charles Henry Parkhurst. It was the place of worship for a number of prominent early 20th century New Yorkers, including Tiffany, who as a parishioner, was given near complete artist freedom in the creation of the church's stained glass. By 1918, only 12 years after the new church was constructed, the congregation merged with the First Presbyterian Church on Fifth Avenue. Its wealthy community was moving further uptown. The demolition of the church began in October of 1918 and the plot was sold to the Metropolitan Life Insurance Company, who erected a 29-story annex to their main building between 1928 and 1950. An interesting fact about this short-lived church is the number of architectural details that survive today, elsewhere. The iron scrollwork light fixtures, carved pews, and a glass cross were moved to the church where the congregation relocated. Some small bits ended up with the family of Stanford White. The Tiffany stained glass windows (which Tiffany demanded be returned to him should the church ever close) are now in a wedding chapel at a hotel in Riverside, California. A doorway is in the collection at the Brooklyn Museum, a terra cotta block that topped one of the columns is at Ohio State University, and Hartford Times building in Connecticut has the 30-foot-tall green columns and portions of the cornice. One of the directors of the Metropolitan Life Insurance Company, Robert DeForest, was also the President of the Metropolitan Museum of Art. He had the pediment with its terra cotta sculpture moved to the museum. It was on display for some time until the building was expanded in the 1960s. No one wanted to fund the removal and re-installation of the 44-foor-long piece, so it was demolished.

186 Fifth Avenue (at right), 1896. Designed by Henry J. Hardenburgh, architect of the Plaza Hotel and the Dakota Apartments, this vibrant red brick Queen Anne style building with the peaked roof stands out among its lighter colored cast iron neighbors. Hardenburgh completed the structure in 1883 as a branch office of the Western Union Telegraph Company. There are still company logos carved in stone on the building. This "uptown" branch was connected to the Western Union downtown headquarters at Broadway and Dey Street by a pneumatic tube system. While the building remained offices for much of its history, today the upper floors have been converted into condos while the lower two floors are commercial.

If you opened the New York Times on a November morning in 1903, you might have glanced at an article on the front page that quoted a curious ad that had appeared in newspapers throughout the east coast. "$5000 will be paid for right ear, 2 1/2 inches long, 1 1/4 inches wide. with perfect curves and full lobe; the ear may be from either male or female, and must be from a person in perfect health; offers by mail considered."

105 MADISON AVENUE Buchman & Fox 1912-13 Like Madison Square Park, Madison Avenue was named after James Madison, the fourth President of the United States. The Avenue begins at 23rd Street and extends to the Madison Avenue Bridge at 138th Street. When the Manhattan street grid was mandated in 1811, there was no avenue between Fourth (now Park) and Fifth Avenues. Madison Avenue was carved out in the 1840s due to the wide distance between Fourth and Fifth Avenues and in order to create more building lots with avenue frontage. This southern section of Madison Avenue is characterized by its fine assortment of large-scale hotels, lofts and office buildings. The imposing store and loft building is clad entirely in terra-cotta, much like Cass Gilbert’s famed Woolworth Building, which was constructed at the same time. At 20 stories tall, it has a strong presence on Madison Avenue. The structure features Gothic Revival style ornament, with grand arches at the ground level and at the crown.

CHURCH OF THE TRANSFIGURATION 1 East 29th Street (church: 1849; guildhall, transept and tower: 1852; lich-gate: Frederick C. Withers, 1896; Lady Chapel: 1906; Mortuary Chapel: 1908; rectory: c. 1849-50) Church of the Transfiguration, known since the 1870s as “The Little Church Around the Corner,” is made up of several Gothic Revival style buildings, all of red brick with brownstone trim. The church is accessible through a small lich-gate, one of the site’s most striking features, and a gift from Mrs. Franklin Hughes Delano (great aunt of Franklin Delano Roosevelt) in 1896. The lich-gate, a common feature of English churches, was originally meant to provide a covered place for pallbearers to rest coffins while waiting for the priest to arrive for funeral services (“lich” is an Anglo-Saxon word meaning body or corpse). The church’s main entrance is within the tower, which features Gothic arches and a peaked roof with dormer windows and a cross at its crown. To the west of the tower is the rectory building, a five-story, Gothic Revival structure with a mansard roof and an octagonal extension with a full-height, projecting, wooden window bay, an ornate cast-iron balcony and Gothic panels on the third floor.

Appellate Division Courthouse of New York State ARCHITECT: James Brown Lord DATE: 1896-99 The courthouse with its interior is a major manifestation of the turn-of-the-century movement which called for an integration of architecture, sculpture, and painting. It was the first in New York to carry out the ideals of this movement. The interior and exterior harmoniously work together to depict aspects of the theme of Justice and the Law and create a sense of architectural magnificence. The interior is both lavish and elegant in its materials and furnishings, and it displays the work of some of America’s foremost artists and craftsmen.

Mrs. Stewart's Hotel for Working Women ca. 1901 In 1869, mercantile magnate Alexander T. Stewart—whose stores employed many young women as “shop girls”—proposed the Hotel for Working Women, the first of its kind. At the time, single women were never admitted to hotels; to be a guest, a woman had to be accompanied by a husband, or check-in as part of a family with a male head of household. Stewart stated his hotel would be for “industrious young women…to foster individuality and self-dependence…in which lodging, food, and warmth, with other essentials, may be furnished at the lowest possible rates.” Located on Park Avenue between 32nd and 33rd Streets, the Hotel for Working Women stood in startling contrast to the small size and austerity of the moral homes: It was a grand structure, seven stories tall, and built of iron with a mansard roof, interior courtyard with flowers and a large fountain, and an elegant marble-columned lobby. Inside, it boasted five elevators, marble floors with carpets, more than 1,700 gaslights throughout the building, speaking tubes to communicate with the staff, and hot and cold running water throughout. The upper floors had single and double rooms, while the lower floors featured a dining-room, parlors for entertaining guests, reading rooms fully stocked with books and periodicals, and other amenities. At the time of its completion in 1878, press coverage of the hotel’s opening was extensive and largely laudatory. It was compared favorably to contemporary hotels, and on the opening day, the hotel manager reported 1,000 applications for rooms. Sadly, this novel experiment was curtailed almost immediately: Stewart died before the Hotel’s completion, and within a year, it was sold and converted into the Park Avenue Hotel, a market rate hostelry that catered to a well-heeled and largely male clientele. This conversion was controversial. The executor of Stewart’s estate maintained that the hotel had never been fully occupied and thus was a financial failure. Women’s groups countered that the hotel had a long waiting list, and that the executor stood to profit personally from its conversion to a luxury hotel

The early fight against fascism in the United States predates WWII and started in the city with a huge march for May Day in 1934. The Forward was there to march, and also to cover it in all its excitement and color.

My Archive Summer 2019 “My grandmother. Born in 1911 and from Merrick, Long Island. She worked at MetLife. In the background, New York Life is being built which places this photo around 1926. Her mother was pissed when she quit MetLife and went to work in a 34th street Barber Shop as a men's manicurist. She also modeled stockings. Oh, the scandal!” —Richard Becker

Calvary Church, ca. 1900. Designed by famed church architect James Renwick Jr. and completed in 1848, the Calvary Church building has been shrinking in size since the 1860s. The original church has two tall wooden spires. Renwick had modeled the structure on the many twin-towered French cathedrals. The spires were removed in 1860 (less than 20 years after construction) when they were no longer structurally stable. This photograph depicts the church with the bases two octagonal bases intact. They too were dismantled in 1929 due deterioration. Today the church is one of two sanctuaries of the combined (since 1976) Calvary-St. George's Parish.

American Cinephone Company, 1910. Referred to as the Camera Building, this structure on 25th Street was home to the American Kinograph Company and the American Cinephone Company. Both companies provided equipment related to the "talking picture" movie industry.

Church of the Transfiguration ca. 1910 Built in neo-Gothic style, Transfiguration has 14th-century stained glass, elegant chapels, and a picturesque garden oasis. The church provided sanctuary to African-Americans during the Civil War and has a long-time association with the acting community; a world-famous actor gave it the nickname "The Little Church Around the Corner" when Transfiguration agreed to perform the funeral of an actor friend when other churches would not. Thousands of couples were married at the church during World War II. In addition to guided tours and musical performances, historic church vestments will be on display throughout OHNY Weekend. Transfiguration is an Anglo-Catholic parish with a beautiful and formal liturgy, and a 180-year reputation for welcoming those marginalized by society. The church will be offering the following tours and events during OHNY Weekend, with music on the hour and tours on the half-hour.

THE TERRY & TENCH BUILDING 135 Madison Avenue J. B. Snook’s sons, 1910 The Terry & Tench Building was named for the iron company that erected the building. Terry & Tench was also responsible for the steel construction of the Manhattan Bridge and Grand Central Terminal. This loft building was designed in the Edwardian style, a late Victorian style popular between 1901 and 1914 characterized by understated Classical influences.

69th Regiment Armory building, ca. 1905. Completed in 1906, the armory remains the headquarters for New York Army National Guard's 1st Battalion, 69th Infantry Regiment. However, the space is likely best known for hosting the International Exhibition of Modern Art in 1913; the “Armory Show” was the first presentation of Modern art in the United States.

Domestic Relations Courthouse, January 9, 1943. Legislation passed in 1933 combined the Family Court and Children's Court to create the Domestic Relations Court. More space was needed to house the increased functions of the court and a new building was undertaken next to the Children's Courthouse on 22nd Street. Designed by Charles B. Meyers and completed in 1940, the structure has a granite base and windows lined up in strong vertical orientation. Similar to other municipal buildings constructed at the time, the facade features reliefs that express themes illuminating the purpose of the structure. Here the reliefs, created by sculptor H.P. Camden, feature families in group activities such as reading, gardening, and praying. Since 1983 building has been a part of the campus of Baruch College. The school has preserved the facade and even some of the interior features. A tutoring space occupies an old jail cell in the building, complete with bars along the walls and windows and a thick steel door with a peephole.

11 Madison Avenue, ca. 1937.

Though many may not know it, the current Madison Square Garden is, in fact, the fourth Madison Square Garden!

The famed Armory Show took place from February 17 to March 15, 1913, at the 69th Regiment Armory on Lexington Ave. and 25th St., and in just less than a month, it changed the way Americans thought about modern art. It has been called the most important exhibition ever held in the United States.

ca. 1966 The Jerome Mansion (pictured here in itself final days) was once home to Leonard Jerome, a millionaire speculator, and financier. Jerome was one of the wealthiest men in New York, making and losing several fortunes over the years. A dashing figure, he yachted with William Vanderbilt, went on hunting trips with Buffalo Bill, and defended the New York Times with a Gatling gun during the Draft Riots. A society man, Jerome founded the famous Coney Island Jockey Club and funded many of the city's early opera houses. It was fitting then that he would have a mansion to match his verve. Jerome had no interest in building a modest home, hiring the English architect Thomas Jackson to build what would be, upon its completion in 1859, one of the biggest and most expensive residences in the city. Designed in the Second Empire style, the Jerome Mansion was six stories high with a mansard roof. While the old money built subtle brownstone mansions, the Jerome Mansion was built to dazzle. Its first two stories were clad in limestone, with the upper stories made of brick and contrasting stone. The interiors were lavishly decorated to impress all that entered. The amenities of the house included: a bowling alley, a library, a trophy room, an art gallery, a billiard room, and a bar (to name but a few!) Decorated in white and gold, the ballroom was unconventionally located over adjoining stables. However, it was still quite a sight, boasting two fountains: one that spouted champagne and another that spouted cologne! In between the stables and the main house, Jerome built a theater that could reportedly hold six hundred people. Even the stables were fitted with stained glass windows. The Jeromes were fervent entertainers with the height of society passing through their doors. All manner of fetes, buisness meetings, and celebrations occurred under Jerome's roof. One such gathering affects us to this day, on November 23, 1869, a meeting took place here that founded the Metropolitan Museum of Art. However, the Jerome family would move to Brooklyn less than ten years after it was built and the Jerome Mansion was leased to the Union League Club. A prestigious blue blood club born out of the civil war, the Union League began expensive renovations and added a seventh floor. It would be the first of a series of clubs to call the mansion home. Following the Union League, the University Club and Manhattan Club would both inhabit the Jerome Mansion in 1883 and 1899 respectively. It was during the Manhattan Club's tenure in the Jerome Mansion that the Manhattan Cocktail was invented at its bar. Having leased it for years, The Manhattan Club eventually purchased the mansion from the Jerome Estate in 1964, a year before it would be landmarked. However, with membership declining, the Manhattan Club wished to sell the mansion to pay down its debts. Filing suit, the Manhattan Club was able to prove they didn't have buyers and, in 1967, it was tragically demolished.

Madison Square ca. 1900 The Seven-Acre Madison Square, bounded by Fifth and Madison Avenues, Broadway, 23rd and 26th Streets, opened on May 10, 1847. Having served as a paupers' burying ground and a military parade ground before its nineteenth-century metamorphosis into a gracious park, the tract became the object of extensive improvements. Between 1847 and 1851, the Common Council voted funds to supply Madison Square with new grading and lawn seeding, and gas-fired street lamps. In 1857 a granite monument honoring General William Jenkins Worth, by Henry Kirke Brown 91819-1886), was installed on a small plot on Fifth Avenue opposite Madison Square. In 1876 two bronze statues are dedicated; one, the work of Augustus St. Gardens (1818-1907), honoring Admiral David G. Farragut, and another, by Randolph Rogers (1825-1892), in memory of William H. Seward. In 1867 a fountain spraying water from the Croton Aqueduct system was moved from City Hall Park to Madison Square. The handsome area rapidly became a stylish locale for the homes of wealthy New Yorkers. As with most fashionable New York neighborhoods, the infiltration of commerce into Madison Square forced its residents to seek ever-more-northerly residential outposts. By the 1890s a multitude of shops along the side streets and Sixth Avenue encroached on the elegant homes around the square. Construction of the Metropolitan Life Building in 1890-1893 and Stanford White's Madison Square Garden in 1890 (the "Garden" is the twin-turreted white building visible above the trees at the extreme right of the square) gave the square an increasingly commercial aspect.

Arches are everywhere in New York. From bridges, to memorials, and many a Beaux-Arts facade, the arch is a motif that can blends seamlessly into the city’s architectural fabric or stand out — triumphally — in a place of honor. Take a look:

In 1907, the president of the Metropolitan Life Insurance Company, John Rogers Hegeman, commissioned the firm Napoleon LeBrun and Sons to design a campanile-style tower for the expansion of the company headquarters. Construction began later that same year, and in 1909, the building opened, advertising the company's status as s the largest insurer in the world. With its slender shaft, high-pitched roof and lantern, the tower of the Metropolitan Life Insurance Company evokes the famed bell-tower of San Marco in Venice. First planned to be 658 feet, the final height stretched to 700 feet. Sheathed in white Tuckahoe Marble, the tower rises above Madison Square at 23rd Street and Madison Avenue where at night the "light that never fails" glows from its lantern, flashing the hour and quarter-hour. In 1960-61, the tower was subjected to an aggressive remodeling campaign in which most of the classical detail was stripped off, including balconies and a prominent cornice. The marble facade was replaced with sheer limestone panels so the Tower would match the modernized base. Today, the four clock-faces remain the only memory of the ornate facade, though, the proud tower still remains a defining element of the midtown skyline.

The benevolent home was not the only model proposed to house single, working women in New York City. In 1869, mercantile magnate Alexander T. Stewart—whose stores employed many young women as “shop girls”—proposed the Hotel for Working Women, the first of its kind.

Gramercy Park was never meant to be public. Designed by Samuel B. Ruggles, who also designed Union Square, the park was envisioned as a kind of "front yard" for the residents of the 66 lots which face the park. Ruggles described it as "ornamental" to the Greek Revival row houses surrounding it. A fence, rendered in an English Romantic style, was constructed around the park in 1833, supposedly to protect the landscaping. Even today, you will need to obtain one of the 383 circulating keys to gain access to the park. This access is only available to park-facing residents for a fee of $350 a year. Activities such as music playing, dog walking or socializing with groups of more than six people are prohibited. The well-manicured park, protected by shrubs and stately American elms, rarely sees more than a few people at a time. In recent years the exclusive greenspace has opened its gates for one hour to the general public for carols on Christmas Eve.

The gilded statue of Diana, Goddess of the Hunt, adorned the tower of Madison Square Garden and held watch over New York City for over three decades. She is arguably the most famous and recognizable work by sculptor Augustus Saint-Gaudens.

Peter Cooper residence, Fourth Avenue, 1888. Cooper originally built this two-story frame house at Fourth Avenue and 8th Street, later the site of Cooper Union. The house was later moved to Fourth Avenue and 28th Street, closer to Cooper’s Kips Bay glue factory.

Are you ready for a closeup? Try your hand at re-creating these historic photos at Madison Square Park! This challenge is only available to our iOS app users. If you don't yet have the Urban Archive App, download it here. Each location in this challenge has an address and a historic image tied to it. Check-in at each location by tapping the lock icon to the left of the clue. If you’re in the right place, it will turn green. Your challenge today is to take as many then-and-now photos as you can. Tap the image, and then the recreate button to line up the historical image with your present-day view. Once you’re happy with your photo, hit save to add it to your camera roll. Please share these photos with team@urbanarchive.nyc once you’ve completed the challenge. Happy snapping!

Flatiron Building ca. 1938 The Fuller Building, nicknamed Flatiron for its triangular shape, was built in 1902 at the scissor-like intersection of Broadway and Fifth Avenue. It was instantly famous, at first derided as an misshapen symbol of commercial greed and later extolled as an exhilarating symbol of modernity. Abbott photographed the Flatiron Building before the FAP project began and again in 1938. The first photograph, taken from the top floor of a six-story building on 25th Street, was a conventional postcard view, showing the whole building amidst bustling Madison Square traffic. The second photograph was more innovative. Standing close, Abbott pointed her camera upward, transforming the foreshortened building into an arrow soaring above its neighbors. A modern high-rise on the corner of Broadway and 23rd Street has blunted the Flatiron’s impact from afar. A 1991 cleaning of layers of soot has exposed its white limestone surface.

Since 2004, Madison Square Park Conservancy has commissioned some of the most distinguished artists of our time to realize temporary public art projects in the 6.2 acre park. Public art has the capacity to challenge, energize, inspire, and provoke people outside of designated indoor art spaces of museums and galleries. The fascination is heightened when art is placed in a public park. Here, art is vulnerable, accessible, and open to the environment and the minds of visitors from all over the world. The works on view are seen in the context of complete democracy: available to all, no admission fee, no threshold to cross. At Madison Square Park, artists have challenged themselves to create with these factors in mind. Below, we look at a few of the commissioned projects and reflect on their lasting impact.

"A town isn't a town without a bookstore," -Neil Gaiman 📚📚📚

The Roger Williams Hotel/Madison Avenue Baptist Church replaced the 1858 Madison Avenue Baptist Church structure that originally stood on this site. In 1930, this residential hotel was constructed with the church incorporated into its first four stories. The building’s Romanesque Revival style recalls the architecture of the original church.

Today’s Madison Square North neighborhood reflects successive waves of development, the earliest dating to the year Madison Square Park was created—1847. Until very recently, the neighborhood comprised almost exclusively buildings that pre-date 1930. From the park’s opening through the 1920s, Madison Square North evolved from being a fashionable residential enclave to an entertainment district of hotels, clubs, restaurants and theaters, to a commercial hub of offices and mercantile loft buildings. Examples of each are still prominent today, often in startling juxtaposition. The 19th century saw a northward development trend, as new residential neighborhoods were established in response to growing commerce to the south. This pattern repeated itself numerous times up the length of Manhattan. From roughly 1850 to 1865, Madison Square North was fashionable with the city’s elite. Such boldface families as the Stokes, Livingstons, Vanderbilts, and Stewarts (of A.T. Stewart department store fame) were residents. Rowhouse construction, largely built in the popular Italianate style, began first along Broadway and spread to the side streets. Extant rowhouses from this period include two on West 24th Street and four on West 29th Street. After the Civil War, the neighborhood became host to a number of theaters, restaurants, men’s clubs and hotels. The trailblazer in the latter category was the Fifth Avenue Hotel, completed in 1858 on the northwest corner of 23rd Street and Fifth Avenue. The hotel was a social, cultural and political hub until its closure in 1908, at which point it was replaced by the commercial structure at 200 Fifth Avenue. Many hotels also functioned as “bachelor flats” or “apartment hotels” for extended stays. One of the city’s first apartment houses, constructed in 1872 after designs by the noted New York architect George B. Post, still stands at 251 Fifth Avenue. The prevalence of entertainment and commercial ventures on Broadway made it a bustling night-life district. Thus, beginning in the 1890s, Broadway from about 13th to 45th Street became one of the first thoroughfares to be illuminated by electric street lamps and billboards, leading to its lasting moniker “The Great White Way.” By the 1890s and early 1900s, industries including photography, architecture, construction and banking planted roots in the area, constructing commercial high-rises designed in styles such as Gothic Revival, Beaux-Arts and Art Deco. Many of these buildings were also constructed for the wholesale garment industry to initially support the Ladies’ Mile shopping district to the south, which, until they moved to Herald Square in the early 1900s, was home to the R. H. Macy & Co. and B. Altman & Co. department stores. The neighborhood’s growth was spurred on by nationwide industrial trends for ready-to-wear clothing, and later, wholesale household décor. This period of prolific development left a lasting impact, as mercantile loft buildings remain the area’s architectural hallmark. In 2001, the Landmarks Preservation Commission designated the Madison Square North Historic District, 96 buildings from roughly 25th to 29th Streets between Sixth and Madison Avenues. Community members and preservationists are advocating for an extension to the district, to encompass roughly 374 buildings from 23rd to 34th Streets and Sixth to Park Avenues. This area includes the surviving buildings of Tin Pan Alley on West 28th Street, where the American popular music publishing industry was headquartered from roughly 1890 to 1910.

Trinity Chapel, ca. 1914. Dedicated in 1855 as the uptown (25th Street was uptown at that point) chapel of Trinity Church, the structure was designed by the same architect as the mother church, Richard Upjohn. The brownstone edifice was the venue of the1885 marriage of Edith Jones and Edward Wharton. Edith Wharton later used the church as a setting in her novel 'Age of Innocence." The church suffered in the early 20th century from the same action that had created it, the movement of parishioners uptown. In 1942, the Episcopal Diocese sold the complex to the growing Serbian community. Rechristened the Cathedral of St. Sava, it became the first Serbian Orthodox church on the east coast. The later 20th century saw some of the Protestant ornamentation replaced with Byzantine-style stained glass and Serbia iconography. On the evening of May 1, 2016, the day of Orthodox Easter celebrations, the church suffered a devastating fire. While the roof and most of the interior was completely destroyed, the stone walls of the church remained. As of December of 2017 the work was being completed on the church to clear out some of the damaged interior and erect scaffolding for the eventual reconstruction of the building.

Metropolitan Life Tower ca. 1916 Completed in 1909, the Metropolitan Life Insurance Company tower, on the east side of Madison Square at 24th Street, at 657 feet, was the tallest building in the world for four years. The four-faced clock on the tower is 26-1/2 feet in diameter and the dials are two stories high. Before the tower's completion, during the 1908 presidential election, a large searchlight was placed on top of it that displayed the election results for miles around.

Adams Memorial Church, 1942. Architect J.Cleaveland Cady designed this church with the double spires as the Adams-Parkhurst Memorial Presbyterian Church. It was a mission church of the Madison Square Presbyterian Church, just a few blocks away. Dedicated in 1875 over the next decades it was home not only the Adams-Parkhurst church but also a German Lutheran congregation and an Armenian Evangelical Church. Left empty and abandoned after a stint as a radio station, the church became the CBS 30th Street Studio from 1948 to 1981. The Columbia Records studio was the location of thousands of recordings, including Miles Davis' Kind of Blue (1959), Leonard Bernstein's West Side Story (Original Broadway Cast recording, 1957), and Pink Floyd's The Wall (1979). It was aptly nicknamed "the Church." Columbia Records moved out in 1981, and after changing hands a few times, the building was razed and replaced with a 10-story apartment building called "The Wilshire," completed in 1985.