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-The Project Gutenberg eBook of New York, by Peter Marcus
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: New York
-       The Nation's Metropolis
-
-Author: Peter Marcus
-
-Contributor: J. Monroe (James Monroe) Hewlett
-
-Release Date: February 16, 2021 [eBook #64572]
-
-Language: English
-
-Character set encoding: UTF-8
-
-Produced by: Chuck Greif, ellinora and the Online Distributed Proofreading
-             Team at https://www.pgdp.net (This file was produced from
-             images generously made available by The Internet
-             Archive/American Libraries.)
-
-*** START OF THE PROJECT GUTENBERG EBOOK NEW YORK ***
-
-
-
-
-                               NEW YORK
-                        THE NATION’S METROPOLIS
-
-                            [Illustration]
-
-
-
-
-                               NEW YORK
-
-                        THE NATION’S METROPOLIS
-
-                                  BY
-
-                             PETER MARCUS
-
-
-                       _WITH AN APPRECIATION BY_
-
-                           J. MONROE HEWLETT
-
-                 PRESIDENT OF THE ARCHITECTURAL LEAGUE
-                              OF NEW YORK
-
-                       [Illustration: colophon]
-
-                               NEW YORK
-                              BRENTANO’S
-                              PUBLISHERS
-
-                          COPYRIGHT, 1921, BY
-                              BRENTANO’S
-
-                         _All rights reserved_
-
-
-                          THE PLIMPTON PRESS
-                          NORWOOD·MASS·U·S·A
-
-
-
-
-CONTENTS
-
-
-    I. _Times Square._
-   II. _Lower Broadway._
-  III. _Exchange Place._
-   IV. _Looking West on Brooklyn Bridge._
-    V. _The City Hall._
-   VI. _Wall Street._
-  VII. _The Old Bridge._
- VIII. _The Tombs Prison._
-   IX. _Looking West Along Peck Slip._
-    X. _The East Pier, Brooklyn Bridge._
-   XI. _The Municipal Building._
-  XII. _New York from Fulton Ferry._
- XIII. _The Metropolitan Tower._
-  XIV. _The Cathedral on the Avenue._
-   XV. _Queensboro Bridge._
-  XVI. _Fifth Avenue at Fifty-ninth Street._
- XVII. _Hell Gate Bridge._
-XVIII. _Soldiers and Sailors Monument._
-  XIX. _The Cathedral on the Heights._
-   XX. _The Viaduct._
-  XXI. _Grant’s Tomb._
- XXII. _The Battleship “Oklahoma” on the Hudson._
-XXIII. _High Bridge._
- XXIV. _Washington Bridge._
-  XXV. _Grand Central Station._
-
-
-
-
-NEW YORK
-
-THE CITY OF VIOLENT CONTRASTS
-
-
-New York is preëminently the City of Violent Contrasts. Towering shafts
-of brick and stone and steel, soaring traceries of cables, derricks,
-girders and electric signs, smooth stretches of gray asphalt, subway and
-sewer excavations, broad harbors and stately ships, oily canals and
-garbage dumps, classic columns, gilded domes, palaces and shanties,
-parks and fountains, factory chimneys and gas tanks; these are a few of
-the items that occur in this as in other cities, but nowhere else are
-these and other manifestations of beauty and ugliness, prosperity and
-squalor brought into such vivid and striking relief, and of no other
-city can we say with equal truth that it defies the effort to summarize
-briefly its typical characteristics. Fragments and details suggestive of
-widely differing phases of its life persistently force themselves into a
-single picture without regard to orderly classification or proper
-dramatic sequence.
-
-Appreciation of the beauty of nature as undisturbed by man seems
-inherent in our race, but man in his material progress is constantly
-defacing nature, constantly destroying, constantly substituting forms
-and arrangements dictated by utility, not by beauty, and shocking to
-our finer instincts. Then imagination steps in and gradually invests
-these new forms with new meanings derived from history, logic, romance,
-symbolism and pure poetic fancy. Some are condemned and discarded as
-unnecessary or useless, while others at first glance equally ugly
-acquire a significance and a soul. Of him who would interpret such a
-theme as New York our first demand must therefore be prophetic vision.
-
-To the artist who seeks to penetrate the outer surfaces of his subject
-and to suggest and interpret an activity, a creative power, a vastness
-of scale and a variety of functions beyond human power to portray,
-charcoal is a most, perhaps the most, inspiring medium. It is surely the
-medium that most readily lends itself to the simultaneous expression of
-form, mass, line and tone.
-
-Hopkinson Smith once said that Venice is nothing but air and water.
-There all else has been so softened and moulded and enveloped as to
-become part and parcel of sea and cloud. The portrayal of this is
-preëminently a painter’s job. But New York, in addition to being a lot
-of other things, is a Venice in the making, and all the ugly
-paraphernalia by means of which this making is slowly going forward, all
-the unlovely processes, physical and chemical, structural and
-commercial, must be recognized and expressed and by the light of poetic
-vision be made a part of its beauty and romance.
-
-A painter might perhaps strive to envelope and obscure whatever seemed
-objectionable in a glory of color. An architect might lay undue stress
-upon the many examples of distinction in the work of his craft, which
-are often all but details in a vast scheme. The pictorial expression of
-New York requires a blending of the view points of the painter and the
-architect in which both contribute to an image of something not yet
-realized, perhaps never to be fully realized, and help in dramatizing
-the struggle towards that thing.
-
-Peter Marcus is a painter not an architect, but he is also a designer
-experienced in the goldsmith’s craft and there is evident in these
-charcoal studies a pleasure in the delineation of the tracery of bridge
-cables and trusses, derricks, scaffolding and electric signs, that in
-contrast with his broad and greatly simplified expressions of
-architectural form and detail, adds vastly to the eloquence of his work.
-Furthermore, he is a native of New York as his parents were before him,
-and the slow development by which New York has climbed upward has been
-part and parcel of his life. These are the days of a premature
-development or forcing of the artistic personality, usually expressed at
-some sacrifice of the prevailing characters and sentiment of his
-subject.
-
-To my mind the most distinctive quality of these drawings is found in
-the complete subjection of the artist to the spirit of the thing
-represented.
-
-Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
-and from the air has been exploited to such an extent as to destroy for
-the native New Yorker much of the impressiveness of this majestic
-panorama, but lower Manhattan as seen from within by the man in the
-street has a different kind of impressiveness and pictorially has
-hitherto been somewhat neglected. Five drawings are devoted to this
-theme--“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
-and “Exchange Place.” These five drawings as a group seem to me to
-represent the culmination of the artist’s achievement. They show a
-simplicity and ease of method, a definite conception and an admirable
-sureness of values and textures. In imaginative power and sinister
-suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
-and it is not like that, a creation of the imagination but a truthful
-characterization of locality. A second group of five are “The
-Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
-Municipal Building,” and “The Cathedral on the Avenue.”
-
-As these take us further up town into wider streets and more extended
-surfaces of sky, distance and silhouette become increasingly important
-in their composition, and what we lose in concentration we gain in tonal
-interest.
-
-“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
-Viaduct,” fall naturally into a third group. Here we have a different
-manifestation of energy, the architecture of the engineer, crisp and
-nervous in rendering, beautifully expressive of structure unadorned.
-
-If in the drawings thus far mentioned certain qualities of Piranesi,
-Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
-Soldiers’ and Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
-and “The Cathedral on the Heights,” there is equally a suggestion of
-Whistler. Less vigorous than the others in draughtsmanship, they are
-full of the suggestion of subdued color. By reason of the more subtle
-quality of their rendering, they lend themselves less readily to
-reproduction but even the reproductions convey beautiful impressions of
-shadowy foliage and quiet waters, bare, wind-swept branches and lonely
-spaces.
-
-It is safe to predict that if he continues his interest in charcoal as a
-medium, Peter Marcus will gradually and naturally acquire a more
-characteristic personal manner, but it will come from ease of mastery
-not from assumed eccentricity, and whatever he may achieve in future
-this series of drawings will stand as the most comprehensive and broadly
-discerning study of New York in its entirety that has yet been made.
-
-                           J. Monroe Hewlett
-                           _President of the
-                        Architectural League of
-                               New York_
-
-
-
-
-NEW YORK
-
-THE NATION’S METROPOLIS
-
-
-
-
-I
-
-TIMES SQUARE
-
-
-Times Square is at the juncture of Broadway, Seventh Avenue and
-Forty-second Street. It is the very heart of uptown Broadway. Not the
-downtown Broadway of finance and of towering buildings, but the Broadway
-of theatres, restaurants, gay crowds and bright lights. It is bustling,
-congested, whirling. It is in a constant state of being rebuilt and
-repaired. Its sidewalks are littered with timbers, pipes, derricks and
-showy women. One hears jazz music and Klaxtons. It is the playground of
-the pleasure seeker, the battleground of the taxis, the dream of the
-chorus girl on the road, and the nightmare of the traffic cop. It is
-white lights, green lights, red lights,--flashing, spinning and winking.
-It is noise, crowds, motion. Sun and storm, day and night it roars
-along, churning,--a whirlpool in a mighty river. Incongruous, incessant,
-enormous.
-
-[Illustration]
-
-
-
-
-II
-
-LOWER BROADWAY
-
-
-The changes in New York in the last hundred years have been almost
-fabulous and yet the greatest of all perhaps has been lower Broadway.
-The proud steeple of Trinity Church once dominated a scene of fashion.
-It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
-Brummel-like hats and directoire skirts, came grandly here to
-worship,--and meant it. To-day, one picnics in the church yard and eats
-luncheon bananas on the graves. The enormous buildings of commerce,
-finance and trade are filled to overflowing. Here is progress, wealth
-and unlimited resource. It is a tremendous hive full of golden honey.
-And it is doubtless very good. But it is also good that this small
-church of a bygone time, still stands undaunted,--respected among these
-colossal towers; and that it still brings from the past some of that
-calm strength that is of even more lasting stuff than the masonry of the
-church itself, and that through it, the spirit of Old New York still
-“carries on” in Lower Broadway.
-
-[Illustration]
-
-
-
-
-III
-
-EXCHANGE PLACE
-
-
-Running east from Broadway, just below Wall Street, is Exchange Place.
-It is a narrow street and a short, but it is not a little street. Huge
-buildings are its walls, which seem almost to meet overhead. Straight up
-they tower, face to face, staring at each other with countless eyes.
-Daily into these few buildings come thousands and thousands of people:
-old and young, gay and sad, financiers and office boys,--to work. It is
-a good-sized town in one street. It is a veritable cañon of the city.
-
-[Illustration]
-
-
-
-
-IV
-
-LOOKING WEST ON BROOKLYN BRIDGE
-
-
-One of the “Views of New York” most often pictured and most often
-snapped by amateur photographers is that of lower Manhattan as seen from
-a distance. And yet from a painting, photograph or drawing, who can feel
-what it is? As with pictures of the Grand Cañon, it seems impossible to
-realize the scale or to give the sense of its enormous size. To know
-what it is, one must have seen it. A picture, in this case, can only
-serve to refresh the memory of the man who knows.
-
-[Illustration]
-
-
-
-
-V
-
-THE CITY HALL
-
-
-Nothing better exemplifies the growth of New York than does the City
-Hall, standing as it does almost in the shadow of the Municipal
-Building. In the old days when it was the principal structure on City
-Hall Park, its three stories afforded ample room in which to carry on
-the city’s affairs. It now houses only four offices, including that of
-the Mayor and that of the Art Commission. The other city offices, and
-their number is astounding, are elsewhere. But although the city has
-grown beyond recognition, the City Hall has proudly kept its place, and
-is honored as is a venerable old man, a bit less active than he was
-perhaps, but still the dignified head of a noble house.
-
-[Illustration]
-
-
-
-
-VI
-
-WALL STREET
-
-
-Here is the force of the sea and the romance of a fairy tale. Here
-immense fortunes are won in a day and lost in less, and the hopes and
-savings of years vanish in an hour. Here are bank messengers who become
-millionnaires overnight and capitalists who awake penniless. It is the
-market of the whole country and of others. Here are corn and wheat
-heaped in huge confusion, millions of bales of cotton and barrels of
-oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
-bullion; raw gold and ore, coal, silver and copper, mounting to the
-clouds in glimmering pinnacles and smoking hills. And through it all and
-around it all, pulses the restless swing and change, the tireless tide
-of “the street.”
-
-And the traders! Giants and pygmies. Tumbling over each other, swarming,
-pushing, struggling. Here holding up a million head of cattle to the
-highest bidder, there beating down the price of a small nation. Here is
-a man beaten by a crowd for buying oil and there is another lying dead
-because he sold it. And away over there runs a little man who has
-succeeded in stealing a pig and is now scurrying off with it to safety.
-
-This mountainous market of hopes and of nations, of success and failure,
-of tragedy and comedy, of ships, steam, mines, and the lives of men,
-towering phantom-like and vast,--is Wall Street.
-
-[Illustration]
-
-
-
-
-VII
-
-THE OLD BRIDGE
-
-
-Brooklyn Bridge the first bridge between Manhattan and Long Island. The
-day of its opening was one of great public enthusiasm. Parties were
-given for walking or driving across the bridge, and that night half New
-York and Brooklyn were on the house-tops to watch it illuminated by
-fire-works. In those days it was called “_The_ Bridge.” But now since
-the Manhattan, the Williamsburg and the Queensboro bridges have been
-added to the East River giants, it has become “The _Old_ Bridge,” a name
-meaning many things to those who have known it from its beginning. Its
-erection was a long step towards close relationship between New York and
-the whole of Long Island.
-
-[Illustration]
-
-
-
-
-VIII
-
-THE TOMBS PRISON
-
-
-Who can look at a prison without being glad that he is not in it? At the
-corner of Lafayette and Franklin streets is the great gray pile that is
-the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
-and feudal castles; its heavy gateways,--medieval strongholds. Its high
-exterior wall and “Bridge of Sighs” make one remember the lugubrious
-histories of the Doge’s Palace and of the Tour de Nesle. Those inside
-bear the double burden of being imprisoned and of knowing that close
-about them is all the life of the great city: its lights, its
-restaurants, its countless activities and its friends. Yes, looking at
-the Tombs, grim as it is, makes one feel strangely fortunate.
-
-[Illustration]
-
-
-
-
-IX
-
-LOOKING WEST ALONG PECK SLIP
-
-
-If Father Knickerbocker should come over to New York on the Fulton
-Ferry, as in times gone by he used to do, when he had been visiting his
-respected neighbors on Brooklyn Heights; and if he should stand on South
-Street and look up Peck Slip and see it as it is to-day--how he would
-stare through his horn-rimmed spectacles and how his dear old heart
-would thump under his brass-buttoned coat! How he would pinch himself
-and wonder what it all could mean! What was that enormous shaft all
-white and glowing in the afternoon, rising eight hundred feet or eight
-thousand to the very sky? What were those towers, spires and turrets,
-soaring above the clouds, the brilliant sunlight gilding their countless
-feathers of steam and decking their phantom minarets with myriad
-candles? What _could_ it mean? Had he landed on Manhattan or was this
-some island built by fairies or by elves? Nay, this place was far too
-fair for that, and must be then the work of witchcraft and the devil. Or
-was it, after all, the same old place that he had known, but grown and
-glorified beyond belief? And when he finally realized this to be the
-case, Father Knickerbocker without doubt would be wondrous proud of his
-great-grandsons and of the New York of to-day.
-
-[Illustration]
-
-
-
-
-X
-
-THE PIER
-
-
-Like twin Colossi, silent amid the hum of cities and the whistling of a
-thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
-river’s gate.
-
-[Illustration]
-
-
-
-
-XI
-
-THE MUNICIPAL BUILDING
-
-
-Astride of Chamber Street at Park Row stands the Municipal Building.
-Under its roof are half a hundred commissions, departments, boards and
-bureaux that regulate such petty affairs as the highways, parks, water
-supply, bridges, taxes and fire-fighting for upwards of six millions of
-people. A gigantic task, and accomplished in a building well worthy of
-its responsibility.
-
-[Illustration]
-
-
-
-
-XII
-
-NEW YORK FROM FULTON FERRY
-
-
-Watching Manhattan as the boat comes near its shore, one seems to come
-under the spell of its incalculable weight, its stupendous mass of iron,
-brick and stone. It is oppressive, ominous. One feels the past, the
-present and the future; and the tremendous forces which must have worked
-together to produce this titanic offspring, to have spawned this
-mountain of precipices. One feels the hidden activity, the pitiless
-struggle going on beneath; yet a few puffs of smoke are all that betray
-the smouldering of the mighty fires. One lets one’s mind sink into the
-vast depths between, to see little humanity running here and there like
-ants amid the tangle of wires, tunnels and pipes. Little humanity that
-built it all.
-
-In the past, church spires rose majestic above the surrounding city. Now
-they are lost. The buildings of commerce, creeping high and higher, have
-struggled upward, climbing upon one another’s backs, and mounting each
-on the shoulder of each, in their ceaseless effort to be the tallest
-among their fellows. And just as it is among men and the rulers of men,
-as surely as one has gained the supremacy, has come another to surpass
-him, swinging upward yet another fifty, one hundred, or two hundred
-feet, and from their thousand brazen throats has boomed again the cry,
-“Long live the king!”
-
-Eight hundred feet towers the monarch of to-day. He is called
-“Woolworth,” and twelve thousand men live daily in his strength. His
-head is of gold but his feet are of clay, and who will be king
-to-morrow?
-
-And wondering, one looks up and up, above the mightiest of these kings,
-and yet above the very summit of his crown, and there one sees--the
-sunset.
-
-[Illustration]
-
-
-
-
-XIII
-
-THE METROPOLITAN TOWER
-
-
-The Home Office of the Metropolitan Life Insurance Co. is in the
-“Metropolitan Life Building.” It covers the whole block between Madison
-and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
-twenty-five acres. Its forty-odd-story tower dominates the whole of
-Madison Square and dwarfs its neighbors of a meagre twenty stories.
-Above the level of their roofs the face of a giant clock covers three
-stories of its front and stares unwinking at the thousands in the park.
-To old women and to newsboys, to strong men and to wasters, to honest
-and to sick, to those who read the columns under “Help Wanted--Male,”
-and to those who have gone far beyond doing so, to the restless and the
-lonely among the crowds, waiting for that thing to “turn up” that never,
-never does; to all these this ponderous clock points the passing of the
-minutes, hours, days,--of life itself: this clock, relentless as the
-sun, upon the _Life_ Insurance tower.
-
-[Illustration]
-
-
-
-
-XIV
-
-THE CATHEDRAL ON THE AVENUE
-
-
-Saint Patrick’s Cathedral on Fifth Avenue is the largest and finest
-Catholic church in the city. It is a magnificent structure, taking up
-the whole block between Fiftieth and Fifty-first streets and Madison
-Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
-best be seen. One longs to see it standing in a more open space and to
-see its beauties as a whole from further off as one now sees its spires,
-which are remarkable from nearby but glorious from a greater distance.
-
-[Illustration]
-
-
-
-
-XV
-
-QUEENSBORO BRIDGE
-
-
-Queensboro Bridge is the most northerly of Manhattan’s four East River
-bridges. Its mile and a half of mighty steel structure reaches from
-Second Avenue and Fifty-ninth Street well into Queens County, Long
-Island. Far below it in the middle of the river is Blackwells Island, on
-the south end of which is one of the city hospitals. The rest of this
-island is the cheerless home of an ever-changing group of those
-unfortunates, who through some unkind trick of fate have slipped, or
-have seemed to slip, into that uncharted realm vaguely called “Without
-the Law.”
-
-[Illustration]
-
-
-
-
-XVI
-
-FIFTH AVENUE AT FIFTY-NINTH STREET
-
-
-Whether under the régime of private or of business houses the region of
-Fifth Avenue at Fifty-ninth Street has been for a long time the
-luxury-centre of New York. On this enchanted soil is the well-known
-Vanderbilt home, one of the few dwellings that still resist the tide of
-business uptown to this point. Southward for miles “The Avenue” used to
-be the smartest residential street in the city. It is now the home of
-Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
-tear bottles, jades, and silken ankles. It is more dangerous to cross
-than the Continental Divide. It separates East from West in the city.
-
-[Illustration]
-
-
-
-
-XVII
-
-HELL GATE BRIDGE
-
-
-Hell Gate Bridge derives its name from the treacherous section of the
-East River which it crosses. It is a most important part in a wonderful
-piece of railroad engineering. At New Rochelle tracks lead from the old
-New York, New Haven and Hartford lines to Port Morris, from here over
-Hell Gate Bridge, through the Borough of Queens and Long Island City,
-under the East River and half of Manhattan, to come to the surface at
-the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
-over Bronx Kills and Randall’s Island, across Little Hell Gate and
-Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
-in Queens. It is six miles long. If laid over Manhattan it would reach
-from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
-Street. It is a remarkable link in the great chain between the two
-railroads. It obviates breaking bulk at New York, and connects Southern
-New England with “all points west.”
-
-[Illustration]
-
-
-
-
-XVIII
-
-THE SOLDIERS AND SAILORS MONUMENT
-
-
-It is not what some one may say, but what the Nation feels, that tells
-the story of the Soldiers and Sailors Monument.
-
-[Illustration]
-
-
-
-
-XIX
-
-THE CATHEDRAL ON THE HEIGHTS
-
-
-The Episcopal Cathedral of Saint John the Divine is the chief church of
-the diocese of New York. It stands on Morningside Heights, a magnificent
-site, from which it dominates all the surrounding city. Its enormous
-dome suggests that of Saint Peter’s and on the very pinnacle of the apse
-the angel Gabriel faces east, sounding the trumpet in an endless note of
-triumph.
-
-Viewing this structure, although as yet unfinished, one tries, almost in
-vain, to realize that it is to be still larger and more wonderful when
-fully completed, and when time has mellowed its stately stones and has
-hung about its walls the indescribable dignity of age.
-
-[Illustration]
-
-
-
-
-XX
-
-THE VIADUCT
-
-
-The Hudson and the Palisades combine in making “Riverside” one of the
-most naturally beautiful driveways in the world. Yet it owes much also
-to the workers of magic in steel. Northward from Grant’s Tomb and
-Claremont for half a mile or more it is upheld by giant arches of their
-making. Across a whole valley, this broad roadbed all glistening in the
-sun and streaked by the gay lines of endless pleasure traffic, rolls
-grandly on, supported by the silent strength of that great land bridge,
-the Viaduct.
-
-[Illustration]
-
-
-
-
-XXI
-
-GRANT’S TOMB
-
-
-The tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
-Riverside Drive is one of New York’s best known landmarks. A structure
-of impressive grandeur and large historic interest, it encourages the
-thousands of New Yorkers that pass it daily to look forward to the time
-when their city will be ennobled by a fitting memorial of the heroic
-officers and men of the great world war.
-
-[Illustration]
-
-
-
-
-XXII
-
-THE BATTLESHIP “OKLAHOMA” ON THE HUDSON
-
-
-It often seems more difficult to recognize beauty in things with which
-we are familiar than in those which are more foreign to us. The Hudson
-is, beyond question, as splendid a river as any of which European cities
-can boast, yet visitors to New York often seem to appreciate it more
-than do the New Yorkers themselves. Whether twinkling under myriad
-lights on a summer night, or storm lashed in January, the Hudson sweeps
-the whole west shore of Manhattan in lasting yet ever changing grandeur.
-Imagine yourself in an unknown, distant city, and watch the sun go
-gorgeously down behind the Palisades, while on the water its long
-reflection is ploughed to pieces by the river craft.
-
-[Illustration]
-
-
-
-
-XXIII
-
-HIGH BRIDGE
-
-
-Boldly across the Harlem River at One Hundred and Seventy-fourth Street
-stands High Bridge. It differs remarkably from other New York bridges in
-that it is built entirely of masonry. No steel construction, no
-suspension cable, no huge rolling lift or counter-poise relate it to the
-present dynasty of bridges. One hundred and thirty-five feet of solid
-stone it rises gray and enduring amid the surrounding green. Surely it
-belongs to the Old World and to another time, and looking through its
-arches one half expects to see the towers and battlements of some old
-chateau, clear cut against the sky. One may even fancy,--but here a
-blunt-nosed tug rams puffing up against the tide, smoke belching from
-its stumpy funnel, the water churned to froth; and one has lost the
-wonders of the past in wonders of to-day.
-
-[Illustration]
-
-
-
-
-XXIV
-
-WASHINGTON BRIDGE
-
-
-Washington Bridge is one of the many arteries that join the Borough of
-the Bronx with Manhattan, and in thus connecting its enormous area and
-population with the rest of the metropolis, is a material factor in
-making New York the foremost city of the country.
-
-[Illustration]
-
-
-
-
-XXV
-
-THE GRAND CENTRAL STATION
-
-
-The Grand Central is one of the finest railroad stations in the country.
-Fronting on Forty-second it extends to Forty-fifth Street and from
-Vanderbilt Avenue to Lexington. The group of figures forming the clock
-cartouche above its main façade is a piece of masterly sculpture. Its
-main hall is gigantic. The system with which its hundreds of trains
-arrive and depart is little less than magical. Yet greater far than
-these is the story of the crowds that come to New York on these trains,
-and the mass of hopes and aspirations that they bring to the city
-through this great gate. And of all who come buoyant, confident and
-convinced that they will wrest success from this thronging mart of
-millions,--how few achieve! And yet, though comparatively few, these
-victors form so vast an army that they many times outnumber the
-successful sons of the city, and are a mighty force in the making of New
-York, the Metropolis of the Nation.
-
-[Illustration]
-
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+*** START OF THE PROJECT GUTENBERG EBOOK 64572 ***
+
+                               NEW YORK
+                        THE NATION’S METROPOLIS
+
+                            [Illustration]
+
+
+
+
+                               NEW YORK
+
+                        THE NATION’S METROPOLIS
+
+                                  BY
+
+                             PETER MARCUS
+
+
+                       _WITH AN APPRECIATION BY_
+
+                           J. MONROE HEWLETT
+
+                 PRESIDENT OF THE ARCHITECTURAL LEAGUE
+                              OF NEW YORK
+
+                       [Illustration: colophon]
+
+                               NEW YORK
+                              BRENTANO’S
+                              PUBLISHERS
+
+                          COPYRIGHT, 1921, BY
+                              BRENTANO’S
+
+                         _All rights reserved_
+
+
+                          THE PLIMPTON PRESS
+                          NORWOOD·MASS·U·S·A
+
+
+
+
+CONTENTS
+
+
+    I. _Times Square._
+   II. _Lower Broadway._
+  III. _Exchange Place._
+   IV. _Looking West on Brooklyn Bridge._
+    V. _The City Hall._
+   VI. _Wall Street._
+  VII. _The Old Bridge._
+ VIII. _The Tombs Prison._
+   IX. _Looking West Along Peck Slip._
+    X. _The East Pier, Brooklyn Bridge._
+   XI. _The Municipal Building._
+  XII. _New York from Fulton Ferry._
+ XIII. _The Metropolitan Tower._
+  XIV. _The Cathedral on the Avenue._
+   XV. _Queensboro Bridge._
+  XVI. _Fifth Avenue at Fifty-ninth Street._
+ XVII. _Hell Gate Bridge._
+XVIII. _Soldiers and Sailors Monument._
+  XIX. _The Cathedral on the Heights._
+   XX. _The Viaduct._
+  XXI. _Grant’s Tomb._
+ XXII. _The Battleship “Oklahoma” on the Hudson._
+XXIII. _High Bridge._
+ XXIV. _Washington Bridge._
+  XXV. _Grand Central Station._
+
+
+
+
+NEW YORK
+
+THE CITY OF VIOLENT CONTRASTS
+
+
+New York is preëminently the City of Violent Contrasts. Towering shafts
+of brick and stone and steel, soaring traceries of cables, derricks,
+girders and electric signs, smooth stretches of gray asphalt, subway and
+sewer excavations, broad harbors and stately ships, oily canals and
+garbage dumps, classic columns, gilded domes, palaces and shanties,
+parks and fountains, factory chimneys and gas tanks; these are a few of
+the items that occur in this as in other cities, but nowhere else are
+these and other manifestations of beauty and ugliness, prosperity and
+squalor brought into such vivid and striking relief, and of no other
+city can we say with equal truth that it defies the effort to summarize
+briefly its typical characteristics. Fragments and details suggestive of
+widely differing phases of its life persistently force themselves into a
+single picture without regard to orderly classification or proper
+dramatic sequence.
+
+Appreciation of the beauty of nature as undisturbed by man seems
+inherent in our race, but man in his material progress is constantly
+defacing nature, constantly destroying, constantly substituting forms
+and arrangements dictated by utility, not by beauty, and shocking to
+our finer instincts. Then imagination steps in and gradually invests
+these new forms with new meanings derived from history, logic, romance,
+symbolism and pure poetic fancy. Some are condemned and discarded as
+unnecessary or useless, while others at first glance equally ugly
+acquire a significance and a soul. Of him who would interpret such a
+theme as New York our first demand must therefore be prophetic vision.
+
+To the artist who seeks to penetrate the outer surfaces of his subject
+and to suggest and interpret an activity, a creative power, a vastness
+of scale and a variety of functions beyond human power to portray,
+charcoal is a most, perhaps the most, inspiring medium. It is surely the
+medium that most readily lends itself to the simultaneous expression of
+form, mass, line and tone.
+
+Hopkinson Smith once said that Venice is nothing but air and water.
+There all else has been so softened and moulded and enveloped as to
+become part and parcel of sea and cloud. The portrayal of this is
+preëminently a painter’s job. But New York, in addition to being a lot
+of other things, is a Venice in the making, and all the ugly
+paraphernalia by means of which this making is slowly going forward, all
+the unlovely processes, physical and chemical, structural and
+commercial, must be recognized and expressed and by the light of poetic
+vision be made a part of its beauty and romance.
+
+A painter might perhaps strive to envelope and obscure whatever seemed
+objectionable in a glory of color. An architect might lay undue stress
+upon the many examples of distinction in the work of his craft, which
+are often all but details in a vast scheme. The pictorial expression of
+New York requires a blending of the view points of the painter and the
+architect in which both contribute to an image of something not yet
+realized, perhaps never to be fully realized, and help in dramatizing
+the struggle towards that thing.
+
+Peter Marcus is a painter not an architect, but he is also a designer
+experienced in the goldsmith’s craft and there is evident in these
+charcoal studies a pleasure in the delineation of the tracery of bridge
+cables and trusses, derricks, scaffolding and electric signs, that in
+contrast with his broad and greatly simplified expressions of
+architectural form and detail, adds vastly to the eloquence of his work.
+Furthermore, he is a native of New York as his parents were before him,
+and the slow development by which New York has climbed upward has been
+part and parcel of his life. These are the days of a premature
+development or forcing of the artistic personality, usually expressed at
+some sacrifice of the prevailing characters and sentiment of his
+subject.
+
+To my mind the most distinctive quality of these drawings is found in
+the complete subjection of the artist to the spirit of the thing
+represented.
+
+Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
+and from the air has been exploited to such an extent as to destroy for
+the native New Yorker much of the impressiveness of this majestic
+panorama, but lower Manhattan as seen from within by the man in the
+street has a different kind of impressiveness and pictorially has
+hitherto been somewhat neglected. Five drawings are devoted to this
+theme--“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
+and “Exchange Place.” These five drawings as a group seem to me to
+represent the culmination of the artist’s achievement. They show a
+simplicity and ease of method, a definite conception and an admirable
+sureness of values and textures. In imaginative power and sinister
+suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
+and it is not like that, a creation of the imagination but a truthful
+characterization of locality. A second group of five are “The
+Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
+Municipal Building,” and “The Cathedral on the Avenue.”
+
+As these take us further up town into wider streets and more extended
+surfaces of sky, distance and silhouette become increasingly important
+in their composition, and what we lose in concentration we gain in tonal
+interest.
+
+“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
+Viaduct,” fall naturally into a third group. Here we have a different
+manifestation of energy, the architecture of the engineer, crisp and
+nervous in rendering, beautifully expressive of structure unadorned.
+
+If in the drawings thus far mentioned certain qualities of Piranesi,
+Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
+Soldiers’ and Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
+and “The Cathedral on the Heights,” there is equally a suggestion of
+Whistler. Less vigorous than the others in draughtsmanship, they are
+full of the suggestion of subdued color. By reason of the more subtle
+quality of their rendering, they lend themselves less readily to
+reproduction but even the reproductions convey beautiful impressions of
+shadowy foliage and quiet waters, bare, wind-swept branches and lonely
+spaces.
+
+It is safe to predict that if he continues his interest in charcoal as a
+medium, Peter Marcus will gradually and naturally acquire a more
+characteristic personal manner, but it will come from ease of mastery
+not from assumed eccentricity, and whatever he may achieve in future
+this series of drawings will stand as the most comprehensive and broadly
+discerning study of New York in its entirety that has yet been made.
+
+                           J. Monroe Hewlett
+                           _President of the
+                        Architectural League of
+                               New York_
+
+
+
+
+NEW YORK
+
+THE NATION’S METROPOLIS
+
+
+
+
+I
+
+TIMES SQUARE
+
+
+Times Square is at the juncture of Broadway, Seventh Avenue and
+Forty-second Street. It is the very heart of uptown Broadway. Not the
+downtown Broadway of finance and of towering buildings, but the Broadway
+of theatres, restaurants, gay crowds and bright lights. It is bustling,
+congested, whirling. It is in a constant state of being rebuilt and
+repaired. Its sidewalks are littered with timbers, pipes, derricks and
+showy women. One hears jazz music and Klaxtons. It is the playground of
+the pleasure seeker, the battleground of the taxis, the dream of the
+chorus girl on the road, and the nightmare of the traffic cop. It is
+white lights, green lights, red lights,--flashing, spinning and winking.
+It is noise, crowds, motion. Sun and storm, day and night it roars
+along, churning,--a whirlpool in a mighty river. Incongruous, incessant,
+enormous.
+
+[Illustration]
+
+
+
+
+II
+
+LOWER BROADWAY
+
+
+The changes in New York in the last hundred years have been almost
+fabulous and yet the greatest of all perhaps has been lower Broadway.
+The proud steeple of Trinity Church once dominated a scene of fashion.
+It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
+Brummel-like hats and directoire skirts, came grandly here to
+worship,--and meant it. To-day, one picnics in the church yard and eats
+luncheon bananas on the graves. The enormous buildings of commerce,
+finance and trade are filled to overflowing. Here is progress, wealth
+and unlimited resource. It is a tremendous hive full of golden honey.
+And it is doubtless very good. But it is also good that this small
+church of a bygone time, still stands undaunted,--respected among these
+colossal towers; and that it still brings from the past some of that
+calm strength that is of even more lasting stuff than the masonry of the
+church itself, and that through it, the spirit of Old New York still
+“carries on” in Lower Broadway.
+
+[Illustration]
+
+
+
+
+III
+
+EXCHANGE PLACE
+
+
+Running east from Broadway, just below Wall Street, is Exchange Place.
+It is a narrow street and a short, but it is not a little street. Huge
+buildings are its walls, which seem almost to meet overhead. Straight up
+they tower, face to face, staring at each other with countless eyes.
+Daily into these few buildings come thousands and thousands of people:
+old and young, gay and sad, financiers and office boys,--to work. It is
+a good-sized town in one street. It is a veritable cañon of the city.
+
+[Illustration]
+
+
+
+
+IV
+
+LOOKING WEST ON BROOKLYN BRIDGE
+
+
+One of the “Views of New York” most often pictured and most often
+snapped by amateur photographers is that of lower Manhattan as seen from
+a distance. And yet from a painting, photograph or drawing, who can feel
+what it is? As with pictures of the Grand Cañon, it seems impossible to
+realize the scale or to give the sense of its enormous size. To know
+what it is, one must have seen it. A picture, in this case, can only
+serve to refresh the memory of the man who knows.
+
+[Illustration]
+
+
+
+
+V
+
+THE CITY HALL
+
+
+Nothing better exemplifies the growth of New York than does the City
+Hall, standing as it does almost in the shadow of the Municipal
+Building. In the old days when it was the principal structure on City
+Hall Park, its three stories afforded ample room in which to carry on
+the city’s affairs. It now houses only four offices, including that of
+the Mayor and that of the Art Commission. The other city offices, and
+their number is astounding, are elsewhere. But although the city has
+grown beyond recognition, the City Hall has proudly kept its place, and
+is honored as is a venerable old man, a bit less active than he was
+perhaps, but still the dignified head of a noble house.
+
+[Illustration]
+
+
+
+
+VI
+
+WALL STREET
+
+
+Here is the force of the sea and the romance of a fairy tale. Here
+immense fortunes are won in a day and lost in less, and the hopes and
+savings of years vanish in an hour. Here are bank messengers who become
+millionnaires overnight and capitalists who awake penniless. It is the
+market of the whole country and of others. Here are corn and wheat
+heaped in huge confusion, millions of bales of cotton and barrels of
+oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
+bullion; raw gold and ore, coal, silver and copper, mounting to the
+clouds in glimmering pinnacles and smoking hills. And through it all and
+around it all, pulses the restless swing and change, the tireless tide
+of “the street.”
+
+And the traders! Giants and pygmies. Tumbling over each other, swarming,
+pushing, struggling. Here holding up a million head of cattle to the
+highest bidder, there beating down the price of a small nation. Here is
+a man beaten by a crowd for buying oil and there is another lying dead
+because he sold it. And away over there runs a little man who has
+succeeded in stealing a pig and is now scurrying off with it to safety.
+
+This mountainous market of hopes and of nations, of success and failure,
+of tragedy and comedy, of ships, steam, mines, and the lives of men,
+towering phantom-like and vast,--is Wall Street.
+
+[Illustration]
+
+
+
+
+VII
+
+THE OLD BRIDGE
+
+
+Brooklyn Bridge the first bridge between Manhattan and Long Island. The
+day of its opening was one of great public enthusiasm. Parties were
+given for walking or driving across the bridge, and that night half New
+York and Brooklyn were on the house-tops to watch it illuminated by
+fire-works. In those days it was called “_The_ Bridge.” But now since
+the Manhattan, the Williamsburg and the Queensboro bridges have been
+added to the East River giants, it has become “The _Old_ Bridge,” a name
+meaning many things to those who have known it from its beginning. Its
+erection was a long step towards close relationship between New York and
+the whole of Long Island.
+
+[Illustration]
+
+
+
+
+VIII
+
+THE TOMBS PRISON
+
+
+Who can look at a prison without being glad that he is not in it? At the
+corner of Lafayette and Franklin streets is the great gray pile that is
+the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
+and feudal castles; its heavy gateways,--medieval strongholds. Its high
+exterior wall and “Bridge of Sighs” make one remember the lugubrious
+histories of the Doge’s Palace and of the Tour de Nesle. Those inside
+bear the double burden of being imprisoned and of knowing that close
+about them is all the life of the great city: its lights, its
+restaurants, its countless activities and its friends. Yes, looking at
+the Tombs, grim as it is, makes one feel strangely fortunate.
+
+[Illustration]
+
+
+
+
+IX
+
+LOOKING WEST ALONG PECK SLIP
+
+
+If Father Knickerbocker should come over to New York on the Fulton
+Ferry, as in times gone by he used to do, when he had been visiting his
+respected neighbors on Brooklyn Heights; and if he should stand on South
+Street and look up Peck Slip and see it as it is to-day--how he would
+stare through his horn-rimmed spectacles and how his dear old heart
+would thump under his brass-buttoned coat! How he would pinch himself
+and wonder what it all could mean! What was that enormous shaft all
+white and glowing in the afternoon, rising eight hundred feet or eight
+thousand to the very sky? What were those towers, spires and turrets,
+soaring above the clouds, the brilliant sunlight gilding their countless
+feathers of steam and decking their phantom minarets with myriad
+candles? What _could_ it mean? Had he landed on Manhattan or was this
+some island built by fairies or by elves? Nay, this place was far too
+fair for that, and must be then the work of witchcraft and the devil. Or
+was it, after all, the same old place that he had known, but grown and
+glorified beyond belief? And when he finally realized this to be the
+case, Father Knickerbocker without doubt would be wondrous proud of his
+great-grandsons and of the New York of to-day.
+
+[Illustration]
+
+
+
+
+X
+
+THE PIER
+
+
+Like twin Colossi, silent amid the hum of cities and the whistling of a
+thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
+river’s gate.
+
+[Illustration]
+
+
+
+
+XI
+
+THE MUNICIPAL BUILDING
+
+
+Astride of Chamber Street at Park Row stands the Municipal Building.
+Under its roof are half a hundred commissions, departments, boards and
+bureaux that regulate such petty affairs as the highways, parks, water
+supply, bridges, taxes and fire-fighting for upwards of six millions of
+people. A gigantic task, and accomplished in a building well worthy of
+its responsibility.
+
+[Illustration]
+
+
+
+
+XII
+
+NEW YORK FROM FULTON FERRY
+
+
+Watching Manhattan as the boat comes near its shore, one seems to come
+under the spell of its incalculable weight, its stupendous mass of iron,
+brick and stone. It is oppressive, ominous. One feels the past, the
+present and the future; and the tremendous forces which must have worked
+together to produce this titanic offspring, to have spawned this
+mountain of precipices. One feels the hidden activity, the pitiless
+struggle going on beneath; yet a few puffs of smoke are all that betray
+the smouldering of the mighty fires. One lets one’s mind sink into the
+vast depths between, to see little humanity running here and there like
+ants amid the tangle of wires, tunnels and pipes. Little humanity that
+built it all.
+
+In the past, church spires rose majestic above the surrounding city. Now
+they are lost. The buildings of commerce, creeping high and higher, have
+struggled upward, climbing upon one another’s backs, and mounting each
+on the shoulder of each, in their ceaseless effort to be the tallest
+among their fellows. And just as it is among men and the rulers of men,
+as surely as one has gained the supremacy, has come another to surpass
+him, swinging upward yet another fifty, one hundred, or two hundred
+feet, and from their thousand brazen throats has boomed again the cry,
+“Long live the king!”
+
+Eight hundred feet towers the monarch of to-day. He is called
+“Woolworth,” and twelve thousand men live daily in his strength. His
+head is of gold but his feet are of clay, and who will be king
+to-morrow?
+
+And wondering, one looks up and up, above the mightiest of these kings,
+and yet above the very summit of his crown, and there one sees--the
+sunset.
+
+[Illustration]
+
+
+
+
+XIII
+
+THE METROPOLITAN TOWER
+
+
+The Home Office of the Metropolitan Life Insurance Co. is in the
+“Metropolitan Life Building.” It covers the whole block between Madison
+and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
+twenty-five acres. Its forty-odd-story tower dominates the whole of
+Madison Square and dwarfs its neighbors of a meagre twenty stories.
+Above the level of their roofs the face of a giant clock covers three
+stories of its front and stares unwinking at the thousands in the park.
+To old women and to newsboys, to strong men and to wasters, to honest
+and to sick, to those who read the columns under “Help Wanted--Male,”
+and to those who have gone far beyond doing so, to the restless and the
+lonely among the crowds, waiting for that thing to “turn up” that never,
+never does; to all these this ponderous clock points the passing of the
+minutes, hours, days,--of life itself: this clock, relentless as the
+sun, upon the _Life_ Insurance tower.
+
+[Illustration]
+
+
+
+
+XIV
+
+THE CATHEDRAL ON THE AVENUE
+
+
+Saint Patrick’s Cathedral on Fifth Avenue is the largest and finest
+Catholic church in the city. It is a magnificent structure, taking up
+the whole block between Fiftieth and Fifty-first streets and Madison
+Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
+best be seen. One longs to see it standing in a more open space and to
+see its beauties as a whole from further off as one now sees its spires,
+which are remarkable from nearby but glorious from a greater distance.
+
+[Illustration]
+
+
+
+
+XV
+
+QUEENSBORO BRIDGE
+
+
+Queensboro Bridge is the most northerly of Manhattan’s four East River
+bridges. Its mile and a half of mighty steel structure reaches from
+Second Avenue and Fifty-ninth Street well into Queens County, Long
+Island. Far below it in the middle of the river is Blackwells Island, on
+the south end of which is one of the city hospitals. The rest of this
+island is the cheerless home of an ever-changing group of those
+unfortunates, who through some unkind trick of fate have slipped, or
+have seemed to slip, into that uncharted realm vaguely called “Without
+the Law.”
+
+[Illustration]
+
+
+
+
+XVI
+
+FIFTH AVENUE AT FIFTY-NINTH STREET
+
+
+Whether under the régime of private or of business houses the region of
+Fifth Avenue at Fifty-ninth Street has been for a long time the
+luxury-centre of New York. On this enchanted soil is the well-known
+Vanderbilt home, one of the few dwellings that still resist the tide of
+business uptown to this point. Southward for miles “The Avenue” used to
+be the smartest residential street in the city. It is now the home of
+Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
+tear bottles, jades, and silken ankles. It is more dangerous to cross
+than the Continental Divide. It separates East from West in the city.
+
+[Illustration]
+
+
+
+
+XVII
+
+HELL GATE BRIDGE
+
+
+Hell Gate Bridge derives its name from the treacherous section of the
+East River which it crosses. It is a most important part in a wonderful
+piece of railroad engineering. At New Rochelle tracks lead from the old
+New York, New Haven and Hartford lines to Port Morris, from here over
+Hell Gate Bridge, through the Borough of Queens and Long Island City,
+under the East River and half of Manhattan, to come to the surface at
+the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
+over Bronx Kills and Randall’s Island, across Little Hell Gate and
+Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
+in Queens. It is six miles long. If laid over Manhattan it would reach
+from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
+Street. It is a remarkable link in the great chain between the two
+railroads. It obviates breaking bulk at New York, and connects Southern
+New England with “all points west.”
+
+[Illustration]
+
+
+
+
+XVIII
+
+THE SOLDIERS AND SAILORS MONUMENT
+
+
+It is not what some one may say, but what the Nation feels, that tells
+the story of the Soldiers and Sailors Monument.
+
+[Illustration]
+
+
+
+
+XIX
+
+THE CATHEDRAL ON THE HEIGHTS
+
+
+The Episcopal Cathedral of Saint John the Divine is the chief church of
+the diocese of New York. It stands on Morningside Heights, a magnificent
+site, from which it dominates all the surrounding city. Its enormous
+dome suggests that of Saint Peter’s and on the very pinnacle of the apse
+the angel Gabriel faces east, sounding the trumpet in an endless note of
+triumph.
+
+Viewing this structure, although as yet unfinished, one tries, almost in
+vain, to realize that it is to be still larger and more wonderful when
+fully completed, and when time has mellowed its stately stones and has
+hung about its walls the indescribable dignity of age.
+
+[Illustration]
+
+
+
+
+XX
+
+THE VIADUCT
+
+
+The Hudson and the Palisades combine in making “Riverside” one of the
+most naturally beautiful driveways in the world. Yet it owes much also
+to the workers of magic in steel. Northward from Grant’s Tomb and
+Claremont for half a mile or more it is upheld by giant arches of their
+making. Across a whole valley, this broad roadbed all glistening in the
+sun and streaked by the gay lines of endless pleasure traffic, rolls
+grandly on, supported by the silent strength of that great land bridge,
+the Viaduct.
+
+[Illustration]
+
+
+
+
+XXI
+
+GRANT’S TOMB
+
+
+The tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
+Riverside Drive is one of New York’s best known landmarks. A structure
+of impressive grandeur and large historic interest, it encourages the
+thousands of New Yorkers that pass it daily to look forward to the time
+when their city will be ennobled by a fitting memorial of the heroic
+officers and men of the great world war.
+
+[Illustration]
+
+
+
+
+XXII
+
+THE BATTLESHIP “OKLAHOMA” ON THE HUDSON
+
+
+It often seems more difficult to recognize beauty in things with which
+we are familiar than in those which are more foreign to us. The Hudson
+is, beyond question, as splendid a river as any of which European cities
+can boast, yet visitors to New York often seem to appreciate it more
+than do the New Yorkers themselves. Whether twinkling under myriad
+lights on a summer night, or storm lashed in January, the Hudson sweeps
+the whole west shore of Manhattan in lasting yet ever changing grandeur.
+Imagine yourself in an unknown, distant city, and watch the sun go
+gorgeously down behind the Palisades, while on the water its long
+reflection is ploughed to pieces by the river craft.
+
+[Illustration]
+
+
+
+
+XXIII
+
+HIGH BRIDGE
+
+
+Boldly across the Harlem River at One Hundred and Seventy-fourth Street
+stands High Bridge. It differs remarkably from other New York bridges in
+that it is built entirely of masonry. No steel construction, no
+suspension cable, no huge rolling lift or counter-poise relate it to the
+present dynasty of bridges. One hundred and thirty-five feet of solid
+stone it rises gray and enduring amid the surrounding green. Surely it
+belongs to the Old World and to another time, and looking through its
+arches one half expects to see the towers and battlements of some old
+chateau, clear cut against the sky. One may even fancy,--but here a
+blunt-nosed tug rams puffing up against the tide, smoke belching from
+its stumpy funnel, the water churned to froth; and one has lost the
+wonders of the past in wonders of to-day.
+
+[Illustration]
+
+
+
+
+XXIV
+
+WASHINGTON BRIDGE
+
+
+Washington Bridge is one of the many arteries that join the Borough of
+the Bronx with Manhattan, and in thus connecting its enormous area and
+population with the rest of the metropolis, is a material factor in
+making New York the foremost city of the country.
+
+[Illustration]
+
+
+
+
+XXV
+
+THE GRAND CENTRAL STATION
+
+
+The Grand Central is one of the finest railroad stations in the country.
+Fronting on Forty-second it extends to Forty-fifth Street and from
+Vanderbilt Avenue to Lexington. The group of figures forming the clock
+cartouche above its main façade is a piece of masterly sculpture. Its
+main hall is gigantic. The system with which its hundreds of trains
+arrive and depart is little less than magical. Yet greater far than
+these is the story of the crowds that come to New York on these trains,
+and the mass of hopes and aspirations that they bring to the city
+through this great gate. And of all who come buoyant, confident and
+convinced that they will wrest success from this thronging mart of
+millions,--how few achieve! And yet, though comparatively few, these
+victors form so vast an army that they many times outnumber the
+successful sons of the city, and are a mighty force in the making of New
+York, the Metropolis of the Nation.
+
+[Illustration]
+
+*** END OF THE PROJECT GUTENBERG EBOOK 64572 ***
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-  <tr><td>Title:</td><td>New York</td></tr>
-  <tr><td></td><td>The Nation's Metropolis</td></tr>
-</table>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Peter Marcus</div>
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-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Contributor: J. Monroe (James Monroe) Hewlett</div>
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-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK NEW YORK ***</div>
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-<p class="c"><a href="#CONTENTS">Contents.</a></p>
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-<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
-
-<p class="c">
-NEW YORK<br />
-THE NATION’S METROPOLIS</p>
-
-<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>&nbsp; </p>
-<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>&nbsp; </p>
-
-<div class="figcenter">
-<a href="images/frontispiece.jpg">
-<img src="images/frontispiece.jpg" height="550"
-alt="[Image unavailable.]" /></a>
-</div>
-
-<h1><span class="redd">
-NEW YORK</span><br />
-<br />
-THE NATION’S METROPOLIS</h1>
-
-<p class="c">BY<br />
-<br />
-PETER MARCUS<br />
-<br />
-<br />
-<i>WITH AN APPRECIATION BY</i><br />
-<br />
-J. MONROE HEWLETT<br />
-<br /><small>
-PRESIDENT OF THE ARCHITECTURAL LEAGUE<br />
-OF NEW YORK</small><br />
-<br /><br />
-<img src="images/colophon.jpg"
-width="100"
-alt=""
-/><br />
-<br />
-NEW YORK<br />
-<span class="redd">BRENTANO’S</span><br />
-PUBLISHERS<br /></p>
-
-<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span>&nbsp; </p>
-
-<p class="c"><small>COPYRIGHT, 1921, BY<br />
-BRENTANO’S<br />
-<br />
-<i>All rights reserved</i><br />
-<br />
-<br />
-THE PLIMPTON PRESS<br />
-NORWOOD·MASS·U·S·A<br /></small>
-<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p>
-
-<hr />
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<table border="0" cellpadding="3" cellspacing="0" summary="">
-
-<tr><td class="rt" valign="top"><a href="#I">I.</a></td><td class="pdd"><a href="#I"><i>Times Square.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#II">II.</a></td><td class="pdd"><a href="#II"><i>Lower Broadway.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#III">III.</a></td><td class="pdd"><a href="#III"><i>Exchange Place.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#IV">IV.</a></td><td class="pdd"><a href="#IV"><i>Looking West on Brooklyn Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#V">V.</a></td><td class="pdd"><a href="#V"><i>The City Hall.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VI">VI.</a></td><td class="pdd"><a href="#VI"><i>Wall Street.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VII">VII.</a></td><td class="pdd"><a href="#VII"><i>The Old Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VIII">VIII.</a></td><td class="pdd"><a href="#VIII"><i>The Tombs Prison.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#IX">IX.</a></td><td class="pdd"><a href="#IX"><i>Looking West Along Peck Slip.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#X">X.</a></td><td class="pdd"><a href="#X"><i>The East Pier, Brooklyn Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XI">XI.</a></td><td class="pdd"><a href="#XI"><i>The Municipal Building.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XII">XII.</a></td><td class="pdd"><a href="#XII"><i>New York from Fulton Ferry.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XIII">XIII.</a></td><td class="pdd"><a href="#XIII"><i>The Metropolitan Tower.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XIV">XIV.</a></td><td class="pdd"><a href="#XIV"><i>The Cathedral on the Avenue.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XV">XV.</a></td><td class="pdd"><a href="#XV"><i>Queensboro Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XVI">XVI.</a></td><td class="pdd"><a href="#XVI"><i>Fifth Avenue at Fifty-ninth Street.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XVII">XVII.</a></td><td class="pdd"><a href="#XVII"><i>Hell Gate Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XVIII">XVIII.</a></td><td class="pdd"><a href="#XVIII"><i>Soldiers and Sailors Monument.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XIX">XIX.</a></td><td class="pdd"><a href="#XIX"><i>The Cathedral on the Heights.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XX">XX.</a></td><td class="pdd"><a href="#XX"><i>The Viaduct.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XXI">XXI.</a></td><td class="pdd"><a href="#XXI"><i>Grant’s Tomb.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XXII">XXII.</a></td><td class="pdd"><a href="#XXII"><i>The Battleship “Oklahoma” on the Hudson.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XXIII">XXIII.</a></td><td class="pdd"><a href="#XXIII"><i>High Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XXIV">XXIV.</a></td><td class="pdd"><a href="#XXIV"><i>Washington Bridge.</i></a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XXV">XXV.</a></td><td class="pdd"><a href="#XXV"><i>Grand Central Station.</i></a></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>&nbsp; </p>
-
-<hr />
-
-<h2>NEW YORK<br /><br />
-THE CITY OF VIOLENT CONTRASTS</h2>
-
-<p class="nind"><span class="letra">N</span>EW YORK is preëminently the City of Violent Contrasts. Towering shafts
-of brick and stone and steel, soaring traceries of cables, derricks,
-girders and electric signs, smooth stretches of gray asphalt, subway and
-sewer excavations, broad harbors and stately ships, oily canals and
-garbage dumps, classic columns, gilded domes, palaces and shanties,
-parks and fountains, factory chimneys and gas tanks; these are a few of
-the items that occur in this as in other cities, but nowhere else are
-these and other manifestations of beauty and ugliness, prosperity and
-squalor brought into such vivid and striking relief, and of no other
-city can we say with equal truth that it defies the effort to summarize
-briefly its typical characteristics. Fragments and details suggestive of
-widely differing phases of its life persistently force themselves into a
-single picture without regard to orderly classification or proper
-dramatic sequence.</p>
-
-<p>Appreciation of the beauty of nature as undisturbed by man seems
-inherent in our race, but man in his material progress is constantly
-defacing nature, constantly destroying, constantly substituting forms
-and arrangements dictated by utility, not by beauty, and<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> shocking to
-our finer instincts. Then imagination steps in and gradually invests
-these new forms with new meanings derived from history, logic, romance,
-symbolism and pure poetic fancy. Some are condemned and discarded as
-unnecessary or useless, while others at first glance equally ugly
-acquire a significance and a soul. Of him who would interpret such a
-theme as New York our first demand must therefore be prophetic vision.</p>
-
-<p>To the artist who seeks to penetrate the outer surfaces of his subject
-and to suggest and interpret an activity, a creative power, a vastness
-of scale and a variety of functions beyond human power to portray,
-charcoal is a most, perhaps the most, inspiring medium. It is surely the
-medium that most readily lends itself to the simultaneous expression of
-form, mass, line and tone.</p>
-
-<p>Hopkinson Smith once said that Venice is nothing but air and water.
-There all else has been so softened and moulded and enveloped as to
-become part and parcel of sea and cloud. The portrayal of this is
-preëminently a painter’s job. But New York, in addition to being a lot
-of other things, is a Venice in the making, and all the ugly
-paraphernalia by means of which this making is slowly going forward, all
-the unlovely processes, physical and chemical, structural and
-commercial, must be recognized and expressed and by the light of poetic
-vision be made a part of its beauty and romance.</p>
-
-<p>A painter might perhaps strive to envelope and obscure whatever seemed
-objectionable in a glory of<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> color. An architect might lay undue stress
-upon the many examples of distinction in the work of his craft, which
-are often all but details in a vast scheme. The pictorial expression of
-New York requires a blending of the view points of the painter and the
-architect in which both contribute to an image of something not yet
-realized, perhaps never to be fully realized, and help in dramatizing
-the struggle towards that thing.</p>
-
-<p>Peter Marcus is a painter not an architect, but he is also a designer
-experienced in the goldsmith’s craft and there is evident in these
-charcoal studies a pleasure in the delineation of the tracery of bridge
-cables and trusses, derricks, scaffolding and electric signs, that in
-contrast with his broad and greatly simplified expressions of
-architectural form and detail, adds vastly to the eloquence of his work.
-Furthermore, he is a native of New York as his parents were before him,
-and the slow development by which New York has climbed upward has been
-part and parcel of his life. These are the days of a premature
-development or forcing of the artistic personality, usually expressed at
-some sacrifice of the prevailing characters and sentiment of his
-subject.</p>
-
-<p>To my mind the most distinctive quality of these drawings is found in
-the complete subjection of the artist to the spirit of the thing
-represented.</p>
-
-<p>Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
-and from the air has been exploited to such an extent as to destroy for
-the native New Yorker much of the impressiveness of this majestic
-panorama, but lower Manhattan as seen from<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> within by the man in the
-street has a different kind of impressiveness and pictorially has
-hitherto been somewhat neglected. Five drawings are devoted to this
-theme&mdash;“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
-and “Exchange Place.” These five drawings as a group seem to me to
-represent the culmination of the artist’s achievement. They show a
-simplicity and ease of method, a definite conception and an admirable
-sureness of values and textures. In imaginative power and sinister
-suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
-and it is not like that, a creation of the imagination but a truthful
-characterization of locality. A second group of five are “The
-Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
-Municipal Building,” and “The Cathedral on the Avenue.”</p>
-
-<p>As these take us further up town into wider streets and more extended
-surfaces of sky, distance and silhouette become increasingly important
-in their composition, and what we lose in concentration we gain in tonal
-interest.</p>
-
-<p>“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
-Viaduct,” fall naturally into a third group. Here we have a different
-manifestation of energy, the architecture of the engineer, crisp and
-nervous in rendering, beautifully expressive of structure unadorned.</p>
-
-<p>If in the drawings thus far mentioned certain qualities of Piranesi,
-Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
-Soldiers’ and<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
-and “The Cathedral on the Heights,” there is equally a suggestion of
-Whistler. Less vigorous than the others in draughtsmanship, they are
-full of the suggestion of subdued color. By reason of the more subtle
-quality of their rendering, they lend themselves less readily to
-reproduction but even the reproductions convey beautiful impressions of
-shadowy foliage and quiet waters, bare, wind-swept branches and lonely
-spaces.</p>
-
-<p>It is safe to predict that if he continues his interest in charcoal as a
-medium, Peter Marcus will gradually and naturally acquire a more
-characteristic personal manner, but it will come from ease of mastery
-not from assumed eccentricity, and whatever he may achieve in future
-this series of drawings will stand as the most comprehensive and broadly
-discerning study of New York in its entirety that has yet been made.</p>
-
-<p class="r"><span style="margin-right: 6em;">
-<span class="smcap">J. Monroe Hewlett</span></span><br />
-<span style="margin-right: 4em;"><i>President of the</i></span><br />
-<i>Architectural League of</i><br />
-<span style="margin-right: 2em;"><i>New York</i></span><br />
-</p>
-
-<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>&nbsp; </p>
-
-<hr />
-
-<h1>NEW YORK<br /><br />
-THE NATION’S METROPOLIS</h1>
-
-<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
-
-<hr />
-
-<h2><a name="I" id="I"></a>I<br /><br />
-TIMES SQUARE</h2>
-
-<p class="nind"><span class="letra">T</span>IMES SQUARE is at the juncture of Broadway, Seventh Avenue and
-Forty-second Street. It is the very heart of uptown Broadway. Not the
-downtown Broadway of finance and of towering buildings, but the Broadway
-of theatres, restaurants, gay crowds and bright lights. It is bustling,
-congested, whirling. It is in a constant state of being rebuilt and
-repaired. Its sidewalks are littered with timbers, pipes, derricks and
-showy women. One hears jazz music and Klaxtons. It is the playground of
-the pleasure seeker, the battleground of the taxis, the dream of the
-chorus girl on the road, and the nightmare of the traffic cop. It is
-white lights, green lights, red lights,&mdash;flashing, spinning and winking.
-It is noise, crowds, motion. Sun and storm, day and night it roars
-along, churning,&mdash;a whirlpool in a mighty river. Incongruous, incessant,
-enormous.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_001.jpg">
-<img src="images/plt_001.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
-
-<hr />
-
-<h2><a name="II" id="II"></a>II<br /><br />
-LOWER BROADWAY</h2>
-
-<p class="nind"><span class="letra">T</span>HE changes in New York in the last hundred years have been almost
-fabulous and yet the greatest of all perhaps has been lower Broadway.
-The proud steeple of Trinity Church once dominated a scene of fashion.
-It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
-Brummel-like hats and directoire skirts, came grandly here to
-worship,&mdash;and meant it. To-day, one picnics in the church yard and eats
-luncheon bananas on the graves. The enormous buildings of commerce,
-finance and trade are filled to overflowing. Here is progress, wealth
-and unlimited resource. It is a tremendous hive full of golden honey.
-And it is doubtless very good. But it is also good that this small
-church of a bygone time, still stands undaunted,&mdash;respected among these
-colossal towers; and that it still brings from the past some of that
-calm strength that is of even more lasting stuff than the masonry of the
-church itself, and that through it, the spirit of Old New York still
-“carries on” in Lower Broadway.<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_002.jpg">
-<img src="images/plt_002.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
-
-<hr />
-
-<h2><a name="III" id="III"></a>III<br /><br />
-EXCHANGE PLACE</h2>
-
-<p class="nind"><span class="letra">R</span>UNNING east from Broadway, just below Wall Street, is Exchange Place.
-It is a narrow street and a short, but it is not a little street. Huge
-buildings are its walls, which seem almost to meet overhead. Straight up
-they tower, face to face, staring at each other with countless eyes.
-Daily into these few buildings come thousands and thousands of people:
-old and young, gay and sad, financiers and office boys,&mdash;to work. It is
-a good-sized town in one street. It is a veritable cañon of the city.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_003.jpg">
-<img src="images/plt_003.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
-
-<hr />
-
-<h2><a name="IV" id="IV"></a>IV<br /><br />
-LOOKING WEST ON BROOKLYN BRIDGE</h2>
-
-<p class="nind"><span class="letra">O</span>NE of the “Views of New York” most often pictured and most often
-snapped by amateur photographers is that of lower Manhattan as seen from
-a distance. And yet from a painting, photograph or drawing, who can feel
-what it is? As with pictures of the Grand Cañon, it seems impossible to
-realize the scale or to give the sense of its enormous size. To know
-what it is, one must have seen it. A picture, in this case, can only
-serve to refresh the memory of the man who knows.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_004.jpg">
-<img src="images/plt_004.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
-
-<hr />
-
-<h2><a name="V" id="V"></a>V<br /><br />
-THE CITY HALL</h2>
-
-<p class="nind"><span class="letra">N</span>OTHING better exemplifies the growth of New York than does the City
-Hall, standing as it does almost in the shadow of the Municipal
-Building. In the old days when it was the principal structure on City
-Hall Park, its three stories afforded ample room in which to carry on
-the city’s affairs. It now houses only four offices, including that of
-the Mayor and that of the Art Commission. The other city offices, and
-their number is astounding, are elsewhere. But although the city has
-grown beyond recognition, the City Hall has proudly kept its place, and
-is honored as is a venerable old man, a bit less active than he was
-perhaps, but still the dignified head of a noble house.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_005.jpg">
-<img src="images/plt_005.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
-
-<hr />
-
-<h2><a name="VI" id="VI"></a>VI<br /><br />
-WALL STREET</h2>
-
-<p class="nind"><span class="letra">H</span>ERE is the force of the sea and the romance of a fairy tale. Here
-immense fortunes are won in a day and lost in less, and the hopes and
-savings of years vanish in an hour. Here are bank messengers who become
-millionnaires overnight and capitalists who awake penniless. It is the
-market of the whole country and of others. Here are corn and wheat
-heaped in huge confusion, millions of bales of cotton and barrels of
-oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
-bullion; raw gold and ore, coal, silver and copper, mounting to the
-clouds in glimmering pinnacles and smoking hills. And through it all and
-around it all, pulses the restless swing and change, the tireless tide
-of “the street.”</p>
-
-<p>And the traders! Giants and pygmies. Tumbling over each other, swarming,
-pushing, struggling. Here holding up a million head of cattle to the
-highest bidder, there beating down the price of a small nation. Here is
-a man beaten by a crowd for buying oil and there is another lying dead
-because he sold it. And away over there runs a little man who has
-succeeded in stealing a pig and is now scurrying off with it to safety.</p>
-
-<p>This mountainous market of hopes and of nations, of success and failure,
-of tragedy and comedy, of ships, steam, mines, and the lives of men,
-towering phantom-like and vast,&mdash;is Wall Street.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_006.jpg">
-<img src="images/plt_006.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
-
-<hr />
-
-<h2><a name="VII" id="VII"></a>VII<br /><br />
-THE OLD BRIDGE</h2>
-
-<p class="nind"><span class="letra">B</span>ROOKLYN BRIDGE the first bridge between Manhattan and Long Island. The
-day of its opening was one of great public enthusiasm. Parties were
-given for walking or driving across the bridge, and that night half New
-York and Brooklyn were on the house-tops to watch it illuminated by
-fire-works. In those days it was called “<i>The</i> Bridge.” But now since
-the Manhattan, the Williamsburg and the Queensboro bridges have been
-added to the East River giants, it has become “The <i>Old</i> Bridge,” a name
-meaning many things to those who have known it from its beginning. Its
-erection was a long step towards close relationship between New York and
-the whole of Long Island.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_007.jpg">
-<img src="images/plt_007.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p>
-
-<hr />
-
-<h2><a name="VIII" id="VIII"></a>VIII<br /><br />
-THE TOMBS PRISON</h2>
-
-<p class="nind"><span class="letra">W</span>HO can look at a prison without being glad that he is not in it? At the
-corner of Lafayette and Franklin streets is the great gray pile that is
-the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
-and feudal castles; its heavy gateways,&mdash;medieval strongholds. Its high
-exterior wall and “Bridge of Sighs” make one remember the lugubrious
-histories of the Doge’s Palace and of the Tour de Nesle. Those inside
-bear the double burden of being imprisoned and of knowing that close
-about them is all the life of the great city: its lights, its
-restaurants, its countless activities and its friends. Yes, looking at
-the Tombs, grim as it is, makes one feel strangely fortunate.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_008.jpg">
-<img src="images/plt_008.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p>
-
-<hr />
-
-<h2><a name="IX" id="IX"></a>IX<br /><br />
-LOOKING WEST ALONG PECK SLIP</h2>
-
-<p class="nind"><span class="letra">I</span>F Father Knickerbocker should come over to New York on the Fulton
-Ferry, as in times gone by he used to do, when he had been visiting his
-respected neighbors on Brooklyn Heights; and if he should stand on South
-Street and look up Peck Slip and see it as it is to-day&mdash;how he would
-stare through his horn-rimmed spectacles and how his dear old heart
-would thump under his brass-buttoned coat! How he would pinch himself
-and wonder what it all could mean! What was that enormous shaft all
-white and glowing in the afternoon, rising eight hundred feet or eight
-thousand to the very sky? What were those towers, spires and turrets,
-soaring above the clouds, the brilliant sunlight gilding their countless
-feathers of steam and decking their phantom minarets with myriad
-candles? What <i>could</i> it mean? Had he landed on Manhattan or was this
-some island built by fairies or by elves? Nay, this place was far too
-fair for that, and must be then the work of witchcraft and the devil. Or
-was it, after all, the same old place that he had known, but grown and
-glorified beyond belief? And when he finally realized this to be the
-case, Father Knickerbocker without doubt would be wondrous proud of his
-great-grandsons and of the New York of to-day.<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_009.jpg">
-<img src="images/plt_009.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p>
-
-<hr />
-
-<h2><a name="X" id="X"></a>X<br /><br />
-THE PIER</h2>
-
-<p class="nind"><span class="letra">L</span>IKE twin Colossi, silent amid the hum of cities and the whistling of a
-thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
-river’s gate.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_010.jpg">
-<img src="images/plt_010.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
-
-<hr />
-
-<h2><a name="XI" id="XI"></a>XI<br /><br />
-THE MUNICIPAL BUILDING</h2>
-
-<p class="nind"><span class="letra">A</span>STRIDE of Chamber Street at Park Row stands the Municipal Building.
-Under its roof are half a hundred commissions, departments, boards and
-bureaux that regulate such petty affairs as the highways, parks, water
-supply, bridges, taxes and fire-fighting for upwards of six millions of
-people. A gigantic task, and accomplished in a building well worthy of
-its responsibility.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_011.jpg">
-<img src="images/plt_011.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
-
-<hr />
-
-<h2><a name="XII" id="XII"></a>XII<br /><br />
-NEW YORK FROM FULTON FERRY</h2>
-
-<p class="nind"><span class="letra">W</span>ATCHING Manhattan as the boat comes near its shore, one seems to come
-under the spell of its incalculable weight, its stupendous mass of iron,
-brick and stone. It is oppressive, ominous. One feels the past, the
-present and the future; and the tremendous forces which must have worked
-together to produce this titanic offspring, to have spawned this
-mountain of precipices. One feels the hidden activity, the pitiless
-struggle going on beneath; yet a few puffs of smoke are all that betray
-the smouldering of the mighty fires. One lets one’s mind sink into the
-vast depths between, to see little humanity running here and there like
-ants amid the tangle of wires, tunnels and pipes. Little humanity that
-built it all.</p>
-
-<p>In the past, church spires rose majestic above the surrounding city. Now
-they are lost. The buildings of commerce, creeping high and higher, have
-struggled upward, climbing upon one another’s backs, and mounting each
-on the shoulder of each, in their ceaseless effort to be the tallest
-among their fellows. And just as it is among men and the rulers of men,
-as surely as one has gained the supremacy, has come another to surpass
-him, swinging upward yet another fifty, one hundred, or two hundred
-feet, and from their thousand brazen throats has boomed again the cry,
-“Long live the king!”</p>
-
-<p>Eight hundred feet towers the monarch of to-day. He is called
-“Woolworth,” and twelve thousand men live daily in his strength. His
-head is of gold but his feet are of clay, and who will be king
-to-morrow?</p>
-
-<p>And wondering, one looks up and up, above the mightiest of these kings,
-and yet above the very summit of his crown, and there one sees&mdash;the
-sunset.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_012.jpg">
-<img src="images/plt_012.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
-
-<hr />
-
-<h2><a name="XIII" id="XIII"></a>XIII<br /><br />
-THE METROPOLITAN TOWER</h2>
-
-<p class="nind"><span class="letra">T</span>HE Home Office of the Metropolitan Life Insurance Co. is in the
-“Metropolitan Life Building.” It covers the whole block between Madison
-and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
-twenty-five acres. Its forty-odd-story tower dominates the whole of
-Madison Square and dwarfs its neighbors of a meagre twenty stories.
-Above the level of their roofs the face of a giant clock covers three
-stories of its front and stares unwinking at the thousands in the park.
-To old women and to newsboys, to strong men and to wasters, to honest
-and to sick, to those who read the columns under “Help Wanted&mdash;Male,”
-and to those who have gone far beyond doing so, to the restless and the
-lonely among the crowds, waiting for that thing to “turn up” that never,
-never does; to all these this ponderous clock points the passing of the
-minutes, hours, days,&mdash;of life itself: this clock, relentless as the
-sun, upon the <i>Life</i> Insurance tower.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_013.jpg">
-<img src="images/plt_013.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p>
-
-<hr />
-
-<h2><a name="XIV" id="XIV"></a>XIV<br /><br />
-THE CATHEDRAL ON THE AVENUE</h2>
-
-<p class="nind"><span class="letra">S</span>AINT PATRICK’S CATHEDRAL on Fifth Avenue is the largest and finest
-Catholic church in the city. It is a magnificent structure, taking up
-the whole block between Fiftieth and Fifty-first streets and Madison
-Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
-best be seen. One longs to see it standing in a more open space and to
-see its beauties as a whole from further off as one now sees its spires,
-which are remarkable from nearby but glorious from a greater distance.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_014.jpg">
-<img src="images/plt_014.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p>
-
-<hr />
-
-<h2><a name="XV" id="XV"></a>XV<br /><br />
-QUEENSBORO BRIDGE</h2>
-
-<p class="nind"><span class="letra">Q</span>UEENSBORO BRIDGE is the most northerly of Manhattan’s four East River
-bridges. Its mile and a half of mighty steel structure reaches from
-Second Avenue and Fifty-ninth Street well into Queens County, Long
-Island. Far below it in the middle of the river is Blackwells Island, on
-the south end of which is one of the city hospitals. The rest of this
-island is the cheerless home of an ever-changing group of those
-unfortunates, who through some unkind trick of fate have slipped, or
-have seemed to slip, into that uncharted realm vaguely called “Without
-the Law.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>”</p>
-
-<div class="figcenter">
-<a href="images/plt_015.jpg">
-<img src="images/plt_015.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
-
-<hr />
-
-<h2><a name="XVI" id="XVI"></a>XVI<br /><br />
-FIFTH AVENUE AT FIFTY-NINTH STREET</h2>
-
-<p class="nind"><span class="letra">W</span>HETHER under the régime of private or of business houses the region of
-Fifth Avenue at Fifty-ninth Street has been for a long time the
-luxury-centre of New York. On this enchanted soil is the well-known
-Vanderbilt home, one of the few dwellings that still resist the tide of
-business uptown to this point. Southward for miles “The Avenue” used to
-be the smartest residential street in the city. It is now the home of
-Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
-tear bottles, jades, and silken ankles. It is more dangerous to cross
-than the Continental Divide. It separates East from West in the city.<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_016.jpg">
-<img src="images/plt_016.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p>
-
-<hr />
-
-<h2><a name="XVII" id="XVII"></a>XVII<br /><br />
-HELL GATE BRIDGE</h2>
-
-<p class="nind"><span class="letra">H</span>ELL GATE BRIDGE derives its name from the treacherous section of the
-East River which it crosses. It is a most important part in a wonderful
-piece of railroad engineering. At New Rochelle tracks lead from the old
-New York, New Haven and Hartford lines to Port Morris, from here over
-Hell Gate Bridge, through the Borough of Queens and Long Island City,
-under the East River and half of Manhattan, to come to the surface at
-the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
-over Bronx Kills and Randall’s Island, across Little Hell Gate and
-Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
-in Queens. It is six miles long. If laid over Manhattan it would reach
-from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
-Street. It is a remarkable link in the great chain between the two
-railroads. It obviates breaking bulk at New York, and connects Southern
-New England with “all points west.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span>”</p>
-
-<div class="figcenter">
-<a href="images/plt_017.jpg">
-<img src="images/plt_017.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
-
-<hr />
-
-<h2><a name="XVIII" id="XVIII"></a>XVIII<br /><br />
-THE SOLDIERS AND SAILORS MONUMENT</h2>
-
-<p class="nind"><span class="letra">I</span>T is not what some one may say, but what the Nation feels, that tells
-the story of the Soldiers and Sailors Monument.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_018.jpg">
-<img src="images/plt_018.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
-
-<hr />
-
-<h2><a name="XIX" id="XIX"></a>XIX<br /><br />
-THE CATHEDRAL ON THE HEIGHTS</h2>
-
-<p class="nind"><span class="letra">T</span>HE EPISCOPAL CATHEDRAL of Saint John the Divine is the chief church of
-the diocese of New York. It stands on Morningside Heights, a magnificent
-site, from which it dominates all the surrounding city. Its enormous
-dome suggests that of Saint Peter’s and on the very pinnacle of the apse
-the angel Gabriel faces east, sounding the trumpet in an endless note of
-triumph.</p>
-
-<p>Viewing this structure, although as yet unfinished, one tries, almost in
-vain, to realize that it is to be still larger and more wonderful when
-fully completed, and when time has mellowed its stately stones and has
-hung about its walls the indescribable dignity of age.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_019.jpg">
-<img src="images/plt_019.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
-
-<hr />
-
-<h2><a name="XX" id="XX"></a>XX<br /><br />
-THE VIADUCT</h2>
-
-<p class="nind"><span class="letra">T</span>HE HUDSON and the Palisades combine in making “Riverside” one of the
-most naturally beautiful driveways in the world. Yet it owes much also
-to the workers of magic in steel. Northward from Grant’s Tomb and
-Claremont for half a mile or more it is upheld by giant arches of their
-making. Across a whole valley, this broad roadbed all glistening in the
-sun and streaked by the gay lines of endless pleasure traffic, rolls
-grandly on, supported by the silent strength of that great land bridge,
-the Viaduct.<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_020.jpg">
-<img src="images/plt_020.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
-
-<hr />
-
-<h2><a name="XXI" id="XXI"></a>XXI<br /><br />
-GRANT’S TOMB</h2>
-
-<p class="nind"><span class="letra">T</span>HE tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
-Riverside Drive is one of New York’s best known landmarks. A structure
-of impressive grandeur and large historic interest, it encourages the
-thousands of New Yorkers that pass it daily to look forward to the time
-when their city will be ennobled by a fitting memorial of the heroic
-officers and men of the great world war.<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_021.jpg">
-<img src="images/plt_021.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
-
-<hr />
-
-<h2><a name="XXII" id="XXII"></a>XXII<br /><br />
-THE BATTLESHIP “OKLAHOMA” ON THE HUDSON</h2>
-
-<p class="nind"><span class="letra">I</span>T often seems more difficult to recognize beauty in things with which
-we are familiar than in those which are more foreign to us. The Hudson
-is, beyond question, as splendid a river as any of which European cities
-can boast, yet visitors to New York often seem to appreciate it more
-than do the New Yorkers themselves. Whether twinkling under myriad
-lights on a summer night, or storm lashed in January, the Hudson sweeps
-the whole west shore of Manhattan in lasting yet ever changing grandeur.
-Imagine yourself in an unknown, distant city, and watch the sun go
-gorgeously down behind the Palisades, while on the water its long
-reflection is ploughed to pieces by the river craft.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_022.jpg">
-<img src="images/plt_022.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p>
-
-<hr />
-
-<h2><a name="XXIII" id="XXIII"></a>XXIII<br /><br />
-HIGH BRIDGE</h2>
-
-<p class="nind"><span class="letra">B</span>OLDLY across the Harlem River at One Hundred and Seventy-fourth Street
-stands High Bridge. It differs remarkably from other New York bridges in
-that it is built entirely of masonry. No steel construction, no
-suspension cable, no huge rolling lift or counter-poise relate it to the
-present dynasty of bridges. One hundred and thirty-five feet of solid
-stone it rises gray and enduring amid the surrounding green. Surely it
-belongs to the Old World and to another time, and looking through its
-arches one half expects to see the towers and battlements of some old
-chateau, clear cut against the sky. One may even fancy,&mdash;but here a
-blunt-nosed tug rams puffing up against the tide, smoke belching from
-its stumpy funnel, the water churned to froth; and one has lost the
-wonders of the past in wonders of to-day.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_023.jpg">
-<img src="images/plt_023.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
-
-<hr />
-
-<h2><a name="XXIV" id="XXIV"></a>XXIV<br /><br />
-WASHINGTON BRIDGE</h2>
-
-<p class="nind"><span class="letra">W</span>ASHINGTON BRIDGE is one of the many arteries that join the Borough of
-the Bronx with Manhattan, and in thus connecting its enormous area and
-population with the rest of the metropolis, is a material factor in
-making New York the foremost city of the country.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_024.jpg">
-<img src="images/plt_024.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
-
-<hr />
-
-<h2><a name="XXV" id="XXV"></a>XXV<br /><br />
-THE GRAND CENTRAL STATION</h2>
-
-<p class="nind"><span class="letra">T</span>HE GRAND CENTRAL is one of the finest railroad stations in the country.
-Fronting on Forty-second it extends to Forty-fifth Street and from
-Vanderbilt Avenue to Lexington. The group of figures forming the clock
-cartouche above its main façade is a piece of masterly sculpture. Its
-main hall is gigantic. The system with which its hundreds of trains
-arrive and depart is little less than magical. Yet greater far than
-these is the story of the crowds that come to New York on these trains,
-and the mass of hopes and aspirations that they bring to the city
-through this great gate. And of all who come buoyant, confident and
-convinced that they will wrest success from this thronging mart of
-millions,&mdash;how few achieve! And yet, though comparatively few, these
-victors form so vast an army that they many times outnumber the
-successful sons of the city, and are a mighty force in the making of New
-York, the Metropolis of the Nation.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
-
-<div class="figcenter">
-<a href="images/plt_025.jpg">
-<img src="images/plt_025.jpg" height="550" alt="[Image unavailable.]" /></a>
-</div>
-
-<hr class="full" />
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+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 64572 ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg" height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
+
+<p class="c">
+NEW YORK<br />
+THE NATION’S METROPOLIS</p>
+
+<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<a href="images/frontispiece.jpg">
+<img src="images/frontispiece.jpg" height="550"
+alt="[Image unavailable.]" /></a>
+</div>
+
+<h1><span class="redd">
+NEW YORK</span><br />
+<br />
+THE NATION’S METROPOLIS</h1>
+
+<p class="c">BY<br />
+<br />
+PETER MARCUS<br />
+<br />
+<br />
+<i>WITH AN APPRECIATION BY</i><br />
+<br />
+J. MONROE HEWLETT<br />
+<br /><small>
+PRESIDENT OF THE ARCHITECTURAL LEAGUE<br />
+OF NEW YORK</small><br />
+<br /><br />
+<img src="images/colophon.jpg"
+width="100"
+alt=""
+/><br />
+<br />
+NEW YORK<br />
+<span class="redd">BRENTANO’S</span><br />
+PUBLISHERS<br /></p>
+
+<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span>&nbsp; </p>
+
+<p class="c"><small>COPYRIGHT, 1921, BY<br />
+BRENTANO’S<br />
+<br />
+<i>All rights reserved</i><br />
+<br />
+<br />
+THE PLIMPTON PRESS<br />
+NORWOOD·MASS·U·S·A<br /></small>
+<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p>
+
+<hr />
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td class="rt" valign="top"><a href="#I">I.</a></td><td class="pdd"><a href="#I"><i>Times Square.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#II">II.</a></td><td class="pdd"><a href="#II"><i>Lower Broadway.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#III">III.</a></td><td class="pdd"><a href="#III"><i>Exchange Place.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#IV">IV.</a></td><td class="pdd"><a href="#IV"><i>Looking West on Brooklyn Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#V">V.</a></td><td class="pdd"><a href="#V"><i>The City Hall.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VI">VI.</a></td><td class="pdd"><a href="#VI"><i>Wall Street.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VII">VII.</a></td><td class="pdd"><a href="#VII"><i>The Old Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VIII">VIII.</a></td><td class="pdd"><a href="#VIII"><i>The Tombs Prison.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#IX">IX.</a></td><td class="pdd"><a href="#IX"><i>Looking West Along Peck Slip.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#X">X.</a></td><td class="pdd"><a href="#X"><i>The East Pier, Brooklyn Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XI">XI.</a></td><td class="pdd"><a href="#XI"><i>The Municipal Building.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XII">XII.</a></td><td class="pdd"><a href="#XII"><i>New York from Fulton Ferry.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIII">XIII.</a></td><td class="pdd"><a href="#XIII"><i>The Metropolitan Tower.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIV">XIV.</a></td><td class="pdd"><a href="#XIV"><i>The Cathedral on the Avenue.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XV">XV.</a></td><td class="pdd"><a href="#XV"><i>Queensboro Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVI">XVI.</a></td><td class="pdd"><a href="#XVI"><i>Fifth Avenue at Fifty-ninth Street.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVII">XVII.</a></td><td class="pdd"><a href="#XVII"><i>Hell Gate Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVIII">XVIII.</a></td><td class="pdd"><a href="#XVIII"><i>Soldiers and Sailors Monument.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIX">XIX.</a></td><td class="pdd"><a href="#XIX"><i>The Cathedral on the Heights.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XX">XX.</a></td><td class="pdd"><a href="#XX"><i>The Viaduct.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXI">XXI.</a></td><td class="pdd"><a href="#XXI"><i>Grant’s Tomb.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXII">XXII.</a></td><td class="pdd"><a href="#XXII"><i>The Battleship “Oklahoma” on the Hudson.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXIII">XXIII.</a></td><td class="pdd"><a href="#XXIII"><i>High Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXIV">XXIV.</a></td><td class="pdd"><a href="#XXIV"><i>Washington Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXV">XXV.</a></td><td class="pdd"><a href="#XXV"><i>Grand Central Station.</i></a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>&nbsp; </p>
+
+<hr />
+
+<h2>NEW YORK<br /><br />
+THE CITY OF VIOLENT CONTRASTS</h2>
+
+<p class="nind"><span class="letra">N</span>EW YORK is preëminently the City of Violent Contrasts. Towering shafts
+of brick and stone and steel, soaring traceries of cables, derricks,
+girders and electric signs, smooth stretches of gray asphalt, subway and
+sewer excavations, broad harbors and stately ships, oily canals and
+garbage dumps, classic columns, gilded domes, palaces and shanties,
+parks and fountains, factory chimneys and gas tanks; these are a few of
+the items that occur in this as in other cities, but nowhere else are
+these and other manifestations of beauty and ugliness, prosperity and
+squalor brought into such vivid and striking relief, and of no other
+city can we say with equal truth that it defies the effort to summarize
+briefly its typical characteristics. Fragments and details suggestive of
+widely differing phases of its life persistently force themselves into a
+single picture without regard to orderly classification or proper
+dramatic sequence.</p>
+
+<p>Appreciation of the beauty of nature as undisturbed by man seems
+inherent in our race, but man in his material progress is constantly
+defacing nature, constantly destroying, constantly substituting forms
+and arrangements dictated by utility, not by beauty, and<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> shocking to
+our finer instincts. Then imagination steps in and gradually invests
+these new forms with new meanings derived from history, logic, romance,
+symbolism and pure poetic fancy. Some are condemned and discarded as
+unnecessary or useless, while others at first glance equally ugly
+acquire a significance and a soul. Of him who would interpret such a
+theme as New York our first demand must therefore be prophetic vision.</p>
+
+<p>To the artist who seeks to penetrate the outer surfaces of his subject
+and to suggest and interpret an activity, a creative power, a vastness
+of scale and a variety of functions beyond human power to portray,
+charcoal is a most, perhaps the most, inspiring medium. It is surely the
+medium that most readily lends itself to the simultaneous expression of
+form, mass, line and tone.</p>
+
+<p>Hopkinson Smith once said that Venice is nothing but air and water.
+There all else has been so softened and moulded and enveloped as to
+become part and parcel of sea and cloud. The portrayal of this is
+preëminently a painter’s job. But New York, in addition to being a lot
+of other things, is a Venice in the making, and all the ugly
+paraphernalia by means of which this making is slowly going forward, all
+the unlovely processes, physical and chemical, structural and
+commercial, must be recognized and expressed and by the light of poetic
+vision be made a part of its beauty and romance.</p>
+
+<p>A painter might perhaps strive to envelope and obscure whatever seemed
+objectionable in a glory of<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> color. An architect might lay undue stress
+upon the many examples of distinction in the work of his craft, which
+are often all but details in a vast scheme. The pictorial expression of
+New York requires a blending of the view points of the painter and the
+architect in which both contribute to an image of something not yet
+realized, perhaps never to be fully realized, and help in dramatizing
+the struggle towards that thing.</p>
+
+<p>Peter Marcus is a painter not an architect, but he is also a designer
+experienced in the goldsmith’s craft and there is evident in these
+charcoal studies a pleasure in the delineation of the tracery of bridge
+cables and trusses, derricks, scaffolding and electric signs, that in
+contrast with his broad and greatly simplified expressions of
+architectural form and detail, adds vastly to the eloquence of his work.
+Furthermore, he is a native of New York as his parents were before him,
+and the slow development by which New York has climbed upward has been
+part and parcel of his life. These are the days of a premature
+development or forcing of the artistic personality, usually expressed at
+some sacrifice of the prevailing characters and sentiment of his
+subject.</p>
+
+<p>To my mind the most distinctive quality of these drawings is found in
+the complete subjection of the artist to the spirit of the thing
+represented.</p>
+
+<p>Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
+and from the air has been exploited to such an extent as to destroy for
+the native New Yorker much of the impressiveness of this majestic
+panorama, but lower Manhattan as seen from<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> within by the man in the
+street has a different kind of impressiveness and pictorially has
+hitherto been somewhat neglected. Five drawings are devoted to this
+theme&mdash;“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
+and “Exchange Place.” These five drawings as a group seem to me to
+represent the culmination of the artist’s achievement. They show a
+simplicity and ease of method, a definite conception and an admirable
+sureness of values and textures. In imaginative power and sinister
+suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
+and it is not like that, a creation of the imagination but a truthful
+characterization of locality. A second group of five are “The
+Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
+Municipal Building,” and “The Cathedral on the Avenue.”</p>
+
+<p>As these take us further up town into wider streets and more extended
+surfaces of sky, distance and silhouette become increasingly important
+in their composition, and what we lose in concentration we gain in tonal
+interest.</p>
+
+<p>“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
+Viaduct,” fall naturally into a third group. Here we have a different
+manifestation of energy, the architecture of the engineer, crisp and
+nervous in rendering, beautifully expressive of structure unadorned.</p>
+
+<p>If in the drawings thus far mentioned certain qualities of Piranesi,
+Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
+Soldiers’ and<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
+and “The Cathedral on the Heights,” there is equally a suggestion of
+Whistler. Less vigorous than the others in draughtsmanship, they are
+full of the suggestion of subdued color. By reason of the more subtle
+quality of their rendering, they lend themselves less readily to
+reproduction but even the reproductions convey beautiful impressions of
+shadowy foliage and quiet waters, bare, wind-swept branches and lonely
+spaces.</p>
+
+<p>It is safe to predict that if he continues his interest in charcoal as a
+medium, Peter Marcus will gradually and naturally acquire a more
+characteristic personal manner, but it will come from ease of mastery
+not from assumed eccentricity, and whatever he may achieve in future
+this series of drawings will stand as the most comprehensive and broadly
+discerning study of New York in its entirety that has yet been made.</p>
+
+<p class="r"><span style="margin-right: 6em;">
+<span class="smcap">J. Monroe Hewlett</span></span><br />
+<span style="margin-right: 4em;"><i>President of the</i></span><br />
+<i>Architectural League of</i><br />
+<span style="margin-right: 2em;"><i>New York</i></span><br />
+</p>
+
+<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>&nbsp; </p>
+
+<hr />
+
+<h1>NEW YORK<br /><br />
+THE NATION’S METROPOLIS</h1>
+
+<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
+
+<hr />
+
+<h2><a name="I" id="I"></a>I<br /><br />
+TIMES SQUARE</h2>
+
+<p class="nind"><span class="letra">T</span>IMES SQUARE is at the juncture of Broadway, Seventh Avenue and
+Forty-second Street. It is the very heart of uptown Broadway. Not the
+downtown Broadway of finance and of towering buildings, but the Broadway
+of theatres, restaurants, gay crowds and bright lights. It is bustling,
+congested, whirling. It is in a constant state of being rebuilt and
+repaired. Its sidewalks are littered with timbers, pipes, derricks and
+showy women. One hears jazz music and Klaxtons. It is the playground of
+the pleasure seeker, the battleground of the taxis, the dream of the
+chorus girl on the road, and the nightmare of the traffic cop. It is
+white lights, green lights, red lights,&mdash;flashing, spinning and winking.
+It is noise, crowds, motion. Sun and storm, day and night it roars
+along, churning,&mdash;a whirlpool in a mighty river. Incongruous, incessant,
+enormous.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
+
+<hr />
+
+<h2><a name="II" id="II"></a>II<br /><br />
+LOWER BROADWAY</h2>
+
+<p class="nind"><span class="letra">T</span>HE changes in New York in the last hundred years have been almost
+fabulous and yet the greatest of all perhaps has been lower Broadway.
+The proud steeple of Trinity Church once dominated a scene of fashion.
+It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
+Brummel-like hats and directoire skirts, came grandly here to
+worship,&mdash;and meant it. To-day, one picnics in the church yard and eats
+luncheon bananas on the graves. The enormous buildings of commerce,
+finance and trade are filled to overflowing. Here is progress, wealth
+and unlimited resource. It is a tremendous hive full of golden honey.
+And it is doubtless very good. But it is also good that this small
+church of a bygone time, still stands undaunted,&mdash;respected among these
+colossal towers; and that it still brings from the past some of that
+calm strength that is of even more lasting stuff than the masonry of the
+church itself, and that through it, the spirit of Old New York still
+“carries on” in Lower Broadway.<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
+
+<hr />
+
+<h2><a name="III" id="III"></a>III<br /><br />
+EXCHANGE PLACE</h2>
+
+<p class="nind"><span class="letra">R</span>UNNING east from Broadway, just below Wall Street, is Exchange Place.
+It is a narrow street and a short, but it is not a little street. Huge
+buildings are its walls, which seem almost to meet overhead. Straight up
+they tower, face to face, staring at each other with countless eyes.
+Daily into these few buildings come thousands and thousands of people:
+old and young, gay and sad, financiers and office boys,&mdash;to work. It is
+a good-sized town in one street. It is a veritable cañon of the city.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
+
+<hr />
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+LOOKING WEST ON BROOKLYN BRIDGE</h2>
+
+<p class="nind"><span class="letra">O</span>NE of the “Views of New York” most often pictured and most often
+snapped by amateur photographers is that of lower Manhattan as seen from
+a distance. And yet from a painting, photograph or drawing, who can feel
+what it is? As with pictures of the Grand Cañon, it seems impossible to
+realize the scale or to give the sense of its enormous size. To know
+what it is, one must have seen it. A picture, in this case, can only
+serve to refresh the memory of the man who knows.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
+
+<hr />
+
+<h2><a name="V" id="V"></a>V<br /><br />
+THE CITY HALL</h2>
+
+<p class="nind"><span class="letra">N</span>OTHING better exemplifies the growth of New York than does the City
+Hall, standing as it does almost in the shadow of the Municipal
+Building. In the old days when it was the principal structure on City
+Hall Park, its three stories afforded ample room in which to carry on
+the city’s affairs. It now houses only four offices, including that of
+the Mayor and that of the Art Commission. The other city offices, and
+their number is astounding, are elsewhere. But although the city has
+grown beyond recognition, the City Hall has proudly kept its place, and
+is honored as is a venerable old man, a bit less active than he was
+perhaps, but still the dignified head of a noble house.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
+
+<hr />
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+WALL STREET</h2>
+
+<p class="nind"><span class="letra">H</span>ERE is the force of the sea and the romance of a fairy tale. Here
+immense fortunes are won in a day and lost in less, and the hopes and
+savings of years vanish in an hour. Here are bank messengers who become
+millionnaires overnight and capitalists who awake penniless. It is the
+market of the whole country and of others. Here are corn and wheat
+heaped in huge confusion, millions of bales of cotton and barrels of
+oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
+bullion; raw gold and ore, coal, silver and copper, mounting to the
+clouds in glimmering pinnacles and smoking hills. And through it all and
+around it all, pulses the restless swing and change, the tireless tide
+of “the street.”</p>
+
+<p>And the traders! Giants and pygmies. Tumbling over each other, swarming,
+pushing, struggling. Here holding up a million head of cattle to the
+highest bidder, there beating down the price of a small nation. Here is
+a man beaten by a crowd for buying oil and there is another lying dead
+because he sold it. And away over there runs a little man who has
+succeeded in stealing a pig and is now scurrying off with it to safety.</p>
+
+<p>This mountainous market of hopes and of nations, of success and failure,
+of tragedy and comedy, of ships, steam, mines, and the lives of men,
+towering phantom-like and vast,&mdash;is Wall Street.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
+
+<hr />
+
+<h2><a name="VII" id="VII"></a>VII<br /><br />
+THE OLD BRIDGE</h2>
+
+<p class="nind"><span class="letra">B</span>ROOKLYN BRIDGE the first bridge between Manhattan and Long Island. The
+day of its opening was one of great public enthusiasm. Parties were
+given for walking or driving across the bridge, and that night half New
+York and Brooklyn were on the house-tops to watch it illuminated by
+fire-works. In those days it was called “<i>The</i> Bridge.” But now since
+the Manhattan, the Williamsburg and the Queensboro bridges have been
+added to the East River giants, it has become “The <i>Old</i> Bridge,” a name
+meaning many things to those who have known it from its beginning. Its
+erection was a long step towards close relationship between New York and
+the whole of Long Island.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p>
+
+<hr />
+
+<h2><a name="VIII" id="VIII"></a>VIII<br /><br />
+THE TOMBS PRISON</h2>
+
+<p class="nind"><span class="letra">W</span>HO can look at a prison without being glad that he is not in it? At the
+corner of Lafayette and Franklin streets is the great gray pile that is
+the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
+and feudal castles; its heavy gateways,&mdash;medieval strongholds. Its high
+exterior wall and “Bridge of Sighs” make one remember the lugubrious
+histories of the Doge’s Palace and of the Tour de Nesle. Those inside
+bear the double burden of being imprisoned and of knowing that close
+about them is all the life of the great city: its lights, its
+restaurants, its countless activities and its friends. Yes, looking at
+the Tombs, grim as it is, makes one feel strangely fortunate.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p>
+
+<hr />
+
+<h2><a name="IX" id="IX"></a>IX<br /><br />
+LOOKING WEST ALONG PECK SLIP</h2>
+
+<p class="nind"><span class="letra">I</span>F Father Knickerbocker should come over to New York on the Fulton
+Ferry, as in times gone by he used to do, when he had been visiting his
+respected neighbors on Brooklyn Heights; and if he should stand on South
+Street and look up Peck Slip and see it as it is to-day&mdash;how he would
+stare through his horn-rimmed spectacles and how his dear old heart
+would thump under his brass-buttoned coat! How he would pinch himself
+and wonder what it all could mean! What was that enormous shaft all
+white and glowing in the afternoon, rising eight hundred feet or eight
+thousand to the very sky? What were those towers, spires and turrets,
+soaring above the clouds, the brilliant sunlight gilding their countless
+feathers of steam and decking their phantom minarets with myriad
+candles? What <i>could</i> it mean? Had he landed on Manhattan or was this
+some island built by fairies or by elves? Nay, this place was far too
+fair for that, and must be then the work of witchcraft and the devil. Or
+was it, after all, the same old place that he had known, but grown and
+glorified beyond belief? And when he finally realized this to be the
+case, Father Knickerbocker without doubt would be wondrous proud of his
+great-grandsons and of the New York of to-day.<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p>
+
+<hr />
+
+<h2><a name="X" id="X"></a>X<br /><br />
+THE PIER</h2>
+
+<p class="nind"><span class="letra">L</span>IKE twin Colossi, silent amid the hum of cities and the whistling of a
+thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
+river’s gate.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<hr />
+
+<h2><a name="XI" id="XI"></a>XI<br /><br />
+THE MUNICIPAL BUILDING</h2>
+
+<p class="nind"><span class="letra">A</span>STRIDE of Chamber Street at Park Row stands the Municipal Building.
+Under its roof are half a hundred commissions, departments, boards and
+bureaux that regulate such petty affairs as the highways, parks, water
+supply, bridges, taxes and fire-fighting for upwards of six millions of
+people. A gigantic task, and accomplished in a building well worthy of
+its responsibility.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
+
+<hr />
+
+<h2><a name="XII" id="XII"></a>XII<br /><br />
+NEW YORK FROM FULTON FERRY</h2>
+
+<p class="nind"><span class="letra">W</span>ATCHING Manhattan as the boat comes near its shore, one seems to come
+under the spell of its incalculable weight, its stupendous mass of iron,
+brick and stone. It is oppressive, ominous. One feels the past, the
+present and the future; and the tremendous forces which must have worked
+together to produce this titanic offspring, to have spawned this
+mountain of precipices. One feels the hidden activity, the pitiless
+struggle going on beneath; yet a few puffs of smoke are all that betray
+the smouldering of the mighty fires. One lets one’s mind sink into the
+vast depths between, to see little humanity running here and there like
+ants amid the tangle of wires, tunnels and pipes. Little humanity that
+built it all.</p>
+
+<p>In the past, church spires rose majestic above the surrounding city. Now
+they are lost. The buildings of commerce, creeping high and higher, have
+struggled upward, climbing upon one another’s backs, and mounting each
+on the shoulder of each, in their ceaseless effort to be the tallest
+among their fellows. And just as it is among men and the rulers of men,
+as surely as one has gained the supremacy, has come another to surpass
+him, swinging upward yet another fifty, one hundred, or two hundred
+feet, and from their thousand brazen throats has boomed again the cry,
+“Long live the king!”</p>
+
+<p>Eight hundred feet towers the monarch of to-day. He is called
+“Woolworth,” and twelve thousand men live daily in his strength. His
+head is of gold but his feet are of clay, and who will be king
+to-morrow?</p>
+
+<p>And wondering, one looks up and up, above the mightiest of these kings,
+and yet above the very summit of his crown, and there one sees&mdash;the
+sunset.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<hr />
+
+<h2><a name="XIII" id="XIII"></a>XIII<br /><br />
+THE METROPOLITAN TOWER</h2>
+
+<p class="nind"><span class="letra">T</span>HE Home Office of the Metropolitan Life Insurance Co. is in the
+“Metropolitan Life Building.” It covers the whole block between Madison
+and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
+twenty-five acres. Its forty-odd-story tower dominates the whole of
+Madison Square and dwarfs its neighbors of a meagre twenty stories.
+Above the level of their roofs the face of a giant clock covers three
+stories of its front and stares unwinking at the thousands in the park.
+To old women and to newsboys, to strong men and to wasters, to honest
+and to sick, to those who read the columns under “Help Wanted&mdash;Male,”
+and to those who have gone far beyond doing so, to the restless and the
+lonely among the crowds, waiting for that thing to “turn up” that never,
+never does; to all these this ponderous clock points the passing of the
+minutes, hours, days,&mdash;of life itself: this clock, relentless as the
+sun, upon the <i>Life</i> Insurance tower.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p>
+
+<hr />
+
+<h2><a name="XIV" id="XIV"></a>XIV<br /><br />
+THE CATHEDRAL ON THE AVENUE</h2>
+
+<p class="nind"><span class="letra">S</span>AINT PATRICK’S CATHEDRAL on Fifth Avenue is the largest and finest
+Catholic church in the city. It is a magnificent structure, taking up
+the whole block between Fiftieth and Fifty-first streets and Madison
+Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
+best be seen. One longs to see it standing in a more open space and to
+see its beauties as a whole from further off as one now sees its spires,
+which are remarkable from nearby but glorious from a greater distance.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p>
+
+<hr />
+
+<h2><a name="XV" id="XV"></a>XV<br /><br />
+QUEENSBORO BRIDGE</h2>
+
+<p class="nind"><span class="letra">Q</span>UEENSBORO BRIDGE is the most northerly of Manhattan’s four East River
+bridges. Its mile and a half of mighty steel structure reaches from
+Second Avenue and Fifty-ninth Street well into Queens County, Long
+Island. Far below it in the middle of the river is Blackwells Island, on
+the south end of which is one of the city hospitals. The rest of this
+island is the cheerless home of an ever-changing group of those
+unfortunates, who through some unkind trick of fate have slipped, or
+have seemed to slip, into that uncharted realm vaguely called “Without
+the Law.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>”</p>
+
+<div class="figcenter">
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
+
+<hr />
+
+<h2><a name="XVI" id="XVI"></a>XVI<br /><br />
+FIFTH AVENUE AT FIFTY-NINTH STREET</h2>
+
+<p class="nind"><span class="letra">W</span>HETHER under the régime of private or of business houses the region of
+Fifth Avenue at Fifty-ninth Street has been for a long time the
+luxury-centre of New York. On this enchanted soil is the well-known
+Vanderbilt home, one of the few dwellings that still resist the tide of
+business uptown to this point. Southward for miles “The Avenue” used to
+be the smartest residential street in the city. It is now the home of
+Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
+tear bottles, jades, and silken ankles. It is more dangerous to cross
+than the Continental Divide. It separates East from West in the city.<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p>
+
+<hr />
+
+<h2><a name="XVII" id="XVII"></a>XVII<br /><br />
+HELL GATE BRIDGE</h2>
+
+<p class="nind"><span class="letra">H</span>ELL GATE BRIDGE derives its name from the treacherous section of the
+East River which it crosses. It is a most important part in a wonderful
+piece of railroad engineering. At New Rochelle tracks lead from the old
+New York, New Haven and Hartford lines to Port Morris, from here over
+Hell Gate Bridge, through the Borough of Queens and Long Island City,
+under the East River and half of Manhattan, to come to the surface at
+the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
+over Bronx Kills and Randall’s Island, across Little Hell Gate and
+Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
+in Queens. It is six miles long. If laid over Manhattan it would reach
+from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
+Street. It is a remarkable link in the great chain between the two
+railroads. It obviates breaking bulk at New York, and connects Southern
+New England with “all points west.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span>”</p>
+
+<div class="figcenter">
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
+
+<hr />
+
+<h2><a name="XVIII" id="XVIII"></a>XVIII<br /><br />
+THE SOLDIERS AND SAILORS MONUMENT</h2>
+
+<p class="nind"><span class="letra">I</span>T is not what some one may say, but what the Nation feels, that tells
+the story of the Soldiers and Sailors Monument.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<hr />
+
+<h2><a name="XIX" id="XIX"></a>XIX<br /><br />
+THE CATHEDRAL ON THE HEIGHTS</h2>
+
+<p class="nind"><span class="letra">T</span>HE EPISCOPAL CATHEDRAL of Saint John the Divine is the chief church of
+the diocese of New York. It stands on Morningside Heights, a magnificent
+site, from which it dominates all the surrounding city. Its enormous
+dome suggests that of Saint Peter’s and on the very pinnacle of the apse
+the angel Gabriel faces east, sounding the trumpet in an endless note of
+triumph.</p>
+
+<p>Viewing this structure, although as yet unfinished, one tries, almost in
+vain, to realize that it is to be still larger and more wonderful when
+fully completed, and when time has mellowed its stately stones and has
+hung about its walls the indescribable dignity of age.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
+
+<hr />
+
+<h2><a name="XX" id="XX"></a>XX<br /><br />
+THE VIADUCT</h2>
+
+<p class="nind"><span class="letra">T</span>HE HUDSON and the Palisades combine in making “Riverside” one of the
+most naturally beautiful driveways in the world. Yet it owes much also
+to the workers of magic in steel. Northward from Grant’s Tomb and
+Claremont for half a mile or more it is upheld by giant arches of their
+making. Across a whole valley, this broad roadbed all glistening in the
+sun and streaked by the gay lines of endless pleasure traffic, rolls
+grandly on, supported by the silent strength of that great land bridge,
+the Viaduct.<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
+
+<hr />
+
+<h2><a name="XXI" id="XXI"></a>XXI<br /><br />
+GRANT’S TOMB</h2>
+
+<p class="nind"><span class="letra">T</span>HE tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
+Riverside Drive is one of New York’s best known landmarks. A structure
+of impressive grandeur and large historic interest, it encourages the
+thousands of New Yorkers that pass it daily to look forward to the time
+when their city will be ennobled by a fitting memorial of the heroic
+officers and men of the great world war.<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
+
+<hr />
+
+<h2><a name="XXII" id="XXII"></a>XXII<br /><br />
+THE BATTLESHIP “OKLAHOMA” ON THE HUDSON</h2>
+
+<p class="nind"><span class="letra">I</span>T often seems more difficult to recognize beauty in things with which
+we are familiar than in those which are more foreign to us. The Hudson
+is, beyond question, as splendid a river as any of which European cities
+can boast, yet visitors to New York often seem to appreciate it more
+than do the New Yorkers themselves. Whether twinkling under myriad
+lights on a summer night, or storm lashed in January, the Hudson sweeps
+the whole west shore of Manhattan in lasting yet ever changing grandeur.
+Imagine yourself in an unknown, distant city, and watch the sun go
+gorgeously down behind the Palisades, while on the water its long
+reflection is ploughed to pieces by the river craft.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p>
+
+<hr />
+
+<h2><a name="XXIII" id="XXIII"></a>XXIII<br /><br />
+HIGH BRIDGE</h2>
+
+<p class="nind"><span class="letra">B</span>OLDLY across the Harlem River at One Hundred and Seventy-fourth Street
+stands High Bridge. It differs remarkably from other New York bridges in
+that it is built entirely of masonry. No steel construction, no
+suspension cable, no huge rolling lift or counter-poise relate it to the
+present dynasty of bridges. One hundred and thirty-five feet of solid
+stone it rises gray and enduring amid the surrounding green. Surely it
+belongs to the Old World and to another time, and looking through its
+arches one half expects to see the towers and battlements of some old
+chateau, clear cut against the sky. One may even fancy,&mdash;but here a
+blunt-nosed tug rams puffing up against the tide, smoke belching from
+its stumpy funnel, the water churned to froth; and one has lost the
+wonders of the past in wonders of to-day.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
+
+<hr />
+
+<h2><a name="XXIV" id="XXIV"></a>XXIV<br /><br />
+WASHINGTON BRIDGE</h2>
+
+<p class="nind"><span class="letra">W</span>ASHINGTON BRIDGE is one of the many arteries that join the Borough of
+the Bronx with Manhattan, and in thus connecting its enormous area and
+population with the rest of the metropolis, is a material factor in
+making New York the foremost city of the country.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
+
+<hr />
+
+<h2><a name="XXV" id="XXV"></a>XXV<br /><br />
+THE GRAND CENTRAL STATION</h2>
+
+<p class="nind"><span class="letra">T</span>HE GRAND CENTRAL is one of the finest railroad stations in the country.
+Fronting on Forty-second it extends to Forty-fifth Street and from
+Vanderbilt Avenue to Lexington. The group of figures forming the clock
+cartouche above its main façade is a piece of masterly sculpture. Its
+main hall is gigantic. The system with which its hundreds of trains
+arrive and depart is little less than magical. Yet greater far than
+these is the story of the crowds that come to New York on these trains,
+and the mass of hopes and aspirations that they bring to the city
+through this great gate. And of all who come buoyant, confident and
+convinced that they will wrest success from this thronging mart of
+millions,&mdash;how few achieve! And yet, though comparatively few, these
+victors form so vast an army that they many times outnumber the
+successful sons of the city, and are a mighty force in the making of New
+York, the Metropolis of the Nation.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<hr class="full" />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 64572 ***</div>
+</body>
+</html>
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+The Project Gutenberg eBook of New York, by Peter Marcus
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: New York
+       The Nation's Metropolis
+
+Author: Peter Marcus
+
+Contributor: J. Monroe (James Monroe) Hewlett
+
+Release Date: February 16, 2021 [eBook #64572]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: Chuck Greif, ellinora and the Online Distributed Proofreading
+             Team at https://www.pgdp.net (This file was produced from
+             images generously made available by The Internet
+             Archive/American Libraries.)
+
+*** START OF THE PROJECT GUTENBERG EBOOK NEW YORK ***
+
+
+
+
+                               NEW YORK
+                        THE NATION’S METROPOLIS
+
+                            [Illustration]
+
+
+
+
+                               NEW YORK
+
+                        THE NATION’S METROPOLIS
+
+                                  BY
+
+                             PETER MARCUS
+
+
+                       _WITH AN APPRECIATION BY_
+
+                           J. MONROE HEWLETT
+
+                 PRESIDENT OF THE ARCHITECTURAL LEAGUE
+                              OF NEW YORK
+
+                       [Illustration: colophon]
+
+                               NEW YORK
+                              BRENTANO’S
+                              PUBLISHERS
+
+                          COPYRIGHT, 1921, BY
+                              BRENTANO’S
+
+                         _All rights reserved_
+
+
+                          THE PLIMPTON PRESS
+                          NORWOOD·MASS·U·S·A
+
+
+
+
+CONTENTS
+
+
+    I. _Times Square._
+   II. _Lower Broadway._
+  III. _Exchange Place._
+   IV. _Looking West on Brooklyn Bridge._
+    V. _The City Hall._
+   VI. _Wall Street._
+  VII. _The Old Bridge._
+ VIII. _The Tombs Prison._
+   IX. _Looking West Along Peck Slip._
+    X. _The East Pier, Brooklyn Bridge._
+   XI. _The Municipal Building._
+  XII. _New York from Fulton Ferry._
+ XIII. _The Metropolitan Tower._
+  XIV. _The Cathedral on the Avenue._
+   XV. _Queensboro Bridge._
+  XVI. _Fifth Avenue at Fifty-ninth Street._
+ XVII. _Hell Gate Bridge._
+XVIII. _Soldiers and Sailors Monument._
+  XIX. _The Cathedral on the Heights._
+   XX. _The Viaduct._
+  XXI. _Grant’s Tomb._
+ XXII. _The Battleship “Oklahoma” on the Hudson._
+XXIII. _High Bridge._
+ XXIV. _Washington Bridge._
+  XXV. _Grand Central Station._
+
+
+
+
+NEW YORK
+
+THE CITY OF VIOLENT CONTRASTS
+
+
+New York is preëminently the City of Violent Contrasts. Towering shafts
+of brick and stone and steel, soaring traceries of cables, derricks,
+girders and electric signs, smooth stretches of gray asphalt, subway and
+sewer excavations, broad harbors and stately ships, oily canals and
+garbage dumps, classic columns, gilded domes, palaces and shanties,
+parks and fountains, factory chimneys and gas tanks; these are a few of
+the items that occur in this as in other cities, but nowhere else are
+these and other manifestations of beauty and ugliness, prosperity and
+squalor brought into such vivid and striking relief, and of no other
+city can we say with equal truth that it defies the effort to summarize
+briefly its typical characteristics. Fragments and details suggestive of
+widely differing phases of its life persistently force themselves into a
+single picture without regard to orderly classification or proper
+dramatic sequence.
+
+Appreciation of the beauty of nature as undisturbed by man seems
+inherent in our race, but man in his material progress is constantly
+defacing nature, constantly destroying, constantly substituting forms
+and arrangements dictated by utility, not by beauty, and shocking to
+our finer instincts. Then imagination steps in and gradually invests
+these new forms with new meanings derived from history, logic, romance,
+symbolism and pure poetic fancy. Some are condemned and discarded as
+unnecessary or useless, while others at first glance equally ugly
+acquire a significance and a soul. Of him who would interpret such a
+theme as New York our first demand must therefore be prophetic vision.
+
+To the artist who seeks to penetrate the outer surfaces of his subject
+and to suggest and interpret an activity, a creative power, a vastness
+of scale and a variety of functions beyond human power to portray,
+charcoal is a most, perhaps the most, inspiring medium. It is surely the
+medium that most readily lends itself to the simultaneous expression of
+form, mass, line and tone.
+
+Hopkinson Smith once said that Venice is nothing but air and water.
+There all else has been so softened and moulded and enveloped as to
+become part and parcel of sea and cloud. The portrayal of this is
+preëminently a painter’s job. But New York, in addition to being a lot
+of other things, is a Venice in the making, and all the ugly
+paraphernalia by means of which this making is slowly going forward, all
+the unlovely processes, physical and chemical, structural and
+commercial, must be recognized and expressed and by the light of poetic
+vision be made a part of its beauty and romance.
+
+A painter might perhaps strive to envelope and obscure whatever seemed
+objectionable in a glory of color. An architect might lay undue stress
+upon the many examples of distinction in the work of his craft, which
+are often all but details in a vast scheme. The pictorial expression of
+New York requires a blending of the view points of the painter and the
+architect in which both contribute to an image of something not yet
+realized, perhaps never to be fully realized, and help in dramatizing
+the struggle towards that thing.
+
+Peter Marcus is a painter not an architect, but he is also a designer
+experienced in the goldsmith’s craft and there is evident in these
+charcoal studies a pleasure in the delineation of the tracery of bridge
+cables and trusses, derricks, scaffolding and electric signs, that in
+contrast with his broad and greatly simplified expressions of
+architectural form and detail, adds vastly to the eloquence of his work.
+Furthermore, he is a native of New York as his parents were before him,
+and the slow development by which New York has climbed upward has been
+part and parcel of his life. These are the days of a premature
+development or forcing of the artistic personality, usually expressed at
+some sacrifice of the prevailing characters and sentiment of his
+subject.
+
+To my mind the most distinctive quality of these drawings is found in
+the complete subjection of the artist to the spirit of the thing
+represented.
+
+Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
+and from the air has been exploited to such an extent as to destroy for
+the native New Yorker much of the impressiveness of this majestic
+panorama, but lower Manhattan as seen from within by the man in the
+street has a different kind of impressiveness and pictorially has
+hitherto been somewhat neglected. Five drawings are devoted to this
+theme--“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
+and “Exchange Place.” These five drawings as a group seem to me to
+represent the culmination of the artist’s achievement. They show a
+simplicity and ease of method, a definite conception and an admirable
+sureness of values and textures. In imaginative power and sinister
+suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
+and it is not like that, a creation of the imagination but a truthful
+characterization of locality. A second group of five are “The
+Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
+Municipal Building,” and “The Cathedral on the Avenue.”
+
+As these take us further up town into wider streets and more extended
+surfaces of sky, distance and silhouette become increasingly important
+in their composition, and what we lose in concentration we gain in tonal
+interest.
+
+“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
+Viaduct,” fall naturally into a third group. Here we have a different
+manifestation of energy, the architecture of the engineer, crisp and
+nervous in rendering, beautifully expressive of structure unadorned.
+
+If in the drawings thus far mentioned certain qualities of Piranesi,
+Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
+Soldiers’ and Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
+and “The Cathedral on the Heights,” there is equally a suggestion of
+Whistler. Less vigorous than the others in draughtsmanship, they are
+full of the suggestion of subdued color. By reason of the more subtle
+quality of their rendering, they lend themselves less readily to
+reproduction but even the reproductions convey beautiful impressions of
+shadowy foliage and quiet waters, bare, wind-swept branches and lonely
+spaces.
+
+It is safe to predict that if he continues his interest in charcoal as a
+medium, Peter Marcus will gradually and naturally acquire a more
+characteristic personal manner, but it will come from ease of mastery
+not from assumed eccentricity, and whatever he may achieve in future
+this series of drawings will stand as the most comprehensive and broadly
+discerning study of New York in its entirety that has yet been made.
+
+                           J. Monroe Hewlett
+                           _President of the
+                        Architectural League of
+                               New York_
+
+
+
+
+NEW YORK
+
+THE NATION’S METROPOLIS
+
+
+
+
+I
+
+TIMES SQUARE
+
+
+Times Square is at the juncture of Broadway, Seventh Avenue and
+Forty-second Street. It is the very heart of uptown Broadway. Not the
+downtown Broadway of finance and of towering buildings, but the Broadway
+of theatres, restaurants, gay crowds and bright lights. It is bustling,
+congested, whirling. It is in a constant state of being rebuilt and
+repaired. Its sidewalks are littered with timbers, pipes, derricks and
+showy women. One hears jazz music and Klaxtons. It is the playground of
+the pleasure seeker, the battleground of the taxis, the dream of the
+chorus girl on the road, and the nightmare of the traffic cop. It is
+white lights, green lights, red lights,--flashing, spinning and winking.
+It is noise, crowds, motion. Sun and storm, day and night it roars
+along, churning,--a whirlpool in a mighty river. Incongruous, incessant,
+enormous.
+
+[Illustration]
+
+
+
+
+II
+
+LOWER BROADWAY
+
+
+The changes in New York in the last hundred years have been almost
+fabulous and yet the greatest of all perhaps has been lower Broadway.
+The proud steeple of Trinity Church once dominated a scene of fashion.
+It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
+Brummel-like hats and directoire skirts, came grandly here to
+worship,--and meant it. To-day, one picnics in the church yard and eats
+luncheon bananas on the graves. The enormous buildings of commerce,
+finance and trade are filled to overflowing. Here is progress, wealth
+and unlimited resource. It is a tremendous hive full of golden honey.
+And it is doubtless very good. But it is also good that this small
+church of a bygone time, still stands undaunted,--respected among these
+colossal towers; and that it still brings from the past some of that
+calm strength that is of even more lasting stuff than the masonry of the
+church itself, and that through it, the spirit of Old New York still
+“carries on” in Lower Broadway.
+
+[Illustration]
+
+
+
+
+III
+
+EXCHANGE PLACE
+
+
+Running east from Broadway, just below Wall Street, is Exchange Place.
+It is a narrow street and a short, but it is not a little street. Huge
+buildings are its walls, which seem almost to meet overhead. Straight up
+they tower, face to face, staring at each other with countless eyes.
+Daily into these few buildings come thousands and thousands of people:
+old and young, gay and sad, financiers and office boys,--to work. It is
+a good-sized town in one street. It is a veritable cañon of the city.
+
+[Illustration]
+
+
+
+
+IV
+
+LOOKING WEST ON BROOKLYN BRIDGE
+
+
+One of the “Views of New York” most often pictured and most often
+snapped by amateur photographers is that of lower Manhattan as seen from
+a distance. And yet from a painting, photograph or drawing, who can feel
+what it is? As with pictures of the Grand Cañon, it seems impossible to
+realize the scale or to give the sense of its enormous size. To know
+what it is, one must have seen it. A picture, in this case, can only
+serve to refresh the memory of the man who knows.
+
+[Illustration]
+
+
+
+
+V
+
+THE CITY HALL
+
+
+Nothing better exemplifies the growth of New York than does the City
+Hall, standing as it does almost in the shadow of the Municipal
+Building. In the old days when it was the principal structure on City
+Hall Park, its three stories afforded ample room in which to carry on
+the city’s affairs. It now houses only four offices, including that of
+the Mayor and that of the Art Commission. The other city offices, and
+their number is astounding, are elsewhere. But although the city has
+grown beyond recognition, the City Hall has proudly kept its place, and
+is honored as is a venerable old man, a bit less active than he was
+perhaps, but still the dignified head of a noble house.
+
+[Illustration]
+
+
+
+
+VI
+
+WALL STREET
+
+
+Here is the force of the sea and the romance of a fairy tale. Here
+immense fortunes are won in a day and lost in less, and the hopes and
+savings of years vanish in an hour. Here are bank messengers who become
+millionnaires overnight and capitalists who awake penniless. It is the
+market of the whole country and of others. Here are corn and wheat
+heaped in huge confusion, millions of bales of cotton and barrels of
+oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
+bullion; raw gold and ore, coal, silver and copper, mounting to the
+clouds in glimmering pinnacles and smoking hills. And through it all and
+around it all, pulses the restless swing and change, the tireless tide
+of “the street.”
+
+And the traders! Giants and pygmies. Tumbling over each other, swarming,
+pushing, struggling. Here holding up a million head of cattle to the
+highest bidder, there beating down the price of a small nation. Here is
+a man beaten by a crowd for buying oil and there is another lying dead
+because he sold it. And away over there runs a little man who has
+succeeded in stealing a pig and is now scurrying off with it to safety.
+
+This mountainous market of hopes and of nations, of success and failure,
+of tragedy and comedy, of ships, steam, mines, and the lives of men,
+towering phantom-like and vast,--is Wall Street.
+
+[Illustration]
+
+
+
+
+VII
+
+THE OLD BRIDGE
+
+
+Brooklyn Bridge the first bridge between Manhattan and Long Island. The
+day of its opening was one of great public enthusiasm. Parties were
+given for walking or driving across the bridge, and that night half New
+York and Brooklyn were on the house-tops to watch it illuminated by
+fire-works. In those days it was called “_The_ Bridge.” But now since
+the Manhattan, the Williamsburg and the Queensboro bridges have been
+added to the East River giants, it has become “The _Old_ Bridge,” a name
+meaning many things to those who have known it from its beginning. Its
+erection was a long step towards close relationship between New York and
+the whole of Long Island.
+
+[Illustration]
+
+
+
+
+VIII
+
+THE TOMBS PRISON
+
+
+Who can look at a prison without being glad that he is not in it? At the
+corner of Lafayette and Franklin streets is the great gray pile that is
+the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
+and feudal castles; its heavy gateways,--medieval strongholds. Its high
+exterior wall and “Bridge of Sighs” make one remember the lugubrious
+histories of the Doge’s Palace and of the Tour de Nesle. Those inside
+bear the double burden of being imprisoned and of knowing that close
+about them is all the life of the great city: its lights, its
+restaurants, its countless activities and its friends. Yes, looking at
+the Tombs, grim as it is, makes one feel strangely fortunate.
+
+[Illustration]
+
+
+
+
+IX
+
+LOOKING WEST ALONG PECK SLIP
+
+
+If Father Knickerbocker should come over to New York on the Fulton
+Ferry, as in times gone by he used to do, when he had been visiting his
+respected neighbors on Brooklyn Heights; and if he should stand on South
+Street and look up Peck Slip and see it as it is to-day--how he would
+stare through his horn-rimmed spectacles and how his dear old heart
+would thump under his brass-buttoned coat! How he would pinch himself
+and wonder what it all could mean! What was that enormous shaft all
+white and glowing in the afternoon, rising eight hundred feet or eight
+thousand to the very sky? What were those towers, spires and turrets,
+soaring above the clouds, the brilliant sunlight gilding their countless
+feathers of steam and decking their phantom minarets with myriad
+candles? What _could_ it mean? Had he landed on Manhattan or was this
+some island built by fairies or by elves? Nay, this place was far too
+fair for that, and must be then the work of witchcraft and the devil. Or
+was it, after all, the same old place that he had known, but grown and
+glorified beyond belief? And when he finally realized this to be the
+case, Father Knickerbocker without doubt would be wondrous proud of his
+great-grandsons and of the New York of to-day.
+
+[Illustration]
+
+
+
+
+X
+
+THE PIER
+
+
+Like twin Colossi, silent amid the hum of cities and the whistling of a
+thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
+river’s gate.
+
+[Illustration]
+
+
+
+
+XI
+
+THE MUNICIPAL BUILDING
+
+
+Astride of Chamber Street at Park Row stands the Municipal Building.
+Under its roof are half a hundred commissions, departments, boards and
+bureaux that regulate such petty affairs as the highways, parks, water
+supply, bridges, taxes and fire-fighting for upwards of six millions of
+people. A gigantic task, and accomplished in a building well worthy of
+its responsibility.
+
+[Illustration]
+
+
+
+
+XII
+
+NEW YORK FROM FULTON FERRY
+
+
+Watching Manhattan as the boat comes near its shore, one seems to come
+under the spell of its incalculable weight, its stupendous mass of iron,
+brick and stone. It is oppressive, ominous. One feels the past, the
+present and the future; and the tremendous forces which must have worked
+together to produce this titanic offspring, to have spawned this
+mountain of precipices. One feels the hidden activity, the pitiless
+struggle going on beneath; yet a few puffs of smoke are all that betray
+the smouldering of the mighty fires. One lets one’s mind sink into the
+vast depths between, to see little humanity running here and there like
+ants amid the tangle of wires, tunnels and pipes. Little humanity that
+built it all.
+
+In the past, church spires rose majestic above the surrounding city. Now
+they are lost. The buildings of commerce, creeping high and higher, have
+struggled upward, climbing upon one another’s backs, and mounting each
+on the shoulder of each, in their ceaseless effort to be the tallest
+among their fellows. And just as it is among men and the rulers of men,
+as surely as one has gained the supremacy, has come another to surpass
+him, swinging upward yet another fifty, one hundred, or two hundred
+feet, and from their thousand brazen throats has boomed again the cry,
+“Long live the king!”
+
+Eight hundred feet towers the monarch of to-day. He is called
+“Woolworth,” and twelve thousand men live daily in his strength. His
+head is of gold but his feet are of clay, and who will be king
+to-morrow?
+
+And wondering, one looks up and up, above the mightiest of these kings,
+and yet above the very summit of his crown, and there one sees--the
+sunset.
+
+[Illustration]
+
+
+
+
+XIII
+
+THE METROPOLITAN TOWER
+
+
+The Home Office of the Metropolitan Life Insurance Co. is in the
+“Metropolitan Life Building.” It covers the whole block between Madison
+and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
+twenty-five acres. Its forty-odd-story tower dominates the whole of
+Madison Square and dwarfs its neighbors of a meagre twenty stories.
+Above the level of their roofs the face of a giant clock covers three
+stories of its front and stares unwinking at the thousands in the park.
+To old women and to newsboys, to strong men and to wasters, to honest
+and to sick, to those who read the columns under “Help Wanted--Male,”
+and to those who have gone far beyond doing so, to the restless and the
+lonely among the crowds, waiting for that thing to “turn up” that never,
+never does; to all these this ponderous clock points the passing of the
+minutes, hours, days,--of life itself: this clock, relentless as the
+sun, upon the _Life_ Insurance tower.
+
+[Illustration]
+
+
+
+
+XIV
+
+THE CATHEDRAL ON THE AVENUE
+
+
+Saint Patrick’s Cathedral on Fifth Avenue is the largest and finest
+Catholic church in the city. It is a magnificent structure, taking up
+the whole block between Fiftieth and Fifty-first streets and Madison
+Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
+best be seen. One longs to see it standing in a more open space and to
+see its beauties as a whole from further off as one now sees its spires,
+which are remarkable from nearby but glorious from a greater distance.
+
+[Illustration]
+
+
+
+
+XV
+
+QUEENSBORO BRIDGE
+
+
+Queensboro Bridge is the most northerly of Manhattan’s four East River
+bridges. Its mile and a half of mighty steel structure reaches from
+Second Avenue and Fifty-ninth Street well into Queens County, Long
+Island. Far below it in the middle of the river is Blackwells Island, on
+the south end of which is one of the city hospitals. The rest of this
+island is the cheerless home of an ever-changing group of those
+unfortunates, who through some unkind trick of fate have slipped, or
+have seemed to slip, into that uncharted realm vaguely called “Without
+the Law.”
+
+[Illustration]
+
+
+
+
+XVI
+
+FIFTH AVENUE AT FIFTY-NINTH STREET
+
+
+Whether under the régime of private or of business houses the region of
+Fifth Avenue at Fifty-ninth Street has been for a long time the
+luxury-centre of New York. On this enchanted soil is the well-known
+Vanderbilt home, one of the few dwellings that still resist the tide of
+business uptown to this point. Southward for miles “The Avenue” used to
+be the smartest residential street in the city. It is now the home of
+Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
+tear bottles, jades, and silken ankles. It is more dangerous to cross
+than the Continental Divide. It separates East from West in the city.
+
+[Illustration]
+
+
+
+
+XVII
+
+HELL GATE BRIDGE
+
+
+Hell Gate Bridge derives its name from the treacherous section of the
+East River which it crosses. It is a most important part in a wonderful
+piece of railroad engineering. At New Rochelle tracks lead from the old
+New York, New Haven and Hartford lines to Port Morris, from here over
+Hell Gate Bridge, through the Borough of Queens and Long Island City,
+under the East River and half of Manhattan, to come to the surface at
+the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
+over Bronx Kills and Randall’s Island, across Little Hell Gate and
+Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
+in Queens. It is six miles long. If laid over Manhattan it would reach
+from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
+Street. It is a remarkable link in the great chain between the two
+railroads. It obviates breaking bulk at New York, and connects Southern
+New England with “all points west.”
+
+[Illustration]
+
+
+
+
+XVIII
+
+THE SOLDIERS AND SAILORS MONUMENT
+
+
+It is not what some one may say, but what the Nation feels, that tells
+the story of the Soldiers and Sailors Monument.
+
+[Illustration]
+
+
+
+
+XIX
+
+THE CATHEDRAL ON THE HEIGHTS
+
+
+The Episcopal Cathedral of Saint John the Divine is the chief church of
+the diocese of New York. It stands on Morningside Heights, a magnificent
+site, from which it dominates all the surrounding city. Its enormous
+dome suggests that of Saint Peter’s and on the very pinnacle of the apse
+the angel Gabriel faces east, sounding the trumpet in an endless note of
+triumph.
+
+Viewing this structure, although as yet unfinished, one tries, almost in
+vain, to realize that it is to be still larger and more wonderful when
+fully completed, and when time has mellowed its stately stones and has
+hung about its walls the indescribable dignity of age.
+
+[Illustration]
+
+
+
+
+XX
+
+THE VIADUCT
+
+
+The Hudson and the Palisades combine in making “Riverside” one of the
+most naturally beautiful driveways in the world. Yet it owes much also
+to the workers of magic in steel. Northward from Grant’s Tomb and
+Claremont for half a mile or more it is upheld by giant arches of their
+making. Across a whole valley, this broad roadbed all glistening in the
+sun and streaked by the gay lines of endless pleasure traffic, rolls
+grandly on, supported by the silent strength of that great land bridge,
+the Viaduct.
+
+[Illustration]
+
+
+
+
+XXI
+
+GRANT’S TOMB
+
+
+The tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
+Riverside Drive is one of New York’s best known landmarks. A structure
+of impressive grandeur and large historic interest, it encourages the
+thousands of New Yorkers that pass it daily to look forward to the time
+when their city will be ennobled by a fitting memorial of the heroic
+officers and men of the great world war.
+
+[Illustration]
+
+
+
+
+XXII
+
+THE BATTLESHIP “OKLAHOMA” ON THE HUDSON
+
+
+It often seems more difficult to recognize beauty in things with which
+we are familiar than in those which are more foreign to us. The Hudson
+is, beyond question, as splendid a river as any of which European cities
+can boast, yet visitors to New York often seem to appreciate it more
+than do the New Yorkers themselves. Whether twinkling under myriad
+lights on a summer night, or storm lashed in January, the Hudson sweeps
+the whole west shore of Manhattan in lasting yet ever changing grandeur.
+Imagine yourself in an unknown, distant city, and watch the sun go
+gorgeously down behind the Palisades, while on the water its long
+reflection is ploughed to pieces by the river craft.
+
+[Illustration]
+
+
+
+
+XXIII
+
+HIGH BRIDGE
+
+
+Boldly across the Harlem River at One Hundred and Seventy-fourth Street
+stands High Bridge. It differs remarkably from other New York bridges in
+that it is built entirely of masonry. No steel construction, no
+suspension cable, no huge rolling lift or counter-poise relate it to the
+present dynasty of bridges. One hundred and thirty-five feet of solid
+stone it rises gray and enduring amid the surrounding green. Surely it
+belongs to the Old World and to another time, and looking through its
+arches one half expects to see the towers and battlements of some old
+chateau, clear cut against the sky. One may even fancy,--but here a
+blunt-nosed tug rams puffing up against the tide, smoke belching from
+its stumpy funnel, the water churned to froth; and one has lost the
+wonders of the past in wonders of to-day.
+
+[Illustration]
+
+
+
+
+XXIV
+
+WASHINGTON BRIDGE
+
+
+Washington Bridge is one of the many arteries that join the Borough of
+the Bronx with Manhattan, and in thus connecting its enormous area and
+population with the rest of the metropolis, is a material factor in
+making New York the foremost city of the country.
+
+[Illustration]
+
+
+
+
+XXV
+
+THE GRAND CENTRAL STATION
+
+
+The Grand Central is one of the finest railroad stations in the country.
+Fronting on Forty-second it extends to Forty-fifth Street and from
+Vanderbilt Avenue to Lexington. The group of figures forming the clock
+cartouche above its main façade is a piece of masterly sculpture. Its
+main hall is gigantic. The system with which its hundreds of trains
+arrive and depart is little less than magical. Yet greater far than
+these is the story of the crowds that come to New York on these trains,
+and the mass of hopes and aspirations that they bring to the city
+through this great gate. And of all who come buoyant, confident and
+convinced that they will wrest success from this thronging mart of
+millions,--how few achieve! And yet, though comparatively few, these
+victors form so vast an army that they many times outnumber the
+successful sons of the city, and are a mighty force in the making of New
+York, the Metropolis of the Nation.
+
+[Illustration]
+
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+<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
+<title>
+  The Project Gutenberg eBook of New York, by Peter Marcus.
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of New York, by Peter Marcus</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
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+country where you are located before using this eBook.
+</div>
+
+<table style='min-width:0; padding:0; margin-left:0; border-collapse:collapse'>
+  <tr><td>Title:</td><td>New York</td></tr>
+  <tr><td></td><td>The Nation's Metropolis</td></tr>
+</table>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Peter Marcus</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Contributor: J. Monroe (James Monroe) Hewlett</div>
+
+<div style='display:block; margin:1em 0'>Release Date: February 16, 2021 [eBook #64572]</div>
+
+<div style='display:block; margin:1em 0'>Language: English</div>
+
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif, ellinora and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</div>
+
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK NEW YORK ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg" height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
+
+<p class="c">
+NEW YORK<br />
+THE NATION’S METROPOLIS</p>
+
+<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<a href="images/frontispiece.jpg">
+<img src="images/frontispiece.jpg" height="550"
+alt="[Image unavailable.]" /></a>
+</div>
+
+<h1><span class="redd">
+NEW YORK</span><br />
+<br />
+THE NATION’S METROPOLIS</h1>
+
+<p class="c">BY<br />
+<br />
+PETER MARCUS<br />
+<br />
+<br />
+<i>WITH AN APPRECIATION BY</i><br />
+<br />
+J. MONROE HEWLETT<br />
+<br /><small>
+PRESIDENT OF THE ARCHITECTURAL LEAGUE<br />
+OF NEW YORK</small><br />
+<br /><br />
+<img src="images/colophon.jpg"
+width="100"
+alt=""
+/><br />
+<br />
+NEW YORK<br />
+<span class="redd">BRENTANO’S</span><br />
+PUBLISHERS<br /></p>
+
+<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span>&nbsp; </p>
+
+<p class="c"><small>COPYRIGHT, 1921, BY<br />
+BRENTANO’S<br />
+<br />
+<i>All rights reserved</i><br />
+<br />
+<br />
+THE PLIMPTON PRESS<br />
+NORWOOD·MASS·U·S·A<br /></small>
+<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p>
+
+<hr />
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td class="rt" valign="top"><a href="#I">I.</a></td><td class="pdd"><a href="#I"><i>Times Square.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#II">II.</a></td><td class="pdd"><a href="#II"><i>Lower Broadway.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#III">III.</a></td><td class="pdd"><a href="#III"><i>Exchange Place.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#IV">IV.</a></td><td class="pdd"><a href="#IV"><i>Looking West on Brooklyn Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#V">V.</a></td><td class="pdd"><a href="#V"><i>The City Hall.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VI">VI.</a></td><td class="pdd"><a href="#VI"><i>Wall Street.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VII">VII.</a></td><td class="pdd"><a href="#VII"><i>The Old Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#VIII">VIII.</a></td><td class="pdd"><a href="#VIII"><i>The Tombs Prison.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#IX">IX.</a></td><td class="pdd"><a href="#IX"><i>Looking West Along Peck Slip.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#X">X.</a></td><td class="pdd"><a href="#X"><i>The East Pier, Brooklyn Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XI">XI.</a></td><td class="pdd"><a href="#XI"><i>The Municipal Building.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XII">XII.</a></td><td class="pdd"><a href="#XII"><i>New York from Fulton Ferry.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIII">XIII.</a></td><td class="pdd"><a href="#XIII"><i>The Metropolitan Tower.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIV">XIV.</a></td><td class="pdd"><a href="#XIV"><i>The Cathedral on the Avenue.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XV">XV.</a></td><td class="pdd"><a href="#XV"><i>Queensboro Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVI">XVI.</a></td><td class="pdd"><a href="#XVI"><i>Fifth Avenue at Fifty-ninth Street.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVII">XVII.</a></td><td class="pdd"><a href="#XVII"><i>Hell Gate Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XVIII">XVIII.</a></td><td class="pdd"><a href="#XVIII"><i>Soldiers and Sailors Monument.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XIX">XIX.</a></td><td class="pdd"><a href="#XIX"><i>The Cathedral on the Heights.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XX">XX.</a></td><td class="pdd"><a href="#XX"><i>The Viaduct.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXI">XXI.</a></td><td class="pdd"><a href="#XXI"><i>Grant’s Tomb.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXII">XXII.</a></td><td class="pdd"><a href="#XXII"><i>The Battleship “Oklahoma” on the Hudson.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXIII">XXIII.</a></td><td class="pdd"><a href="#XXIII"><i>High Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXIV">XXIV.</a></td><td class="pdd"><a href="#XXIV"><i>Washington Bridge.</i></a></td></tr>
+<tr><td class="rt" valign="top"><a href="#XXV">XXV.</a></td><td class="pdd"><a href="#XXV"><i>Grand Central Station.</i></a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>&nbsp; </p>
+
+<hr />
+
+<h2>NEW YORK<br /><br />
+THE CITY OF VIOLENT CONTRASTS</h2>
+
+<p class="nind"><span class="letra">N</span>EW YORK is preëminently the City of Violent Contrasts. Towering shafts
+of brick and stone and steel, soaring traceries of cables, derricks,
+girders and electric signs, smooth stretches of gray asphalt, subway and
+sewer excavations, broad harbors and stately ships, oily canals and
+garbage dumps, classic columns, gilded domes, palaces and shanties,
+parks and fountains, factory chimneys and gas tanks; these are a few of
+the items that occur in this as in other cities, but nowhere else are
+these and other manifestations of beauty and ugliness, prosperity and
+squalor brought into such vivid and striking relief, and of no other
+city can we say with equal truth that it defies the effort to summarize
+briefly its typical characteristics. Fragments and details suggestive of
+widely differing phases of its life persistently force themselves into a
+single picture without regard to orderly classification or proper
+dramatic sequence.</p>
+
+<p>Appreciation of the beauty of nature as undisturbed by man seems
+inherent in our race, but man in his material progress is constantly
+defacing nature, constantly destroying, constantly substituting forms
+and arrangements dictated by utility, not by beauty, and<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> shocking to
+our finer instincts. Then imagination steps in and gradually invests
+these new forms with new meanings derived from history, logic, romance,
+symbolism and pure poetic fancy. Some are condemned and discarded as
+unnecessary or useless, while others at first glance equally ugly
+acquire a significance and a soul. Of him who would interpret such a
+theme as New York our first demand must therefore be prophetic vision.</p>
+
+<p>To the artist who seeks to penetrate the outer surfaces of his subject
+and to suggest and interpret an activity, a creative power, a vastness
+of scale and a variety of functions beyond human power to portray,
+charcoal is a most, perhaps the most, inspiring medium. It is surely the
+medium that most readily lends itself to the simultaneous expression of
+form, mass, line and tone.</p>
+
+<p>Hopkinson Smith once said that Venice is nothing but air and water.
+There all else has been so softened and moulded and enveloped as to
+become part and parcel of sea and cloud. The portrayal of this is
+preëminently a painter’s job. But New York, in addition to being a lot
+of other things, is a Venice in the making, and all the ugly
+paraphernalia by means of which this making is slowly going forward, all
+the unlovely processes, physical and chemical, structural and
+commercial, must be recognized and expressed and by the light of poetic
+vision be made a part of its beauty and romance.</p>
+
+<p>A painter might perhaps strive to envelope and obscure whatever seemed
+objectionable in a glory of<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> color. An architect might lay undue stress
+upon the many examples of distinction in the work of his craft, which
+are often all but details in a vast scheme. The pictorial expression of
+New York requires a blending of the view points of the painter and the
+architect in which both contribute to an image of something not yet
+realized, perhaps never to be fully realized, and help in dramatizing
+the struggle towards that thing.</p>
+
+<p>Peter Marcus is a painter not an architect, but he is also a designer
+experienced in the goldsmith’s craft and there is evident in these
+charcoal studies a pleasure in the delineation of the tracery of bridge
+cables and trusses, derricks, scaffolding and electric signs, that in
+contrast with his broad and greatly simplified expressions of
+architectural form and detail, adds vastly to the eloquence of his work.
+Furthermore, he is a native of New York as his parents were before him,
+and the slow development by which New York has climbed upward has been
+part and parcel of his life. These are the days of a premature
+development or forcing of the artistic personality, usually expressed at
+some sacrifice of the prevailing characters and sentiment of his
+subject.</p>
+
+<p>To my mind the most distinctive quality of these drawings is found in
+the complete subjection of the artist to the spirit of the thing
+represented.</p>
+
+<p>Lower Manhattan from the harbor, from Brooklyn, from across the Hudson
+and from the air has been exploited to such an extent as to destroy for
+the native New Yorker much of the impressiveness of this majestic
+panorama, but lower Manhattan as seen from<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> within by the man in the
+street has a different kind of impressiveness and pictorially has
+hitherto been somewhat neglected. Five drawings are devoted to this
+theme&mdash;“Lower Broadway,” “Wall Street,” “The City Hall,” “The Tombs,”
+and “Exchange Place.” These five drawings as a group seem to me to
+represent the culmination of the artist’s achievement. They show a
+simplicity and ease of method, a definite conception and an admirable
+sureness of values and textures. In imaginative power and sinister
+suggestion, “Exchange Place” brings to mind Bochlin’s “Isle of the Dead”
+and it is not like that, a creation of the imagination but a truthful
+characterization of locality. A second group of five are “The
+Metropolitan Tower,” “Times Square,” “Grand Central Station,” “The
+Municipal Building,” and “The Cathedral on the Avenue.”</p>
+
+<p>As these take us further up town into wider streets and more extended
+surfaces of sky, distance and silhouette become increasingly important
+in their composition, and what we lose in concentration we gain in tonal
+interest.</p>
+
+<p>“The Old Bridge,” “Washington Bridge,” “Queensboro Bridge,” and “The
+Viaduct,” fall naturally into a third group. Here we have a different
+manifestation of energy, the architecture of the engineer, crisp and
+nervous in rendering, beautifully expressive of structure unadorned.</p>
+
+<p>If in the drawings thus far mentioned certain qualities of Piranesi,
+Méryon and Brangwyn are brought to mind; in “High Bridge,” “The
+Soldiers’ and<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Sailors’ Monument,” “Hell Gate Bridge,” “Grant’s Tomb,”
+and “The Cathedral on the Heights,” there is equally a suggestion of
+Whistler. Less vigorous than the others in draughtsmanship, they are
+full of the suggestion of subdued color. By reason of the more subtle
+quality of their rendering, they lend themselves less readily to
+reproduction but even the reproductions convey beautiful impressions of
+shadowy foliage and quiet waters, bare, wind-swept branches and lonely
+spaces.</p>
+
+<p>It is safe to predict that if he continues his interest in charcoal as a
+medium, Peter Marcus will gradually and naturally acquire a more
+characteristic personal manner, but it will come from ease of mastery
+not from assumed eccentricity, and whatever he may achieve in future
+this series of drawings will stand as the most comprehensive and broadly
+discerning study of New York in its entirety that has yet been made.</p>
+
+<p class="r"><span style="margin-right: 6em;">
+<span class="smcap">J. Monroe Hewlett</span></span><br />
+<span style="margin-right: 4em;"><i>President of the</i></span><br />
+<i>Architectural League of</i><br />
+<span style="margin-right: 2em;"><i>New York</i></span><br />
+</p>
+
+<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>&nbsp; </p>
+
+<hr />
+
+<h1>NEW YORK<br /><br />
+THE NATION’S METROPOLIS</h1>
+
+<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
+
+<hr />
+
+<h2><a name="I" id="I"></a>I<br /><br />
+TIMES SQUARE</h2>
+
+<p class="nind"><span class="letra">T</span>IMES SQUARE is at the juncture of Broadway, Seventh Avenue and
+Forty-second Street. It is the very heart of uptown Broadway. Not the
+downtown Broadway of finance and of towering buildings, but the Broadway
+of theatres, restaurants, gay crowds and bright lights. It is bustling,
+congested, whirling. It is in a constant state of being rebuilt and
+repaired. Its sidewalks are littered with timbers, pipes, derricks and
+showy women. One hears jazz music and Klaxtons. It is the playground of
+the pleasure seeker, the battleground of the taxis, the dream of the
+chorus girl on the road, and the nightmare of the traffic cop. It is
+white lights, green lights, red lights,&mdash;flashing, spinning and winking.
+It is noise, crowds, motion. Sun and storm, day and night it roars
+along, churning,&mdash;a whirlpool in a mighty river. Incongruous, incessant,
+enormous.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
+
+<hr />
+
+<h2><a name="II" id="II"></a>II<br /><br />
+LOWER BROADWAY</h2>
+
+<p class="nind"><span class="letra">T</span>HE changes in New York in the last hundred years have been almost
+fabulous and yet the greatest of all perhaps has been lower Broadway.
+The proud steeple of Trinity Church once dominated a scene of fashion.
+It is now surrounded, dwarfed, overshadowed. Once Beaux and Belles, in
+Brummel-like hats and directoire skirts, came grandly here to
+worship,&mdash;and meant it. To-day, one picnics in the church yard and eats
+luncheon bananas on the graves. The enormous buildings of commerce,
+finance and trade are filled to overflowing. Here is progress, wealth
+and unlimited resource. It is a tremendous hive full of golden honey.
+And it is doubtless very good. But it is also good that this small
+church of a bygone time, still stands undaunted,&mdash;respected among these
+colossal towers; and that it still brings from the past some of that
+calm strength that is of even more lasting stuff than the masonry of the
+church itself, and that through it, the spirit of Old New York still
+“carries on” in Lower Broadway.<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
+
+<hr />
+
+<h2><a name="III" id="III"></a>III<br /><br />
+EXCHANGE PLACE</h2>
+
+<p class="nind"><span class="letra">R</span>UNNING east from Broadway, just below Wall Street, is Exchange Place.
+It is a narrow street and a short, but it is not a little street. Huge
+buildings are its walls, which seem almost to meet overhead. Straight up
+they tower, face to face, staring at each other with countless eyes.
+Daily into these few buildings come thousands and thousands of people:
+old and young, gay and sad, financiers and office boys,&mdash;to work. It is
+a good-sized town in one street. It is a veritable cañon of the city.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
+
+<hr />
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+LOOKING WEST ON BROOKLYN BRIDGE</h2>
+
+<p class="nind"><span class="letra">O</span>NE of the “Views of New York” most often pictured and most often
+snapped by amateur photographers is that of lower Manhattan as seen from
+a distance. And yet from a painting, photograph or drawing, who can feel
+what it is? As with pictures of the Grand Cañon, it seems impossible to
+realize the scale or to give the sense of its enormous size. To know
+what it is, one must have seen it. A picture, in this case, can only
+serve to refresh the memory of the man who knows.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
+
+<hr />
+
+<h2><a name="V" id="V"></a>V<br /><br />
+THE CITY HALL</h2>
+
+<p class="nind"><span class="letra">N</span>OTHING better exemplifies the growth of New York than does the City
+Hall, standing as it does almost in the shadow of the Municipal
+Building. In the old days when it was the principal structure on City
+Hall Park, its three stories afforded ample room in which to carry on
+the city’s affairs. It now houses only four offices, including that of
+the Mayor and that of the Art Commission. The other city offices, and
+their number is astounding, are elsewhere. But although the city has
+grown beyond recognition, the City Hall has proudly kept its place, and
+is honored as is a venerable old man, a bit less active than he was
+perhaps, but still the dignified head of a noble house.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
+
+<hr />
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+WALL STREET</h2>
+
+<p class="nind"><span class="letra">H</span>ERE is the force of the sea and the romance of a fairy tale. Here
+immense fortunes are won in a day and lost in less, and the hopes and
+savings of years vanish in an hour. Here are bank messengers who become
+millionnaires overnight and capitalists who awake penniless. It is the
+market of the whole country and of others. Here are corn and wheat
+heaped in huge confusion, millions of bales of cotton and barrels of
+oil, high-piled above the sky-scrapers. Railroads, steamers, banks and
+bullion; raw gold and ore, coal, silver and copper, mounting to the
+clouds in glimmering pinnacles and smoking hills. And through it all and
+around it all, pulses the restless swing and change, the tireless tide
+of “the street.”</p>
+
+<p>And the traders! Giants and pygmies. Tumbling over each other, swarming,
+pushing, struggling. Here holding up a million head of cattle to the
+highest bidder, there beating down the price of a small nation. Here is
+a man beaten by a crowd for buying oil and there is another lying dead
+because he sold it. And away over there runs a little man who has
+succeeded in stealing a pig and is now scurrying off with it to safety.</p>
+
+<p>This mountainous market of hopes and of nations, of success and failure,
+of tragedy and comedy, of ships, steam, mines, and the lives of men,
+towering phantom-like and vast,&mdash;is Wall Street.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
+
+<hr />
+
+<h2><a name="VII" id="VII"></a>VII<br /><br />
+THE OLD BRIDGE</h2>
+
+<p class="nind"><span class="letra">B</span>ROOKLYN BRIDGE the first bridge between Manhattan and Long Island. The
+day of its opening was one of great public enthusiasm. Parties were
+given for walking or driving across the bridge, and that night half New
+York and Brooklyn were on the house-tops to watch it illuminated by
+fire-works. In those days it was called “<i>The</i> Bridge.” But now since
+the Manhattan, the Williamsburg and the Queensboro bridges have been
+added to the East River giants, it has become “The <i>Old</i> Bridge,” a name
+meaning many things to those who have known it from its beginning. Its
+erection was a long step towards close relationship between New York and
+the whole of Long Island.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p>
+
+<hr />
+
+<h2><a name="VIII" id="VIII"></a>VIII<br /><br />
+THE TOMBS PRISON</h2>
+
+<p class="nind"><span class="letra">W</span>HO can look at a prison without being glad that he is not in it? At the
+corner of Lafayette and Franklin streets is the great gray pile that is
+the Tombs. Its turrets, towers and narrow windows suggest dungeon keeps
+and feudal castles; its heavy gateways,&mdash;medieval strongholds. Its high
+exterior wall and “Bridge of Sighs” make one remember the lugubrious
+histories of the Doge’s Palace and of the Tour de Nesle. Those inside
+bear the double burden of being imprisoned and of knowing that close
+about them is all the life of the great city: its lights, its
+restaurants, its countless activities and its friends. Yes, looking at
+the Tombs, grim as it is, makes one feel strangely fortunate.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p>
+
+<hr />
+
+<h2><a name="IX" id="IX"></a>IX<br /><br />
+LOOKING WEST ALONG PECK SLIP</h2>
+
+<p class="nind"><span class="letra">I</span>F Father Knickerbocker should come over to New York on the Fulton
+Ferry, as in times gone by he used to do, when he had been visiting his
+respected neighbors on Brooklyn Heights; and if he should stand on South
+Street and look up Peck Slip and see it as it is to-day&mdash;how he would
+stare through his horn-rimmed spectacles and how his dear old heart
+would thump under his brass-buttoned coat! How he would pinch himself
+and wonder what it all could mean! What was that enormous shaft all
+white and glowing in the afternoon, rising eight hundred feet or eight
+thousand to the very sky? What were those towers, spires and turrets,
+soaring above the clouds, the brilliant sunlight gilding their countless
+feathers of steam and decking their phantom minarets with myriad
+candles? What <i>could</i> it mean? Had he landed on Manhattan or was this
+some island built by fairies or by elves? Nay, this place was far too
+fair for that, and must be then the work of witchcraft and the devil. Or
+was it, after all, the same old place that he had known, but grown and
+glorified beyond belief? And when he finally realized this to be the
+case, Father Knickerbocker without doubt would be wondrous proud of his
+great-grandsons and of the New York of to-day.<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p>
+
+<hr />
+
+<h2><a name="X" id="X"></a>X<br /><br />
+THE PIER</h2>
+
+<p class="nind"><span class="letra">L</span>IKE twin Colossi, silent amid the hum of cities and the whistling of a
+thousand boats, the grim piers of Brooklyn Bridge stand sentry at the
+river’s gate.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<hr />
+
+<h2><a name="XI" id="XI"></a>XI<br /><br />
+THE MUNICIPAL BUILDING</h2>
+
+<p class="nind"><span class="letra">A</span>STRIDE of Chamber Street at Park Row stands the Municipal Building.
+Under its roof are half a hundred commissions, departments, boards and
+bureaux that regulate such petty affairs as the highways, parks, water
+supply, bridges, taxes and fire-fighting for upwards of six millions of
+people. A gigantic task, and accomplished in a building well worthy of
+its responsibility.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
+
+<hr />
+
+<h2><a name="XII" id="XII"></a>XII<br /><br />
+NEW YORK FROM FULTON FERRY</h2>
+
+<p class="nind"><span class="letra">W</span>ATCHING Manhattan as the boat comes near its shore, one seems to come
+under the spell of its incalculable weight, its stupendous mass of iron,
+brick and stone. It is oppressive, ominous. One feels the past, the
+present and the future; and the tremendous forces which must have worked
+together to produce this titanic offspring, to have spawned this
+mountain of precipices. One feels the hidden activity, the pitiless
+struggle going on beneath; yet a few puffs of smoke are all that betray
+the smouldering of the mighty fires. One lets one’s mind sink into the
+vast depths between, to see little humanity running here and there like
+ants amid the tangle of wires, tunnels and pipes. Little humanity that
+built it all.</p>
+
+<p>In the past, church spires rose majestic above the surrounding city. Now
+they are lost. The buildings of commerce, creeping high and higher, have
+struggled upward, climbing upon one another’s backs, and mounting each
+on the shoulder of each, in their ceaseless effort to be the tallest
+among their fellows. And just as it is among men and the rulers of men,
+as surely as one has gained the supremacy, has come another to surpass
+him, swinging upward yet another fifty, one hundred, or two hundred
+feet, and from their thousand brazen throats has boomed again the cry,
+“Long live the king!”</p>
+
+<p>Eight hundred feet towers the monarch of to-day. He is called
+“Woolworth,” and twelve thousand men live daily in his strength. His
+head is of gold but his feet are of clay, and who will be king
+to-morrow?</p>
+
+<p>And wondering, one looks up and up, above the mightiest of these kings,
+and yet above the very summit of his crown, and there one sees&mdash;the
+sunset.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<hr />
+
+<h2><a name="XIII" id="XIII"></a>XIII<br /><br />
+THE METROPOLITAN TOWER</h2>
+
+<p class="nind"><span class="letra">T</span>HE Home Office of the Metropolitan Life Insurance Co. is in the
+“Metropolitan Life Building.” It covers the whole block between Madison
+and Fourth Avenues and from Twenty-third to Twenty-fourth streets: some
+twenty-five acres. Its forty-odd-story tower dominates the whole of
+Madison Square and dwarfs its neighbors of a meagre twenty stories.
+Above the level of their roofs the face of a giant clock covers three
+stories of its front and stares unwinking at the thousands in the park.
+To old women and to newsboys, to strong men and to wasters, to honest
+and to sick, to those who read the columns under “Help Wanted&mdash;Male,”
+and to those who have gone far beyond doing so, to the restless and the
+lonely among the crowds, waiting for that thing to “turn up” that never,
+never does; to all these this ponderous clock points the passing of the
+minutes, hours, days,&mdash;of life itself: this clock, relentless as the
+sun, upon the <i>Life</i> Insurance tower.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p>
+
+<hr />
+
+<h2><a name="XIV" id="XIV"></a>XIV<br /><br />
+THE CATHEDRAL ON THE AVENUE</h2>
+
+<p class="nind"><span class="letra">S</span>AINT PATRICK’S CATHEDRAL on Fifth Avenue is the largest and finest
+Catholic church in the city. It is a magnificent structure, taking up
+the whole block between Fiftieth and Fifty-first streets and Madison
+Avenue. It fronts, of course, on Fifth Avenue, from where perhaps it can
+best be seen. One longs to see it standing in a more open space and to
+see its beauties as a whole from further off as one now sees its spires,
+which are remarkable from nearby but glorious from a greater distance.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p>
+
+<hr />
+
+<h2><a name="XV" id="XV"></a>XV<br /><br />
+QUEENSBORO BRIDGE</h2>
+
+<p class="nind"><span class="letra">Q</span>UEENSBORO BRIDGE is the most northerly of Manhattan’s four East River
+bridges. Its mile and a half of mighty steel structure reaches from
+Second Avenue and Fifty-ninth Street well into Queens County, Long
+Island. Far below it in the middle of the river is Blackwells Island, on
+the south end of which is one of the city hospitals. The rest of this
+island is the cheerless home of an ever-changing group of those
+unfortunates, who through some unkind trick of fate have slipped, or
+have seemed to slip, into that uncharted realm vaguely called “Without
+the Law.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>”</p>
+
+<div class="figcenter">
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
+
+<hr />
+
+<h2><a name="XVI" id="XVI"></a>XVI<br /><br />
+FIFTH AVENUE AT FIFTY-NINTH STREET</h2>
+
+<p class="nind"><span class="letra">W</span>HETHER under the régime of private or of business houses the region of
+Fifth Avenue at Fifty-ninth Street has been for a long time the
+luxury-centre of New York. On this enchanted soil is the well-known
+Vanderbilt home, one of the few dwellings that still resist the tide of
+business uptown to this point. Southward for miles “The Avenue” used to
+be the smartest residential street in the city. It is now the home of
+Rembrandts, pearls, sables, Rolls Royces beyond number, first editions,
+tear bottles, jades, and silken ankles. It is more dangerous to cross
+than the Continental Divide. It separates East from West in the city.<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p>
+
+<hr />
+
+<h2><a name="XVII" id="XVII"></a>XVII<br /><br />
+HELL GATE BRIDGE</h2>
+
+<p class="nind"><span class="letra">H</span>ELL GATE BRIDGE derives its name from the treacherous section of the
+East River which it crosses. It is a most important part in a wonderful
+piece of railroad engineering. At New Rochelle tracks lead from the old
+New York, New Haven and Hartford lines to Port Morris, from here over
+Hell Gate Bridge, through the Borough of Queens and Long Island City,
+under the East River and half of Manhattan, to come to the surface at
+the Pennsylvania Station. Hell Gate Bridge runs from above Port Morris
+over Bronx Kills and Randall’s Island, across Little Hell Gate and
+Ward’s Island, and last, with its huge span, over Hell Gate to Astoria
+in Queens. It is six miles long. If laid over Manhattan it would reach
+from Wanamaker’s store at Eighth Street, to One Hundred and Twenty-fifth
+Street. It is a remarkable link in the great chain between the two
+railroads. It obviates breaking bulk at New York, and connects Southern
+New England with “all points west.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span>”</p>
+
+<div class="figcenter">
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
+
+<hr />
+
+<h2><a name="XVIII" id="XVIII"></a>XVIII<br /><br />
+THE SOLDIERS AND SAILORS MONUMENT</h2>
+
+<p class="nind"><span class="letra">I</span>T is not what some one may say, but what the Nation feels, that tells
+the story of the Soldiers and Sailors Monument.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<hr />
+
+<h2><a name="XIX" id="XIX"></a>XIX<br /><br />
+THE CATHEDRAL ON THE HEIGHTS</h2>
+
+<p class="nind"><span class="letra">T</span>HE EPISCOPAL CATHEDRAL of Saint John the Divine is the chief church of
+the diocese of New York. It stands on Morningside Heights, a magnificent
+site, from which it dominates all the surrounding city. Its enormous
+dome suggests that of Saint Peter’s and on the very pinnacle of the apse
+the angel Gabriel faces east, sounding the trumpet in an endless note of
+triumph.</p>
+
+<p>Viewing this structure, although as yet unfinished, one tries, almost in
+vain, to realize that it is to be still larger and more wonderful when
+fully completed, and when time has mellowed its stately stones and has
+hung about its walls the indescribable dignity of age.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
+
+<hr />
+
+<h2><a name="XX" id="XX"></a>XX<br /><br />
+THE VIADUCT</h2>
+
+<p class="nind"><span class="letra">T</span>HE HUDSON and the Palisades combine in making “Riverside” one of the
+most naturally beautiful driveways in the world. Yet it owes much also
+to the workers of magic in steel. Northward from Grant’s Tomb and
+Claremont for half a mile or more it is upheld by giant arches of their
+making. Across a whole valley, this broad roadbed all glistening in the
+sun and streaked by the gay lines of endless pleasure traffic, rolls
+grandly on, supported by the silent strength of that great land bridge,
+the Viaduct.<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
+
+<hr />
+
+<h2><a name="XXI" id="XXI"></a>XXI<br /><br />
+GRANT’S TOMB</h2>
+
+<p class="nind"><span class="letra">T</span>HE tomb of Ulysses S. Grant at One Hundred and Twenty-second Street and
+Riverside Drive is one of New York’s best known landmarks. A structure
+of impressive grandeur and large historic interest, it encourages the
+thousands of New Yorkers that pass it daily to look forward to the time
+when their city will be ennobled by a fitting memorial of the heroic
+officers and men of the great world war.<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
+
+<hr />
+
+<h2><a name="XXII" id="XXII"></a>XXII<br /><br />
+THE BATTLESHIP “OKLAHOMA” ON THE HUDSON</h2>
+
+<p class="nind"><span class="letra">I</span>T often seems more difficult to recognize beauty in things with which
+we are familiar than in those which are more foreign to us. The Hudson
+is, beyond question, as splendid a river as any of which European cities
+can boast, yet visitors to New York often seem to appreciate it more
+than do the New Yorkers themselves. Whether twinkling under myriad
+lights on a summer night, or storm lashed in January, the Hudson sweeps
+the whole west shore of Manhattan in lasting yet ever changing grandeur.
+Imagine yourself in an unknown, distant city, and watch the sun go
+gorgeously down behind the Palisades, while on the water its long
+reflection is ploughed to pieces by the river craft.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p>
+
+<hr />
+
+<h2><a name="XXIII" id="XXIII"></a>XXIII<br /><br />
+HIGH BRIDGE</h2>
+
+<p class="nind"><span class="letra">B</span>OLDLY across the Harlem River at One Hundred and Seventy-fourth Street
+stands High Bridge. It differs remarkably from other New York bridges in
+that it is built entirely of masonry. No steel construction, no
+suspension cable, no huge rolling lift or counter-poise relate it to the
+present dynasty of bridges. One hundred and thirty-five feet of solid
+stone it rises gray and enduring amid the surrounding green. Surely it
+belongs to the Old World and to another time, and looking through its
+arches one half expects to see the towers and battlements of some old
+chateau, clear cut against the sky. One may even fancy,&mdash;but here a
+blunt-nosed tug rams puffing up against the tide, smoke belching from
+its stumpy funnel, the water churned to froth; and one has lost the
+wonders of the past in wonders of to-day.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
+
+<hr />
+
+<h2><a name="XXIV" id="XXIV"></a>XXIV<br /><br />
+WASHINGTON BRIDGE</h2>
+
+<p class="nind"><span class="letra">W</span>ASHINGTON BRIDGE is one of the many arteries that join the Borough of
+the Bronx with Manhattan, and in thus connecting its enormous area and
+population with the rest of the metropolis, is a material factor in
+making New York the foremost city of the country.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
+
+<hr />
+
+<h2><a name="XXV" id="XXV"></a>XXV<br /><br />
+THE GRAND CENTRAL STATION</h2>
+
+<p class="nind"><span class="letra">T</span>HE GRAND CENTRAL is one of the finest railroad stations in the country.
+Fronting on Forty-second it extends to Forty-fifth Street and from
+Vanderbilt Avenue to Lexington. The group of figures forming the clock
+cartouche above its main façade is a piece of masterly sculpture. Its
+main hall is gigantic. The system with which its hundreds of trains
+arrive and depart is little less than magical. Yet greater far than
+these is the story of the crowds that come to New York on these trains,
+and the mass of hopes and aspirations that they bring to the city
+through this great gate. And of all who come buoyant, confident and
+convinced that they will wrest success from this thronging mart of
+millions,&mdash;how few achieve! And yet, though comparatively few, these
+victors form so vast an army that they many times outnumber the
+successful sons of the city, and are a mighty force in the making of New
+York, the Metropolis of the Nation.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<div class="figcenter">
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg" height="550" alt="[Image unavailable.]" /></a>
+</div>
+
+<hr class="full" />
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author	nfenwick <nfenwick@pglaf.org>	2025-01-23 09:30:14 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-01-23 09:30:14 -0800
commit	995b89735a9813f5265e9a8251b61674f84554a4 (patch)
tree	04648d6f947cf3a6b0b9d2769d18d0b3c1be8b50
parent	91dd6c186eab76112c7f9530a7856208b26595a6 (diff)