The then-new location Museum of the City of New York, seen from across Fifth Avenue near 103rd St. In the niche at right, Adolph Alexander Weinman’s statue of DeWitt Clinton, the sixth Governor of New York.

Huddlestone Arch was designed by Calvert Vaux and Jacob Wrey Mould and built in 1866. Located near the northern end of the Ravine, it is made entirely of rough, uncut boulders and was constructed without the use of any binding material.

By 1897, New York City was well on its way to becoming the metropolis of steel and concrete that we know today. Elevator cars were carrying passengers up and down in the earliest skyscrapers, while the elevated rail lines stretched further and further uptown. It was around this time that photographer James Reuel Smith embarked upon a quest to document part of the city’s vanishing pastoral life—its springs and wells.

Block House No. 1. This stone fort, which sits on top of the large rock, is the oldest original structure in Central Park (Cleopatra's Needle was created elsewhere and moved). It is one of a number of fortifications built in the area during the War of 1812 (and the only one that survives). Despite the threat that prompted their construction, none of the forts were used in wartime combat and they were abandoned when the war ended, soon after being built. It was later used for ammunition storage.

Parkway Hospital, August 3, 1928. The Parkway Hospital, a private 70-bed facility on the north side of Central Park, opened to the public on January 5, 1929. The West 110th Street building became the Italian Hospital during the 1950s. In 1973, Italian merged with Columbus Hospital, creating the Cabrini Medical Center and shifting care to a new facility in Gramercy Park.

The McGown's Pass Tavern was built in 1883-1884 and served refreshments to Central Park visitors for the next 30 years. Originally called the Mount St. Vincent's Hotel (after an earlier establishment), the first proprietor was Patrick H. McCann, brother-in-law to a Tammany Hall boss. Supposedly McCann lost his lease on the business in 1890 after refusing to provide Tammany men free entertainment (a capital offense to the presumptuous and overly indulged political machine leaders). The Tavern closed in 1915, its furnishings sold at auction, and the building razed.

The Museo Del Barrio, sometimes simply referred to as "El Museo," is a museum dedicated to primarily Puerto Rican Art. The institution was born out of East Harlem protests in the late 1960s that called for education in neighborhood public schools to include curricula that acknowledged and addressed the heritage of many of the families whose children attended these schools. A group of Central and East Harlem activists demanded for resources to be made available to students. In response, Superintendent Martin W. Frey of District 4 appointed Puerto Rican educator and activist Raphael Montaña Ortiz to create the educational materials necessary for this change. In response, Montaña Ortiz formed the idea to create a community-based museum that would supplement this necessity. A museum "del Barrio" (of the neighborhood) would be accessible to all ages, not just those attending the schools of District 4. East Harlem's primarily Puerto-Rican and Caribbean population needed to also benefit from this asset in their community. The endeavor was funded by the Board of Education from 1969-1974, which enabled Montaña Ortiz to travel to Puerto Rico and make connections with local museums and anthropologists alongside Superintendent Martin W. Frey. Additionally, Montaña Ortiz visited museums across New York City to survey their collections of Puerto-Rican Art. Montaña Ortiz was conscious to involve the immediate community in discussions of the project, along with members of The Young Lords Political Party, The Real Great Society, and Marcos Dimas and Adrian Garcia who would later form the Art Worker's Coalition. The museum was founded in a classroom of PS 125 at 425 West 123rd Street, where District 4's offices were also located. Montaña Ortiz said the following of the museum: "The cultural disenfranchisement I experience as a Puerto Rican has prompted me to seek a practical alternative to the orthodox museum, which fails to meet my needs for an authentic ethnic experience. To afford me and others to establish living connections with our own culture, I founded El Museo del Barrio." El Museo del Barrio moved from the PS 125 to PS 206 and then subsequent storefronts in the vicinity. El Museo later moved to an old firehouse on 104th street, where it launched it's "Mobile Unit" that traveled to serve schools and events. Eventually, in 1977, El Museo settled in the Heckscher Building on 104th Street, where it occupied the ground floor. In this move, it joined the Cultural Institutions Group (CIG), an association of 23 cultural organizations housed in city-owned buildings. El Museo is the founding member of the Museum Mile. The permanent collection of El Museo del Barrio spans over 800 years of Puerto-Rican, Latin American, Caribbean, and Latino Art. There are now around 6,500 pieces in the collection, and El Museo hosts a variety of temporary exhibitions on Puerto-Rican and Latin American Modern Art. Additionally, the institution is the site for many festivals, educational programs, and events. The most well known and widely attended festivity is the parade for Three Kings Day in January. The museum underwent a renovation and expansion in 2009 and another renovation of its theater from 2018 to 2019. In 2012, an exhibition at now-defunct gallery Exit Art and a subsequent publication called "Alternative Histories" said that El Museo del Barrio went from alternative art space to a globally established museum. In El Museo's mission statement, it states the following: "To enhance the sense of identity, self-esteem and self-knowledge of the Caribbean and Latin American peoples by educating them in their artistic heritage and bringing art and artists into their communities."

Huddlestone Arch, 1895. This dry-stacked arch was made of uncut boulders, forming its shape without the use of mortar or any kind of support structure. In this photograph is Robert L. Bracklow, a photographer, and (presumably) Mary Granger, his lifelong partner.

Artist and educator Raphael Montañez Ortiz and a coalition of Puerto Rican activists founded El Museo del Barrio in 1970 to combat the city’s institutional indifference to Puerto Rican art and culture. Over the past five decades, El Museo has become a major institution celebrating and promoting Latin American art, with a permanent collection of over 6,500 objects spanning 800 years of history. El Museo also performs outreach and education for young people of Caribbean and Latin American descent to enhance their understanding of and pride in their heritage. El Museo’s permanent home since 1977 is a building commissioned by philanthropists August and Anna Heckscher for the headquarters of The Heckscher Foundation for Children, and donated to the Society for Prevention of Cruelty to Children as a shelter for abused and neglected children. Its interior features a series of tile murals on the ground floor depicting storybook tales and children at play, which El Museo restored in 2008-12, as well as the Heckscher Theater, which hosted performances for and by children. El Museo undertook a renovation of the theater in 1995-2000, renaming it Teatro Heckscher.

General Memorial Hospital, 1917. This still standing fortresslike French Renaissance building was constructed in 1887 as the New York Cancer Hospital, the first medical facility to focus solely on cancer. The planning and design of the building reflected prevailing ideas about illness, its causes, and treatment on that era. The hospital was funded by, among others, John Jacob Astor III, who wished to refute the stigma of cancer (in the Victorian period, cancer thought to be contagious and a disease of the poor or those with lacking hygiene). The patients were kept in the round towers, as it was believed that germs flourished in corners. The large windows in the circular towers allowed for more light, better ventilation, and a better view of the patients for the medical staff. Given the low survival rate of cancer patients in the early years of cancer research, the building became known as a death trap (with cancer advancement came an improved reputation). In the 1950s the building became a nursing home, but the operation shut down in 1974 with claims of patient abuse and crumbling facilities. The city designated the building a landmark in 1976, which saved it from demolition over the next few decades as plans were put forth for reuse, but none came to be. All the while the building continued to deteriorate and became a den for drug addicts during New York's roughest years. Finally, in 2001 a new owner began work on a residential tower on the west side of the lot. September 11th halted work, but in 2002 new loans and Columbia University's purchase of apartments in the new tower turned the tide. The tower was completed and the old hospital was restored and renovated into 17 luxury units. The roofs were fixed, the mortar repointed, and original windows were replicated.

The upper portion of Central Park is perhaps the less visited section of New York's man-made oasis but includes some lovely areas. Take a look at some of the lesser-known spots in the park.

New-York Cancer Hospital ARCHITECT: Charles C. Haight DATE: 1884-86 STYLE: Hospital Although the construction of the hospital was essentially finished in 1886, the opening was delayed a year because of difficulties in establishing proper sewer connections and the necessity of erecting two additional buildings; one a small mortuary building, no longer standing; the other, a boiler-house. laundry, and servant dormitory, still standing at 32 West I06th Street. When the New York Cancer Hospital opened, it was the first hospital in the United States and only the second in the world to be devoted exclusively to cancer patients (the other was the London Cancer Hospital). The death of President Ulysses S. Grant from cancer in 1885 was a factor which helped arouse public interest in the funding of the hospital. It was not until the 1880s that cancer was being seriously studied for the first time, and the New York Cancer Hospital was anxious to establish itself as a proper scientific institution. It promoted the use of surgical techniques for cancer treatment and the belief that this helped save lives. Many of the cancer patients were treated free of charge.

This photo shows tunneling under Central Park for the Lenox Line. Unlike cut and cover, these tunnels are deep underground and cannot be built by digging through the street. Drillers made holes for dynamite that helped explode the rock, and then excavators removed the spoil and cleared the way for the shield, a device that kept workers safe as they dug. The shield is a temporary support that acts to protect the workers from falling debris as they chip away at rocks ahead of the shield and put in place permanent support walls behind it. Sandhogs used pickaxes, shovels, air powered drills, and sometimes dynamite, to break through the rock.

In tandem with our exhibition, Cycling in the City: A 200 Year History, we are excited to invite you on a bike tour throughout our neighborhood. MCNY's little section of the world, nestled between the Upper East Side and East Harlem, has a plethora of amazing buildings and sites with an even more amazing history. We suggest that you stick to the labeled bike lanes and follow the safety rules of biking in the city. Never text and ride at the same time, and always wear a helmet!

The Museum of the City of New York was founded in 1923 by Henry Collins Brown, a Scottish-born writer with a vision for a populist approach to the city. The Museum was originally housed in Gracie Mansion, the future residence of the Mayor of New York. The City offered land on Fifth Avenue between 103rd-104th Streets and construction for Joseph H. Freedlander’s Georgian Colonial-Revival building started in 1929 and was completed in 1932. Freedlander’s red brick museum was not his only contribution to New York City history: he’s also known for designing the city’s first-ever traffic signals.