"The richly ornamented, polychrome St. Aloysius Roman Catholic Church was built in 1902-04 to the design of William W. Renwick [nephew of James Renwick Jr.] based on Italian Gothic prototypes, an unusual source of stylistic inspiration for buildings in New York City."
The original! (We passed by one of its offspring several months ago in the Bronx.)
Also known as Lincoln and Child, this sculpture sits in the middle of Harlem's Lincoln Houses. It was dedicated in 1949, and a newspaper account of its unveiling reflects the optimism that once surrounded the creation of large public housing projects:
Tribute was paid to the clearing of slums in Harlem and to the freeing of slaves as the statue, "Lincoln and Boy," was unveiled and dedicated in the center of the Abraham Lincoln Housing project here.
"Lincoln would have been proud to have his statue placed in the middle of a recreation area which embodies so many of his principles rather than in marble halls among the great," Thomas Farrell, chairman of the authority, declared.
might be a good name for this (unfinished?) mural. Here's a closer look.
Education and outreach on the streets of one of the nation's most asthmatic neighborhoods
This etching, which "exudes a frenetic male energy", is one of 15 steel plaques illustrating Harlem's history and culture installed along the waterfront railing of Harlem River Park.
Built in 1895-96, this was once the Coachmen's Union League Society of New York City. According to the AIA Guide to New York City: "Moorish-Venetian? Limestone frippery? It was built to sell life insurance to residents of this newly opened 'suburb' of Harlem, particularly to those living in the King Model Houses" (a.k.a. Strivers' Row).
On this site, Mr. Marcus Garvey held his first public meeting in the United States in the year 1916.
In the 1930s, the Bronx Terminal Market was a bustling agglomeration of produce and meat vendors. It later became one of the nation's largest Hispanic wholesale food markets, and in recent years was known as an important source of hard-to-find products ("goat legs and 99-cent toothpaste") for African immigrants in the region. It had been plagued by poor management and "mired in political scandal and decay" since the early 1970s, however, and most of its buildings were knocked down several years ago and replaced by the big-box shopping center whose tenants' logos can be seen looming in the background of this photo.
The remaining structure above, which has been taken over by Hostos Community College, is "a piquant landmark to every northbound motorist on the Major Deegan Expressway. This building was designed to serve as a bank and, upstairs, a hotel for farmers."
This community center was originally the 369th Regiment Armory, home of the Harlem Hellfighters.
This plaque inside the armory honors the achievements of the Harlem Hellfighters, the renowned African-American regiment that fought in World War I. The rest of the plaque reads:
- Only volunteer regiment raised for the war which reached France
- Embarked as part of first 100,000 of A.E.F.
- Shipwrecked three times enroute to France
- Only regiment in history of U.S. to carry state flag throughout war
- First regiment in history of U.S. to serve as an integral part of a foreign army
- First American privates in army of France to receive Croix de Guerre • Henry Johnson — Needham Roberts •
- Regiment cited by French high command approved by American high command for extraordinary gallantry in action and colors decorated with Croix de Guerre
- First regiment of the Allies to reach the Rhine
- Served 191 days in action longest of any American regiment
- Never lost a man by capture or a foot of ground
- First combat regiment to arrive home and to march up Fifth Avenue under the Victory Arch [great photo of the Victory Arch here]
"Founded in 1968 by Barbara Ann Teer, the theater was created to showcase productions by, and about, black Americans at a time when such stories rarely appeared on the mainstream stage. It has evolved into a cultural spawning ground, one that presents shows and workshops intended to foster respect for African ancestry and for black self-expression, and one graced over the years by artists like Ruby Dee and Ossie Davis, Nina Simone, Nikki Giovanni and Maya Angelou."
(The financial issues mentioned in the article linked above have since been resolved.)