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diff --git a/old/64572-0.txt b/old/64572-0.txt deleted file mode 100644 index 08b24ac..0000000 --- a/old/64572-0.txt +++ /dev/null @@ -1,1130 +0,0 @@ -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] - -*** END OF THE PROJECT GUTENBERG EBOOK NEW YORK *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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