128 East 93rd Street, 1932. Just after the Civil War, Henry W. Shaw, a manufacturer of artificial limbs who dabbled in real estate, hired architect Edmund Waring to design a simple wood-frame home. The resulting home was rendered in the Italianate stye, with the Second Empire mansard roof with three dormers and the bracketed cornice, added later in the 19th century. Created as a speculative development, it was soon purchased by a series of owners, as the city, once decidedly to the south of this area, crept north and surrounded the once sparse neighborhood. In 1920 the home was purchased by wealthy Yorkville brewer George Ehret and operated as a rental property. The original configuration of the home included steep stoop, creating the entrance at a parlor level. Alas, in 1922, the widening of 93rd Street necessitated the removal of the stoop. In 1966, just after the passage of the Landmarks Law, the home was considered for landmark status. At the time the owner was opposed the designation and the process never moved forward. This house was later included in the Carnegie Hill Historic District Extension, designated in 1993. (The original Carnegie Hill Historic District was so named in 1974.)

Storefronts at The Marion, a Lexington Avenue Apartment building. November 8, 1911.

Zion St. Marks, at 339 East 84th Street, was built in 1889 for The German Evangelical Church of Yorkville and designed by Michael J. Fitz Mahoney. The church, a stunning example of neo-Gothic architecture, has been a community space since the 19th century. When the Zion Evangelical Lutheran congregation moved into the building in 1892, it began offering German language mass, religious education, and social events. The congregation became a vital part of the Yorkville German community, and also provided a heaven for members of the Lower East Side’s St. Mark’s Evangelical Lutheran Church, after that congregation was decimated by the 1904 General Slocum disaster when an excursion steamboat caught fire and sank during a chartered trip for the congregation. The two congregations merged in 1946 to create today’s Zion-St. Mark’s Evangelical Lutheran Church. Just as the congregation proudly proclaimed its German heritage in the 19th century with an inscription in German on the facade, the church maintains that identity today, and continues to support Yorkville’s German community, with bi-lingual Mass in German and English, as well as with German language classes, and German film programs.

Our Lady of Good Counsel, ca. 1975. This late 19th century Roman Catholic Church stood across from the Ruppert & Company brewery in Yorkville for more than 70 years. Our Lady of Good Counsel was part of a wave of new churches built by the Archdiocese of New York to serve Yorkville’s growing population, including the German immigrant communities who made up Ruppert’s workforce. The brewery complex closed in 1965 and was later razed, opening new sightlines architect Thomas Poole’s Gothic facade — described in the AIA Guide to New York as “robust, undisciplined, deeply three-dimensional.”

Park Avenue scene at 96th Street, March 22, 1927. Across Park Avenue is a large apartment building, completed in 1926, and the Park Avenue Methodist Episcopal Church. Note the diversity of vehicular traffic: bus, streetcar (blurred, at left), and horse-and-carriage vehicles are all pictured — and the New York and Harlem Railroad tracks run beneath the Park Avenue median.

As every New Yorker who spots a celebrity at Duane Reade knows, thousands of art and pop culture luminaries have called the city home. From Whitman to Warhol, this is a quick guide to the places notable New Yorkers have lived and worked.

The Immanuel Lutheran Church was founded by German immigrants in Yorkville in 1863. The congregation initially settled on East 87th Street near Lexington Avenue. Its current building at 122 East 88th Street, seen in this 1937 photo, was designed in 1886 in a Gothic Revival style by Arthur Crooks. Its 200-foot granite tower houses bells given to the church as a gift from the Empress of Germany in the later nineteenth century. By the turn of the twentieth century, the church was one of the largest Lutheran churches in New York City and was devoted exclusively to German-language services.

Immanuel Lutheran Church, April, 1961. The Immanuel Lutheran Church, a Gothic edifice designed by Arthur Crooks, features a 200-foot bell tower at the corner of 88th Street and Lexington Avenue. The tower houses three bells, presented as a gift from Empress Auguste Victoria of Germany at the church’s 1886 dedication, in recognition of the German heritage of many Immanuel congregants. In June 1969, blasting for the construction of a new Gimbel’s department store one block south caused Immanuel’s vaulted plaster ceiling to collapse, damaging the church interior and stained glass windows. Luckily, the altar and hand-carved Black Forest reredos (the carved, wooden decoration behind the altar area) were unharmed.

Park Avenue storefronts at East 88th Street, 1938. At left, businesses No. 1080 include Boghen Pharmacy and Park Avenue Jeweler. At right, at No. 1082 are an unlikely pair: The Great Atlantic & Pacific Tea Co., at street level; and the J.P. Linahan Casket Display showroom one store above.

German Delicatessen, ca. 1930. A German deli when pictured in 1930, this storefront was later the home of the Old Dutch Delicatessen, whose specialty was smoked eel. The building was razed sometime at the start of the 21st century and a new glassy structure completed in 2009.

92nd Street Young Men's and Young Women's Hebrew Association, June 3, 1928. Founded in 1874 as the Young Men's Hebrew Association, the 92nd Street Y (as it is more commonly known) is a social institution whose mission was originally, "to promote a better feeling and a higher culture among young men and to unite them into a liberal organization, which shall tend to their moral, intellectual, and social improvement.” First housed in a rented building on West 21st Street that included parlors, a reading and a gym, the Y moved to larger quarters on 42nd Street a few years later. During the 1880s and 1890s the Y slowly continued its move uptown at various location along Lexington Avenue. In 1899 Jewish-American banker, businessman, and philanthropist, Jacob H. Schiff donated $150,00 for the construction of a new building at 92nd Street. The new building (seen here) opens in 1900 and provides educational, religious, and recreational programs for young Jewish men. The building has an annex with pool and dormitories added in 1911. The first Jewish Boys Scout troop is organized at the Y in 1913. In the late 1920s, the original build is razed and by 1930 the new Art Deco building opens, with a dormitory for 235 men, two gymnasiums, a 25-yard pool, the wood-paneled, 917-seat auditorium, kosher cafeteria, billiard room, and Art Center facilities. The 1920s and 1930s marked a major expansion of the programming under visionary leadership. The Y's place as a hub of music, arts, and community service is solidified, as they also open their educational and arts programming to the general public. Today the 92nd Street Y remains a preeminent and busy New York cultural institution, nearly 150 years after its founding.

120 East 92nd Street ARCHITECT: Unknown DATE: 1871 STYLE: Italianate This house has a front yard with iron railing and stands three stories above a high brick basement. A steep flight of wood steps leads to a porch with open-work columns. The handsome paneled double front door with rope moldings is at the right and a pair of French doors at the left. The shuttered windows at all floors have handsome wood frames surmounted by cornices with modillions and this theme is repeated at the prominent cornice of the porch roof. The clapboard front wall is surmounted by an Italianate cornice carried on evenly spaced brackets with panels in between.

St. Ignatius of Loyola, 1929. The Church of St. Ignatius was dedicated on December 11, 1898 (and completed two years later). The new Schickel & Ditmar-designed edifice replaced the modest brick structure of the former St. Lawrence O’Toole Church. The parish dates from 1851, and in 1898 the congregation sought permission to change the patron saint of the parish from St. Lawrence to St. Ignatius. The Italian-Renaissance edifice, rendered in limestone, is monumental in scale while austere in character. The plans for the church originally included a pair of towers that would rise 210 feet above the street. Alas, that feature was abandoned early in the process, but the resulting copper-capped tower bases on either side of the central pediment hint at the original intent.

St. Ignatius Parochial School, ca. 1905.

Northern Renaissance Revival row houses on Lexington Avenue, now part of the Hardenbergh/Rhinelander Historic District; August 13, 1937. In the late 19th century, the family of William C. Rhinelander set about developing their parcels of land on Manhattan's Upper East Side. The four row houses pictured, part of a set of six at the northwest corner of Lexington Avenue at East 89th Street, were designed by architect Henry J. Hardenbergh and completed in 1889. Andy Warhol purchased No. 1342 Lexington (second from left) in 1960. Warhol lived in the building, as did his mother, until her death in 1972, after which point it was leased to an associate.

Northeast corner of 87th Street and Lexington Avenue, October 13, 1911.

160 East 92nd Street ARCHITECT: Unknown DATE: 1852-53 STYLE: Greek Revival, Italianate A rare surviving remnant of the early years of the village of Yorkville, the 160 East 92nd street House (1852-53) is a two-and-a-half story vernacular clapboard dwelling which displays elements of the Greek Revival and Italianate styles. One of the oldest of the few intact nineteenth-century wooden houses which remain in Manhattan north of Greenwich Village, it dates from a period in which many of the houses on the outskirts of the city were of frame construction (prior to the implementation of an overall ban in Manhattan, due to fire hazards). It was probably built by Albro Howell, a carpenter and builder who lived next door and was active in developing the block.

Musical Protective Union Building, Yorkville Casino, ca. 1912. The Yorkville Casino was a social club and community gathering space for the German community on the Upper East Side. The building was constructed in 1904 by the Musician’s Mutual Protective Union (the precursor organization to the American Federation of Musicians). One of the two large ballrooms in the Casino had a 15,000 square foot floor and was a popular nightclub. The building also functioned as a catering hall for personal and political events. The in house caterers were known for their excellent German fare and, of course, authentic German beer. The Casino, being so connected with the German-American community, was supposedly watched closely by the government during the Second World War. In the years after the war, as the neighborhood diversified ethnically, the Casino floundered and eventually closed in 1965.

1340 Lexington Avenue, 1913. Nos. 1340 through 1350 Lexington Avenue are a row of three-story houses built in 1888 by Henry Hardenbergh. The architect created charming Renaissance Revival buildings of red brick, brownstone, and terra cotta. The LPC designation report for the Hardenbergh/Rhinelander Historic District describes them as "form\[ing] a picturesque yet symmetrical composition." They maintain their original "lively" roofline of alternating pointy pediments and flat, but detailed, cornices. Though they were built with stoops (as can be seen in this image), renovations over time have moved all of the entrances to the street level.

Night Presence IV, 1972. Night Presence IV is a 22.5-foot tall free-standing sculpture by Louise Nevelson. The sculpture was originally located at the southeast corner of Central Park but was moved after the original location was decided as "a showcase in which sculptures were changed from time to time," according to an article of the New York Times in 1973. This entrance would later be dedicated to Doris C. Freedman for rotating works of public art. Nevelson's piece now sits at the intersection of 92nd Street and Park Avenue on part of the Park Avenue Mall. Nevelson was a Russian-born New Yorker who gifted this sculpture to the city in her 50th year living in New York. Of the gesture, she said: "New York represents the whole of my conscious life and I thought it fitting that I should give it something of myself."

1021 Park Avenue ca. 1942 The L shaped plan of 1021 Park Avenue stems from the days when the Upper East Side real estate was dominated by mansions. The Pinchot family, having built themselves a lavish abode, sold some of the lots surrounding their mansion to other families, requiring them to be used as private homes. Eventually, they sold their home to Edward Stettinus, who continued to purchase land, but (due to the Pinchot's earlier sales) had to wrap around some lots, creating the curious L shape. In 1928, the developer Anthony Campagna bought Stettinus' land and planned to erect an apartment tower, bringing in his frequent partner: Rosario Candela. Candela, created a neo-gothic design for the building's street faced that was atypical of his normal style, incorporating features like the shields and gargoyles. For the non street facing facades, he used light brick an irregular window pattern due to the interior combination of duplex and simplex apartments. The building was a massive success with the majority of the apartments selling in almost a month.

Yorkville Sidewalk Clock (at far left), 1932. The Yorkville Clock, formerly in the shadow of the Third Avenue Elevated Railroad, was a community favorite from the day in 1898 when Adolph Stern had it set up in front of his jewelry story at 1508 Third Avenue, the northwest corner of 85th Street. In 1923, Stern’s store, having added a pawn shop, moved across the street to 1501 Third Avenue, between 84th and 85th Streets. The 17-foot cast-iron clock, simulating a giant two-faced pocket watch, was designated an official New York City landmark on August 25, 1981, along with the few other remaining sidewalk clocks in the five boroughs. It was produced by the E. Howard Clock Co., a Massachusetts firm with a New York office at 532 Broadway. The company had manufactured sidewalk clocks since 1870. In the second half of the 19th century similar tall sidewalk clocks became very popular throughout the United States. Merchants used them for advertising, and they served the public by telling the correct time for the many people who could not afford pocket watches. About ninety years after it first appeared on Third Avenue, the Yorkville Clock, by this time owned by Reimann and Bresse Furniture Store, had a quixotic experience. In 1985 a city employee mistakenly sold it as surplus property to a clock devotee named Frank Dorsa, who planned to display it in his family’s collection in Muttontown, Long Island. When Dorsa went to Reimann and Bresse hoping to locate missing clock pieces, he was almost arrested as a thief. Only his bill of sale saved him. Apprised of the unfortunate sale, Herbert Rickman, who was a special assistant to Mayor Edward Koch, arranged for the clock’s return and for reimbursement to the Dorsa family. After these peregrinations, the clock needed significant repair, which was provided by antiques dealer Louis Agrusa. Reerected on the sidewalk in front of the furniture store (next to McDonalds) the clock was ceremoniously unveiled in February, 1989. By early 1998, the need for a complete restoration was evident. The connections between the clock face and its stand were alarmingly weak. It ran sporadically. Often one face told one time, and the other another. The glass on one face was cracked and taped. Its iron pedestal, defaced by graffiti, showed patches of rust where paint had peeled off. FRIENDS worked in collaboration with the Friends of Cast Iron Architecture and Neighbors Restoring the Historic Yorkville Clock to raise $20,000 for the repair. Following an extensive restoration the Yorkville Clock was rededicated on September 14, 1999.

Park Avenue, south from East 84th Street, ca. 1910. At center-right is No. 970 Park Avenue, with signs advertising 8 and 10 room apartments (two apartments per floor). The building went up in 1912 at the southwest corner of 83rd Street. The Georgian Revival apartment building, originally twelve stories, was designed by Schwartz & Gross for the developer Bing & Bing. Today, it is part of the Park Avenue Historic District, created in 2014. St. Ignatius Loyola Church is visible at right.

1850s wood-frame house on East 92nd Street. 1932. This pre-Civil War wood frame house was built between 1852-3, probably by Albro Howell, a carpenter who owned property owner who was likely the builder of a number of similar frame houses nearby. It is one of seven surviving frame houses on the Upper East Side, as noted by the Landmarks Preservation Commission in its 1988 designation report for No. 160. In 1914, the house was purchased by Fifth Avenue residents Willard D. Straight and his wife Dorothy Payne Whitney, as living quarters for their household’s staff (they also built the adjacent garage). Straight, a diplomat, and Whitney, a philanthropist and member of the prominent Whitney family, founded The New Republic in 1914. After Straight’s death in 1918, Whitney remarried and relocated to England. The house remained a staff residence for the Straight estate until 1942.

Brick Presbyterian Church 1140-1144 Park Avenue Designed by York & Sawyer, 1938-40 parish house: 1948-49 – NYC HD, NR-D The congregation of Brick Presbyterian Church dates back to 1767. Its original home was the “old Brick Church” at the corner of Beekman and Nassau Streets. After a stay in midtown, the church merged with the Park Avenue Presbyterian Church in the 1930s and constructed this lovely building. In reference to the congregation’s roots, the church was designed in the neo-Georgian style popular during the Colonial period. It features a temple front and a polygonal tower topped by a ball finial. There is a chapel extension on the north façade, and the parish house is around the corner at 62 East 92nd Street. The church interior was fashioned after St. Paul’s Chapel, a contemporary of the original Brick Church.

Our Lady of Good Counsel, 1931. By the 1880 and 1890s, Yorkville was a booming area with a large influx of German and Irish immigrant families. During this time the only major Catholic church in the neighborhood was St. Lawrence O'Toole (now St. Ignatius Loyola) on 84th Street. To accommodate this growing community the diocese planned to built a few new churches. The Church of Our Lady of Good Counsel was one of these buildings. It was completed in 1892. The distinctive stone facade includes crenelated coping and turrets, and echos similar architectural details of the nearby Calvary Squadron A Armory (Madison between 94th and 95th Streets).

Brick Presbyterian Church, ca. 1939. The Brick Church on Park Avenue is the third location of a congregation founded in 1768. The first and second Brick Churches were located on Beekman Street and East 37th Street, respectively. By the mid-1930s, the congregation had shifted further uptown, and church leadership acted to meet the community’s needs by merging with the Park Avenue Presbyterian Church, and building a new structure (brick, of course) at 91st Street.

185 East 85th Street ca. 1967 Immortalized in the opening credits of the Jefferson's, 185 East 85th Street was once emblematic of the wave of new 1960s construction on Third Avenue. Erected in 1967, this 35-story apartment tower was striking among its lower-rise neighbors. Though perhaps not so eye-catching today, at the time it was a prime example of a "deluxe apartment in the sky." Designed by architect H. I. Feldman, The Park Lane was known for its rounded balconies and unobstructed views until later construction hemmed in its sightlines.

Cultural Medallions are porcelainized enamel plaques affixed to the exterior of buildings, in order to commemorate an individual (or occurrence) that has made a significant contribution to New York City’s rich cultural heritage. These are the Cultural Medallions in Manhattan. See more from the Historic Landmarks Preservation Center here.

My Archive Summer 2019 “I took this picture in the late 1970s. I was fascinated by the woman leaning out the window and didn't notice the other person walking by until later when the roll of film was developed. It was a matter of luck. I was kicking through the neighborhood.” —Joe Raskin

East 82nd Street and Lexington Avenue, view of the northwest corner, October 29, 1912. Joseph Richardson was a wealthy contractor who had constructed portions of the Union Pacific Railroad. Despite work and wealth, he is best known as the builder of one of New York's only spite houses. In 1882 the small sliver of land at the northwest corner of 82nd Street and Lexington Avenue (102 feet long and 5 feet wide) was owned by Richardson's wife. Patrick McQuade and Hyman Sarner purchased the adjacent lots for the construction of apartment houses. They offered Richardson $1,000 for the small lot, which he felt was too low, and countered with an ask of $5,000. The developers refused and proceeded to break ground on their structure without the corner lot. During construction they approached Richardson again, offering the $5,000 he had originally desired. This time he declined. He stated that," he never gave a man more than one opportunity to buy anything from him, and that the strip was no longer for sale." Instead, a few weeks later, Richardson himself broke ground on a narrow structure on his lot, built with the express purpose of blocking the windows of McQuade and Sarnar's apartments. The resulting building (which gave the impression of being a single resident, but was actually a few tall houses) was completed five months before its neighbors. Richardson even moved into one. According to the New York Times: "Every room is less than five feet wide, and the dining table is only eighteen inches wide. Gas is unknown above the first floor, and water has to be carried by hand all over the building.” The bay windows, which were allowed on corner buildings, added for a slightly wider portion of the home. Richardson died in 1897. In 1905, C.A. Stein, then-owner of the corner structures, requested permission to fill in the area between the bay windows to widen the structure to nine feet for ground-floor retail. His request must have been approved, as this 1912 photograph depicts a tailoring business in a commercial space. The building caused some consternation in the planning for the IRT Lexington Avenue Line, as contractors worried about the cost and safety of shoring up the narrow buildings during the cut and cover street excavations. They needn't worry. Stein sold the lot to real estate developers Bing & Bing in 1915 and the structures were soon demolished. In 1915 an 11-story apartment building designed by Emery Roth replaced both the spite house and the apartments it was built to spite.

Hook & Ladder 13, October, 1960. In the 1860s, the cities of New York and Brooklyn moved to professionalize firefighting, combining the volunteer and independent firefighting companies into a single Metropolitan District. The newly-established Hook & Ladder Company No. 13 moved into its East 87th Street firehouse in January, 1868. In 1961, the company moved to a new firehouse on East 85th Street, leaving their former home vacant — but not for long. In 1962, a young, unknown artist named Andy Warhol rented the second floor studio for $150/month.

Pair of mid-19th century frame houses, East 92nd Street. 1932. No. 120 (right) was built first, in 1859, likely by Albro Howell, the carpenter-builder also responsible for the frame house at No. 160 East 92nd Street, and a number of since-demolished homes from the same period. No. 122 was built twelve years later, in 1871, six years before the construction of wooden homes was banned in Manhattan. Both houses are among the seven surviving wood-frame homes on the Upper East Side.

Many houses of worship on the Upper East Side are devoted to a myriad of individual traditions, which contributed to our neighborhood’s multi-ethnic identity. The Church of the Holy Trinity, at 316 East 88th Street, is somewhat unique because it was not built to support just one of these traditions, but welcomed everyone. Holy Trinity was conceived as a “Settlement Church” by Serena Rhinelander, a member of the prominent Rhinelander family, which held vast land in Yorkville and was known for real estate and philanthropy in the neighborhood. Originally founded in midtown in 1864 as a Protestant Episcopal Church, Holy Trinity was designed as a community complex by the architectural firm Barney and Chapman. Their work on the Holy Trinity includes a French Gothic bell tower, which the NYC Landmarks Preservation Commission calls an “outstanding example of the French Gothic spirit adapted to a late Nineteenth Century brick and terra-cotta religious structure,” and a French renaissance Parish house that has served as a community oasis since it opened in 1897. Then as now, the Parish House offers an auditorium, classrooms, and meeting rooms serving the needs of neighbors of all ages. Holy Trinity was designated a New York City landmark in 1966 (so one of the City’s first) and added to the National Register of Historic Places in 1979

Constructed for a German-Jewish Reform congregation, Park Avenue Synagogue, seen here in 1927, the year it was dedicated, was one of the last Moorish-Revival Jewish houses of worship built in the United States. The Moorish style offered an alternative to the Greco-Roman or Gothic-Revival silhouettes that were often used for churches. It was a style that had been used for synagogues in Germany as early as the 1830s and remained widely popular for Jewish sacred spaces until the First World War. With its mix of German language, Jewish religion, and Mediterranean accents, the Park Avenue Synagogue was a uniquely American place: when the Synagogue was dedicated in March 1927, Mayor Jimmy Walker, the Episcopal Bishop of New York City William T. Manning, and New York Supreme Court Justice Thomas C. T. Crain were all in attendance. Congregants, who had originally founded the Synagogue in 1882 in a converted church at 115 East 86th, now had created a dramatic new space for themselves in the city. The Upper East Side’s stunning array of ecclesiastical architecture offers many more instances of immigrant communities announcing their arrival in New York through beautiful houses of worship. In each of these spaces, congregants could come together not only to strengthen the bonds of their communities but also to assert their collective American ambition and success.

The Cutting Houses, East 89th Street, ca. 1920. This row of three neo-Georgian townhouses was built in 1919-20 for Charles Suydam Cutting, a naturalist, and photographer who accompanied his friend Teddy Roosevelt on his expedition to Southeast Asia, where he became the first Westerner to enter the city of Lhasa, in Tibet. A seven-bay arcade at street-level creates the impression that the adjacent townhouses are part of the same structure, though, at the time of this photograph, the buildings had not been connected. Between 1950-52, No. 12 was converted to St. David’s School. By 1964, all three Cutting townhouses had been absorbed and renovated for classroom use.

\*Ada Louise Huxtable (1921-2013), a native New Yorker, was a pioneer in architectural criticism, and a champion of livable cities. As the first full-time architecture critic at a major American newspaper (The New York Times created the position specifically for her in 1963), she won the first Pulitzer Prize for distinguished criticism in 1970, and helped redefine architecture in the public consciousness as “a very real and important art \[because] it affects us all so directly.” Her writing on architecture, urban design, and planning helped bring those topics into the popular consciousness, and encouraged New Yorkers to see the buildings around them as part of their lives. She championed “humanity of scale,” and buildings that were “integrated into life and use,” writing: “what counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before.” Huxtable helped us do exactly that. On this virtual tour of her New York, we will learn about her life, see buildings she praised and those she decried, and consider her legacy as a writer, an urbanist, and a champion of the collective work of city-making. \*Lucie Levine

Our Lady of Good Counsel, at 230 East 90th Street, was built in 1892 as one of the first churches in Northern Yorkville. It was designed by architect Thomas H. Poole in a melange of styles including Gothic and Tudor elements. The church also features elaborate stained-glass windows by Franz Mayer and Co., a renowned German manufacturer. Our Lady originally served Yorkville’s Irish and German communities, comprised of workers from the nearby breweries and factories. Our Lady overlooked the looming bulk of the breweries that dominated the neighborhood’s streetscape. As the Parish grew, the church expanded in 1905 to include a school and convent, and in 1908 to offer a nursery and parish house. Today Our Lady still serves and reflects our community: In addition to Mass in English, the Church conducts Mass in Spanish and offers a Spanish Youth Group. With the breweries gone, the church now looks over Ruppert Park and its popular children’s playground

Residence of Lieutenant Abraham Quackenbush, ca. 1885. “The house was built in 1851 and demolished in 1890; Lieutenant Quackenbush's great-grandchildren are pictured in the photograph.”

This pair of stately Romanesque Revival style brick apartment buildings was constructed at a time when apartment-style living was becoming more socially acceptable for New York’s burgeoning middle class. They exemplified the use of distinctive architecture and evocative naming to elevate the image of the multiple-dwelling building type, which had long been associated with the cramped and squalid quarters of Manhattan’s worst tenement districts. In this case, the choice of the noble-sounding names “Kaiser” and “Rhine” signaled the overwhelmingly German heritage of their presumed occupants, as well as the prominent Rhinelander family’s involvement in their construction and in broader real estate development in Yorkville. Although built as two separate structures joined along a party wall with interior courtyards, the buildings’ Second Avenue façades present a unified, monumental appearance. The decorative iron balcony and pent eave roof anchor the façade’s center bay, while the round arches that are a hallmark of the Romanesque Revival style play across the façade at different scales. The red-orange brick façade is embellished by rich geometric patterning and detailing, including corbels, quoins and window spandrels featuring delicate cartouches with ribbons. The building was recently restored with the removal of white paint obscuring the building’s subtle texture and fine ornament. With luck, the cornices that flanked the pent eave roof in this once-picturesque roofline will also be restored.

Church of St. Ignatius Loyola 980 Park Avenue parish hall/rectory: Patrick C. Keely, 1881-83 church: Schickel & Ditmars, 1895-1900, NYC IL school: Schickel & Ditmars, 1899-1900 – NYC HD, NR-P, NR-D One of the first institutions on Fourth Avenue was the parish of St. Lawrence O’Toole, which initially acquired property on both sides of the railroad tracks at East 84th Street. Its first building was erected in 1854. The parish, later incorporated as St. Ignatius Loyola (founder of the Jesuits in 1541), expanded in the 1880s, beginning with the construction of a four-story parish house and residence hall. The church itself was designed in the Italian Renaissance Revival, in homage to the architecture that was popular during St. Ignatius’ lifetime. It was one of the first houses of worship in the city to use steel roof beams and trusses for fireproofing. Its two upper towers were never realized. In 1899, the Loyola School was established to educate the sons of wealthy Catholics (it became co-educational in 1973), for which the limestone building at the corner of East 83rd Street was built.

The Kaiser and the Rhine, August 13, 1941. In 1886 Gertrude Rhinelander, a scion of a well-established and wealthy New York family, purchased a series of lots on the corner of Second Avenue and 89th Street. She commissioned architects Lamb & Rich to design two matching apartment buildings with ground floor commercial spaces. Christened The Rhine (nos. 1716-18) and The Kaiser (nos. 1720-22) by Rhinelander, the buildings were completed in 1887. Rendered in a Romanesque Revival style to look as though a single structure, the building did feature some unexpected architectural details, including an almost Modern style maze-like pattern of brickwork on the second floor facade. A massive and devastating fire in 1904 gutted the building. Gertrude Rhinelander, who still collected the rents herself, rebuilt. It was likely at this time that the Tuscan Revival style roofs were added. In the late 20th century the buildings were painted in muted grey and white tones, but in 2016 the paint was striped off, revealing the rich tones of the original red brick.

Church of St. Ignatius Loyola ARCHITECT: Schikel & Ditmars DATE: 1895-1900 STYLE: Seventeenth-Century Rome Monumental in scale and impressive in appearance, the Park Avenue facade of this dignified Twentieth Century Church reflects the classical style of Seventeenth-Century Rome. The symmetrical masonry exterior of Limestone, severely austere In character, is generously enriched by the carved decoration of the highest quality.

Park Avenue Christian Church Bertram Goodhue of Cram, Goodhue & Ferguson 1909-11–NYCHD, NR-D This magnificent French Gothic Revival style church is clad in grey Manhattan schist, and features a pointed arch stained glass window and a 70-foot lead fleche, cast in Birmingham, England, by Henry Hope & Sons to emulate the one at Sainte Chapelle in Paris. Goodhue also designed the adjacent rectory in the same style of the same grey schist. In 2014, the controversy over its demolition led to the designation of the Park Avenue Historic District.

1040 Park Avenue Delano & Aldrich, 1923-25 – NYC HD, NR-D 1040 Park Avenue made distinctive with its eclectic ornament includes a frieze with sculpted tortoises and hares. Interestingly, the building does not have a cornice, which is unusual for a Renaissance Revival style building. It did, however, have one of the Avenue’s earliest penthouse apartments, which became fashionable in the 1920s. Though intended as servants’ quarters, the top floor was transformed by famed magazine publisher Condé Nast into a 5,000-square-foot duplex designed by actress and interior decorator Elsie de Wolfe. The building was also briefly home to Jacqueline Kennedy after she left the White House