The Church of Saint Edward the Martyr, 1941. The church was designed by architect George A. Bagge and completed in 1887. A 1903 expansion, financed by philanthropist, lawyer, senior warden of the parish Elbridge T. Gerry included interior decoration such as stained glass, mosaics, and marble and metal work, designed and installed by famed decorative arts firm J. & R. Lamb.

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.

\*Odetta (1930- 2008), born Odetta Holmes, was an influential artist/activist of the civil rights generation. During her 60-year career, she influenced numerous performers, including Harry Belafonte, Bob Dylan, Joan Baez and Janis Joplin. Her signature song was “This Little Light of Mine.” Odetta took part in the historic freedom marches of the 1960s in Selma, Alabama, and in Washington, D.C. Martin Luther King, Jr. named her “Queen of American Folk Music.” President William J. Clinton honored her with the National Medal of Arts, saying, “Odetta reminds us all that songs have the power to change the heart and change the world.” \*Text from the Cultural Medallion placed on 1270 Fifth Avenue, Manhattan

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.

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.

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!

Storefronts on Madison Avenue, south of East 109th Street, undated photo. These deteriorating tenement buildings would be demolished and replaced by Public School 108.

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.