Welcome to Terminal City—a Midtown district that generated big excitement in the early 1900s

April 7, 2025

When plans for a new Grand Central Terminal were approved by city officials in 1903, it seemed like New York City was finally entering the era of modern transportation.

Trains would now be electrified and run entirely underground. No more smoky steam locomotives, no more open tracks creating danger on Park Avenue.

The roofing and paving over of train tunnels wasn’t just safer; it created lots of new real estate. Enter Terminal City, the name of a modern residential and commercial district occupying the streets between Madison and Lexington Avenues north of Grand Central Terminal.

“Among the earliest concepts were a 20-story tower over the terminal itself, and an adjacent hotel, later erected as the Biltmore, from Vanderbilt to Madison Avenue, between 43rd and 44th Streets,” wrote Christopher Gray in a New York Times column in 2010.

By the time Grand Central Terminal opened in 1913, Terminal City was a hotly desired address. No, it didn’t quite look like the illustration, with so many identical Classical-columned buildings. But by 1930 (above) this mini-metropolis had its own unified feel.

“Vanderbilt filled up with structures like the high-rise Yale Club, at 44th and Vanderbilt, and the Roosevelt Hotel, from 45th to 46th,” wrote Gray. “Along Lexington, buildings included the giant Commodore Hotel at 42nd and the streamlined Graybar Building at 44th.”

Apartment houses with thousands of units for the well-to-do became part of Terminal City as well, as did the Chrysler Building and Chanin Building.

If you’ve never heard of Terminal City and the whole idea sounds little more than a developer’s invention, you’re not alone. Terminal City gradually fell to the wrecking ball after World War II, as residential apartment buildings and the old hotels made way for sleek towering office buildings.

I don’t get the sense that people working or living in this corridor ever used the term Terminal City it has scant mentions in newspaper archives.

What is this business corridor north of Grand Central called today, if anything? I’m not sure there’s a name for it, but something generic like East Midtown might fit.

[Top image: Wikipedia; second image: Municipal Archives via The New York Times; third image: Brooklyn Citizen]

From girls’ convent school to transitional housing, the story of a Gothic castle on Riverside Drive

March 31, 2025

There’s a stone fortress with a battlement-like central tower and a double staircase entrance at the corner of Riverside Drive and 140th Street.

As striking as this fortified castle is when you encounter it from the sidewalk, viewing it from the West Side Highway helps you truly absorb its out-of-place Medieval feel.

Five stories high with stone turrets, a gabled roof, dormers, crenellations, and Gothic windows and finials, it’s unlike any of the surrounding buildings in this corner of West Harlem—a quiet neighborhood of tenements and high rises fronting Riverside Park.

Such a conglomeration of rough-cut stone walls and tidy limestone trim must have an interesting backstory. Who built this showstopper—and what purpose does it serve today?

Dial back to the early 20th century, when Riverside Drive was extended past 140th Street. New housing was being built in proximity to the park, but the Drive was also historically home to institutions, asylums, and reformatories that needed open space and excess land.

Enter a Roman Catholic order that wanted to build a new convent school. The sisters of St. Walburga’s Academy had established their first school for girls on the West Side, possibly on Riverside Drive and 104th Street. The school was a simple Italianate Victorian structure with a convent complete with a rooftop widow’s walk next door (photo above).

The sisters needed a bigger building. In 1911 they chose architect John W. Kearney for the task. The inspiration for Kearney’s design isn’t clear, but the origin of the construction material appears to be known.

“The schist rock for constructing St. Walburga’s Academy on Riverside Drive came from excavation of tunnels for the city’s first subway line, the Interborough Rapid Transit subway,” states history and culture website theclio.com.

Completed in 1913, the new St. Walburga’s Academy—in a more spaced-out West Harlem—operated as a day and boarding school for girls. “The Roman Catholic sisters at St. Walburga’s Academy taught 50 girls in four grades in 1915, according to the National Catholic Education Association,” wrote theclio.com.

I wish I had some insight into what happened to some of St. Walburga’s graduates over the five or so decades it occupied this site. Looking through newspaper archives, I did find lots of wedding announcements, some for graduates who went on to Barnard and other women’s colleges.

In 1957, St. Walburga’s moved out of the Gothic castle and took up residence in the Westchester town of Rye. The school renamed itself School of the Holy Child, according to a New York Times article from 2000, and continues to operate today.

After St. Walburga’s left, the Gothic castle became home to a Yeshiva, per theclio.com, then sat empty into the 1990s until a different kind of institution appeared and gave the building renewed purpose.

In 1998, the Fortune Society—a residential re-entry center for formerly incarcerated individuals—took over the space and remade it to serve ex-offenders who need transitional housing, counseling, job opportunities, and other services to help restart their lives.

It’s a fitting occupant for a storied building. The Society renovated what was a crumbling relic and seems to have added to the original building, as seen on the 140th Street side. Scaffolding around the first floor also reveals more renovation is in the works.

It’s not quite a girls’ convent school. But like St. Walburga’s Academy, the Fortune Society has a mission to educate and influence lives.

Curious about many of the other mansions, townhouses, and institutional buildings that remain on Riverside Drive? Join Ephemeral New York on a Riverside Drive walking tour! Space is still available for the next tour on Sunday, April 6 at 1 p.m. Click here for more info and to sign up!

[Third image: Cornelia Connelly Library; fifth image: NYPL Digital Collection]

A towering memorial to Henry Hudson that stands in “magnificent isolation” on a Bronx hilltop

March 31, 2025

New York is a city filled with hundreds, maybe thousands of public memorials. Some are lifelike figures, some are bas-relief plaques, some take classical architectural forms.

The Henry Hudson Memorial, which for almost 90 years has towered over the British navigator and explorer’s namesake park in the hilly Bronx neighborhood of Spuyten Duyvil, combines all of these elements.

Why so many components to a monument that could have been just as meaningful as a bronze bust on a granite base or an embossed tablet in the ground?

It has to do with the Henry Hudson anniversary mania that gripped the city more than a century ago, when the monument embarked on a three-decade journey from the idea stage to its completion and official dedication in 1938.

The story of the memorial begins in 1906. That’s when New York City was in the midst of planning a spectacular two-week double celebration in 1909 to mark the 300th anniversary of Hudson’s dropping anchor in New York Harbor, as well as the 100th anniversary of the first voyage of Robert Fulton’s paddlewheel steamboat, Clermont.

This citywide party put Hudson and Fulton front and center. But it was also a message to the world highlighting New York’s might and power at the start of a new century.

Among the festivities were fireworks, a naval flotilla on the river bearing Hudson’s name, parades, pageants, signal fires, and the nighttime lighting of over a million incandescent bulbs on Gotham’s best-known monuments, bridges, and buildings.

A new bridge, eventually named the Henry Hudson Memorial Bridge (below postcard), which connected Inwood with Spuyten Duyvil, was proposed. Statues commemorating Hudson were also in the works, including one placed at Riverside Drive and 72nd Street.

Because Hudson docked at Spuyten Duyvil during his voyage up the river in 1609, civic leaders on the celebration committee decided that a promontory with scenic views would be an ideal setting for a truly glorious Henry Hudson monument.

“The committee broke ground at the donated memorial site in 1909, and the massive Doric column was erected in 1912,” wrote NYC Parks. Karl Bitter, a prominent Austrian-born sculptor who created the Franz Sigel equestrian statue on Riverside Drive and 106th Street, was tasked with designing a statue of Hudson that would be hoisted on top of the column.

But as all New Yorkers know, plans for public works often go awry. A lack of funds kept Bitter from finishing the sculpture; he died in 1915 after being hit by a runaway car outside the Metropolitan Opera House on Broadway.

For decades, the Hudson Memorial remained unfinished. In the 1930s, parks commissioner Robert Moses completed the Henry Hudson Memorial Bridge (with a very different design than the original proposal in the above postcard), then turned his attention to finishing the memorial.

Moses acquired the land around the promontory, which became Henry Hudson Memorial Park. “Sculptor Karl H. Gruppe, a student of Bitter, redesigned the bronze figure of Hudson and the two bas-reliefs at the base of the column, and the completed Henry Hudson Memorial was dedicated on January 6, 1938,” stated NYC Parks.

Since then, a 16-foot Henry Hudson in 17th century pantaloons has stood on top of this 109-foot Doric column. One bas-relief shows the explorer looking at a globe with his men, one of whom is gripping his sword. The second bas-relief depicts Hudson attempting to trade beads for the furs carried in the arms of a Native American.

Monuments to explorers have fallen out of favor; note that no one proposed a 400th anniversary celebration in Hudson’s honor in 2009.

But this memorial in a lovely and scenic pocket park is a commanding one, showing Henry Hudson in “magnificent isolation,” as one newspaper put it.

[Third image: MCNY, F2011.33.549; fourth image: MCNY, F2011.33.2123H]

The intrigue and elusiveness of two 1930s photos of New York’s skyscraper skyline

March 24, 2025

The 20th century skyline of Manhattan—dominated by gleaming, crisply defined skyscrapers like the Empire State Building and Chrysler Building—was a frequent subject for photographers of the 1930s and 1940s.

“New York Skyline Evening Haze,” 1936

But few have the depth and texture of these muted, murky skyline images by Paul J. Woolf: one of the city with the sun descending in the evening, the other during the daytime.

Woolf is a new name to me. Born in England in 1899, he studied photography at the University of California at Berkeley and then began working professionally out of his studio in New York in the 1930s, states the Keith de Lellis Gallery, which exhibited Woolf’s work in 2017.

“City Symphony,” 1935

Taken at different times of the day, both photos seem to present a city shrouded not just in haze but in romance and intrigue. It’s a dreamlike city of shadows, darkness, and pops of light—a stunning New York of unknowable mystery.

The Smithsonian website says that while Woolf maintained his artistic career, he also worked as a clinical social worker. Indeed, a Paul J. Woolf was the director of the Family Service Association in Mount Vernon, New York, per a 1953 newspaper writeup.

Did the hard work of helping families in need influence his artistic vision and direction? It’s another mystery concerning a photographer not as well known as he should be.

Two lovely subway station “head houses” from the early 1900s that are still part of the cityscape

March 24, 2025

The New York City subway recently celebrated its 120th birthday. With such an impressive life span, it’s realistic to expect that many features of the original stations have been altered, removed, destroyed, or otherwise lost to the ages.

But occasionally you come across a subway station that has been strangely left alone or only slightly renovated over the decades. Case in point is this head house for the Bowling Green 4 and 5 train station at Battery Park.

What’s a head house? Also called a control house, it’s the official term for a subway entrance that’s more of a structure than simply a kiosk with a staircase. Many early subway stations in New York had beautiful decorative kiosks, though sadly none survive today. (That one at Astor Place is a recreation).

New York City’s original head houses were designed to be ornate and decorative; the idea was that taking the subway should be an experience enhanced by artistic beauty wherever possible.

Built in 1905, the Bowling Green head house is the work of the architectural firm of Heins & LaFarge, states the Landmarks Preservation Commission. This storied firm was hired to design all of the IRT stations that opened in the early 1900s.

If you’ve ever seen interior images of the long-closed City Hall station, then you’ve seen the beauty that Heins & LaFarge created for New Yorkers.

A lovely little building of yellow brick, limestone, and granite, this head house with its gables and “bulls-eye” designs on each end remind me of the Flemish-style architecture of the city’s earliest colonial settlers. I imagine Heins & LaFarge designed it this way to pay homage to Gotham’s beginnings.

A few other head houses from the original IRT stations survive as well. One is the head house at West 72nd Street, which dates to 1904, according to another Landmarks Preservation Commission designation report.

The West 72nd Street head house (third photo) looks similar to Bowling Green; it’s described as “Flemish Renaissance style” and was also designed by Heins & LaFarge, per the report.

A third head house sits on Atlantic Avenue in Brooklyn, or at least I remember one there last time I visited. Please don’t tell me it’s been demolished!

Her social power fading and New York changing, a look at the last years of Mrs. Astor’s life

March 24, 2025

In the prime of her life at the height of the Gilded Age, Caroline Schermerhorn Astor was New York City’s undisputed social doyenne.

The gatekeeper of high society (a role she appointed herself to after her mother-in-law’s death in 1872), “Lina,” as those close to her called her, presided over the social schedule in both New York and Newport, Rhode Island, helping define the extravagance of the 1870s and 1880s.

But in the following decade, the exclusivity and rigid traditions of society began to loosen and become more vulgar. Mrs. Astor, born in 1830, was also getting on in years.

“The active influence Mrs. Astor enjoyed over society peaked in 1891,” wrote John D. Gates, author of The Astor Family.

Times were changing, and Mrs. Astor’s role as the head of society was changing as well. In these last years of the Gilded Age, as the 19th century gave way to the 1900s, what was her life like?

She started the 1890s as a widow. In 1892, her husband (below photo), William Backhouse Astor, Jr., died of an aneurysm in Paris. William Astor never had any interest in his wife’s social events and preferred sailing his yacht as far from New York as possible.

Mrs. Astor “went into mourning, more in the interest of good form rather than sorrow or bereavement,” wrote Gates.

The next year, her 34-year-old daughter Helen Roosevelt died of an overdose of laudanum. After another period of mourning, she “found society much changed,” wrote Gates. She faced a new generation of society queens who didn’t “accept the credentials of Mrs. Astor’s older circle.”

In the 1890s, she also changed houses. Her longtime brownstone mansion at Fifth Avenue and 34th Street—gifted to Mrs. Astor and her husband in 1853 by the Astor family after their marriage—was the site of her regular season of teas, dinners, and an annual ball held every January.

This mansion, where Mrs. Astor raised her five children and sat under her own portrait in the drawing room as she greeted invitees to her fabled balls, was now overshadowed by the new Waldorf Hotel (second photo). The hotel was built to intentionally annoy her by her former next-door neighbor and nephew William Waldorf Astor.

So Mrs. Astor left Murray Hill and traded up to a French Renaissance palace (above photo) on Fifth Avenue and 65th Street, with a magnificent marble staircase and a ballroom big enough to hold 1,200 guests. She shared this double mansion, designed by Richard Morris Hunt and completed in 1896, with her only son, John Jacob Astor IV.

In Mrs. Astor’s half of the double mansion, she continued to host social events, like a formal dinner for Prince Louis of Battenberg with Victor Herbert’s orchestra as entertainment. (Below, an illustration of her annual ball in 1902.) But the end of her reign was near.

The ball held on January 8, 1905, where she received her 800 guests wearing purple velvet trimmed with sable and jewels that supposedly belonged to Marie Antoinette, would be her last.

Her health was fading. Now in her 70s, she remained in the “splendid isolation of her chateau on Fifth Avenue,” wrote Greg King in his book, A Season of Splendor: The Court of Mrs. Astor in Gilded Age New York.

She suffered a nervous breakdown, according to a 1908 New York Times article, and the following summer didn’t return to her Newport mansion, Beechwood.

Interrupting her isolation was an interview she gave in 1908 to a reporter from the Delineator, a women’s fashion and general interest magazine.

Mrs. Astor spoke about her role as a society leader as if she still had the role, and then hinted at her mortality. “I am not vain enough to believe that New York will not be able to get along without me,” she stated. “Many women will rise up to fill my place.”

Later that year, Mrs. Astor fell down her marble staircase. “Servants found her moaning on the floor, her halo of white hair caked in blood,” wrote King. A doctor stitched the cuts she sustained to her head. Though the wounds healed, her mind was never the same.

“The great chateau on Fifth Avenue fell into a gloomy silence, as rooms once filled with music and laughter were shuttered, their furniture hidden under dust covers and chandeliers swathed in netting,” continued King.

“In the mornings, Caroline received her butler, discussing details for dinners that would never take place, and discussed guest lists for imaginary balls. . . . In the evenings, after her customary carriage ride through Central Park, Caroline received her silent, empty house.”

As her dementia worsened, her mind retreated to the past; at one point she was convinced she was pregnant and began preparing a nursery.

She died on October 30, 1908 after being confined to her bed due to heart palpitations, according to King.

Her son (above portrait) and his wife had been by her bedside, but only daughter Carrie (at left) was with her in her final hour.

Rumors had swirled over the past few years that Mrs. Astor was in decline, so the news of her death wasn’t a surprise. Newspapers paid tribute to this fabled and feared New Yorker. Not only was it the passing of a formidable woman, but the passing of an era.

Her funeral was held in her Fifth Avenue mansion, and she was buried beside her husband in the Astor mausoleum (above photo) at Trinity Cemetery on West 153rd Street.

Erected in her memory by Carrie in 1914 is the Astor Cross. The cross stands tall in the cemetery at Trinity Church on Lower Broadway—the same church where Mrs. Astor was married and soon began her rise as a woman of so much influence, contemporary audiences continue to be fascinated by her.

[Top image: NYPL Digital Collections; second image: MCNY 93.1.1.17178; third, fourth, fifth, sixth, and eighth images: Wikipedia; seventh image: NYPL Digital Collections; ninth image: Find a Grave]

An elegy for an iconic, now-shuttered cigar store in Greenwich Village’s Sheridan Square

March 17, 2025

It opened in the early 20th century as Union Cigars in a triangular space between Seventh Avenue South and Christopher Street—the major crossroads of Greenwich Village.

As of last year, Village Cigars shut its doors due to a rent dispute, as Curbed reported in February 2024.

It’s not just any downtown shop that’s turned out the lights and closed up. Village Cigars is something of a symbol of Greenwich Village, and seeing it darkened and empty is a reminder that no space no matter how iconic is safe from disappearing forever.

While we wait to see if a reopening is in the future, take a look at this image of the storefront from 1940. It’s a very different Village, with men in the 1940s uniform of long coats, hats, and newspapers tucked under their arms.

But the subway-flanked storefront is instantly recognizable. Zoom in close to the front entrance, and you can even see the triangle-shaped mosaic embedded in the sidewalk that marks what was once the smallest plot of private land in New York City (Village Cigars bought it in the 1930s).

[Photo: NYC Department of Records & Information Services]

The storybook-style Gramercy carriage house built in 1893 by a “bachelor maiden”

March 17, 2025

As readers of this site know, I have a soft spot for carriage houses—those fanciful remnants of Gotham’s horse and carriage era tucked on side streets throughout the city.

I’ve chronicled many of these survivors over the years, peering into their backstories and discovering how they function in contemporary New York. So when I came upon this blond brick holdout on East 22nd Street, I fell in love, then decided to look into its story.

As it turns out, this carriage house has something unusual in its history. It’s not the fairy-tale vibe stemming from the porthole windows and terra cotta decoration, though these features make it all the more delightful.

Nor is it the stepped gables on the roof. Designed in the Flemish Renaissance style, the roof harkens back to Manhattan’s earliest days of Dutch colonization, when so many 17th century buildings had this characteristic architecture (and were sadly lost through demolition and fire).

What makes 150 East 22nd Street different from the city’s other lovely carriage houses is that rather than being built for a wealthy man, it was commissioned by a woman—prominent society scion Eloise L. Breese.

Breese, a descendant of an old money New York family (perhaps the inspiration for the carriage house’s Dutch-style design?) lived in a townhouse at 35 East 22nd Street in the Madison Square neighborhood.

Like other society women of the Gilded Age, her comings and goings were written up in newspapers. She held receptions with music, for example, and showed her Brittany spaniel at the Westminster dog show. She also entertained at her country cottage in the Gilded Age hotspot of Tuxedo, New York—where her banker brother owned a home as well.

But Breese was determinedly different from other society ladies. For one thing, she was unmarried for most of her life, with newspapers calling her a “bachelorette” or “bachelor maiden.”

She was also independent. “She was the only female member of the New York Yacht Club,” according to one website that chronicles her life. “Her steam yacht, the Elsa, had a swan shaped prow, like the boat in Lohengrin, because Eloise was also a devotee of the opera.” She reportedly had her own box at the Metropolitan Opera Houae.

Breese sailed her yacht in the late 1890s, the decade when she decided to have a carriage house built. To design it she turned to Sidney V. Stratton, an architect who studied in Paris but practiced his craft mostly in New York City. The carriage house was completed in 1893, per the AIA Guide to New York City.

Like so many carriage houses of the era, the design was meant to be a stylish statement, a totem to the wealth and interests of its owner. I’m not sure what Breese wanted it to convey, and I also imagine she spent very little time there. A groom and driver would have managed the horses, and when she needed transportation, the carriage would be driven to the front of her home a few blocks west so she could step inside.

Breese died in 1921, which was 15 years after her “surprise” Tuxedo wedding to widower Adam Norrie. Of the marriage, a New York Times writer stated that the former Miss Breese “has for some years refused all importunities to change her name and state.”

By the time of her death, horse-powered New York had been replaced by automobiles. A century later, Breese’s carriage house serves as a garage for the occupants of the five-story, glass-walled townhouse built behind it.

It’s unique and unusual even today. Unlike so many other carriage houses, it wasn’t remade into an art studio or cute private home!

[Third image: Find a Grave; fourth image: Wikipedia]

Meet the 19th century Riverside Drive visionary who was dubbed “the father of the Upper West Side”

March 17, 2025

Just inside Riverside Park at 83rd Street is a modest, low-key memorial: a bronze tablet affixed to a rock outcropping dominated by a bas relief of a man’s head.

It’s easy to miss this tablet, as many of the dog walkers and parents watching their kids scampering around the rocks seem to do. If you happen to notice it, the decorative wreath might prevent you from seeing the man’s name in small capital letters: Cyrus Clark.

Who was Cyrus Clark, and why was this inconspicuous marker placed here in his memory?

As the description on the tablet hints, this former silk merchant and early property owner on Riverside Drive led the development of the part of Manhattan known in the late 19th century as the West End, then the Upper West Side during the 20th century.

Clark’s efforts to guide the creation of the neighborhood were so appreciated, he was dubbed “the father of the West End” after his death in 1909. His work and devotion are still reflected in the area today, which is why he’s also referred to as the “father of the Upper West Side.”

To put Clark’s accomplishments in context, it helps to time travel back to the Upper West Side in the years following the Civil War.

In the 1860s and 1870s, Manhattan’s East Side was undergoing rapid development—spurred on by the opening of Central Park, a citywide population boom, and the northward extension of elevated train and streetcar lines.

Meanwhile, the area stretching from the west side of Central Park to the Hudson River largely remained a collection of small villages like Stryker’s Bay and Harsenville, reached by the colonial-era Bloomingdale Road. (Second photo, a farmhouse on West End Avenue; third photo, an old house on 86th Street and Riverside Drive)

In this mostly agrarian enclave, wealthy estate owners, farm families, and shack dwellers co-existed as spaced-apart neighbors. But the face of this bucolic section of New York City was about to change.

The popularity of Central Park marked the West End for urbanization. By the 1880s, rows of handsome houses began to rise, and then the first apartment buildings (photo below, the Dakota). The elevated railroad roared above Columbus Avenue, and streetcars plied Amsterdam Avenue.

Riverside Drive—a street grid–defying avenue that opened in 1880 and followed the irregular contours of the new Riverside Park—would soon transform into a “millionaire mile” to rival Fifth Avenue.

Amid these changes, enter Cyrus Clark. Born in 1830 in Erie County, New York, he came to Gotham in 1849 and made his fortune as a wholesale silk dealer. In the 1860s he purchased land on the West Side, retired to Europe, then spent the next three years learning everything he could about “real estate and civic administration,” stated the New-York Tribune.

Clark returned to New York in 1870. A family man who followed the customs of the Gilded Age by joining several elite clubs, he set out to be an advocate for the transformation of the section of Manhattan he invested in and eventually called home.

“He was a founding member of the executive committee, and was later the president of the West Side Association (WSA), formed by a group of influential businessmen in 1870 to promote public improvements north of 59th Street and west of Central Park,” states NYC Parks.

“In its early years, the WSA lobbied on behalf of public street and park improvements, and the extension of rapid transit to the area. They helped to bar commercial properties from West End Avenue, and promoted its exclusivity.”

Exclusivity isn’t a real-estate buzzword these days; development in contemporary New York tries (and often fails) to be inclusive. In the Gilded Age, however, West End property owners like Clark wanted to promote the area as a place of beautiful residences and stylish living—a cache the Upper East Side already had.

In the late 1880s, Clark built his own family home on some of the land he purchased two decades earlier (above photo). His was a three-story turreted limestone palace on the southeast corner of Riverside Drive and 90th Street. As a resident, he had even more reason to influence the area’s development.

By the 1890s, Clark had become president of an offshoot group, the West End Association, where he continued to advocate for the installation of street lights, street paving, and the separation of commercial and residential avenues. Ever notice that Broadway is the business artery of today’s Upper West Side, while West End Avenue and Riverside Drive are almost entirely residential? You can thank (or blame) Clark and his cohorts.

Some of the actions Clark lobbied for didn’t come to fruition for decades. One of these is the covering of the railroad tracks that ran along the Hudson River between the water’s edge and Riverside Park. Clark fought for the New York Central Railroad to bury the tracks underground, but that didn’t happen until the 1930s under parks administrator Robert Moses.

Other proposals never got off the ground. In 1890, Clark agreed with a city suggestion to relocate the Central Park Menagerie—housed on the East Side of Central Park at the Arsenal—to the northwest corner of the park. The menagerie was a popular park feature, and Clark’s thinking was that having it closer to the West Side would raise property values, according to an 1890 article in the New York Times.

By the time Clark died in 1909, he had moved from his Riverside Drive mansion to an elegant, bow-front townhouse on 76th Street between Riverside Drive and West End Avenue (above photo).

“After Clark’s death, friends, neighbors, and associates came together to commission a memorial in his honor,” wrote NYC Parks. It was completed and dedicated in 1911. (Below photo: Riverside Drive in 1909, the year Clark died)

The fact that the memorial went up just two years following Clark’s death reveals his popularity and influence in developing the West End. And the beauty and symmetry of much of today’s Upper West Side is a testament to the vision he had for the area more than 150 years ago.

Want to learn more about the fascinating backstory of Riverside Drive and the West End? Join Ephemeral New York on a Gilded Age Riverside Drive walking tour this Sunday, March 23, at 1 p.m. Sign up information and more details about the tour can be found here.

[Second, third, and fourth images: New York Historical; fifth image: Office for Metropolitan History via The New Republic; sixth image: New York Times 1895; seventh image: New York Historical; ninth image: LOC]