William Muschenheim Residence, 1911 This house was the one-time residence of William Muschenheim, semi-known architect of the early to mid-20th century. He did not build the house himself--its style is considerably different from his own. Muschenheim was one of the first American modernist architects, drawing inspiration from European styles of design and utilizing color theory in the creation of his buildings. Some of his most notable achievements were the bath houses he designed on Long Island in the 1930s. The buildings were constructed from lead and asbestos. (This was, of course, before the health risks of such materials were widely known.) Muschenheim also designed buildings to hold the collection from the Guggenheim Museum in 1939 and 1947. Later in his life, from 1950 through 1972, Muschenheim taught architecture and design at the University of Michigan.

Henry Hudson Monument, May 25, 1937. A monument without its honoree! Pictured here in 1937 this tall pedestal had been without a statue for two and a half decades. During the Hudson-Fulton Celebration of 1909 (commemorating the 300th anniversary of Hudson's arrival and the centennial of Fulton's steamboat) a plan was developed to honor Hudson with a memorial. Land was donated, funds were amassed, architects Babb, Cook and Welch designed a 100-foot-high Doric column, and sculptor Karl Bitter began to model his statue of Hudson. The column was erected in 1912 but the project stalled in 1915 with low funds and the death of Bitter. In 1935, Parks Commissioner Robert Moses revived the monument plans as part of his Henry Hudson Bridge and Park project. Karl H. Gruppe, one of Bitter's students, created the statue which was finally placed on top of the 25-year-old column and dedicated in January of 1938.

2505 Palisade Avenue, 1935. This, likely early to mid 19th century house, belonged to G. E. Mann in 1879, and to D. B. Cox in 1900.

The Edgehill Church was founded in 1869 as a mission of the Riverdale Presbyterian Church, established to serve the religious needs of the workers at the nearby Johnson Iron Foundry. Despite the specific objective, the congregation of this chapel remained humble, given that most of the 300 foundry workers were Irish Catholics. Francis B. Kimball designed the 1889 structure seen here, which is a mix of Romanesque Revival, neo-Tudor, and Shingle styles, and has Tiffany windows. Appropriately named, as it sits on a steeply sloping hill, the full edifice is only visible from the south side of the building. From the main road on Independence Avenue, the chapel is largely obscured by the crest of the hill and dense foliage. Designated a landmark in 1980, the chapel (which severed ties with its founding church in 1917) was set to close in the late 1970s due to a declining population. Instead, a well-loved Bronx pastor (and for 16 years the official Bronx Borough Historian), Rev. Dr. William A. Tieck took over the parish and secured its survival.