As the population of New York City swelled in the 19th century, the city's reservoirs were built to supply a growing population with a safe and reliable water supply.

Looking north on Fifth Avenue from 40th Street to 500 Fifth Avenue, ca. 1995. This slab-style Art Deco skyscraper was constructed by Shreve, Lamb & Harmon from 1929-32, concurrently to the firm's most celebrated skyscraper, the Empire State Building.

Feeding birds by the fountain in Bryant Park, ca. 1930s. Bryant Park was laid out as a potter's field in 1823. The area became a public park in 1847, when it was named Reservoir Square after the adjacent reservoir. The Crystal Palace exhibition hall occupied the site from 1853 until it burned to the ground in 1858. In 1884, the park was given its present name in honor of William Cullen Bryant, the poet and newspaper editor who was also an advocate of public parks. After the main branch of the New York Public Library rose on the former site of the reservoir in 1899, Bryant Park was redesigned, and in the early years of this century became an active meeting place. During the Depression, it served as a warm-weather "dormitory" for the indigent, and in the 1970s, became a refuge for the homeless and an open market for drug dealers. Subsequent restoration and the opening of upscale restaurants have restored to its early state.

New York Public Library (Main Lobby, North and South Staircases from first to third floor and Central Hall, third floor) STATUS Designated Interior Landmark ARCHITECT: Carrere and Hastings DATE: 1898-1911 The interiors of the New York Public Library display some of the finest stonework and vaulting in the City. The ornamental plaster ceilings are of great elegance. These rooms and staircases provide a grand approach to the facilities of one of the finest libraries in the world. Three paired, pedimented entrance doors, set beneath high arched transoms of glass, are embellished by ornamental wrought-iron borders. The great interior space of the entrance lobby is over seventy feet long and forty-four feet wide. This space is all of stone, including the two grand Staircases leading to the upper floors.

Replica of Federal Hall in Bryant Park, ca. 1932. While today there is a building in lower Manhattan called Federal Hall, the first building given that name in New York City was constructed in 1703 to serve as the city hall. The original Greek Revival structure was extensively renovated in 1788 by Pierre Charles L'Enfant, the architect of Washington, D.C. This work created what is considered the first example of Federal style architecture in the United States. The building became the Capitol of the newly formed country in 1789. Here, George Washinton was sworn in as President. The building was razed in 1812. But! it made a comeback (sort of). In 1932 the George Washington Bicentennial Planning Committee (established to honor the 200th anniversary of Washington's birth) and Sears, Roebuck, and Company erected a replica of the famous building, made out of wood and plaster. Situated in Bryant Park, near the terrace, the true-to-size building necessitated the temporary removal of a couple of statues. To further celebrate a reenactment of the inauguration was presented. Though master planner Moses had hoped that the display would boost visitation to the park (which had been largely neglected for decades), the replica was not hugely successful. That fact, and some shady financial dealings that depleted the committee's funds resulted in the razing the replica in 1933.

Though it has been a couple of hundred years since New York was seized by the British, New Yorkers have always contributed to the defense of their country. Here are a series of photos from our partners' archives of New Yorkers during wartime.

The Chrysler Building, the Empire State, 30 Rock, and other skyscrapers adorn the skyline. At street level the solitude of the Public Library, and the glitz of Fifth Avenue. And underground, Grand Central Terminal ushers commuters in and out of the city. Take a walk amongst the sights of Midtown East.

William Cullen Bryant, a 19th century poet and namesake of the library’s backyard park, edited the New York Evening Post, advocated for the emergence of the Republican Party in the 1850s, espoused ending slavery and supported the founding of the Metropolitan Museum of Art. Here he sits in commanding intellectual posture, embodying the western liberal mind and spirit. Across from Bryant - not pictured here - sits the statue of another American poet, Gertrude Stein, sculpted in the 1920s but not installed in the park until the 1990s - the first statue of a real female (versus a personification or symbol, like Audrey Munson) in NYC since Joan of Arc in Riverside Park in 1915; Gertrude sits in the lotus position, in meditative repose, zenlike, at one with the universal void. These two statues anchor the soul and central nervous system of the library and the midtown park.

Main Branch, New York Public Library, 1908. Perhaps one of the most recognizable buildings in the city, the Main Branch of the New York Public Library was built on land that had served as the Croton Reservoir since the early 1840s. In the late 1890s, the newly established library announced an open competition for the creation of a new building. The commission was awarded to the (then largely unknown) firm of Carrère & Hastings. After two years of dismantling the reservoir, the cornerstone for the new structure was laid on November 10, 1902. The resulting edifice, which was then the largest marble structure constructed in the United States, was designed to the wishes of the library's director. Dr. Billing envisioned a grand reading room constructed on top of seven floors of stacks and a complex system for book retrieval and dissemination. Dedicated on May 23, 1911 (the 16th anniversary of the merger that created the new centralized institution) the new library installed 75 miles of shelving for its one million books. The library was immediately an overwhelming success, with between 30,000 and 50,000 visitors on the very first day. The iconic stone lions that grace the entrance to the library had a bit of an identity crisis in their early years. First named "Leo Astor" and "Leo Lenox" (for the library's founders), they were then referred to as Lord Astor and Lady Lenox (though, obviously, both lions are male) before being christened "Patience" and "Fortitude" by Mayor La Guardia during the Depression. His nicknames nodded towards virtues that he felt New Yorkers would need to possess during the difficult financial times.

Audrey Munson (1891-1996) was once the most famous artist’s model in the United States and her likeness can be found in a dozen public sculptures in Manhattan and Brooklyn. In 1913, her likeness had become so prominent in public spaces that the New York Sun dubbed her "Miss Manhattan." For an in-depth look at the rise and tragic fall of America’s First Supermodel, we recommend “The Curse of Beauty: The Scandalous & Tragic Life of Audrey Munson, America’s First Supermodel” by James Bone and “Miss Manhattan” (Episode 200) of the 99% Invisible podcast.

Eleanor Roosevelt was a noted human rights activist, longest-serving first lady of the United States and friend to knish lovers everywhere!

500 Fifth Avenue ARCHITECT: Shreve, Lamb & Harmon DATE: 1929-31 STYLE: Art Deco This is a soaring 59-story Art Deco skyscraper, located at the northwest corner of 42nd Street and Fifth Avenue. The building was constructed concurrently with the Empire State Building. Located in two zoning districts with differing setback requirements, it is asymmetrically massed with setbacks at the 18th, 22nd, and 25th stories on Fifth Avenue and a recessed light court beginning at the eighth story and setbacks at the 23rd, 28th, and 34th stories on West 42nd Street. Sheathed in limestone, terra cotta, and buff brick, the facades are enriched with carefully scaled Art Deco motifs, which accentuate the building’s sculptural massing and emphasize its verticality.

"White Wings" on Parade, ca. 1896. Pictured here are the White Wings: a brigade of street cleaners who were established by Street Commissioner Colonel George E. Waring Jr. in 1895. Waring treated the sanitation department as an army, mandating his workers to wear all white uniforms and caps. He believed that their white attire portrayed a sense of cleanliness, as much as they helped keep workers conspicuous while on the job, discouraging slacking off at the local saloon. These "White Wings" kept streets cleaner than at any previous time in the city's history. Regulation whites remained in effect until the 1930s (when someone finally decided that whites were not appropriate for street sweeping).

New York Public Library, Astor, Lenox and Tilden Foundation ARCHITECT: Carrère and Hastings DATE: 1898-1911 STYLE: Beaux-Arts The Central Building of the New York Public Library occupies a fabulous site, that has often been referred to as “the crossroads of the world”. This majestic marble building, one of the masterpieces of the Beaux-Arts style of architecture, is a magnificent civic monument and fully justifies the pride of its generation and of ours. It sits regally enthroned on a terraced plateau, displaying urns, fountains, flagpoles, sculpture and ornament. Replete with sparkle and delicacy, it is by night or day a joyous creation. This building comes closer than any other in America to the complete realization of Beaux-Arts design at its best.

The four corners of the flagpole seem to symbolize the virtues of the western world before the onset of World War I, but in fact the totems north and south of the library facade were installed at the eve of World War II, when they may have seemed as both hallowed and dated as today, yet remain the type of ideas that sent explorers cleaving the waves of the Atlantic to colonize lands where civilizations of peoples had inhabited for thousands of years: “Conquest,” represented by a sword; “Discovery,” represented by a globe; “Adventure,” by the ship Argo; and “Civilization,” by a topless female holding a book. The whole structure rests on the backs of four turtles, which reference creation myths of the Lenni Lenape, who dwelled in Manhattan long long long before Director-General Peter Syuyvesant, or his successor, Rudolph Giuliani.

May 3rd, 1913 On May 3rd, 1913, marchers arranged themselves, as the New York Times described, "In straight and graceful lines which were brightened with resplendent decorations, passed in attractive and impressive dignity up Fifth Avenue...it was the greatest spectacular triumph ever won by women in this country in their pursuit of the ballot." Inspired by a massive suffrage march in Washington D.C. in March of the same year, this parade was intended to further press the issue of enfranchisement. The parade's Grand Marshal was Inez MIlholland, a lawyer and suffrage activist, who lead the parade on a white horse. Assembled in formation, the suffragettes maintained strict order during the march, the participants were ordered to keep: "Eyes to front. Heads Erect. Shoulders back. Dignity and Silence." Beginning in Washington Square Park, the marchers proceeded in unseasonable heat (almost 87 degrees.) Following disruptions of previous parades by "Antis" (people opposed to Women's suffrage), the 1913 parade had widespread police protection to prevent the harassment of marchers. Counter-protesters mixed with the thousands of spectators, but it was noted that there was no significant disruption. Banners and signs were common throughout the parade, the New York Times noting that there was more "punch in them than usual. A selection included: "More Ballots: Less Bullets." "Politics Govern Even the Purity of the Milk Supply. It is Not "Outside the Home." But Inside the Baby." "To Create Sex Antagonism Is an Unwise Precedent." "Let the People Rule; Women are People." and notably "Hasn't Your Wife Brains Enough to Vote?" "No Government Ever Yielded a Right Unless Bullied into It." While the "Antis" and the New York Times (based on the Anti's count) tallied the parade at 9,613, however, other sources put it at 30,000. Suffrage groups from across the United States joined the parade as well as groups from abroad such as Sweden and England. Parades like this were vital for pushing the conversation on women's rights forward.

The physical likeness of the statue of Beauty atop the fountain just south of the entrance steps to the library is the model Audrey Munson, whose countenance and contours have provided the personification of Civic Fame above the Municipal Building; the figure of Abundance as goddess Pomona outside the Plaza Hotel; and “Columbia Triumphant” at the USS Maine Monument for the bombed ship that ushered the US into the Spanish-American War. After a suicide attempt and failing mental health, brought upon by pressure from family and the media, Audrey was checked into an upstate asylum in 1931, where she died over 60 years later at age 104.

One of the most drastic New York City #transformations of all time! From 20 million gallons of 💧to 1 million 📚

Though today the stretch of Fifth Avenue from 40th to 42nd Street looks onto Bryant Park and the New York Public Library, in the late 18th century, passersby would be met with a vastly different sight: 50 feet high and 25 feet thick granite walls that could hold up to 20,000,000 gallons of water. This was the Croton Distributing Reservoir and served a crucial role in the development of New York City. The concept of a municipal supply of water began after the growing city had been hit by waves of epidemics due to a lack of clean water (which was only accessible by wells or cisterns). The public outcry that followed prompted the military to create the Aqueduct, which started at dams at the Croton River in Westchester and ended at the Reservoir. The Croton Distributing Reservoir allowed New Yorkers the ability to have running water in their homes and served as the predecessor to the tap water available to us today. Outstripped by the growing city, the Croton Distributing Reservoir became obsolete and eventually was torn down. However, photographs of the imposing walls with their Egyptian facade provide a reminder of this essential relic of city infrastructure that occupied four acres of Midtown.

Flag pole base in front of the Main Branch of the New York Public Library, ca 1935. The large Carrere & Hastings Fifth Avenue Branch is flanked by two tall flagpoles. The elaborate bronze bases for the poles were designed by Thomas Hastings and are decorated with allegorical and symbolic figures, in the same ornate Beaux Arts style of the library itself. The figures depicted (including people, turtles and owls) represent various human races as well as themes and actions such as Discovery, Conquest, Civilization, Adventure and Wisdom. The bases were created by Menconi brothers (Italian immigrant sculptors) in plaster from drawings by Hastings and the piece was cast in the Tiffany Studios in Queens. The bases were installed in 1912.

Lamp Cleaner on the corner of 42nd Street and Fifth Avenue, 1940. This cast iron, twin lamp post seen being worked on here was one of the original 1892-installed ornamental posts on Fifth Avenue between Washington Square and 59th Street, the first large-scale installation of decorative electric lighting in the city. The New York Times said this about the lamp posts: "Fifth Avenue is to be lighted with handsome electric lamps.... The Edison Illuminating Company will furnish the light on an improved system, consisting of a new style of arc lights used on a low-tension circuit....Fifty cast-iron poles, 20 feet in height, and each carrying two electric lamps of about 1,000 candle power...will be ornamental in character, as will also the lamps, which will have artistic ground-glass globes and brass trimmings....The avenue is likely to present a very brilliant spectacle, as there will be 100 lights." Though impressive they must not have provided enough light, because less than one year later 50 more posts were added to the mid blocks.Today this location has a contemporary post, but in 1997 more than 60 historic lamp posts of various sizes and shapes were landmarked. (About 100 historic lamp posts survive, but the balance not landmarked in 1997 are either within historic districts or on individually landmarked property.) The building seen in the background is 500 Fifth Avenue, the 1931 Shreve, Lamb & Harmon Art Deco skyscraper.

New York Public Library This building probably comes nearer than any other in America to the complete realization of Beaux Arts design at its best. Replete with sparkle and delicacy, with its urns, fountains, sculpture, and ornament, it is by night or day a joyous creation. Unlike the legion of heavy Classical buildings that invaded the country after the World's Columbian Exposition, it has somehow managed to keep the light, airy quality which so often is seen only in architectural drawings, so rarely achieved in execution.

Main Branch, NYPL Fifth Avenue at 42nd Street (Carrère & Hastings, 1901-11, master plan and restoration: Davis Brody Bond, 1980-2000; South Court addition: Davis Brody Bond, 2000-02; Children’s Center at 42nd Street: Gensler Architects, 2008) NYC IL, NYC INL, NHL The NYPL’s Main Branch is one of the city’s most important civic monuments and most impressive works of architecture. Along with Bryant Park, it is located on the site of the old Croton Distributing Reservoir, once the city’s main source of fresh water. The reservoir’s 50-foot high, 25-foot thick walls were demolished in the 1890s, just as plans were underway for a new central library. Some of the reservoir’s foundations can still be found in the library’s South Court. In 2000-02, a new wing was added to this part of the building and the architects intentionally exposed the foundation wall as a record of the site’s history. Situated on the eastern end of two city blocks, the library’s marble façades and lavish interiors are a masterpiece of the Beaux-Arts style. The firm of Carrère & Hastings, fairly unknown at the time, was chosen to design the building. Their success led to commissions for 14 Carnegie-funded branches across the city, more than any other firm. The building’s front is set back from Fifth Avenue by a grand staircase and terrace that give the façade added grandeur and perspective. The terrace’s two famous lion statues were sculpted by Edward Clark Potter and were originally named “Leo Astor” and “Leo Lenox” after the library’s founders. During the Great Depression, Mayor Fiorello LaGuardia nicknamed them “Patience” and “Fortitude.” The main entrance is housed within a triple-arched portico supported by coupled Corinthian columns. The rear, or west façade, expresses and honors the function of the building. Its series of full-height, vertical rows of windows both represent and give light to the seven floors of book stacks within. The steel stacks once held 88 miles of books, which have since been moved offsite. However, the stacks also function as structural support for the building, providing a powerful symbolism to the building’s construction. On all four façades, pedimented pavilions lend visual interest and elegance. When it was completed in 1911, the library bore the distinction of being the largest marble structure in the United States. Formerly known as the Humanities and Social Sciences Library and the Center for Humanities, the building was renamed the Stephen A. Schwarzman Building in 2008 to honor a major gift to the institution. The library functions as a reference, rather than a circulating library, and, as such, includes magnificent interior reading rooms, including the Rose Main Reading Room. This grand space, with arched windows and a fresco ceiling, is one of the most revered interior public spaces in Manhattan. In the 1980s, the institution undertook a major restoration of many of the library’s interior spaces and added two levels of stacks beneath Bryant Park. At that time, the library collection had outgrown the building, necessitating the park’s excavation.

475 Fifth Avenue (at left), ca. 1975. Built in 1926 for the Farmers' Loan and Trust, 475 Fifth Avenue was designed by Starrett & Van Vleck, who built in the Italian Romanesque Style.

Between 1954 and 1957, the Municipal Art Society surveyed historic buildings in all five boroughs to create a database of potential landmarks to preserve. Local residents and MAS staff compiled individual sheets devoted to about 200 buildings. Each sheet outlined the building’s date, location, and style and provided a description and a small photograph. This is the list of Manhattan buildings.

While New York is the setting of an enormous amount of films, some scenes define a space and some spaces define a scene. Either way, they happened in New York. 🎬

One of the best parts of a summer in New York City is the wide array of free outdoor programs. There’s nothing like lying back in the grass while hearing crisp notes dance from a trumpet at Kingsborough’s Lighthouse Bandshell. There's nothing like watching the Delacorte Theater reawaken the words of Shakespeare under a starry night. Part of what makes our city so special is that it unites communities and cultures with free arts performances. While we won’t be able to share these moments in the summer of 2020, this story celebrates those experiences in all five boroughs. We hope to see you there next year!

New York Club, ca. 1907 If you asked a well-heeled New Yorker today if he or she knew about the New York Club, you might well be met with a look of confusion. However, that would not have been the case a century ago. Founded in the 1840s, the prestige of the New York Club was such that it was noted as a simple N. in the Social Register. It was so well known that one needn't have a longer signifier. As such, many of New York's prominent citizens were members and its coffers were bountiful. At the turn of the century, the club was feeling confident enough to buy land for a new clubhouse across from Bryant Park and the Ne York Public Library. They retained Henry Hardenberg, known for the original Waldorf-Astoria (and later the Plaza Hotel), to design their nine-story clubhouse. The new home's facade was old New York with red brick and terracotta with common spaces as well as bedrooms. It cost more than a $1,000,000. Opened in 1907, the new location quickly amassed quite a membership, and there were almost 700 members by the start of the First World War. However, like many of its fellow clubs, the Great Depression took its toll on the New York Club and soon they were forced to sell. In 1933, the clubhouse was taken over by a liquor distributor, who used the space for sales and tasting rooms. The New York Club sold the building for less than a quarter of the price it had cost to build. Freedom House (an early human rights and racial equality organization) purchased the building in 1945 and renamed it after Wendell Wilkie, a Republican presidential candidate. During its tenancy, it hosted a number of organizations under its roof, including the NAACP. Doom came for the building in the familiar specter of a bank, the Republic National Bank, purchasing it as part of a midtown expansion. In 1985, its distinctive facade was demolished by workmen before it was sold, with many preservationists speculating that it was a preemptive move to prevent landmarking and a cynical act by the bank. Regardless, without any protection, the Bank demolished the old club as soon as it took ownership of the land.

The Public Design Commission (PDC) was established as the Municipal Art Commission by the New York City Charter in 1898 (following the consolidation of NYC). The Commission was tasked with the oversight of all public artworks and monuments, but its purview quickly expanded to include public structures and open spaces. Renamed in 2008, the PDC reviews the design of permanent works of architecture, landscape architecture, and art proposed on or over City-owned property. Projects are submitted by City agencies and include the construction, renovation, or restoration of buildings; the creation or rehabilitation of parks, playgrounds, and plazas; installation of lighting and other streetscape elements; signage; and the installation and conservation of artwork, including monuments and memorials. The Commission also acts as caretaker and curator of the City’s public art collection, which is located throughout the city’s public buildings and open spaces, and maintains an extensive archive documenting the history of New York City's public works. The PDC Archive maintains a collection of projects reviewed by the Commission since 1902, documenting more than 7,000 sites throughout New York City and providing a unique view into the history of the City’s public works. The designs that have been reviewed by the PDC throughout its over 120-year history are representative of the policies and focus of Mayoral administrations while simultaneously following historical trends in public design, public health, and artistic and cultural movements in the city and country at large. The following examples illustrate the breadth of projects under the PDC's purview, from large scale developments to streetscape fixtures that often go unnoticed. For an in-depth history of the Public Design Commission, see Michele H. Bogart’s book, "The Politics of Urban Beauty."

"Beauty," ca. 1915. Flanking the main entrance of the Main Branch of the New York Public Library two statues stand, presiding over stone fountains. "Truth," the figure of an old man stands in the niche on the north side, while "Beauty" (seen here) is a young woman. Sculpted by Frederick MacMonnies, the works complement the grand Beaux-Arts style of the building. While the water flowed in the two fountains for decades, it was turned off sometime in the 1980s. Plans for work on the features fell through in 2013, but funding came through a couple of years later. In July 2015, the fountains bubbled with water once again, to the surprise and delight of passersby.

New York City has three public library systems: the New York Public Library (in Manhattan, The Bronx and Staten Island), the Brooklyn Public Library and the Queens Borough Public Library. The reason for these independent systems was due to their origins prior to the 1898 consolidation of the five boroughs. The City of New York’s first free circulating library was established in 1878, even though multiple bills were passed by the New York Legislature for such a public service beginning in the 1830s. Over those decades, private libraries served as research facilities for scholars and students, but none were open to the general public. In 1880, the New York Free Circulating Library (NYFCL) was established, operating out of several rooms at 36 Bond Street and funded by private donors. The NYFCL was formally incorporated in 1884, and its first building opened at 135 Second Avenue (site 1). Between 1884 and 1901, 11 branches were built, consisting of 1.6 million volumes. In 1901, steel baron Andrew Carnegie retired and devoted his energy and wealth to the development of libraries throughout the English-speaking world, including New York City. This would forever change the institution. The New York Public Library (NYPL) was formed in 1895 with the consolidation of three private corporations: the Astor Library (founded by John Jacob Astor in 1849), the Lenox Library (founded by James Lenox in 1870) and The Tilden Trust (a fund established in 1886 by former New York Governor Samuel J. Tilden). The NYFCL also joined this consolidation in 1901 in order to benefit from Carnegie’s gift of $5.2 million for 67 library branches to be built between 1901 and 1929 (56 are still standing). Carnegie’s only stipulation was that the city acquire the sites and establish building maintenance plans. To design the buildings, the NYPL organized a committee of architects: Charles F. McKim, Walter Cook and John M. Carrère. In order to stylistically link the branches and save money, the committee decided on a uniform scale, interior layout, character and materials palette for the buildings. Construction for the main branch, a grand building in the heart of Manhattan, began in 1901. The NYPL became and remains one of the leading research institutions in the world. Queens’ first public library was established in Flushing in 1858, and became a free circulating library in 1869. In 1901, the borough’s independent libraries merged to become the Queens Borough Library, and were eventually housed in Carnegie- funded buildings. The system acquired its current name, the Queens Borough Public Library (QBPL), in 1907. Brooklyn’s first free public library was that of the Pratt Institute, which opened in 1888. In 1892, the Brooklyn Public Library (BPL) was created through state legislation, and in 1901, Carnegie signed a contract for the construction of libraries in Brooklyn. Both the QBPL and the BPL were established as independent corporations with trustees appointed by the mayor and civil service staff. In the broad sense, New York City’s library systems are one of its finest resources. In the local sense, its branches function as community anchors, both for the services they provide and for their architectural contributions to each neighborhood’s sense of place. While this brochure focuses on the origins of the city’s public library systems and offers a glimpse at some of its early extant branches, there are over 200 public libraries across the five boroughs, as well as private and institutional libraries that are also well worth visiting.