ST. MICHAEL’S EPISCOPAL CHURCH COMPLEX, MANHATTAN Address: 227 West 99th Street New York, NY 10025 The congregation of St. Michael’s Episcopal Church has been worshipping on this site since 1807, outgrowing its previous two buildings before this complex was constructed. The church, parish house and rectory were completed over roughly 25 years, all in the same rock-faced Indiana limestone. The church was designed in the Northern Italian Renaissance or Romanesque-Byzantine style and completed in 1891. Its square clock and bell tower is visible throughout the surrounding neighborhood. It also features Spanish tile roofs and magnificent stained glass windows by Louis Comfort Tiffany. The parish house, set back from the street, was completed in 1896-97, and the rectory, the final piece of the complex, was completed in 1912-13. The complex is striking in its materials and monumental scale. St. Michael's Church, Parish House and Rectory form one of the finest ecclesiastical complexes in Manhattan. The church building of 1890-91 was designed by Robert W. Gibson. Gibson was a major figure on the New York architectural scene during the late 19th century and was proficient at designing buildings in a great number of stylistic variants. He is best known for the West End Collegiate Church and School designed in the neo-Flemish style. The St. Michael's complex is Romanesque Revival in style, but the Romanesque forms are used in an unusual manner and are combined with a variety of other stylistic motifs to create a singularly eclectic composition. All three buildings are constructed of rock-faced limestone blocks laid in a random pattern and all are strikingly monochromatic. The most powerful feature of the church is the massing of the various liturgical elements --the long nave, apsidal chancel, unevenly-sized transepts, cloistered arcade, tall clerestory, steeply-pitched tiled roof, and most notable, the tall corner clock tower. The square tower, located at the corner of the building, nestled between the apse and the east transept, is based on Italian, Early Christian precedents. Topped by two tiers of open arcades and a pyramidal roof, it is visible for many blocks. The parish house of 1896-97 on West 99th Street is a picturesque, asymmetrically-massed structure set back from the street behind a garden. The building, designed by F. Carles Merry, is Romanesque Revival in form, with rock-faced stone facing, round-arched openings, and stone transom bars. The boldness of the Romanesque Revival forms is tempered by the asymmetrical massing reminiscent of a mid-19th-century picturesque villa and by the Palladian window motif in the gabled projection. The rectory of 1912-13 is located to the west of the parish house and is built out to the lot line, serving to enclose the garden on the third side. Although more austere than the other buildings of the complex, it is designed by Robert W. Gibson in a similar manner and is an integral part of the complex. The church is well known for its series of Tiffany windows and for its acoustics. A new organ was installed in 1967 and is used for recitals. All three buildings are remarkably intact and are in an excellent state of repair.

In November 2014, the New York City Landmarks Preservation Commission (LPC) announced a plan to clear 95 properties that had been on its calendar for five years or more, but not yet designated as landmarks. The wholesale removal of these properties without considering each one’s merits would have represented a severe blow to the properties and to the city’s landmarks process in general, sending a message that would jeopardize any future effort to designate them. The properties represented years of research and support from New Yorkers, elected officials, community groups and the Commission itself. To broadly reject all of that through an administrative action would be disrespectful to the efforts and judgment of previous LPC Commissioners and staff. Further, the removal of these 95 sites from the LPC’s calendar would render the LPC powerless in the case of any proposed work or demolition project involving those sites. The Historic Districts Council acted strongly in opposition to this action, and advocated for a more considered, fair and transparent approach. To further prioritize this advocacy, HDC made the initiative one of its Six to Celebrate in 2015, calling it “Landmarks Under Consideration.” As part of this effort, HDC worked with Manhattan Borough President Gale Brewer and a coalition of other preservation organizations to submit an alternative plan for the LPC’s consideration. The plan eventually formed the basis for the LPC’s initiative, entitled “Backlog95,” calling for a series of public discussions to evaluate the properties in geographical groupings. Announced in July 2015, the LPC’s initiative was the direct result of the advocacy of preservation groups and concerned New Yorkers, over 200 of whom wrote to the LPC to demand a fair process for considering the sites on their individual merits. In fall 2015, the LPC held four “special hearings” in which the items were grouped according to their location by Community District, with roughly 5-12 items per group. At these hearings, the public was given the opportunity to comment. HDC wrote and delivered statements for nearly every item. In February 2016, the LPC held another special hearing to discuss and vote on how to proceed. The Commission was given three choices for the fate of each property: prioritize for designation by the end of 2016; remove from the calendar by voting not to designate (based on a lack of merit); or remove from the calendar by issuing a no-action letter (this allows an item to be taken off the calendar without prejudice, meaning it could be brought forward for designation at a later date). On that day, 30 items were prioritized for designation, five were removed from the calendar with a vote not to designate and the rest were removed from the calendar by issuing a no-action letter. The five properties that the Commission voted not to designate were largely irreparably altered or had been demolished. This story highlights some of the sites considered throughout this 15-month process. HDC chose the following sites in order to provide a snapshot of the geographic, historic, cultural and typological diversity of the 95 sites considered by the LPC in its historic “Backlog95” action. This selection was not influenced by the outcome of the hearings. Many of the sites listed have now been designated as NYC Landmarks by the NYC Landmarks Preservation Commission.

St. Michael’s Protestant Episcopal Church, viewed from 99th Street, ca. 1907. The church’s 160-foot tower is, according to the Landmarks Preservation Commission, “based on Italian, Early Christian precedents.”

St. Michael's Protestant Episcopal Church, ca. 1915. St. Michael’s parish was founded in 1807 as an outpost of the Trinity Church on Wall Street in Lower Manhattan. Bloomingdale, as the Manhattan Valley section of the Upper West Side was then known, was a largely rural district, close to the Hudson River and the summer country homes of Trinity pewholders. Accordingly, the first church was a simple wooden structure at the corner of 99th Street and Amsterdam Avenue. The second church, built in 1854, was another wooden structure in the Carpenter Gothic style. The present St Michael’s church, a 1,500-seat Romanesque structure by Robert W. Gibson, was completed in 1891. The church features several works designed by Louis Comfort Tiffany, including a set of seven stained-glass lancet windows, a reredos mosaic in the Chapel of the Angels, and various decorative elements. St. Michael’s was designated a New York City Landmark in April, 2016.