It was a thoroughly muggy day in mid-August when I boarded a boat in Battery Park.
My destination was the most famous statue in the United States, if not the world. And I was willing to pay to get up close. Now, if you merely wish to take a good picture of the statue against the New York City skyline, then no financial transaction is necessary. The Staten Island Ferry—a gratuitous vaporetto—passes quite near Liberty Island, allowing its parsimonious passengers an excellent viewing to gawk and snap photos. But I was in no mood for drive-by glances; I wanted to see the statue from dry land, which requires a certain amount of money.
In the time before COVID-19, the ferry company had no qualms with herding us through a large security tent and then packing us into the boat like salted fish. I opted to stand on the deck. Despite the summer heat and the humidity, the sea wind whipped up soon after we set off, giving me goosebumps. But this was compensated by anticipation. Even a short ferry ride partakes, however modestly, in the romance of travel by sea. And as a good friend of mine once said (well, he said it repeatedly): “The best way to see a city is by boat.” This is certainly true regarding New York City, at least. Seen from the harbor, the Manhattan skyline is at its most vertiginously dramatic. The Statue of Liberty is not bad, either.
In about twenty minutes the boat docked at Liberty Island. Now, this was not always the name of this little piece of earth. Before Europeans came to dominate the land, the Canarsie people called it Minnisais. Since then, however, the island has been dubbed Love Island, Great Oyster Island, and Bedloe’s Island, among other appellations. It had many uses before being made home to an enormous copper goddess. Food was grown, men were hanged, garbage was dumped, and Tories waited here to be extracted to England. The island was even used as a kind of lazaretto for those suspected of harboring smallpox. Its last function before being turned into a monument was as a fortified battery; and the star-shaped remains of Fort Summer still sit below Liberty’s green heel.
I pushed my way down the boarding ramp and headed straight for the statue. This was not my first visit. Many years ago, when I was still in middle school, I visited the island with my Californian cousins, who wanted to see some of the main sights of New York. At the time I was inclined to see any sort of cultural excursion as a monumentally boring waste of time. Video games were infinitely more entertaining, and I resented my family for dragging me away from my computer. Nothing I saw made much of an impression on me: not the Empire State Building, not Wall Street, not Battery Park. It was wholly unexpected, then, when I found myself entranced by the Statue of Liberty. I could not take my eyes off it. I even felt inspired. Somehow the statue had broken through the many layers of youthful apathy and juvenile ignorance to touch a hitherto unknown part of myself.
This second visit was not quite as stupendous, if only because by this time I had grown accustomed to visiting monuments and the feelings that they evoke. This is not to say that I was uninspired. The towering lady is not as dynamic in composition or as beautiful in form as, say, Michelangelo’s David; and the sickly green color (caused from the oxidation of the copper) is not the most aesthetically pleasing shade imaginable. (Like the oxidized patina itself, however, it grows on you.) But statues of this size have different engineering constraints, not to mention serving a different purpose. As a synecdoche of the nation, as a grandiose welcome to those arriving by sea (many of them immigrants), and as an artwork that represents the Enlightenment values that (nominally, at least) set this nation apart, Liberty Enlightening the World could hardly be more successful. Granted, Bartholdi probably only intended some of this in his design; yet the mark of any great work of art is that it goes beyond even the vision of its creator.
I had opted for the cheapest ticket, which only allowed me to gaze at the statue from without. Paying more would have given me access to the pedestal, and still more would have allowed me to ascend to the seven-pronged crown. (Visits to the torch have been prohibited since 1916, for a somewhat obscure reason.) But even the most basic ticket seemed pricey to me. So after I had taken my fill of the statue, and walked around her a few times, I wandered over to the other end of the island to see the museum. The visit begins with a strange cinematic experience, wherein visitors are led into a big, empty room, shown an informational video about the statue’s history, and then led into another room where the video continues, and then yet another. I suppose they screen the film this way so that more visitors can be shown it at once, though I did wish there were seats available.
The museum in general was surprisingly good. There are models of the statue and its innards, a great deal of information about its construction and inspiration, and even real models and former parts. But rather than try to narrate the museum, I will use it as an opportunity to tell something of the statue’s history:
Given that Lady Liberty is one of the most quintessentially images of America, it is somewhat ironic, then, that the statue was designed and built entirely by the French, and given to us in an act of international generosity. I can think of no other major monument with such an origin.
The idea for a celebratory dedication to the United States evidently originated with Édouard René de Laboulaye, a prominent French abolitionist, who wished to celebrate the Union victory in the Civil War, and the end of American slavery. This proposal was taken up by his friend, the artist Frédéric Bartholdi, who liked the idea, if only because it would have provided an indirect rebuke to the repressive regime of Napoleon III. But such projects are seldom conceived and completed on schedule; and by the time the statue was finally built, in 1885, Napoleon III had been deposed.
It was difficult enough for the cities of Brooklyn and New York (when they were formally separate) to work together to plan, fund, and execute the Brooklyn Bridge across the East River. Imagine, then, the nightmare of coordinating an international project across the Atlantic. To build the statue, Bartholdi had to personally come to the United States, scout out a good location, meet with the president (Ulysses S. Grant at the time), and then cross the young nation trying to drum up support. Batholdi also had to come up with a design. That the theme should be liberty was obvious; but freedom can take many forms. It can be a bare-chested woman leading troops into battle, à la Delecroix; yet that seemed too violent or revolutionary. Instead, Bartholdi opted for a neoclassical design, staid and solemn, robed in a Roman stella (togas are for men), crowned with a diadem, and holding a torch rather than a sword.
In 1875 Bartholdi and Laboulaye set to work raising money for the statue. It was to be a long slog, combining a difficult PR campaign with a vast logistical challenge. Building material was needed, talent had to be recruited, and the public interest maintained at a high enough level to keep funds flowing. As an engineering task, the statue was daunting enough. Standing 46 meters tall, the statue had to support 91 tonnes of metal without crumpling or toppling over. The thin copper skin simply would not bear that much weight, and so Gustave Eiffel was contracted to design an internal steel skeleton. This internal work is a magnificent achievement in itself, since it could be easily assembled and disassembled, and also because Eiffel designed it in such a way as to allow the metal to expand and contract in the changing weather without cracking the skin. Were the copper exterior removed, then, New York would have her own Eiffel Tower.
While the French were busy with the statue, the Americans had to make the pedestal. This proved to be quite a challenge, for the simple reason that nobody wanted to cough up the money. Grover Cleveland—who was then the governor of New York—vetoed funding for the statue, which left the project lingering in unfunded purgatory. (Cleveland, as president, later presided over the dedication of the statue, which seems terribly unfair.) The task to fund the project fell, instead, to private industry and the good people of New York. Specifically, Joseph Pullitzer led a funding drive in his newspaper, The New World, promising to publish the name of every single contributor. Thus the pedestal was built with spare nickels, dimes, and pennies, mailed in from children, widows, and alcoholics. Even so, it took longer than expected to raise the required sum, and the pedestal was still incomplete by the time the statue arrived by steamboat.
The assembly and disassembly of the statue, transportation across the seas, and then reassembly in its new home, was yet another massive engineering challenge for the designers. Eiffel’s steel beams arrived with Bartholdi’s hand-beaten copper, and teams of workers had to put it all together, like an enormous erector set. The statue’s completion was celebrated by the city’s first ticker-tape parade, which culminated in a yacht trip to the island for a private dedication ceremony, attended only by politicians, dignitaries, and other officials. Ironically, in a fête for an enormous female, few women were permitted to attend. The values of the Enlightenment have their limits, after all.
My sojourn on the land of liberty had come to close; but I still had more to see. Tickets to visit the Statue of Liberty come included with a trip to Ellis Island, just a few minutes away. Like Liberty Island, this island used to be called Oyster Island, for the very logical reason that it was a shallow tidal flat where oysters liked to live. As such, it was used as an important food source by the Lenape people, but they called it “Kioshk” for the many seagulls which liked to rest there. Much later, when an island was needed to process the increasing tides of immigrants, the government started dumping sand, rocks, and soil (taken from the subway tunnels) in order to create something fit for permanent habitation. (This had very unfortunate results for the oysters, which scientists are now trying to revive in the Billion Oyster Project.) Ellis Island was not even originally a single island, but three separate ones which were gradually merged. The current landmass is shaped like a fat “C,” and ships dock in the space between the northern and southern halves.
Ellis Island has come to serve as a symbol of American immigration, but of course this particular institution represents only one chapter of the story. Ellis Island was never the only port of entry into the United States for immigrants, and it was active for only about thirty years, from 1892 to 1924. Most of these immigrants coming through Ellis Island were, naturally, from the other side of the Atlantic, specifically Europe. This includes Germans, Irish, Scandinavians, a great many Italians, Eastern European Jews escaping pogroms—and many more, to the tune of 12 million souls. It has been calculated that 40% of the United States population can trace at least one ancestor to Ellis Island (though I do not know if that includes me).
The basic visit is to the island’s Main Building. This is a large and surprisingly beautiful structure, built in a French Renaissance style. Your visit is meant to replicate the journey of an arriving immigrant to the island. You begin in the baggage room, complete with real period suitcases and trunks, where you pick up your audioguide. Then you advance to the registry hall, a cavernous open room topped with Guastavino tiles, which shimmer and sparkle in the indirect light. But I doubt that an arriving immigrant would have been in the mood to admire architecture, since this room was the scene of fateful decisions.
While the hall is now open and luminous, during the heyday of Ellis Island it would have been full with queues upon queues of incoming immigrants, awaiting their turns on long benches to talk with a customs official. While they entered and waited, doctors would inspect and examine the hopeful immigrants for any signs of ill health. Those presenting a worrisome sign would be marked with chalk and more thoroughly examined. If the problem was grave, or the disease highly contagious (like trachoma, an eye affliction), the poor soul might be sent all the way back—a fate of a small minority (about 2%), but a very crushing fate indeed after spending one’s savings and crossing an ocean in the hopes of a new life. If the problem was less severe, then the migrant may be in for a stay at the Ellis Island Immigrant Hospital (more on that later).
In any case, even for the well in body in mind, the experience must have been extremely stressful. For the most part, the rich are not the ones who emigrate; it is the poor, with little money to spend. Consequently, then, the voyage aboard the steamers crossing the Atlantic was abysmally uncomfortable—cramped, cold, dark, seasick and poorly fed. Then the storm-tossed travelers were thrown into a hall echoing with unintelligible languages to be handled by unfeeling officials.
Thankfully, for the majority of those arriving on Ellis Island, the affair was quite short, lasting only a matter of hours before they were allowed through. Laws regarding immigration were, after all, far more lenient back in the day, especially in the decades leading up to World War I. Stefan Zweig, for example, remembers traipsing around Europe without even possessing a passport. But that war initiated a period of nationalism and xenophobia on both sides of the Atlantic. A literacy test was mandated in 1917 (in the immigrant’s native language), and by the 1920s quotas were imposed, thus ending the period of mass immigration.
From the registry hall, you move from room to room, each one used to process the immigrant in a different way—further health inspections, mental aptitude tests, literacy tests, legal processes, money exchanges, bus tickets, and so on. A courtroom was busy hearing cases of immigrants suspected of being professional paupers or contract laborers (oh, the horror!); luckily, immigrant aid societies paid for lawyers to help appeal cases, and 80% of the immigrants on trial were accepted. Particularly fascinating to me were the examples of IQ tests, meant to weed out those considered to be mentally infirm or deficient. This was a challenge, since the tests had to be applicable to anyone, regardless of their national background. Even a simple task, like drawing a diamond, was not a fair measure, since a large portion of immigrants had never even held a pencil. The psychologists thus settled on visual tests, like identifying faces or distinguishing between images. Still, the whole attempt seems rather silly in retrospect.
To repeat, for the majority of immigrants, Ellis Island was only a brief stopover. But a sickly minority required a longer stay—days, weeks, or even months—in the Ellis Island Immigrant Hospital. For some, this meant a stay to “stabilize” their condition before being sent back, but for others successful treatment was an entry ticket to another life.
The hospital is on the other half of the island, and off limits to the casual visitor. To go, one must sign up for a guided hard-hat tour, as the buildings are nowadays in a quite dilapidated condition, empty and overgrown. But at one time this was one of the biggest public health hospitals in the world, complete with separate words for infectious diseases. Nowadays, in the midst of the coronavirus pandemic, we can appreciate the role of border control in controlling contagious illness. This idea was old even by the time Ellis Island was built (there are islands for isolation in the Venetian lagoon, for example), though of course it was never a fool-proof way of controlling epidemics—such as the waves of cholera that arrived from the Old World. Still, Ellis Island was an important line of epidemiological defense for the United States.
Taken together, the Statue of Liberty and Ellis Island are the country’s greatest monuments to the immigrant—symbols of the country’s open-armed embrace of anyone willing to come. At a time when anti-immigrant sentiment is once again raising its ugly head, these monuments are more important than ever, for they remind us that the majority of us are descended from immigrants, most of them poor, most of them uneducated, and all of them looking for a better life. How were those Hungarians or Italians, unable to write or even to hold a pencil, any different from the people now at our southern border, who fill us with so much fear?
Economists may show us, again and again, that immigrants do not steal jobs; and historians may demonstrate that xenophobia is used, again and again, as a scapegoat for other social ills. But no argument is as profoundly moving as that lady of oxidized copper, herself an immigrant, holding out her torch towards the vast and windy seas, inscribed with the words of Emma Lazarus:
“Keep, ancient lands, your storied pomp!” cries she With silent lips. “Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!”
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Every child should have someplace wild nearby. For me it was the Rockefeller State Park Preserve. I was fortunate enough to have the entire sprawling forest right behind my house, accessible through the back fence. So much of my childhood is connected with that place. I remember searching for ghosts with a polaroid camera, playing make-believe with the neighbors, and taking a winter walk with my family. When it snowed we would sled down the hill behind our house (and my unfortunate brother split his lip this way, when his sled collided with a tree).
I really came to cherish the forest when we got a dog. Dogs need to be walked, of course, and the forest was the perfect place to do it. Most dogs would love to be walked somewhere with so many plants, animals, and other dogs. But my dog was rather special. She was only mildly interested in chasing squirrels; she was even apathetic towards other dogs. There were really only two things that mattered to her: humans and food. The forest had the former in abundance—people out for a walk or a jog—and every time I passed another person I had to wrap the leash around my wrist and hold it tight to prevent her from jumping all over her new friends. The forest also had things to eat, in the form of dog and deer droppings; but I tried to discourage that, too.
My dog’s life came and went, but the forest remained. The many years of walking her instilled the habit in me so deeply that I continued to take walks in the forest just for myself. In fact, I started to walk much further than I ever could with my poor girl, since she had hip dysplasia (a common malady among purebreds). The forest was bigger than I had ever known. There were so many paths left to explore, stretching for miles and miles behind my house. It has been the work of years to know them all; and even now I am missing a few corners of the map. The park is so big that I reached its most distant corners when I took up running as regular exercise. That is the only way (besides horseback) to go from one end of the park to the other in a comfortable span of time. (Cycling is not permitted in the park, though it is allowed on the Aqueduct Trail.)
In this post, then, I would like to tell you everything I have learned about this park over the years. I have done my best to be as thorough as possible, describing the geography, climate, topography, history, flora, and fauna of the park. But I am not a scientist or a naturalist, or even a particularly knowledgeable amateur. Indeed, this post would have been impossible without the resources compiled by experts and nature-lovers alike, many of which are free online. Technology, for all of its ravages, does have its perks.
We shall begin at the beginning: with the formation of the earth. According to the geological maps I have been able to find—available on a superb application called Rockd—the bedrock of this area is composed of Fordham gneiss. The gneiss was formed between four billion and one billion years ago, which makes it one of the oldest rock formations in the world. Gneiss is a metamorphic rock (made by transforming other types of rock, such as granite in this case) created under high pressure and temperatures. This gives it a characteristic and rather attractive banding pattern that you can find on some of the exposed boulders in the area.
According to what I have been able to find (and the American Museum of Natural History’s exhibition on the New York State environment is the best resource I have come across), gneiss tends to form only a thin layer of fertile humus on the surface, making such areas ill-suited for agriculture. Further, gneiss tends to weather into “massive rough surfaces” (to quote the AMHN), which again is not ideal for planting and harvesting. You can see some of the exposed gneiss at various points in the park, most notably in the high elevations between the Aqueduct Trail and the Big Tree Trail. I suppose that this gneissic bedrock is why the land was mostly left alone by previous farmers. (Admittedly, the Stone Barns Center for Food and Agriculture is situated on the same bedrock, and they seem to have no trouble with their agriculture.)
The landscape also bears the traces of the previous ice age, which ended around 12,000 years ago. This is most obvious in the glacial erratics (large boulders left by the receding glaciers) that are scattered about. One of these is Spook Rock, a fairly nondescript rock with an obscure scary story attached to it, after which a trail is named. Then there is the nameless glacial erratic, which is tucked into a detour off of Nature’s Way, one of the park’s smallest trails. According to a story in the New York Times from 1987, this massive rock is perhaps the biggest glacial erratic in the country, and certainly the biggest in the Hudson Valley. It stands about 20 feet high and is over 60 feet in diameter, which means that it must weigh several tons. Just imagine such a thing being budged, bit by bit, by frozen water. Nowadays, benches are set up around the rock, where I assume educators give presentations to students.
On the subject of rocks, I ought to mention Raven’s Rock. This is not a glacial erratic, but a large exposed rock formation. As usual in these parts, a couple ghost stories have been attached to this place, too. In fact, Raven’s Rock is referenced in Washington Irving’s The Legend of Sleepy Hollow: “Some mention was made also of the woman in white, that haunted the dark glen at Raven Rock, and was often heard to shriek on winter nights before a storm, having perished there in the snow.” Of course, there is some question as to whether the rock was named after this episode in the story, or vice versa.
The topography of the park is not especially dynamic. New York in general is geologically inactive. A mild earthquake in 2011 was enough to send people running from tall buildings, and made front-page news. A lack of tectonic activity makes for relatively flat landscapes, and consequently this area is hilly rather than mountainous. Rockefeller’s own house, Kykuit, occupies the highest point in the Pocantico Hills, just 500 feet above sea level. According to my running app, even the hilliest paths barely exceed 500 feet in elevation over several miles of trail. As discussed below, the paths were originally laid out for horse-drawn carriages, which require a relatively flat surface.
The Rockefeller State Park Preserve partakes in the climate of the lower Hudson River Valley, which is classified as humid continental. This means that there are quite dramatic seasonal changes in temperature, from well below freezing in winter to upwards of 90°F (or 32°C) in summer—both of which can be uncomfortable and even dangerous if you do not take proper precautions. Rainfall is heavy and steady. The yearly average is over 50 inches (or 130 cm) per year—for comparison, London gets less than half that amount—and it rains in all seasons. The typical Hudson Valley sky is low and grey, a consequence of the ever-present stratus clouds.
Even when it is not rainy, humidity is typically quite high, which can make summer days unpleasant. Even so, summer is my favorite time in the park, since the leaves shine with an intense greenness that I rarely see in Europe. It usually snows in the winter months, though how often and how much can vary quite a lot from year to year. The park can take on an ethereal beauty after a good snowfall. All of this snow, rain, cloudiness, and humidity can be somewhat depressing; but it does allow for a verdant landscape, full of plants and all the animals that they support. Fall is perhaps the most comfortable and certainly the most beautiful season in the park, when the trees turn bright shades of red, orange, and yellow. This effect is far more pronounced in the United States than in Western Europe, which is due to the much greater variety of tree species in America (a byproduct of the ice age).
The Hudson River is the most important geographic feature in the area. The river is unusual for having waters that alternately flow north and south, depending on the ocean’s tide. This alternating current is due to the river being, in its southern portion, a tidal estuary, intimately connected with New York’s harbor. For this same reason, the Hudson’s waters are brackish (a mixture of salt and fresh water), are thus not potable. The Hudson also marks a divide in the area’s geography, as the rock formations on either side of the river are vastly different in age and type. The rocks directly across from the Rockefeller State Park, in Nyack, were formed in the Late Triassic, and have been found to contain dinosaur fossils. That is a difference of at least half a billion years in age.
But the Hudson is not the only relevant water feature in the park. Several smaller rivers and brooks—tributaries of the Hudson—wind their way through the park’s confines, having long ago carved out a channel within the topography. The most important of these is the Pocantico River (whose name is derived from its indigenous appellation). It is normally between ten and twenty feet across, and usually not much deeper than your knee. Normally the current is gentle enough to allow you or your dog to walk right in, though strong rains cause the river to swell and flood, washing over the bases of neighboring trees. Even smaller and gentler are the little Rockefeller and Gory Brooks, which connect with the Pocantico and which all eventually flow into the Hudson. As charming as are these little rivers, it is worth noting that they are quite contaminated—more so, in fact, than the Hudson River itself—and this from sewage leakage. Do not be tempted if you are thirsty.
The biggest water feature in the park is Swan Lake, with an area of 24 acres. This is one of the most picturesque areas in the park, as well as one of the best spots to see many of the local bird species. Quite nearby, though technically not within the park itself, is Pocantico Lake. This lake used to be used as a reservoir, and ruins of the old waterworks building still stand next to the dam. Every year, the lake is stocked with hundreds of brown trout, which swim down the Pocantico River into the Hudson. Other native fish include perch and suckers; and if you have the relevant license you are free to cast your line into the waters—though I do not think I have ever actually seen somebody do so. (Judging from observation, the fishing seems to be better in the nearby Tarrytown Lakes.)
Human habitation in this area goes back far before Henry Hudson sailed up his eponymous river in 1609. Back then, the land of the park was occupied by the Wecquaesgeek people, a subgroup of the Wappinger. They spoke an Algonquin language closely related to the Lenape (the people who were living on the island of Manhattan), and lived as hunter-gatherers, dressing themselves in the skins of deer and beaver. When the Dutch began to settle in large numbers, in 1624, thus commenced a series of treaties, epidemics, and battles, all of which resulted in the Wecquaesgeek being pushed off their land. I do not know if any native artifacts have ever been found on the grounds of the park, or if anyone has ever looked.
Nowadays, the only things that may vaguely remind the visitor of this history are the lean-tos, situated in the forest near Spook Rock. Technically, they are not lean-tos, but “survival shelters,” made by leaning sticks against the base of a tree; and I very much doubt that they actually resemble anything that was built by the Wecquaesgeek. I believe they are made as demonstrations for boy scouts, judging by the little benches that have been set up nearby. If you find yourself lost in the middle of the woods for an extended period of time, I suppose that knowing how to build one of these may come in handy. Perhaps the very oldest surviving human constructions in the park are the stone walls that can be seen in many areas. These were built well over a century ago by yankee farmers, and they accomplished several purposes. The fields had to be cleared of stones to allow for planting; and the stone barriers helped to mark boundaries and keep livestock from escaping.
The history of the park as it exists today begins with one of the most controversial men in American history: John D. Rockefeller, Sr., a man whose very name has become synonymous with wealth. In 1893, Rockefeller purchased the land for what was to become his new home, Kykuit, on the Pocantico hills overlooking the Hudson. Part of the reason he chose this spot was because his brother, William, had already built a mansion for himself fairly closeby, called Rockwood.
Rockefeller was a man of few pleasures, among which was to ride in his elaborate horse-drawn carriages. Thus, he made sure to buy up huge tracts of lands adjacent to his new home, which he turned into a kind of paradise for scenic rides. This explains the peculiar characteristic of the park’s trails: they are quite wide and usually have a gentle inclination—both of which are necessary for horse-drawn carriages. Rockefeller was something of an amateur landscape designer, and many of the trails were laid out by the tycoon himself, along with his son. You can still occasionally see carriages being driven along the trails of the park, presumably owned by the descendents of the Rockefeller family, who still live closeby. (One friend of mine claims to have seen Martha Stewart riding around.) Another reminder of the continuing Rockefeller influence are the helicopters that sometimes fly overhead, presumably ferrying scions of this noble family over their domains.
In the 1980s, this enormous swath of land—almost 1,800 acres of land (over twice as large as Central Park), with over 50 miles of trails—was donated to New York to be used as a park and nature preserve. Nowadays it is overseen by the state of New York, which maintains a visitor center off of Route 117. Here you can park your car, see a bit of art in a small gallery, take a map, use the bathroom, and learn about the wildlife.
When I was younger, as I walked alone through the tall woods, I imagined that the park was as close to pure nature as I was likely to see. But of course this is not true: the park is a managed environment, even if that land management is done with a light touch.
The most obvious human intervention are the trails. Topped with crushed rock, they are quite wide, smooth, and easy to walk on. The trails are carefully maintained. At some points in the park, stone retaining walls prevent a neighboring hill from spilling onto the trails. More subtle is the drainage system, visible as a series of ditches and gutters running besides the paths, which work to redirect rainwater away from the trails. Without simple systems such as this, I am sure that the trails would be washed away in a short while.
The park staff also work to control certain types of invasive species. One of these is a vine called mile-a-minute (Persicaria pertofoliata), so named because of its rapid growth rate—about six inches a day. This plant is indigenous to India, and its accidental introduction to NY has put native species in jeopardy, since the thorny plant grows so fast that it can literally smother its competition. The park staff is currently engaged in a battle to stop this vine from spreading, and is asking for volunteers to help in the fight. (If you would like to help, call 914-631-3064.)
Another obvious human intervention are the many areas of the park which are kept as grassland rather than forest. The staff maintain this area in several ways. The grass is cut down at the end of spring with a tractor and gathered into bundles, to be given to livestock. The staff also bring in livestock—goats, sheep, and cows, guarded by a few wary dogs—to graze the land in summertime. Personally I find it quite charming to come across a group of these farm animals on a walk. And the animals are certainly effective. They eat all day from dawn to dusk, and they leave hardly a stalk untouched.
In layout, the park is massive and sprawling. The furthest reaches of the park are bounded by the Hudson River to the west and the Saw Mill River Parkway to the East. But between these two boundaries the park’s extent is uneven. Bits of the park jut out past Route 117 to the north or Route 9 to the West. One major artery through the park is the Old Croton Aqueduct trail, which runs parallel to Route 9 and across it into William Rockefeller’s old estate. Another major division is Bedford road, which cuts the park into two fairly distinct areas: the part to the east of Bedford road tends to have fewer visitors than the part to the west.
Virtually every one of the park’s dozens of trails has its own personality. I am biased, of course, but for me the area closest to my house (between the Sleepy Hollow Cemetery and Sleepy Hollow Road) is easily one of the most beautiful sections of the park. There are three stone bridges that span the Pocantico River. These are the clearest signatures of the Rockefeller family: for the bridges would certainly have been costly to build, and they perfectly evoke the kind of European antiquity that the Rockefellers enjoyed. For my part, I think they are lovely constructions, totally in keeping with the primeval aesthetic of the park. When I was a child, I could not help but imagine legions of centurions marching over these apparently ancient viaducts.
Some of the most beautiful trails—especially in summer—are in the area surrounding the Stone Barns Center for Food and Agriculture. (Stone Barns is a non-profit, sustainable farm founded by David Rockefeller.) Here the forest gives way to rolling hills shaded by rows of oaks, and the stone buildings and fields of crops create a bucolic picture. Just as lovely is Rockwood, located right on the Hudson River. There, several paths leads up a hill to what appears, superficially, to be a kind of stone fortress overlooking the river. This is actually the foundation for William Rockefeller’s mansion, long since demolished. Here you can sit on the wall and contemplate the new Tappan Zee bridge, and even spot Manhattan in the far distance. (For some reason, flies love to buzz around these rocky walls in summer.)
One of my favorite places to run is the Thirteen Bridges Trail, so named for the many little bridges that lead the wanderer criss-crossing over Gory Brook. Once you finish this loop, you can cross back over Route 117 on one of the two metal bridges. Turning in one direction takes you on the Pocantico River Trail, which (you will be surprised to learn) runs parallel to the Pocantico River. Turning the other way can bring you to the Big Tree Trail. This trail runs along a lower-lying part of the park, and is noted (as you may have guessed) for its large trees. If you walk along the trail on a quiet afternoon, as the sunlight drifts through the canopy, and the sounds of birdsong echo from above, the enormous columns of trees can create the impression of being in a natural cathedral.
This brings me to the flora of the park. By my count, the park is home to well over fifty species of tree. The tallest to be found is the tulip tree, which is so named because of its yellow spring flowers. The trunk is as straight as an arrow, and the tree can grow upwards of 150 feet (or 45 meters). In general, the tallest trees are found in lower-lying areas, often near the river. Erosion causes soil to fall from the higher areas and accumulate here. Apart from the tulip tree, the park contains a mixture of beech, maple, and oak, along with shrubbier trees such as sassafras and witch hazel. There are relatively few conifers—mostly spruces—and they seem to prefer the areas close to the rivers. The park also has some non-indigenous species, too, such as the beautiful European beech—with red leaves—overlooking Canter Alley. My favorite may be the (non-native) Shagbark Hickory on Douglas Hill Loup.
In the fall, most trees lose their leaves. They accumulate on the ground as a thick, brownish, rust-colored matting. Even by late summer, this bed of dead leaves is still noticeable everywhere. It seems that all of the insects, fungi, and bacteria present in the park’s soil have their hands full with such a superabundance of nutrients; but sooner or later, the dead leaves decompose and enrich the soil. We must pause here to acknowledge the kings of the park, and indeed of all life: bacteria. They are the most abundant organisms in the park and absolutely essential to each vital process. This is most obvious with the case of diazotrophs, which are the bacteria that convert nitrogen gas into a form (ammonia) that plants can use. Without these helpful microorganisms, plants could not grow, and the rest of us would be out of luck, too.
When it comes to shrubs, ferns, grasses, vines, and other sorts of plants, the species-count goes up into the hundreds. I could not hope to identify even a significant chunk of these plants. Using the application Plantsnap, however, I have collected a list of some of the more common vegetation. Claytosmunda (or interrupted fern) is intermixed with sensitive fern and spikenard, forming a thick underbrush of low, leafy plants in summer. In some areas there are thick masses of wild blackberry bushes, whose fruits are delicious and safe to eat, but whose vines are covered with painful spikes. In the more open grasslands one can find reeds and grass, as well as wild carrot.
(The application, iNaturalist, allows visitors to log any sightings of a species—be it bird, bush, or bear—within the park. This list, available here, has been a great aide to me.)
The most hazardous plant is poison ivy, which is quite common in the area. Rubbing up against this plant can cause painful rashes that last well over a week. (Lucky for me, I seem to be among those who have no allergic reaction to the plant, so I have never learned to identify it.) Another plant to avoid is the wood nettle, whose leaves are covered with little stinging hairs. Once I rode my bike through a patch of this stuff, and my skin erupted into painful red bumps. Fortunately, the effects from a wood nettle sting wear off in under an hour.
The park also has a robust fungus population. Identifying mushrooms is a skill that I lack entirely; but visitors to the park have registered about two dozen species. The mushroom I most often notice is a Stereum, I believe, which grows on the sides of decaying trees. Indeed, saprotrophic mushrooms (which feed on decaying organic matter) play an essential role in the park’s ecosystem, allowing dead trees and plants to be broken down and returned to the soil. To name just a few of the mushrooms identified by park-goers, there is the dryad’s saddle, chicken of the woods, turkey-tail, resinous polypore, and honey mushroom. Some of these may be edible, but I would not take my chances.
The park’s fauna is even more diverse than its flora. We may start with the arthropods—specifically, my least favorite animal in the park: the tick. There are two main species of tick in this area: the dog tick (Dermacentor variabilis) and the deer tick (Ixodes scapularis). Do not let these names mislead you, for both are happy to bite dogs, deer, or humans. The dog tick is bigger and is completely black, while the deer tick is smaller, with a brown body and black legs. Getting bitten by either is not fun, but it is really the deer tick that you should watch out for, since it can transmit Lyme disease. My dog would inevitably get a few ticks every summer (and got Lyme disease twice), and I have found three or four ticks on myself over the years. It is a good idea to check both yourself and your pets after a walk, especially if you went through a woody area. If you have been bitten, it is wise to watch out for any signs of Lyme disease, which can include a circular rash around the bite.
Coming in second for hazardous bugs are the mosquitos, which can also carry diseases. People in the area have been concerned about West Nile Virus for years now, and more recently there has been worry regarding Eastern Equine Encephalitis. Fortunately, the mosquitoes normally come out around dusk, and are mostly absent during the day. I ought also to mention the possibility of a wasp sting. Once, while walking on the Aqueduct Trail in the park, I accidentally stepped onto a wasp’s nest in the path. The angered insect flew out and stung my legs several times before I could run away—quite painful. But I think the chances of this happening are very low. More annoying than dangerous are the gnats that can sometimes be found swarming, particularly in low-lying areas of the park. Though they are completely harmless, some of them seem to be attracted to the secretions produced by your eyes, and so you can end up endlessly swatting away curious little bugs.
The park is also home to some beautiful insects. My favorites are the fireflies, which come out around dusk in summertime. They fly low to the ground, hovering slowly in search of prey. The light, created with chemicals in the abdomen, is used to attract small insects. Without this lure, the firefly would be quite an ineffective predator, since it is clumsy and ponderous in flight. Indeed, fireflies would be the perfect snack for any insectivorous birds—the easiest bugs in the world to find and catch—if they were not filled with bad-tasting chemicals. Thus they float around in security, lighting up the evening forest like little stars.
Also lovely are the many species of butterfly that flap about, including the majestic monarch butterfly. The best place to see them, in my experience, is the area around Bedford Road, in the fields of Buttermilk Hill. There the butterflies congregate in the hundreds, floating from flower to flower. Another attractive insect is the blue dasher dragonfly, which normally prefers watery areas like Swan Lake. They are graceful fliers, now hovering in place, and now darting forward at great speed—their long blue bodies flashing in the sunlight. A personal favorite of mine are the grasshoppers, which sometimes jump along the paths, their razor-like bodies cutting through the air.
Insects are not merely seen everywhere, but they generate the loudest noises of the park. In the evening the crickets chirp with their wings, creating that comforting chorus of summertime. (Aside from these chirping crickets, however, there is the so-called camel cricket, which is a large, wingless species of cricket. Lacking wings, this species cannot chirp, and it is mostly known for accidentally invading basements.) The big noise makers, however, are the cicadas. The park is home to both the annual and the periodical varieties. The former are responsible for most of the daytime noise in summer, creating a kind of sonic sheet with their buzzing wings. Though constantly heard, cicadas are seldom seen, at least not in my experience. Both cicadas and crickets will stop chirping if you get too close; and in general their sounds are difficult to track down. The periodical cicadas hatch in enormous broods every 13 or 17 years (prime numbers make it difficult for predators to synchronize) and are quite a presence when they appear.
Rather inconspicuous to most park-goers, but fundamental to the park’s ecosystem, are the bees. According to a guide compiled by Sharp-Eatman Photography, over 100 species of bee have been found in the park. Most people, I suspect, will be surprised to learn that there are 100 species of bees in the world, much less in a relatively small area in New York. But bees are an incredibly diverse group. There are several species of bumble bees, carpenter bees, leaf-cutter bees, digger bees, and mining bees, to name just a few common groups. The bees are attracted by the many species of wildflowers found within the park, which include (to quote the guide) “wild azaleas, countless spring woodland bulbs, American white water lilies, four varieties of milkweed and large swatches of dogbane and meadow flowers.” European honey bees are also kept at the Stone Barns, where they help to pollinate the plants on the farm and in the surrounding park.
I have reached the limit of my knowledge of the park’s arthropod life, and yet this short description only scratches the surface. I am sure the park is home to a great many species of ants, spiders, and beetles; but it just so happens that I hardly ever see these creatures. They live their little lives in a small-scale world, vitally important to life in the park, but mostly invisible to people having a nice stroll.
Most visitors, I suspect, are far more interested in the birds. The Rockefeller State Park is also a wonderful place for birdwatching; indeed, it is recognized as an Important Bird Area by the Audubon Society. Over 180 species of bird have been identified within the park’s confines, which is well over twice as many birds as I could probably name. I should admit that I am not myself a skilled birdwatcher; I lack the patience and the good binoculars. But even a casual visitor will likely see a great many interesting avians.
The most common bird in the park may be the humble house sparrow. This bird is not even native to New York, but is an invasive species from Europe. Apparently it was first introduced into New York in an attempt to control the linden moth, and since then the bird has become ubiquitous. This is a shame, since the sparrow is not particularly pretty and its call is a tuneless chirp. The common starling is another species imported from Europe. Now extremely widespread across the continent, the bird was first brought to the United States in the 1890s; it was introduced into Central Park by a group of Shakespeare fans who sought to import every species mentioned by the Bard. This whimsical idea has cost the United States billions in damaged crops, and untold more in damage to native ecosystems.
The starling is—to my eyes at least—a rather ugly bird with a mangy look to it; and its song is not very pleasant either. But the bird does have its delights. In the autumn months, the starlings flock together in massive formations, shifting shape in the air like an ethereal wave. I have watched them take off, swarm, divide, rejoin, twist and turn, and then land—all perfectly in sync. It is wonderful to see.
But now we should discuss some of the park’s native species. My childhood favorite was the American robin, which was named after (but completely unrelated to) the European robin. These are the only birds which can commonly be found on the paths, where they like to look for worms. Also common is the red-winged blackbird, whose few scarlet feathers contrast sharply with its jet-black body. Its song is one of the most distinctive in the park, a tripartite raspy trill. (Describing bird calls in words is always tricky.) Even more brilliant is the cardinal, whose bright red plumage (among the males, at least) is impossible to miss. The blue jay is superficially similar to the cardinal, with its bright color and distinctive head crest. But jays are only distantly related to cardinals, and really belong to the crow family. The beautifully colored eastern bluebird is also unrelated to the blue jay, and is actually in the same family as the American robin.
One of the prettiest birds in the park is the American goldfinch, a petite yellow bird normally found in the more open areas of the park. Even smaller, and even harder to find, are the hummingbirds. In fact, the only reason I know they live in the park is that my brother set up hummingbird feeders in my backyard, and I have seen them fly in to have a snack. Few things in nature as are charming as a hummingbird; they way they move through the air is not quite birdlike (and not quite buglike, either), and the low-pitched hum from their wings is unmistakable.
Among the more tuneful residents of the park is the black-capped chickadee, a small bird (about the size of a sparrow) with a complex and varied song. Its very name (“chickadee”) comes from one of its many calls, and is an immediately recognizable sonic signature. The tufted titmouse is a cousin of the chickadee, somewhat bigger more graceful in appearance, though lacking the chickadee’s elaborate melodies. (Why some birds develop elaborate calls while others stick with simple chirps? Does a chickadee have that much more to communicate than a titmouse? I will let the biologists ponder this one.)
The eastern towhee—a pretty mixture of red, white, and black—has a musical call, with three notes that sound somewhat like an augmented triad. Even more alluring is the call of the wood thrush. Indeed, many have considered the thrush’s song the most beautiful in the country, and I agree. Henry David Thoreau had this to say about this small brownish bird: “The thrush alone declares the immortal wealth and vigor that is in the forest. … When a man hears it, he is young, and Nature is in her spring.” To my ears, the thrush’s song has an odd auditory quality to it, sounding almost like water echoing in a closed chamber, or even like some digital effects on a sound editing program. It is wonderfully soothing, like the soft babbling of a river.
If the thrush is the most beautiful melodist, the mockingbird is the most virtuosic musician of the area. As its name indicates, this bird can imitate a seemingly infinite range of sounds, from the calls of other birds to the whining of car alarms. I should mention that the mockingbird is probably more commonly found in the suburbs surrounding the park than in the park itself, owing to its preference for short grass and open areas. In reasonably short doses the mockingbird’s endlessly shifting song is enchanting; but when one is keeping you awake in the middle of the night, the charm wears off. Strangely, mockingbirds accumulate a repertoire of mimicked bird calls, not in order to trick other birds—who are not easily fooled—but instead to impress potential mates. Evolution is a wonderous thing.
One of the most charming sounds of the forest is not a call, but a rhythmic tapping or rattle. This is caused by the pileated woodpecker, whose large size and red crown make it easy to recognize. This tapping noise is not a byproduct of the woodpecker’s feeding, but is instead created intentionally as a display; the bird raps its beak against a resonant piece of wood, like a hollow log, in order to proclaim its territory. The woodpecker feeds by drilling into the sides of trees with its beak and gobbling up the ants and beetles living within the living wood.
We cannot depart from the world of birds without considering the humble raven. Or perhaps I mean the crow. To be honest, I can hardly tell the difference between the two. Ravens are slightly bigger and have bulkier heads; and their vocalizations are an ugly squawk. (I actually find the song of the American crow to be, by contrast, rather soothing.) In any case, it is the raven that participates in one of my favorite animal spectacles in the park. Ravens are vigorous defenders of their nests, and do not hesitate to attack birds much larger than themselves. Thus, any red-tailed falcons that get too close—whether they are going for the raven’s young, or simply by chance—are likely to be harrassed by one or two angry ravens snapping after them. It is amusing to see the formidable profile of a hawk in flight from the pugnacious ravens, like a F-16 being driven off by a couple Cessnas.
The red-tailed hawk is one of the park’s apex predators. They can be startlingly big—big enough to be mistaken for an eagle (that is, until you see a real eagle). Red-tailed hawks are carnivores whose diet mostly consists of rodents, particularly squirrels, though I do wonder if they ever try to attack stray cats or small dogs. Their call is a high-pitched screech that sounds like a war-cry. Much smaller is the American kestrel, a petite little hawk with muted coloration, which likes to eat large insects and small mammals. Intermediate between these two is the Cooper’s hawk, which in my experience is significantly less common. There may be owls in the park, too—either barred owls or the great-horned owl—but I confess I have never knowingly laid eyes on one.
The park is home to many water birds as well. If you are at Rockwood, looking out at the Hudson, you may be lucky enough to catch a glimpse of a bald eagle. But normally the best place to see water-loving birds is, unsurprisingly, Swan Lake. There you can find the modest duck—in many varieties, including the common mallard duck, with its charming emerald head. The pestilent Canada goose is sometimes present as well, though in mercifully small numbers in the park. (Perhaps the presence of so many carnivores makes the park unsafe for the goose’s young, and so they prefer more human-dominated areas.) Out in the middle of the lake I have seen the black profile of a double-crested cormorant as it dove for fish and then reappeared on the surface.
More graceful avians include the great egret and the great blue heron. Both of these slender creatures tend to stand still in shallow water, waiting to snatch an animal with their long beaks. Coming across a heron—waiting motionless in a river—is one of my favorite moments in the park. It is stunning to see one stretch is long wings and take off. According to the website, the lake is home to “large-mouth bass, crappie, pumpkinseeds, bluegills, and bullhead catfish,” and this is not to mention the brown trout that are stocked every year. And this is not all: the egrets and herons also feast on some of the local amphibians, such as the common snapping turtle or the painted turtle.
As you can see, there are an awful lot of birds in the park. I ought to stop now before this post becomes truly unreadable. And yet I cannot leave off without mentioning the biggest bird of all, bigger than the bald eagle or the great blue heron. This is the wild turkey. They are rather reclusive creatures, and so catching sight of one is not easy. Indeed, I cannot say whether they are often in the park, or only very occasionally. I have only seen a wild turkey once, many years ago, as I walked on a quiet winter day. The startled birds ran off (surprisingly quickly) through the forest and out of sight.
The park has a few reptile and amphibian inhabitants, too, though thankfully they are not normally very visible. We have already mentioned the turtles, who like the water. The park is also home to several varieties of frogs and toads. Visitors have spotted and identified several: the bullfrog, the wood frog, the pickerel frog, the spring peeper, and the American toad. There are even salamanders. Snakes crawl among the underbrush, though thankfully no dangerous ones (well, not dangerous to humans, but lethal to the frogs). There are garter snakes, water snakes, milk snakes, and the tiny brown snake. I have never seen one of these snakes, and I am not particularly anxious to. (Technically, the park lies within the range of the timber rattlesnake, which is venomous, though I have never heard of any sightings.)
Now we come to the mammals of the Rockefeller State Park. We begin with the very smallest, the chipmunk. These adorable little creatures are most commonly seen scurrying about near the ground, usually at the base of a tree. They climb just as well as their larger squirrel brethren, but their burrows and much of their food is located at ground level, so it is not usual to see them in the tree-tops. The grey squirrel, one of the most common species of the park, is over twice as large as the chipmunk. Though so often seen as to be nearly invisible, the gray squirrel is quite an impressive animal. Not many mammals can climb and jump so ably; indeed the gray squirrel is one of the few mammals who can climb down a tree head-first. And if you try to prevent the squirrels from eating from your bird-feeders or fruit trees, you will find them to be wily and clever adversaries. Their name notwithstanding, a significant portion of grey squirrels are entirely black.
Before moving to Europe, I did not know how distinctive chipmunks and grey squirrels are to America. One does sometimes see gray squirrels in Spain, but there they are invasive. In the United Kingdom they have largely displaced the native red squirrel. Another of the squirrel species—an American icon—is the groundhog, which are also called woodchucks. (The name woodchuck has nothing to do with chucking wood, but comes from an Algonquin word.) These normally stay earth-bound, and live in underground burrows. Unlike the grey squirrel, which stores food away and is active all winter, the groundhog gorges itself and hibernates during the lean times. The chipmunk takes a middle road, and falls into a non-hibernative torpor (which is my winter strategy as well).
There are some other rodents to be seen. The meadow vole (more often called a field mouse) makes it home in the park, though it is normally difficult to find. The eastern cottontail rabbit can sometimes be spotted at a distance; they are rather skittish, too. I suppose these rodents must be careful, considering the number of predatory birds circling overhead. Almost all nocturnal animals are not seen in the park, if only because it gets so dark that virtually nobody wishes to be there. Thus we miss the possum, a comically ugly creature that looks like an oversized rat. It is not a rodent at all, however, but a marsupial, the only one to live north of Mexico. This means that the young are born very small (the size of a dime) and reside in their mother’s pouch, just like kangaroos.
Mammals do not just inhabit the trees and undergrowth; they compete with birds for the air. Several species of bats are endemic to the area, and they can be spotted in the waning light of summer evenings. The most common types are the little brown bat and the northern long-eared bat. Personally I like bats, since they help to control mosquito populations; but they can also transmit diseases to humans. The most deadly of these is rabies. Once, when a bat was discovered in—and chased out of—my house, my whole family had to go several times the hospital for the rabies vaccine, just as a precautionary measure. At present, bat populations all over the United States and Canada are threatened by a virulent fungus that colonizes the bat’s skin, a condition called white-nose syndrome. This has had a devastating effect on many bat populations, reducing some by over 90%. It remains to be seen how they will recover from this blight.
One of the most common—and hazardous—animals of the area is the striped skunk. I know they live in the park, since my poor dog was sprayed twice. The smell is powerful and rancid. From far away it can smell vaguely like marijuana smoke, though from up close it is harshly chemical. If you keep your distance, however, skunks are harmless animals who mainly eat insects. Slightly more of a pest is the common raccoon. Once I was surprised when, seemingly out of nowhere, a group of raccoons appeared, pushed over a nearby garbage can, and then carried off their loot into the forest. They are very dextrous and intelligent animals, and able climbers. During a rainstorm I witnessed a raccoon climb to the top of an electricity pole and huddle their for well over an hour. Raccoons, like skunks, are only really dangerous if they are infected with rabies. A police officer shot a rabid raccoon at the top of my street some years ago. If you are unlucky enough to get bitten, you will need to get the vaccine immediately.
The park is also home to many predators. By their nature, these carnivores are quite expert at sneaking around unheard and unseen, and so catching sight of one is an uncommon experience. The red fox prowls around the park, eating pretty much anything it can find, be it bird, amphibian, reptile, or mammal, as well as some seeds and grasses. I have heard of bobcats occasionally appearing in Westchester county, but I believe there are not many; competition with coyotes often drives them away. And the Rockefeller State Park Preserve definitely has coyotes. Some nights, you can hear their high-pitched yelps and howls echoing through the forest. It can be very loud, and quite eerie.
I have only seen a coyote on three or four occasions—always at a distance, and always briefly. The only exception to this was one odd sighting, right in the middle of Tarrytown, of a coyote chasing a domestic cat. The cat escaped by clawing its way up a tree. Coyotes are bigger than foxes—though smaller than most dogs—and are more ferocious hunters. Close cousins of the gray wolf, coyotes prefer fresh meat and are capable of taking down animals as big as deer (but they normally go after immature animals). They are very effective predators, and can kill porcupines and rattlesnakes, as well as many species of birds, including wild turkeys. Coyotes are not pack animals, but instead form pair-bonds, which are probably more stable than most human relationships. Unless they are rabid, they pose no threat to humans.
Coyotes became top dog after gray wolves were hunted out of the region, which was done over 100 years ago to protect livestock. Now the biggest canines in the park are domestic dogs. Another predator that has been eliminated from the area is the cougar (or mountain lion, or catamount—it has many names), which became locally extinct about 200 years ago. Black bears have occasionally been sighted in Westchester County, though I have not heard of any within the park. The lack of predators may make the area a little safer, for humans and for cows, but it did greatly upset the ecosystem.
The most apparent evidence of this is the huge profusion of deer. The white-tailed deer is the biggest animal in the park (that is, not counting the domestic cows); big bucks can get even heavier than most adult humans. They are everywhere, and often they are not particularly skittish around people. Many will not even bother to run away when you walk by. The most flighty seem to be the males with fully-grown antlers, which can be seen starting in late spring. Perhaps they are nervous because the park does allow some limited bow-hunting of deer in one section of the preserve. This is done as a needed control over the deer’s explosive population.
This description, long as it is, does not even come close to fully capturing all of the manifold forms of life within the park. Language is linear, so we must go through these many species as a long list. But life is not a list, not even a long one. Every level and layer is intimately bound up with every other, creating a dense web too complex for us to wrap our minds around. This is the problem of organized complexity. We can readily understand things that are complex but disorganized (like the motions of gas particles) or simple but organized (like the orbit of a planet); but when there are so many variables, all influencing one another in precise and specific ways, we find ourselves grasping in the dark. This partially explains why humans so persistently disrupt ecosystems. We cannot tweak them by simply eliminating the parts we do not like—such as wolves or mosquitos—since every change has ripple effects through the whole system.
To see all of these particulars as one enormous whole is the challenge of the naturalist. But it is also what comprises the real beauty of a natural place. Organized complexity, after all, is what separates a forest from a botanical garden or a zoo, wherein species are divided and labeled. And this is also, I think, why natural spaces are so refreshing to us. Every human-made environment is composed of simple shapes—lines, circles, rectangles—all arranged simply enough for us to easily navigate them. From a suburban neighborhood to the inside of a cathedral, this holds true. Natural spaces betray no such simple geometry or geography. By comparison, nature can appear chaotic or disorganized; and yet if it were truly so we would not find nature so aesthetically pleasing. Rather, natural spaces are highly organized, but along non-intuitive lines; and this lack of obvious arrangement is why, I believe, it can feel so refreshing for us to take a walk in a forest. Sensually and cognitively, it is a richer experience.
Henry David Thoreau famously went into nature and found the meaning of life—or at least, the meaning of his life. I cannot say that the Rockefeller State Park Preserve has been to me what Walden Pond was to him. Yet the park has been a constant, comforting presence in my life, a place of beauty and continuing wonder. Even now, there are still some corners I have yet to explore, and so many plants and animals I have yet to know. Like all of nature, the park can teach many lessons, provided you are a willing pupil. The principles which shaped the park are the same as those which have shaped the entire earth; and so understanding one small plot of land may be the best way to come to grips with the cosmos. If the park has any moral lessons to teach, it is the lesson of all nature: that life goes on. I do find a sort of comfort in the thought that, whatever happens to me, this buzzing, blooming world will continue.
But the park has another lesson, too, and that is the value of cooperation. The Rockefeller State Park Preserve would not exist without the generosity, care, and work of thousands of people—from the original donors of the land, to the volunteers who help to combat invasive species, to the casual visitor who takes care not to litter. Wild places do not simply exist nowadays, but must be actively maintained. It is one of the ironies of our history that we only really began to savor wilderness when much of it had already been destroyed. Now, without places of refuge like the park, we will be condemned to wander among asphalt landscapes of endless surburbia. For our own sake—if for nothing else—we must fight to protect it.
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In a city full of famous art museums, the Metropolitan is undoubtedly the queen. The institution is a behemoth. With a collection containing millions of objects—objects which come from every corner of the world, from ancient times to the present day—the museum has nary a rival in the world for range. And the objects comprising this encyclopedic collection are, inevitably, of the finest quality that money can buy. By now I have seen enough of the great European museums to say confidently that the Met can compete with any of them.
The museum was conceived as a kind of sister institution to the American Museum of Natural History. It was an age when the rich and educated sought to “civilize” the less privileged. Both museums are located near Central Park, a place which itself was designed as a civilizing project—a kind of pastoral refuge from the ills of city life, where the people could learn to appreciate more refined recreational activities: Sunday strolls, picnics, birdwatching, and so on. The Museum of Natural History would bring the light of knowledge to the uneducated, while the Met would show the unsophisticated the value of high art.
The museum’s founders were embarking on a pathbreaking project. There were already plenty of examples of great European museums to learn from. But what would an American art museum be like? When the museum opened in 1872, its collection was modest. Indeed, many of the works it displayed were either prints or reproductions of famous European works. Yet this quickly changed. New York was emerging as the financial capital of the world. Andrew Carnegie, John D. Rockefeller, and J.P. Morgan were among the city’s residents. Since Europe was still considered the cultural epicenter of the West, these newly-minted super-rich naturally spent their piles of gold in buying up as much European artwork as they could.
The Metropolitan benefited immensely from this confluence of money and ostentatious display. Not only did the museum itself have the budget to purchase high-quality works, but it also increased its collection from gifts and bequests. After all, donating beautiful art to a public museum is a good way to demonstrate wealth and civic-mindedness at once. We ought not to criticize, however. There are times when the vanities of the world manage to produce genuine treasures. And the Met is certainly such a treasure.
At present, the museum’s holdings are so vast and varied that no single person, however knowledgeable, could hope to do justice to it all. It would take a team of professional art historians working for years on end to complete even a basic catalogue of the museum’s works, much less an appreciation along aesthetic grounds. And I am no art historian. So in this post I hope only to give you a superficial tour through this enormous institution. (Much of the information and many of the images come from the Met’s website, which is quite well-made. The people at the museum have done the world a service by publishing high-quality public domain images of their collection.)
We begin at the entrance on Fifth Avenue. The museum is difficult to miss. The building stretches out along several city blocks. Fountains shoot and sprinkle outside, and the sidewalk is always thick with crowds. The building is neoclassical in form, its façade a kind of pale white decorated in a pseudo-Roman style. The steps leading up to the main entrance, lined with imposing double columns, are one of the most iconic spots in New York. There are always food stands parked right below these steps, and usually a street performer—a dancing saxophonist, perhaps—plays for the amusement of those sitting on the steps.
We enter the building, and are faced with a choice: right or left. There are ticket stands on either side. To the left there is a graceful Greek statue of woman, and to the right a stiff Egyptian man seated on a throne. These statues are informative, since the respective galleries for these cultures are located in these directions. For the purpose of getting a ticket, the choice is immaterial: the lines on either side are normally about the same, and usually move pretty quickly.
Now, there was recently a significant change in the museum’s admissions policy. For the past few decades, visitors could pay any amount they liked. Just last year, however, the museum changed its recommended prices to mandatory payments—for everyone except residents of New York State, that is. (Lucky for me, I am still a resident.) Another change, by the way, was the switch from using metal clips to using stickers to identify visitors. I am sure that the Metropolitan has increased its budget by making these changes. But I admit I miss the old, pay-as-you-wish, metal clip Metropolitan. A man from China could pay a dollar, and leave with a nice little keepsake from his visit. I still have some of the old clips in my room.
Anyways, let us now enter the museum proper. I like to begin with the Egyptian section, not just because it is near the entrance, but also because it represents the chronological beginning of the museum’s collection. Here we can ground ourselves in one of the world’s oldest civilizations before we examine anything else.
The Egyptian section is massive and labyrinthine. Unlike the other departments of the museum, the Egyptian department displays everything in its collection—almost 30,000 objects. To make room for all of this, the halls double around one another, making it sometimes confusing to navigate the collection. But it is a worthwhile use of one’s time to get lost in the art. If you proceed carefully through the department, you can take a very satisfying chronological journey: beginning near the entrance, in prehistoric Egypt, and ending up in the same spot, having gone through the Old, Middle, and New Kingdoms, and finishing in the Roman era.
Now, I love this department, because it has everything. Walking through it, the visitor gets a very complete picture of life in this ancient civilization. Of course there are sarcophagi and mummies, along with amulets, jewelry, and ceramics. Among the most famous of the smaller pieces in the museum is William the Hippopotamus, a beautiful figurine made of faience, which is a ceramic type specific to Egypt. It has a radiant blue color that is delightful to look at.
The museum also has a wealth of larger statues, ranging from the size of a child to the size of a giant. For me, the most beautiful of these is a statue of the pharaoh Hatshepsut. As you may know, Hatshepsut was the only woman to officially become the pharaoh. This presented a challenge for Egyptian artists. The art of Ancient Egypt is distinguished for its astonishing conservatism, preserving the same stylistic features through centuries. A single glance is all we need to know that something is Egyptian. But portraying a woman required innovation, and the artists rose to the challenge. Rather than making her appear masculine, as they did in other works, in this seated statue Hatshepsut appears both feminine and even feline. There is a smooth grace and delicacy to the sculpture which is rare in the usually rigid forms of Egyptian art, and I find it enchanting.
Though not, perhaps, especially beautiful, some of the most illuminating artifacts on displays are sets of models. Made around 1900 BCE, the models were found in the 1930s in a tomb in the Memphite region of Egypt. They show us rare scenes of daily life in Egypt. We can see several boats travelling along the Nile, one of them transporting a mummy, another for hunting. There are also models of more cotidian scenes: a granary, a garden, a house. These models are wonderful little things, since it is as if they were made by the Egyptians for a museum exhibit about Egypt. It is difficult to identify with the people who sculpted enormous statues of god kings, but very easy to see oneself gardening.
The centerpiece of the collection is the Temple of Dendur. The Met actually has large sections of several temples in its collection, from different periods of Egypt’s history, but this is the only complete, free-standing temple in the museum. It is in the center of a large room, surrounded by a little water moat where visitors like to throw coins. Statues of crocodiles and lion-headed gods surround the space. The temple itself is of a fairly modest size, and is from the end of Egyptian civilization. It was built after the conquest of Egypt by the Romans, and commissioned by Augustus himself. While the temple is a lovely work of architecture, what most stuck in my memory were the many graffiti carved into the walls.
When you complete your circuit through the Egyptian section, you will be where you began, right by the entrance. From there, I like to go across the hall and then into the section on Ancient Greece. This part of the museum looks very different. Whereas the Egyptian section is twisting and jam-packed, the Greek section is open and clear. The visitor enters a large hall with a vaulted roof. Free-standing statues are scattered through the space, while friezes line the walls. For any lovers of classical art—with its flowing robes, idealized forms, and restrained emotion—there are dozens of works to admire. While I greatly enjoy the statues, I find myself even more interested in the friezes. Some of these come from Athenian tombs, such as a touching portrayal of a little girl cradling a dove.
The collection contains many excellent examples of art from Classical Athens—art that we readily identify as quintessentially Greek. Besides the statues and freizes, there are many examples of Greek vase art. But the collection also contains works that do not fit this description. Among these are the many sculptures from pre-Classical Greece, which to our eyes can seem more Egyptian than anything. The museum has an excellent example of one of these kouroi: A young man, standing with one foot extended forward. I like the work, since it is an interesting example of a midpoint between Egyptian stylization and Greek realism. The young man is manifestly unreal, and yet the musculature in his limbs and torso is well done. An even older work—from around 750 BCE—is a terracotta vase. Its decoration is very much unlike the red, white, and black images of gods and heroes we normally associate with Greece. Rather, it is covered in a thick pattern of geometrical shapes and tiny like stick-like figures. I quite like it.
The collection of Roman art is perhaps even better than that devoted to Greece. There are several excellent busts of Roman Emperors. I have a long, personal attachment to a bust of Marcus Aurelius in the collection, which to me is the perfect image of a philosopher—calm, wise, detached. I use it as my own symbol now. A much more amusing work is a statue of Trebonianus Gallus. It is a rare example in the Met of art gone wrong. Clearly, whoever made it was not a master. The whole figure is awkward, with a bulging stomach and a head that is manifestly too small. Maybe Rome was not doing so well in the year 250 CE, when it was made.
Statues, being made of metal or rock, naturally preserve very well. But painting is another story. Even though the Greeks had a developed tradition of painting, nothing has survived the ravages of time. That is not the case for Rome, from which we have many well-preserved wall paintings. The Met has an entire room, the bedroom of P. Fannius Synistor, which was buried in the eruption of Vesuvius in 79 CE. The art on the walls is really wonderful, showing several architectural and natural scenes. It shows us how the Romans gave a realistic impression of space without using the technique of perspective. Having seen my fair share of Roman wall frescoes and mosaic floors, I must say that they had wonderful taste in interior decoration.
As you can see from this example and the Egyptian temple, the Met is big on re-creating interiors. This is a theme throughout the whole institution, and one of the Met’s most distinguishing features: The visitor is allowed to walk into history.
Before moving on to the next department, I want to mention the wonderful collection of Etruscan art (from Italy before the Roman period) on the balcony above the Roman section. One of the most outstanding pieces in this section is a bronze chariot from around 550 BCE. Having a preserved chariot is quite rare, so it is a treat to be able to see one so exquisitely decorated.
The Greek and Roman section leads direction to the collection of art from Africa, Oceania, and the Americas. Of course, one can tell at a glance that this grouping is a kind of mishmash of art from non-Western cultures, which in previous days was called “primitive.” In reality the arts of these three continents have nothing to do with each other; and, of course, the amount of geographical space supposedly represented in these galleries is incomparably more vast than that of Greco-Roman or Egyptian art. That being said, at least the Metropolitan has a fine collection of art from these parts of the world, which are too often ignored.
For my part, it is a great refreshment to go from the world of Greece and Rome to this gallery. Our culture has so internalized those classical forms that they charm us more for their “perfections” than for any surprises they contain. Thus it is a pleasure to sample some of the other great visual cultures from around the world, which really do contain surprises for Western eyes.
The grand hall of the collection (gallery 354) is one of the most spectacular in the museum. From the ceiling hangs an enormous collection of shields from Oceania, arranged into a kind of meta-shield formation. I am always reminded, incongruously, of a spaceship. Large sculptures fill the space below the shields. There are some slit gongs from the island of Vanuatu, which double as huge musical instruments and works of visual art. There are funerary sculptures from Papua New Guinea; called malaga carvings, they are beautiful and highly intricate wooden carvings meant to be used only temporarily to celebrate the dead, and then disposed of. (This certainly goes against the grain of Western thinking, wherein we want our art to be eternal.) The bis poles of the Asmata people, another culture in New Guinea, are used for a similar purpose, and are also beautifully carved and then disposed of.
The adjacent section on African art is equally captivating. During my last visit I was particularly attracted to a small wooden carving of a man, called a Power Figure, made by the Kongo peoples. Bent forward slightly, standing with arms akimbo, the statue has a real intensity when seen in person—the exaggerated form only magnified by the many steel nails emanating from the man’s body. More famous is the Benin ivory mask, a real masterpiece, made by the Edo people of Nigeria—one of the great pre-colonial states in sub-saharan Africa. The mask, which represents a powerful queen mother, is clearly the work of experts working within a vibrant tradition. The mask has an elegance and a graceful polish that make it very satisfying on the eye: each detail is finely crafted, and yet they all work together to make a perfect form.
During my last visit, I was especially interested in the section on pre-colonial American art, since I had just finished listening to an audio course on the peoples of North America. I was delighted to find beautiful examples of geometric pottery from the Ancestral Pueblo culture (fascinating to compare to the geometrical designs from pre-Classical Greece). Among the many sculptures on display, one of the most iconic is a ceramic baby from the Olmec culture, made around 1,000 BCE. It is a wonderful piece, surprisingly lifelike despite its stylized face. The folds of fat and the hand placed idly in the mouth serve to make this sculpture a far more realistic depiction of babyhood than the many portraits of the infant Jesus made over 2,000 years later in medieval Europe.
Moving on in our rapid tour, we come next to the museum’s Department of Modern and Contemporary art. The very fact that the Met has this department is a testament to its uniqueness. I can think of no other museum in the world that has significant holdings of ancient and non-Western art as well as “modern” art. But the Met is devoted to a vision of total universality—the art world’s equivalent of the Museum of Natural History—and so has it all.
The collection as the Met is almost as impressive as that in the MoMA—and that is saying a lot. Though there are so many great works on display, I will restrict myself to mentioning my favorite painting, which is also perhaps the most famous painting in the whole collection: Pablo Picasso’s portrait of Gertrude Stein.
It is an extraordinary portrait, arguably the greatest of the previous century. The painting is revolutionary. Gertrude Stein sits in a kind of abstract, unfinished space. She is not surrounded by her papers and books, but instead sits alone. While previous portraits in European art showed us the heroic and cultured male, handsome and lithe, Stein is hunched-over, short, and tick. Yet her body—mostly concealed under her heavy clothes—has a kind of elemental power on the canvass, even a monumental grandeur. But her face is what attracts the most attention. Rather than faithfully reproducing Stein, Picasso turns her face into a kind of mask. Thus her eyes and nose do not obey the normal rules of perspective and anatomy. Ironically, though this technique necessarily makes Stein’s face blank and inexpressive, the result is a convincing representation of the writer’s presence, of her indomitable energy. There is a charming story that, when told that Stein did not look anything like this portrait, Picasso responded “She will.” He was right: this portrait has helped to define Stein’s image far more than photographs of her.
I will also mention the largest work on display in this Department: America Today, a mural by Thomas Hart Benton. It consists of ten canvasses, and shows in visual form the America of the 1930s. The work was commissioned by the New School of Social Research—a kind of progressive think tank. I quite like the mural, as I do much of the public art created during the Great Depression and the New Deal. Looking at this work, one feels that we modern Americans were successfully creating our own visual language with which to decorate our public monuments—much like the Egyptians and the Greeks. The inclusion of this large mural is also keeping with the Met’s proclivity for immersive artistic experiences.
Next we come to the massive Department of European Sculpture and Decorative Arts. Once again, the Met excels when it comes to the re-creation of historical spaces. One of the most beautiful rooms in the Met is an entire patio taken from a Renaissance Spanish villa—the Castle of Veléz Blanco. Not only are the carvings on the arches and columns beautiful, but the space is filled with quite lovely statues of mythical, historical, and religious figures. Just as astounding is a study from the Ducal Palace of Gubbio. Every surface is covered in images made using the technique of wood inlay (intarsia, or marquestry), which consists of piecing together little bits of colored wood in order to make a complex image. The amount of time it must have taken to assemble a whole room this way is frankly stupefying. The result is an extraordinary work of immersive art, whose walls symbolize different areas of human activity. I am sure the room itself is a greater accomplishment than whatever happened inside it.
These two rooms only scratch the surface of the department’s holdings of decorative arts. There is everything one would expect to find in the homes of aristocrats and royalty, from elaborate coffee pots to ornate globes. I admit that, however fine these products are, they are generally less interesting to me than the sculptures.
Some of the museum’s best sculptures can be found in gallery 548, which takes the form of a large atrium. On one side of the space, you can even see the brick façade of the museum’s original building (which is mostly buried in the later constructions). There are two outstanding statues in this space. The first is Perseus with the Head of Medusa, by Antonio Canova. It is an extremely fine work of Neoclassicism, achieving the idealized grace of the Greeks and Romans. Simply as a composition, the statue works marvelously, with the gruesome head balanced by the peculiarly barbed sword, making a strong diagonal. The other great statue (in my opinion) is Ugolino and his Sons, by Jean-Baptise Carpeux. This depicts a story taken out of Dante of an Italian count who—along with his sons and grandsons—was imprisoned and starved to death. We see the count, driven almost to insanity through starvation and despair, surrounded by the tortured forms of his progeny.
Continuing on through the museum, the visitor will next reach the museum’s section of Medieval Art. Now, I feel justified in mostly passing over this department, since the bulk of the museum’s medieval art resides in the Cloisters Museum, uptown (an enchanting branch of the Met). Even so, it must be said that the central room of the Medieval Department is a beautiful space, with a high ceiling and high windows, like a cathedral. An ornate grill (from the Valladolid Cathedral, in Spain) stretches most of the way to the ceiling, and charming examples of sculptures, tapestries, and stained glass give the space a properly church-like atmosphere. This last time around I was particularly impressed with the museum’s small collection of Byzantine art.
From here it is appropriate to go straight to the Department of Arms and Armor. As you can imagine, this was my favorite section to visit when I was a young kid, and did much to fuel my youthful obsession with swords and guns. Even now, I admit I find this section extremely impressive, and I have never seen any collection of historical weapons even half as good. The presentation is excellent. The visitor enters a large hall, where medieval flags are hanging from the ceiling. A group of mounted knights ride through the center, while other armored knights stand guard all around the periphery. One feels that one has entered a jousting tournament.
The suits of armor are fascinating and, often, strangely beautiful. They are like abstract sculptures of human forms, or a kind of proto-machine with moving parts. Though you naturally would think that a metal suit would be extremely cumbersome, you can see innumerable little joints made into the armor, giving the wearers a surprising range of movement. The most beautiful of these many suits on display is that made for Emperor Ferdinand I (brother of Charles V). Every piece of metal is covered in ornate designs. Just as wonderful are the Japanese suits of armor on display. Rather than turning their wearers into metallic turtles, this armor is clearly designed for a different sort of fighting—one requiring more lightness and flexibility. The monstrous grimaces on the helmets would be genuinely terrifying if someone was coming at you wearing this.
Right next to this department is the American Wing. This is one of the areas where the Met is really untouchable. Other museums may have finer paintings or sculptures or what have you, but I do not think any museum has such a complete and rich collection of American art. Indeed, the American Wing could be cut off and moved to a different spot, and it would still be one of the finest museums in the country. Its collection is vast, and it is so wonderfully presented. The visitor enters an enormous courtyard full of benches and statues. The glass wall and roof flood the space with light, making the department a welcome relief from the dark medieval section. Bright, colorful stained glass, and an equally colorful fountain, line the walls; and a beautiful bronze statue of Diana, lightly resting on one foot, occupies the center.
The visitor enters the main collection through a kind of pseudo-façade, as if this is an entirely different building. And, indeed, the visitor suddenly finds herself thrown into a richly-furnished home. In keeping with the museum’s penchant for interior spaces, there are a great many recreations of American interiors from different points in the country’s history. Surely, we have not invented anything as close to time travel as this. Proceeding onward, the visitor next finds a strange sort of room. It is in the shape of a large oval, and on the walls there is an enormous painting of the palace and the gardens of Versaille. When standing in the center of the room, the curving panoramic does create a satisfying illusion of actually standing in France. Just as the study in the Ducal Palace of Gubbio, this painting (by John Vanderlyn) must have taken a nauseating amount of time.
I walked up the stairs, and then found myself in what is called “open storage.” These are the chairs, tables, paintings, lamps, and everything else that the museum has but did not have the space to use. So they hang here, in transparent cases. I recommend a visit to this, if only because it gives you an idea of the enormous amount of material any major museum must be holding in storage.
Proceeding onward, we come to the painting gallery. There are far too many excellent works to name. I was particularly happy to see a portrait of Alexander Hamilton and George Washington—both of which used to hang in Hamilton’s home, up in Harlem. More conspicuously, there is the iconic painting of Washington Crossing the Delaware—almost ludicrously heroic. I was also happy to find Frederic Edwin Church’s painting, In the Heart of the Andes. Church was inspired by the naturalist, Alexander von Humboldt, and included as much scientific detail as he could in this painting. Just as famous is John Singer Sargeant’s painting, Madame X, an intentionally risque (at the time) portrait of a society beauty (her real name was Madame Pierre Gautreau).
I was most delighted to learn that the museum has an entire room designed by Frank Lloyd Wright. I am no expert in the design of houses or in interior decoration, but I must say that it is both a welcoming and an animating space. It is easy to imagine myself reading a good novel within, while watching the snow fall out the windows.
This completes our long circuit around the museum’s massive ground floor. If we continue on, we reach the Egyptian section again. So now let us return once again to the Great Hall, and then ascend the grand staircase to the museum’s first floor (or second floor, in America).
Finally we come to the museum’s collection of European Paintings. Now, I must be careful here to avoid getting pulled into an endless catalogue of the museum’s excellent works. Like the American Wing, the Met’s Department of European Paintings could be a self-standing museum, and still be one of the best in the nation. Whether you like Dutch, Italian, French, or Spanish art, you will not leave the gallery disappointed (though German painting is fairly absent).
As you might expect, I am most interested in the Spanish paintings on display. The Met has excellent examples of the three great Spanish masters: Velázquez, El Greco, and Goya. The outstanding work of Velázquez is a portrait of Juan de Pareja, an enslaved man of African descent, which the artist executed in Italy. You will be pleased to hear that the great painter freed Juan de Pareja, who went on to become a skilled painter himself (there is a work of his hanging in the Prado). In any case, when you look at this painting, you do not see a man in bondage. To the contrary, Juan de Pareja appears almost regal with dignity. The painting is beautiful and startlingly realistic. To depict a man of African descent in such a way was a radical gesture on Velazquez’s part.
Goya’s contribution is a portrait of Manuel Osorio Manrique de Zuñiga, a very young aristocrat. As usual with Goya, the figure has an odd stiffness, and the face is inexpressive. The viewer’s eye is naturally drawn to the scene at the boy’s feet, where two cats hungrily eye a magpie on a leash. This is a strangely morbid scene for a portrait of a youth, and it becomes all the more eerie when one considers that the boy died only a few years later, at the age of eight. El Greco’s outstanding work is his View of Toledo, the best of the artist’s few landscape paintings. As always, the artist’s signature style is immediately apparent: deep, rich colors combined with a dramatic verticality. This style is perfect for the city of Toledo—which is built on a hill overlooking a river, and filled with sharp towers. El Greco manages to imbue this wholly secular and inanimate scene with a burning spiritual intensity.
The number of excellent French painters in attendance dwarfs the representatives of any other nation. My personal favorite is Jacques Louis David. There is a charming portrait of the French chemist Antoine Lavoisier, who was executed during the French Revolution under false accusations. This is quite a historic loss, considering that Lavoisier is normally considered to be the father of modern chemistry. David’s more famous painting is his The Death of Socrates, a historical scene showing the great philosopher’s final moments. Socrates, who was very ugly and was quite old at the time, is shown as a partially nude Greek hero—with a muscular torso to boot. While I am not sure the painting captures the spirit of Plato’s dialogues, it is a brilliantly theatrical image.
On the subject of French painters, I must also mention The Love Letter, by Jean Honoré Fregonard, a delightfully coquettish image of a young woman receiving a note from her secret admirer. (I use this image in my blog’s newsletter.) I would love to keep going—since paintings speak to use in a modern language, easy for us to appreciate—but I will content myself with a short list of the artists in attendance: Rembrandt, Van Gogh, Vermeer, Ingres, Canaletto, Tiepollo, Turner, Klimt, Monet, Manet, Guaguin, Cézanne, Dürer, Memling, Rubens… Really even the list gets too long. The museum’s holdings of 19th century European paintings is so big, in fact, that the collection is held in a different section of the building.
To get there, you must pass a little hallway devoted to drawings, prints, and photographs. Now, you may be surprised to learn that, counted by individual works, this department is by far the biggest in the museum. But only a fraction of the drawings and prints in the museum’s holdings are on display at any given time. Sometimes they are taken out for special exhibitions, such as one on Michelangelo a few years ago. There, I got to see some of Michelangelo’s schematic drawings for fortresses, when he was briefly hired as a military engineer. Besides being innovative designs, the drawings themselves are beautiful works of abstract art.
Continuing on through the paintings of 19th and early 20th century Europe—where you can admire the great impressionists and post-impressionists—you get to the Department of Islamic Art. During my time in Spain I have come to admire Islamic art for its intricate designs, its geometrical sophistication, and its sense of divine calm. Wonderfully creative patterns decorate everything from tiles, to carpets, to pages of the Qur’an. As an example of the last, there is a stunning illuminated Qur’an from Turkey, whose decoration is just as intricate as the Book of Kells in Dublin.
Representational art is relatively uncommon in the Islamic world, as it is explicitly forbidden by the religion, but there are still some examples in the gallery. A particularly beautiful one is a tile panel from Iran, executed in a style that looks to my ignorant eye as if it could be Indian. A seductively posed woman is being courted by a man wearing a European hat. I wonder who made object, for whom, and where it would be placed, since it seems to so flagrantly flout the strictures of Islamic religion.
In keeping with the museum’s love of historical spaces, this section has the Damascus Room. This is a winter reception room from a palace in Damascus, Syria, made around the year 1700. It is a beautiful space. Shelves display ornate ceramics and the gilded covers of Qur’ans. Panels of lovely calligraphy (bearing messages from the Qur’an) and floral designs decorate the walls, and the floor is covered with geometrical tiles. The ceiling is perhaps the most stunning of all, composed of elaborate woodwork. It is such a sophisticated, elegant space; it must certainly have set the tone for any conversations which took place within.
Next we come to the museum’s relatively small section on the Ancient Near East (Mesopotamia). For the most part these halls are filled with wonderful little objects from long ago, like cylinder seals, jewelry, incense burners, and small-scale statues. Among this last category is a small statue of Gudea, made around 2,000 BCE. It is a work of skilled craftsmanship, showing us a Sumerian king in a rather humble pose. His robe bears an inscription in cuneiform about his accomplishments (typical propaganda). What is striking is the thoughtfulness and even the humility of the king’s gaze and pose. He strikes us as more of a monk than a fearsome ruler. Another outstanding work is the bronze head of an unknown ruler, made between 2300 and 2000 BCE. Though not exactly realistic, I think this work is remarkable for the degree of individualization in the ruler’s features. We are not looking at a generic, stylized male head, but a particular man from 3,000 years ago.
But the real stars of this department are the lamassu: colossal sculptures of human-headed winged lions that flank the hallways. These were made in Assyria, around 850 BCE. Walking through this hallway, flanked by these mythical figures, feels like walking into the past. One detail I particularly like is that the creatures have five legs, as a result of a bit of illusionism. The front two legs are parallel, as if the creature is standing still; yet from the side, an extra leg is added (invisible from the front) to make it look as though the creature is mid-stride when seen from the side. The walls surrounding these stone guardians are covered with friezes in low relief, depicting other mythological scenes. For me, this Assyrian art is as lovely anything in the Egyptian section.
You emerge from ancient times onto the balcony overlooking the Great Hall. Here you can walk across and enter into the Department of Asian Art. This is one of my favorite areas of the museum, partly because of the art itself, and partly for the way that this department is laid out. Clever planning makes the department seem much bigger than it actually is, and walking through it the first time feels like exploring an old palace or temple.
The viewer enters the department by walking into a grand gallery, filled with enormous works of Chinese Buddhist art. There are large stele, bearing inscriptions and carvings, and a huge sculpture of a Bodhisattva. This may, in fact, be the biggest statue in the museum. It is 13’9’’ tall (over 4 m) and must weigh thousands of pounds. It is also quite beautiful, with richly decorated robes. On the wall is an even bigger paintings of the Buddha of Medicine, seated among a large retinue. It is a magnificent way to enter Asia.
From this large hall, one can either further explore Chinese art, on the left, or enter the arts of India, on the right. For the sake of consistency, we can begin with China. The Met’s collection of Chinese Buddhist sculpture is the largest outside of Asia, and more examples can be seen in Gallery 208. There are so many lovely sculptures. One I particularly like is a ceramic sculpture of an Arhat (or a Luohan, as they are known in China), which is a person who has achieved an advanced state of enlightenment. The sculpture is lifesize; and the man’s tired and worn expression is extremely compelling. His robes are still brightly colored, even though this was made over 1,000 years ago.
The Met also has a wonderful collection of Chinese drawings, calligraphy, pottery, and much else. But the most stunning room is the so-called Astor Court: a recreation of a Ming Dynasty-era courtyard. This is just another example of the stunning interiors from around the world collected at the Met. Finished in 1981, this installation was built by hand, using traditional methods; and besides being a beautiful work of art, it represented a landmark in cultural exchange between communist China and the United States. You enter through a round doorway guarded by two stone beasts (one is reminded of the lamassu in the Ancient Near East). Immediately you find yourself in a different world. A sheltered walkway surrounds a garden filled with oddly shaped rocks. These are called Taihu stones; they are formed via water erosion at the foot of a particular mountain in China (Dongting), and they are abstract sculptures in their own right.
At the end of the garden is a large room, designed to be used as a study, I believe. Unlike the great European interiors of the Met, this room does not appear at all ostentatious. Rather it is spare, restrained, and tasteful. As in the Damascus Room, it is impossible not to be awed by the high degree of sophistication and elegance of the room and the adjoining garden. I cannot but help imagining myself as a Ming Dynasty scholar, sitting in the garden and contemplating some intellectual puzzle. The space seems to invite contemplation.
Next we shall enter India and Southeast Asia. But before that, I ought to mention the Met’s small but delightful collection of Korean art. It is all in one room, Gallery 233, and I quite like the space. All of the objects are diminutive, and many have a kind of geometrical simplicity and elegance which gives the space its own distinct aesthetic. But we have no time to stop and savor. We walk from China, through Korea, and into India.
For me, the standout objects in these galleries are the many small figurines of gods. Indian sculpture enchants me for the kind of whimsical energy it often possesses. Though magnificent, the many gods do not seem remote or beyond reach, but rather quite approachable and inviting. These galleries are arranged chronologically, so we begin at around 2,000 BCE—about as old as anything in the Egyptian or the Ancient Near East sections—and move towards the present. To pick just a few of my favorite examples, there is an Avalokiteshvara Padmapani from the 7th century, a Bodhisattva who seems to be coyly beckoning. Or there is a statue of Shiva as the Lord of Dance, wherein the god is shown mid-stride, dancing within a fiery circle.
Another favorite is Yashoda with the Infant Krisha, who is suckling the young diety at her breast. This sculpture is especially resonant for Westerners, since we also have a tradition of representing the sacred mother suckling the divine child. But the style is here so very different. Whereas Mary is de-sexualized as much as possible, Yashoda is nearly naked and her breasts are almost comically large (of course, I am looking at this sculpture as a Westerner). Indian art is, after all, famous for its erotic content. An excellent example of this is a sculpture of a loving couple in a passionate embrace, made in the 13th century. You may be surprised to learn that this was part of the decoration of a temple. Certainly you would never see anything similar on a gothic cathedral!
The last work I will mention is a statue of Ganesha from the 12th century. This elephant-headed god is the bestower of good fortune, and it is customary to make an offering before doing anything important. When I visited a few years ago, I was delighted to find that this practice extended into the museum: there were coins left at the base of the statue.
We still have Japan to cover, but first we must take a little detour. Standing near the end of the section on India and Southern Asia is a beautiful wooden ceiling. This comes from a Jain temple built in the late 16th century. The staircase underneath this roof leads up to a small gallery on the floor above, this one devoted to the arts of Tibet and Nepal. For my part, this is some of the coolest art that I have ever seen. Though thematically related to art in both the Chinese and the Indian sections, the art here has a peculiar intensity not found anywhere else. An example of this is the painting of Walse Ngampa, a wrathful deity of Tibetan Buddhism. The figure has an electrifying intensity, with two arms wrapped around a terrified victim about to be devoured, while its many other arms are outstretched, holding symbolic objects.
When we descend, we can finally make our way to the section of Japanese art. Here, too, we can find some excellent statues. I particularly like the wooden guardian figures, which flank a statue of the Dainichi Nyorai, or the Cosmic Buddha. These guardian figures are formidable. I am always drawn to their fearsome grimaces. Even more wonderful is Ogata Korin’s ink drawing of waves on a folding panel. Here we can see a non-Western tradition of drawing that is intensely sophisticated. The waves do not occupy any kind of realistic space, but instead seem to emerge from nowhere and engulf everything. The lines of the waves are nothing like the blurry colors of Turner’s seascapes, which gives these waves a disturbing sense of solidity; the leading edge of the water appears sharp and even claw-like. It is a wonderful image.
We have already spent hours and hours in this museum, and yet there is still more to see. From the Japanese Department we can move on to the Department of Musical Instruments. This is housed in two galleries overlooking the section of Arms and Armor. I have never seen a collection of musical instrument that even comes close to the Met’s collection. There are superb examples of instruments from around the world: Italian harpsichords, Chinese pipas (similar to a lute), Native American rattles, Congolese horns, and Japanese drums. Seeing them in this context reminds us that instruments can be very beautiful simply as objects. To pick just one extravagant example, there is an Indian taus (a bowed lute) in the form of a peacock. And, of course, we must not neglect to mention the Stradivarius violins.
This gallery also has paintings with musical subjects hanging on the walls. My favorite is Dancing in Columbia, by Fernando Botero, if only because a copy of it has been hanging in my mother’s living room as far back as I can remember. Two balconies connect the two halves of the instrument department. On one of these is a charming old organ, and on the other is a fantastic assortment of wind instruments, arranged as if they are exploding from a central point. It is an evocative representation of a fanfare.
By now we have made our way through most of the major sections of the museum. There is only one place left on our tour: the Robert Lehman Collection.
Robert Lehman was a banker who owned one of the biggest and best private art collections in history. Active for a long time on the Metropolitan Board of Directors, he bequeathed his extraordinary collection to the Met, but on the condition that it not be mixed in with the other departments. Thus, the Met built a special space, attached at the back of the building, almost like a spaceship taking off from the main building. The rooms of the department are furnished to vaguely evoke a private home. Personally, I do not like having this department separate, since I do not see any good reason to do so other than vanity. If Lehman wanted his collection separate, he could have done what Frick or Morgan did, and established his own museum. But, in any case, there are some extraordinary works of art to be found, so it cannot be missed.
Robert Lehman seems to have been most interested in European paintings, and that is what we find in abundance. One of my favorites is The Creation of the World and the Expulsion from Paradise, by Giovanni di Paolo. I love the color pallette of the paintings, filled with rich dark hues. But I am most drawn to the representation of the creation of the world: with God holding a series of concentric circles surrounding an image of Eden. Most famous, perhaps, is a portrait by Ingres of the Princesse de Broglie. Ingres’s technique is masterful, brilliantly capturing the rich fabric of her dress and furniture. It is also psychologically subtle, as it shows us a woman poised between shy reserve and self-assuredness.
There are dozens of other great paintings in this collection, and thousands upon thousands of great works in the museum, but this is where our tour must end. I have already written far too much. But the Met is endless—or, at least, it might as well be.
Confronted with such an enormous mass of culture and beauty from all around the world, it is difficult to know how to react. Part of me wonders whether all of these objects really should be here. With the financial resources that the Met possesses, the museum has been able to get nearly anything. But should they? And were all of the objects collected in ways that we would now approve of? Admittedly, the museum is trying to address this last question with their Provenance Project, paying particular attention to works that may have been looted by the Nazis and not restituted to their rightful owners. Personally I wonder about many of the objects in the Department of Oceanic, African, and American arts.
On the other hand, I think it is important that we do have spaces where we can see the human experience as one enormous tapestry. Traveling from Egypt, to China, to Turkey, to Senegal—in short, to nearly every inhabited corner of the world—and seeing these different traditions unfold through centuries of time: one would hope that this might lead to some insight into our human condition. There are some very obvious lessons, the most obvious one being that humans really like to make art. Other common themes are the relationships between art and power, or art and religion. It is all too much to really digest everything. But I hope every visit provides just a little bit more to chew on.
To conclude rather lamely, the Met is a uniquely excellent museum. Not only does it have vast and high-quality collections, but the museum is unique in many respects. As often mentioned, there is the museum’s emphasis on interior decoration and the arts of daily life. More important is the museum’s attempt to be all-inclusive: incorporating art from all over the world, and from every historical period. The Met’s view of art is expansive, incorporating not only paintings and sculptures, but swords, helmets, harpsichords, photographs, and dresses (the Costume Institute is downstairs). It is a kind of universal storehouse of human activity. I will surely keep going as long as my legs will take me.
I stumbled upon the Alexander Hamilton’s house completely by accident. I met a couple of friends from out of town, and in the process of exploring the Upper West Side we came upon it.
The discovery that one of the Founding Fathers’ houses was here, in Harlem, was astounding. The humble wooden house could hardly look more out of place nowadays. Set amidst the landscape of glass, steel, and concrete, the Federal style building looks as if it has been plopped down from another age. And in a way it was. The house has been moved from its original location not once, but twice.
When Hamilton had the house built, in the early 1800s, he was already in the twilight of his career. He had finished his epochal tenure as the Secretary of the Treasury—during which he constructed the nation’s financial system from the ground up—and had been reduced by a series of quarrels and scandals to an ordinary private citizen. To name just two watersheds in his life, he was publically exposed (and exposed himself) as an adulterer, and he also openly quarelled with John Adams, the presidential candidate of his political party, the Federalists. He was a brilliant statesman but a poor politician.
After this semi-voluntary retirement from the life of politics, Hamilton worked as a high-profile lawyer in New York City. Brilliant in everything he did, his career in law was no exception. To escape from the bustle of the city, Hamilton hired John McComb Jr.—the architect who designed NYC’s majestic City Hall, among other things—to build a rustic retreat for himself and his large family (he had eight children). At the time, Harlem was of course nothing like the city it is today. The area was still mostly farms and undeveloped woodland, an ideal spot to build a country house.
Hamilton did not have much time to enjoy his little paradise, however. Just two years after it was completed in 1802, Hamilton was killed in a duel with Vice-President Aaron Burr—another high-profile NYC lawyer, and a long-time rival of Hamilton’s. The property stayed in the family for some decades hence, occupied by his long-surviving wife Elizabeth and their children. But eventually it was sold and, by the late 1800s, it was in foreclosure and doomed to destruction. The building only survived because of the intervention of the St. Luke’s Episcopal Church, which bought the house and had it relocated, to conform with the Manhattan street grid.
This purchase was not for purely disinterested historical reasons, however. The church modified the house so that it could be used for services—a purpose which it served for many years. Eventually a larger church building was constructed, enclosing the old home. Then, in the 1920s, a historical preservation society intervened, buying the property and partially restoring some of its original features and decoration. It was only in the 1960s that it was designated a National Historic Landmark. But it remained hemmed in by the many tall buildings that sprung up around it.
Finally, in 2006, the house was moved to a more open location, in St. Nicholas Park, which was still within Hamilton’s original property. The move was a minor feat of technical achievement, gently cradling the entire structure and shifting it, inch by inch, to its new home. Now it stands in a relatively open space, near a few churches, some brownstown apartments, a playground, a taxi service, and a funeral home. And this curious conjunction of the historical, the mundane, the holy, the profitable, and everything else, is what New York City is all about.
For anyone who has visited Jefferson’s Monticello or Washington’s Mount Vernon, Hamilton’s little home may be something of a let down. Hamilton was never greatly wealthy in life; he owned no slaves—indeed, was part of the Abolition Society—and, though addicted to work, was scrupulously honest in his personal finances. In any case, much of the house’s original furnishings and character were lost in its two moves and its many renovations.
The visitor enters on the ground floor, what used to be the basement. There is a small gift shop near the entrance, with books by and about Hamilton. The rest of the space is a miniature museum. There is a time-lapse video of the epochal re-location of the house, and a short documentary that plays on a loop, giving an overview of Hamilton’s life. His accomplishments are also displayed in a series of informational panels and timelines. My favorite object on display was a mourning scarf—a scarf made and sold on the occasion of his untimely death, for people to honor his life. Amusingly, the scarf gives an incorrect account of Hamilton’s background, saying that he was “descended by his father of respectable Scottish ancestry, by his mother was reputably connected to New York.”
The reality, as you may know, was very different. Hamilton’s father, James, was a complete failure in life, and abandoned Hamilton and his brother when they were very young. (James may not even have been Hamilton’s real father, anyway, as Chernow speculates.) Further, Hamilton’s mother was far from reputable—she abandoned her husband and had Hamilton out of wedlock—and, in any case, died when Alexander was very young, leaving him little in the way of property or connections. Hamilton was, in other words, both a bastard and an orphan, as his musical proudly proclaims. But I suppose it is not polite to mention that at a funeral.
The house’s period rooms are all upstairs, on the first floor, accessible with a small wooden staircase from the basement. The hours of access are extremely limited (on weekdays from 12:00 to 1:00, and from 3:00 to 4:00), which makes visiting somewhat inconvenient. But it does not take much time to see everything. There are three main rooms to visit: the dining room, the salon, and Hamilton’s study (where he must have spent most of his time). The dining room features a long elegant table and is well lit with three tall windows. The salon is where I imagine the family spent much of their time, playing cards and receiving guests. Hamilton’s study is much as one would expect: decorated with maps and well-stocked with books. It must have been far messier and fuller when he was alive. He was an avid reader and inveterate scribbler.
Two notable paintings hang on the walls, one a full-length portrait of Hamilton himself, looking like a sophisticated dandy. There is also a portrait of George Washington, given as a gift to the Hamiltons from the Washingtons (the two men worked very closely together). The two original paintings are now in the Metropolitan Museum of Art, where they hang proudly in the American Wing; the paintings here are reproductions. Even more captivating is a life-sized bust of Hamilton, dressed like a Roman statesman and looking quite like one too. According to the guide, Hamilton’s wife considered the bust extremely lifelike, and even spoke to it after his death. It is a wonderful piece, bringing him to life with a winsome and wise smile. (Thomas Jefferson, Hamilton’s great rival, had a replica of this bust in his house in Monticello, placed opposite to his own, so the two would be forever in opposition.)
And that is about all there is to see. If anything, the house is charming because it shows how humble may be the life of an extraordinary historical figure.
But I should not end this post without mentioning another monument next door. Up the hill from Hamilton’s Grange is one of the most attractive college campuses I have ever seen: the North Campus of CUNY’s City College. The entire complex is built in a flamboyant neo-gothic style, designed by the architect George Browne Post (many of whose other important works have been demolished). Everything follows a unified aesthetic, from the elaborate iron grillwork on the gates to the little lamps flanking the entrances. The stonework on the buildings is particularly delightful, with enough subtle variation in color and texture to remain endlessly pleasant to examine. Every detail is well-done, from the wry gargoyles scattered throughout to the ornamented roofs and towers.
The centerpiece of the complex is Shepard Hall—named after a prominent NYC lawyer—which features a central building in the shape of a cathedral, and two curving wings on either side. Unfortunately I could not enter the building, as all the doors were locked. If I had gone inside, I would have seen the monumental Great Hall, a sort of central nave at the end of which is a mural by Edwin Blashfield, the artist who decorated the Library of Congress. In front of this hall is a statue of Alexander S. Webb, a general in the Civil War and the second president of the university. The statue makes him out to look like quite a swaggering military figure, and not exactly a bookish man.
(On the subject of statues, I ought, too, to mention the statue of Alexander Hamilton in front of the Broadway Spanish Baptist Church nearby. Here he looks rather like he does in the aforementioned painting, a heroic dandy.)
To me, the campus is a delightful and inspiring place. Indeed, the only American university campus of comparable beauty I know of is the University of Virginia, designed by Thomas Jefferson. Having gone to a rather unattractive university myself, I am very sensitive to the effect that architecture can have on the mood and atmosphere of an institute of higher learning. The strong verticality of the gothic buildings lifts one up and their historical form inspires a sense of participating in an honorable intellectual tradition.
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New York City is a land of bridges. According to the site, The Bridges of NYC, there are 2,027 bridges in the city—over five times as many as the bridges in Venice. Most of those bridges are small, ugly, and deservedly ignored. But several attract attention, and for good reason. The most famous bridge in the city is, of course, the Brooklyn Bridge. But before getting to that bridge, I will review some of the other 20 bridges that connect the island of Manhattan to Brooklyn, Queens, the Bronx, or New Jersey.
The largest bridge connected to the island of Manhattan is the George Washington Bridge. The bridge spans the Hudson, and connects New York to New Jersey. If not the biggest bridge in all of NYC, it is the busiest—carrying hundreds of thousands of commuters per day on its two levels. A suspension bridge opened in 1931, the George Washington is not especially beautiful; indeed, it is rather grey and devoid of character. But the bridge is open to pedestrian traffic, and so can provide an excellent view of the Hudson River (though this view is, admittedly, somewhat impeded by the anti-suicide net).
The majority of the bridges into Manhattan are located on the other side of the island, spanning the Harlem River between Manhattan and the Bronx. A traveler on the Hudson Line of the Metro North will pass by or under many of them, including the apparently unnamed railroad bridge that takes the train over the Harlem River, between the Third Avenue Bridge to the south and the Madison Avenue Bridge to the north. Both of these are swing bridges, a design that allows the steel structure to rotate to let boats pass by (though this is seldom nowadays).
As the train goes north, it passes by the Macombs Dam Bridge, which appears to be just another swing bridge, but which is also the third-oldest bridge in the city, having been opened in 1895. Further north are two large bridges, the Alexander Hamilton and the Washington (not George Washington), which rest on enormous steel arches.
After that comes the Broadway Bridge, a somewhat odd-looking lift bridge, whose central span can be elevated to allow for passing boats. When I am waiting for the train at the nearby Metro North Station, I like to watch the Line 1 Subway pass over this bridge, creating an odd metallic echo and illuminating the bridge with blue sparks. And finally there is the Henry Hudson Bridge, another tall and not especially beautiful structure resting on a single steel arch. The infamous Robert Moses had to fight against the protests of the local residents to get the bridge constructed, as a part of his Henry Hudson Parkway plan.
The very oldest and one of the most beautiful bridges in the whole city is also found in this area: the High Bridge. Constructed in 1848, the High Bridge was originally built as a part of the Croton Aqueduct, ferrying water from upstate New York into the city in a long tunnel, carried across the Harlem River on a series of stone archways. The High Bridge’s design and function gave it the appearance of an ancient Roman aqueduct; but the stone columns impeded traffic on the Harlem River; so in 1928 the columns were replaced by a single steel arch, much like the nearby Alexander Hamilton or Washington Bridges. Nevertheless, the bridge—now for pedestrians only—is one of the loveliest in the city, ideal for a walk with a view. The old water tower, designed to pump the water from the Croton Aqueduct uptown, still presides over the Manhattan side of the bridge, looking like a turret from some forgotten castle.
The most impressive bridges in Manhattan are, however, concentrated downtown, connecting the borough with Brooklyn, across the East River: the Manhattan Bridge, the Williamsburg Bridge, and the Brooklyn Bridge. Of these, the last named was the first to be built and remains the crown jewel of NYC infrastructure, a monument of engineering and one of the most significant public works of the 19th century.
When construction began on the Brooklyn Bridge, in 1870, Manhattan and Brooklyn were two different cities. Unification of the boroughs would not come until 1898. Thus, the politics behind the bridge were controversial and complicated, requiring the cooperation of two rather corrupt city governments (“Boss” Tweed, of Tammany Hall, was on the board for the Bridge). Before the bridge was built, the only access across the East River was provided by a handful of ferry companies. For decades commuters relied on these little boats to get to work, as Walt Whitman immortalized in his poem, “Crossing Brooklyn Ferry”:
Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
The Bridge was designed by John Augustus Roebling, a man of enormous proportions. After studying philosophy with none other than Georg Wilhelm Friedrich Hegel in Germany, Roebling moved to the United States to pursue a Utopian vision of a collectivist, agricultural community in Saxonburg, Pennsylvania. When this did not pan out, Roebling turned his attention to engineering, creating daring and ingenious designs of suspension bridges and perfecting the steel cables necessary to build them. He was the natural choice to design and build the Brooklyn Bridge. But, when the bridge was still in the planning stage, Roebling injured his foot, developed tetanus, and died. (A believer in water therapy, he refused conventional treatment and insisted on soaking his injured foot and wrapping it in towels.) This left the project to his more-than-capable son, Washington Roebling.
Washington was already a Civil War hero and, thanks to his travels in Europe, an expert in caissons. A caisson is a sort of massive container, meant to be sunk to the bottom of the river. Water is then pumped out of the bottom chamber, and pressurized air is pumped in, allowing men to dig on the riverbed. They had to dig deep into the river until they hit the bedrock appropriate to carry the weight of the bridge. It was harrowing and dangerous work—deep underwater, under intense pressure, with water constantly seeping in. As the caisson sunk deeper and deeper, requiring higher pressure to keep the water out, the men began to develop the bends when they returned to the surface (or, as it was called then, “caisson sickness”). Since the condition was not understood at the time, the management had no idea how to prevent it. Workers would come up from the heavily pressurized air to sea level in only a few minutes, not nearly enough time for the body to adjust. This left many in agonizing pain, some permanently injured, and a few dead.
Washington Roebling himself was a victim of decompression sickness (though it may have been compounded by stress), leaving him so sickly and weak that he had to communicate all of his instructions by letter and observe the bridge by telescope. Even so, the caissons eventually reached the appropriate depth, were filled with concrete to serve as the foundations, and then construction of the stone towers began—easily the most massive buildings in the city at the time. Then, the wire cables had to be suspended. The board unwisely chose an unscrupulous wire manufacturer, who knowingly provided shoddy products in order to increase his profit. And though the bridge engineers caught on to this ruse, some of the defective wire is still built into the bridge (though not enough to make it unsafe, I am assured). In fact, John A. Roebling’s original design was meant to make the bridge at least six times as strong as necessary, making it possibly the most durable bridge in the city.
Finally, in 1883, the bridge was opened to massive acclaim. It was a technological marvel, a pivotal work of infrastructure, and a tourist attraction—as it remains. Originally the bridge had room for pedestrians, electric street-cars, and horse-drawn carriages, and also two cable-cars that ferried people back and forth. One of the earliest film recordings by Thomas Edison is a passenger’s view from the front of one of these cable cars, as crowds of men in top-hats walk by. (To learn more about the bridge, I recommend David McCullough’s excellent history, from which I am drawing my information.)
The bridge looks rather different now. For one, the cable cars have gone. And the street cars and horse-drawn carriages have been replaced by a sea of yellow taxis and multicolored automobiles. Pedestrian access is via a special walkway, elevated above the road level, going through the center of the bridge. The walkway nominally has both a walking lane and a bike lane, though so many tourists crowd the bridge on any given day that cyclists must fight their way through the crowd—shouting constantly. The view from the bridge has changed quite a bit, too. Far from being the largest structure in the city, the bridge’s towers now appear diminutive against the background of skyscrapers in Manhattan.
But the bridge is still a lovely sight. The gothic arches rise up and into the air, culminating in a solid block of stone that seems oddly ancient in the city of glass and metal. The surrounding steel cables create a pleasing geometric pattern, shifting slowly as one crosses the bridge. From the center of the walkway the cables form a kind of receding net, creating a grid that disappears into a vanishing point, much like a Renaissance painting. And the view of Manhattan, Brooklyn, and the East River from the bridge is one of the best in the city. Considering that it is so iconic, so pleasant, and free, the Brooklyn Bridge is a necessary part of any visit to New York.
Yet the bridge’s neighbors also deserve mention. Slightly east of the Brooklyn Bridge is the Manhattan Bridge, an all-metal suspension bridge that used an innovative design which was to prove highly influential. Opened just 26 years after the Brooklyn Bridge, the Manhattan Bridge nevertheless appears modern and unremarkable—wholly functional, with no thought given to aesthetics. Unlike on the Brooklyn Bridge, this bridge’s pedestrian platform is separate, off to one side, and situated below the main span, which somewhat limits the view. I do, however, enjoy the experience of riding the subway (lines B, D, N, and Q) over the bridge—hearing the hard clack of the tracks and seeing the city through the triangular bars.
Further east and north is the Williamsburg Bridge. This bridge looks to the untrained eye rather similar to the Manhattan Bridge. Opened six years earlier, in 1903, it is also an all-metal suspension bridge, appearing nowadays to be plain and utilitarian. In my opinion, however, this bridge is one of the lesser-known treasures of NYC. Like the Brooklyn Bridge, it has a central walkway that gives a nice view of the city (though, admittedly, the view from this bridge is obscured by a thick metallic cage that encloses the walkway). If the bridge is less picturesque, it compensates by being far less crowded than the Brooklyn Bridge. Both times I walked across, the span was nearly empty. The visitor can also observe the subway (lines J, M, and Z) passing underneath the platform, causing a pleasant ruckus and rumbling. I even observed some love-locks on the bridge.
I will end this post by mentioning one bridge that I have personally never seen. The Verrazzano-Narrows Bridge is the longest and largest bridge in NYC, and was also the longest in the world for nearly twenty years (1964 – 81). (The Williamsburg Bridge and the George Washington have both held that distinction as well.) The enormous bridge was built under the auspices of Robert Moses as a way of connecting Brooklyn with Staten Island, and named in honor of the first known European explorer to enter New York Harbor, Giovanni da Verrazzano. Strangely, however, Moses forgot to look up the spelling of that explorer’s name, officially naming the bridge called the “Verrazano-Narrows” (with one z). It was not until 2018, fifty-eight years after its opening, that the name was finally corrected. Now Giovanni can rest in peace.
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To follow up my previous post about two notable uptown churches, here are two of the most famous and historic churches in downtown Manhattan.
Standing in the shadow of the One World Trade Center is one of the most historic and quiet buildings in the city: St. Paul’s Chapel.
Few buildings can so powerfully evoke the history of New York and of the United States as a whole. The chapel was completed in 1766, making it the oldest church in Manhattan and the only church on the island which dates from pre-Revolutionary times. Indeed, the church is so old that it dates from a time when New York was not the financial center it is today, but a provincial city in a relatively unimportant colony far away from the centers of power and commerce.
Unlike the city’s two cathedrals, therefore, St. Paul’s is a rather humble construction, dwarfed by the surroundings skyscrapers. From the outside, the church’s most striking features are its neoclassical portico and its large central bell-tower (when it was first built, St. Paul’s was the tallest building in New York—consider that). In design it is Georgian, modeled on the much larger St. Martin-in-the-Fields, in London. Unlike its pale English counterpart, however, St. Paul’s is grey and brown, since it was built using the local schist and brownstone.
The inside is, if anything, even less ostentatious than its exterior. If anything, the chapel’s whitewashed walls and spare decoration evoke a kind of ethereal purity, above all worldly riches. Only two works of art call our attention: an early painting of the Seal of New York and the Great Seal the American Seal (featuring a bird which looks far more like a turkey than an eagle, as Benjamin Franklin would have liked). Nearby a plaque is dedicated to the memory of George Washington, who would come here to pray in the early years of his presidency, when New York City was briefly the nation’s capital. Alexander Hamilton, some years before that, had drilled in the churchyard during the Revolutionary War.
The church has played a role in far more recent American history, however. During the horrific attacks of 9/11, the church served as an impromptu shelter for emergency workers. Firefighters and police officers slept on the pews, while volunteers prepared meals by the hundreds. The church became known as “The Little Chapel that Stood” during the ordeal, since it suffered no serious damage during the attacks. A small chapel in the back of the church commemorates this dark time, preserving some of the mementos that citizens left on the fences of the church as a memorial.
Behind the church is a graveyard, among the oldest in Manhattan. Among others, here is buried Richard Montgomery, a general during the Revolutionary War who was killed during an unsuccessful attack on Quebec.
St. Paul’s chapel, as its name indicates, is not a stand-alone church. Rather, it is a “chapel of ease” for those who found going to the parish church too far from the port, and thus too inconvenient. This explanation is a bit difficult to swallow, however, considering that St. Paul’s is literally a five-minute walk from the parish church: Trinity.
Trinity Church is, unquestionably, the most important church in NYC history. It has been around from the beginning. It was first opened in the closing years of the 17th century, serving as the parish church of the Church of England in what was then a small, provincial city, only recently transferred from Dutch to English control. The first church building, which I suppose was likely an impressive structure, burned down in 1776 during the Revolutionary War, shortly before Manhattan was evacuated by Washington’s troops and ceded to the British. A second building was erected in its place, where (like St. Paul’s chapel) Washington and Hamilton came to pray during NYC’s brief stint as the nation’s capital. But severe weather fatally damaged that building, too.
The church that stands today is the third version, which was finished in 1846. For many years its spire was the tallest structure on Manhattan, indeed in the United States—something that is difficult to believe nowadays, as the church is crushed to insignificance among the giant skyscrapers of Wall Street. In style it is gothic revival, though its design is muted and humble as compared with, say, St. Patrick’s Cathedral further uptown. What it lacks in splendor it makes up in simple beauty, which is difficult to find in Manhattan. Yet it is ironic, of course, that what was once the greatest building in New York City is nowadays charming for its small size.
The interior of Trinity is even more understated than its exterior. The gothic vaulting and pointed arches do not give their usual impression of extreme verticality, and in fact the space is inviting and human-scaled.
My most vivid memory of Trinity was when I was interviewing for my first job. The company was on Wall Street (though it was not in finance). I arrived quite early and wanted to kill some time before entering the building; and as it was raining, Trinity provided the perfect escape. I was desperate for a job and this was my first real interview, so you can imagine how nervous I was. I sat in one of the pews and read Ecclesiastes in one of the bibles, a chapter whose heroic fatalism helped to calm me. Meanwhile, a group of choral singers had set up near the altar and begun rehearsing, which allowed me to hear the church’s wonderful acoustics. It was a great way to calm down before the interview. I still did not get the job.
As with St. Paul’s Chapel, Trinity is surrounded by a graveyard, also one of the oldest in the city. By far the most famous burial is Alexander Hamilton (1755 – 1804), one of the most influential intellectuals and statesmen in the founding of the United States. His death was as dramatic and memorable as his life: shot down in a duel with Vice President Aaron Burr, across the Hudson in New Jersey. His grave is fairly simple: a rectangular base topped with a pyramid, which duly lauds his memory. Next to Hamilton is buried his wife, Elizabeth Schuyler, who survived her husband by fifty long years. Alexander’s son, Philip, who died in a duel two years before his father, is also buried here.
Much further uptown, at 155th street, is another churchyard managed by Trinity Church. It is on the former estate of John James Audubon, and includes many famous burials, including Audubon himself. I have not visited yet, but I plan to.
For anyone in the area of Battery Park or Wall Street, these two churches provide a much-needed relief from the rush of suits and ties, the inhumanly vast buildings, the often hostile weather, and the relentless city noise. What is more, they are vessels of New York City history, nearly as old as the city itself.
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New York provides an architectural feast, especially if you do not mind straining your neck. Not least among the city’s treasures are its many churches. I have already discussed Saint Patrick’s, the city’s Catholic cathedral, easily one of the grandest buildings in the city. But Saint Patrick’s is not the only cathedral in New York.
Further uptown is a cathedral of even grander proportions: Saint John’s. This is a behemoth of a building, certainly the largest church building in New York City and arguably in the entire country. (The Basilica of the National Shrine of the Immaculate Conception, in Washington D.C., covers more area but contains far less volume.) And the building as it exists now falls far short of the original plan. Neither of the cathedral’s front towers has been completed, nor has the enormous tower that was to stand over the midpoint of the building. Indeed, after a fire destroyed the north transept in 2001, the cathedral has even lacked a crucifix floorplan. This has led it to be informally dubbed St. John the Unfinished.
Even with all of these parts missing, however, it is a giant church. Not to be outdone by the Catholics, the Epicopalians conceived the project as a way to rival or even surpass St. Patrick’s. This cathedral, too, is built in an elaborate neo-gothic style that mimics the great cathedrals of France and Spain. Its hulking façade, with its three enormous doors sitting underneath pointed arches, beckons the visitor from the streets of modern Manhattan to a seemingly medieval world. All of the decorations carefully maintain this illusion, from the frilly spires, to the ornamental carvings, to the friezes of Biblical scenes above the doors. Even the monumental brass doors are covered in art, showing scenes from the life of Christ and representations of the four evangelists. Aside from the cathedral’s manifestly incomplete state, the only thing that breaks the illusion is the appearance of grey discoloration from car exhaust.
The inside is fully in keeping with this aesthetic. Enormous pillars hold up a vaulted ceiling, while stained glass windows allow colored light to drift inside. The visitor is greeted by a beautifully carved wooden choirstall, holding an image of Christ against a golden background. (This is a real 15th century German work, on loan from the Metropolitan.) The cathedral even has a sort of poor man’s version of the Poet’s Corner in Westminster Abbey. As far as I know, there are no actual poets buried in this section of the church; instead, small tablets bearing the names and brief quotes of famous American authors cover the floor. According to the plaque, the idea was inspired by a rector in the church of Washington Irving in my hometown, Tarrytown.
All this is true to the style of highfalutin European cathedrals. Closer inspection, however, reveals a church very unlike those it imitates, even St. Patrick’s downtown. Saint John the Divine was conceived as a different sort of institution, a “Democratic Church,” as it dubs itself, open to any and all who would like to come. True to form, the rainbow colors of LGBT pride were displayed prominently near one altar. And this is not a pose. To pick just two examples of the church’s progressive tendency, the cathedral hosted a performance by Diamanda Galás meant to raise awareness of the AIDS epidemic, and displayed Edwina Sandys’ statue, Christa, a portrayal of Christ as a woman (unsurprisingly, a very controversial work).
All of this is world’s apart from the staid, traditional activity of St. Patrick’s. On the other hand, it is free to walk into the Catholic cathedral, while visitors of Saint John’s have to pay.
Adjacent to the building is an attractive little green space, known as the West 111th Street People’s Garden. Here is located the building of the Cathedral School, a K–8 school for children of any faith; and during the summer it is common to see flocks of children in summer camp parading by. Nearby is the Peace Fountain, a sculpture by Greg Wyatt supposedly portraying the battle between the Archangel Michael and Satan, and the triumph of good over evil. Yet to me the statue looks like an angel strangling a curious giraffe. In any case, the odd sculpture provides a nice illustration of the cathedral’s less orthodox attitude towards traditional themes.
To get to our next church, we must walk a good twenty minutes or so. The pleasantest route takes us directly through the main campus of Columbia University. Founded in 1754 as King’s College, Columbia is the oldest university in New York, and one of the best in the world. Suffice to say that everyone from Alexander Hamilton to Barack Obama have studied there. The campus leaves no doubt as to the honor, splendor, and pretensions of the institution. The grandiose Butler Library, for example, is adorned with the names of great thinkers and writers: Herodotus, Plato, Shakespeare, Tacitus, Voltaire… Directly opposite is the Low Memorial Library, another stately neoclassical edifice; and on the steps leading up to its entrance is the statue of Alma Mater, a symbol of the university, made by the same sculpture who designed the Lincoln Memorial, Daniel Chester French.
The thirsty or hungry traveler may also take a small detour to stop at Tom’s Restaurant, a diner used in the exterior shots of Seinfeld. (Though the outside looks exactly like it does in the show, the inside looks nothing like the fictional Monk’s Cafe.) It is a nice place to have a coffee.
The walk further uptown takes us alongside Riverside Park, and through some quite swanky neighborhoods, with upscale apartments attended by liveried doormen. It is an appropriate setting for a church intimately connected with wealth: Riverside Church.
Riverside Church was the idea of John D. Rockefeller, Jr. Curiously, this was not the first Rockefeller church that I visited. Much closer to my home, Rockefeller helped to establish the Union Church in Pocantico Hills, a lovely stone building with beautiful stained-glass windows by Marc Chagal and Henri Mattise. Riverside Church is much grander in scale, with an enormous bell tower that rises high up above the rest of the building, and which makes Riverside the tallest church building in the United States.
So big is the tower, in fact, that the actual church seems insignificant by comparison, though it is by no means small. The interior consists of a single nave, again neo-gothic in design, filled with pointed arches and stained glass. Architecturally, it is more perfectly composed, more pure of form than Saint John’s, which lends it a rare tranquility and grace. It is simple and beautiful. John D. Rockefeller was motivated to found the church partly out of a dissatisfaction with the Baptism of his youth. He wanted a more modern church, which is why Riverside is nondenominational, and also why great figures of science are carved into the decorations, including Galileo, Newton, and even Darwin.
Riverside Church is like Saint John’s in its history of progressive activism. Indeed, the church arguably has an even stronger connection to social reform. Most famously, Martin Luther King, Jr. gave a major speech against the Vietnam War here, in 1967; and there are still photographs of him on the bulletin board. A far more humble mark of the church’s ethos is the bathroom sign, which declares “Anyone can use this restroom regardless of gender identity or expression.” The church is still an epicenter for advocacy on many fronts, from anti-torture, to immigrants’ rights, to support for the HIV-positive. It is a model for a humanitarian church.
It is hardly sensible to visit Riverside Church without visiting the monument next door. Within a few hundred feet of the church doors is the tomb of Ulysses S. Grant, hero of the Civil War and 18th President of the United States. It is the largest and grandest tomb of an American President, an enormous neoclassical structure complete with Greek columns and domed ceiling. Even though his presidency has been widely regarded as a failure, he was an immensely popular figure at the time of his death; his funeral drew one and a half million spectators. This explains the grandiose design of his final resting place, which is highly reminiscent of Napoleon’s tomb in Les Invalides.
Nowadays, the tomb is a quiet and largely ignored corner of New York, with a handful of tourists respectfully poking about at any one time. Yet it is well worth a visit. Grant is interred in a massive granite coffin, alongside his wife in an identical sarcophagus. The coffins are below the floor level, visible through a hole in the floor, where they rise up from the lower level on a platform—again, much like Napoleon’s tomb. The visitor can descend and walk around the coffins, pausing to admire the busts of other Civil War generals, such as William Tecumseh Sherman. On the upper level, flanking the staircase, are two side chapels with historical flags from the war. And up above a mosaic depicts the surrender of Robert E. Lee to Grant. One could be forgiven for thinking that Grant was a general alone, and not a president, from the evidence of his tomb.
Here is where I will end my little tour, which can take as little as a couple hours. Separated by only a few blocks are the largest and the tallest churches in the United States—not to mention a historic university and an enormous tomb. But Saint John the Divine and Riverside Church are, for me, far more than architectural delights. They are living institutions, still engaged in the proper work of religion: to improve the lives of their congregations.
More people are alive now than ever before, and yet the dead still outnumber the living. Many, perhaps most, of those dead are buried beneath our feet. It is unclear whether there are more interments than inhabitants in all of New York City, but it seems at least possible, considering that over five million people are buried in Queens—over twice that borough’s population. Calvary Cemetery alone holds three million bodies, making it the largest cemetery in the country.
Queens became an epicenter for burials in the 19th century, when land scarcity in Manhattan led citizens to look further afield. The state government took a cue from Pere Lachaise, the magnificent Parisian cemetery located far outside the city center. They eventually decided to convert barren and useland land near the Queens-Brooklyn border into an array of cemeteries. According to Keith Williams, bodies in Manhattan were disentered in the dead of night, to be ferried over to their new home across the river; and many were doubtless destroyed in the process.
The city was badly in need of a park around this time. Neither Central Park nor Prospect Park would be open until the 1870s. It was partly for this reason that the beautiful Green-Wood cemetery, which opened in 1838, became so popular. Indeed, the cemetery was such an attractive place to stroll about that, by the 1860s, it had scarcely fewer visitors than Niagara Falls. Though mostly neglected by tourists nowadays, it is still a lovely respite from the noise of city life, not to mention a repository of the city’s history.
I visited the cemetery on a scorching day in August. The air was humid and heavy. My clothes were soaked through with sweat, and the sun beat down harshly in the open space of the cemetery. Autumn or spring is preferable. I entered through the monumental neo-gothic gate at 25th street—a delightful work of architectural exuberance by Richard Upjohn, one of the founders of the American Institute of Architects.
Once inside, the cemetery is as rustic and attractive as a park, with roads winding through grass lawns and scattered trees. The tombstones are distributed somewhat sparsely and unevenly in this immense green space. The majority are simple graves, no more than a foot or two tall, with some more imposing obelisks thrown in. Here and there one finds a statue, in bronze or stone, and some of the wealthier families have their mausoleums built into hillsides. Near the entrance at 25th street is one of the original ponds; and nearby is the cemetery chapel, a noble structure modeled after the work of Christopher Wren. Even more beautiful, perhaps, than the cemetery itself is the view that it provides, with several vantage points offering an excellent look at the Manhattan skyline beyond the river.
Green-Wood Cemetery holds over 560,000 “permanent residents” (as the website calls them) and a great many of them are famous. Indeed, a list of the prominent burials in the cemetery reads like a who’s who of notable 19th century New Yorkers. We have Henry Ward Beecher (1813 – 1887), a preacher who during his lifetime was among the most famous men in America. Brother of Harriet Beecher Stowe (the author of Uncle Tom’s Cabin), Henry was himself an abolitionist and later on a champion of women’s suffrage. However, his immaculate image became somewhat tarnished during a highly publicized adultery trial.
Another dead titan from this age is William M. Tweed (1823 – 1878), known as “Boss” Tweed, the corrupt and powerful leader of Tammany Hall. After years of stealing millions of taxpayer money, he was exposed and thrown into prison. On the stand, with nothing to lose, his confessions shocked the nation. He hoped for an early release; but that was not to be. Tweed did manage to escape custody once, sneaking across the Atlantic aboard a Spanish vessel; but he was apprehended in Vigo, Spain, by the local police (who had nothing other than a rough sketch to go on). He eventually died in an American jail.
Green-Wood cemetery, though never affiliated with any religion, has prided itself through the years on its respectability, prohibiting all executed criminals, and all who died in jail, from burial within its esteemed grounds. But Tweed, never one to play by the rules, posthumously circumvented this rule and found himself underground for the long sleep.
To discuss all of the notable people sunken in the dirt would take me from now until my own funeral. But I might mention two great musical giants to be found there, Leonard Bernstein (1918 – 1990), most famous for West Side Story, and Elliot Carter (1908 – 2012), one of the pre-eminent American composers of the last century, who lived all of 103 years. Yet another of the cemetery’s residents may have had a greater influence on music than either of these composers: Henry Steinway (1817 – 1871), founder of Steinway & Sons. His son, William (1835 – 1896), is there too, who played an important role in the development of Queens. In fact, the 7 train stills runs under the East River in the so-called Steinway tunnel, which William commissioned for his own shipping and transportation.
We may also find some men of the Revolutionary era, such as William Livingston (1723 – 1790), a New Jersey governor who signed the Declaration of Independence, and DeWitt Clinton (1769 – 1828), New York governor who oversaw the building of the Erie Canal. Indeed, the cemetery itself has a deep connection to the Revolutionary War, since it occupied a sight of a major engagement in the Battle of Brooklyn during the opening stages of the war—when invading redcoats routed Washington’s ragtag army, in a colossal defeat for the rebels.
But the cemetery is not just a collection of famous bodies. A more somber monument is that raised to the victims of the Brooklyn Theater Fire, a conflagration which killed nearly 300 people in 1876. Of the victims, some 100 whose bodies were scorched beyond identification were interred in a common grave here, marked by an obelisk. About twice as many people died in this disaster as in the more famous Triangle Shirtwaist Factory fire of 1911. It was the third-deadliest fire in American history.
Even if you have no interest in the dead, Green-Wood is worth visiting for its greenery. In fact, Green-Wood is a notable arboretum, and its map also has the location of some notable trees—such as American Chestnuts and large Camperdown Elms. Life prospers where death appears to reign.
On that note, let us leave the Green-Wood cemetery and travel back across the East River, to Manhattan, and then onwards north to the Bronx. Here we will find another enormous and noteworthy cemetery: Woodlawn.
Opened during the Civil War, in 1863, this cemetery received some of bodies removed from overcrowded Manhattan. It has since grown to vast proportions, and is now the resting place of over 300,000 people. While not as inviting and park-like as Green-Wood, and while not providing such an excellent view of Manhattan, the cemetery is quite attractive in its own right. What is more, Greenwood is the final resting place of some of the most iconic figures in American history.
I visited on a cold winter day, last January, with my father. My priority was to see the tomb of Herman Melville (1819 – 1891). It is a simple and indeed humble tombstone, with nothing but an empty scroll of paper as decoration. This was surprising to me. For my money, Moby Dick is the Great American Novel, and Melville our greatest novelist. Yet Melville himself died in relative obscurity. After early success writing potboiler seafaring novels, Melville’s reputation sank once he turned to more serious work; and starting with Moby Dick, he was a critical and financial failure. It was only some decades after his death that his star began to rise again. For any struggling writers (such as myself) his story provides a depressing truth, slightly tempered by the hope that posterity can be kinder than contemporaries.
My father’s hero is also in this same cemetery: Miles Davis (1926 – 1991). A bass player and jazz lover, my dad has been talking to me about Miles Davis all my life, especially Davis’s landmark album, Kind of Blue; so it was gratifying for us both to finally visit him. Davis’s grave is a large tombstone, so highly polished as to be almost mirror-like. The first two measures of one of Davis’s compositions, “Solar,” are inscribed on the tombstone. Curiously, Davis is referred to as “Sir,” which as I learned was because he was inducted into the Order of Malta (in a ceremony in the Alhambra in Granada).
It would be hard to name a musician so influential in the history of jazz. Yet there is one buried right next to Davis: the Edward Kennedy Ellington, better known as “Duke” (1899 – 1974). Ellington has a claim to being the supreme composer of jazz tunes—many of which have become standards in the repertoire—and, indeed, I think he can be justly considered one of the master composers in any genre of the last century, for his music went far beyond the conventional boundaries. His grave is a small plaque in the ground, set before a large tree and flanked by two stone crosses.
Nearby, up the hill, is the conspicuous grave of Illinois Jacquet (1922 – 2004), an important saxophonist; and not too far off lies Coleman Hawkins (1904 – 1969), another great saxophone player, and further on Max Roach (1924 – 2007), the great bebop drummer. Woodlawn does not, however, cater solely to jazz musicians. Also interred is Irving Berlin (1888 – 1989), the Russian-born Jewish composer who helped to define American music, all while being unable to read music and only being able to play in the key of F sharp. Even if you know nothing of Berlin, chances are you can sing at least one of his songs.
Two major figures from the history of New York City are also here in Woodlawn. Fiorello La Guardia (1882 – 1947), the short Italian sometimes called the “Little Flower” who was arguably the city’s most influential mayor. He sits under an elegant tombstone, which states simply: “Statesman, Humanitarian.” Buried within the community mausoleum is someone perhaps even more influential in the city’s history, Robert Moses (1888 – 1981), the subject of the landmark biography The Power Broker. Moses was a power broker indeed, responsible for the building of parks, roads, public housing projects, and bridges. In the process, Moses displaced hundreds of thousands of the poor and destroyed whole communities. He died with his reputation in tatters, yet having fundamentally shaped New York in the twentieth century.
Woodlawn, too, is an arboretum, with some beautiful trees on its grounds. Unfortunately for me, January was not the best time to appreciate this. Nor was the bracing breeze of that January day any more pleasant than the oppressing heat and humidity of the day in August when I visited Green-Wood.
In spite of this, I greatly loved my visits to these two resting grounds. Indeed, cemeteries are some of my favorite places. They are storehouses of history, and sites of homage to those who have shaped our world. They are also places of peace, an escape from the bustle of the surrounding city, providing us a space to contemplate how our own lives might be remembered. I recommend a visit.
This past Friday I went to Bethel Woods for the fiftieth anniversary of the Woodstock Music Festival. Ringo Starr and his All Starr band was headlining. Each of us had a special connection to the event. My mother grew up nearby, and was able to attend one day of the original concert, seeing Joe Cocker perform “With a Little Help from My Friends.” My brother and I, meanwhile, had gotten into the music from the sixties in high school, and had watched the Woodstock film many times. We had even seen Richie Havens, who opened the original festival, twice—once here in Bethel Woods. Besides that, all of us are devoted Beatles fans.
My mother stressed for months preceding the event. There were so many instructions—parking passes, when to arrive, what you can take in, and so on. She had called the organizers several times in order to make sure that we were properly prepared. Even so, when we arrived (after taking the same back roads my mother had taken, fifty years ago) we were promptly informed by a state trooper that we needed an additional parking pass, the “green one,” even though we already had one they had mailed to us. To get it, we had to drive over a mile to the information tent, asking for directions several times along the way (the original trooper forgot the name of the road, which was Huckle Puddy).
This done, we circled back and were finally allowed into the parking lot, being waved on by dozens of attendants. The walk to the venue took us past a great many signs, each one adding to the ever-increasing list of prohibited items and activities. No weapons, of course, or “any object that may be used as a projectile” (quite a broad category), nor professional cameras, posters, banners, selfie sticks, iPads, or lawn chairs. If you wanted to bring a camera, it could not have an interchangeable lens. If you wanted to bring a bag, it had to be plastic and transparent, allowing the staff to easily see what was inside. Among the list of permitted items were umbrellas, strollers, and “two 20oz. factory sealed bottles of water per person.” On the list of prohibited items were musical instruments.
Before going inside, we had to pass through metal detectors (no precaution can be omitted in the age of mass shootings), and then have our tickets scanned. After a slight wait, we were allowed inside.
The Bethel Woods Center for the Arts is a cultural complex located on the original grounds of the 1969 Woodstock Festival. The site was opened partially to combat the economic downturn of the region. Years ago, the Catskill Mountains were a popular vacation spot for those living in New York City, especially in the summer when the city became unbearably hot. But events conspired to make this option ever less popular. The widespread use of air conditioning made it unnecessary to escape to the mountains, and the rise in cheaper air travel made destinations further afield more popular. Resorts and hotels closed down, leaving the region devoid of an economic heart.
Bethel Woods has several venues, including a small indoor one (where I saw Richie Havens) and the outdoor pavilion, big enough (with lawn space) for around 10,000 people. (Since you cannot bring in your own lawn chair, you must rent one from Bethel Woods if you sit on the lawn.) This is where Ringo was to perform. The complex also has a museum dedicated to the sixties: counterculture, Vietnam War protests, the Civil Rights Movements, and so on. I visited this museum back when I was in high school, and I remember an old Volkswagen Bus on display, as if it were an antique horse-drawn carriage or a space shuttle.
On this day there were tents set up all around the space, selling knick knacks, Woodstock paraphernalia, and overpriced food and drinks. A single can of beer cost $14. There were a couple cordoned-off bar areas that only catered to visitors with special tickets, who sat behind the barrier on plush chairs drinking overpriced drinks. People wearing tie-dye shirts and bell bottom jeans, with flowers sticking out of colorful bandannas, strolled around sporting bags and other merch that featured the iconic Woodstock symbol, a guitar with a dove perched on it. The average age has increased quite a bit since the first festival, though not quite by fifty years. In general the crowd was overwhelmingly white—more so, I suspect, than the original crowd, if I can judge from photos and videos. Despite threatening rain, it was a fine, sunny day.
When the original Woodstock Festival was held, this land was a dairy farm, owned by Max Yasgur. Like the anniversary concert, the original one was planned to make money. In today’s dollars, tickets for all three days cost well over $100. About 200,000 attendees were expected. But the organizers had difficulty finding a venue. The town was opposed to the concert, even though the organizers lied and said that only 50,000 would come. By the time they secured Max Yasgur’s farm, three days before the concert, they did not have enough time to build the fences. The event became, de facto, free; and more than 400,000 people came. Logistically it was a nightmare, with massive traffic jams, insufficient food, water, and toilets, and muddy fields caused by the rain. What prevented the event from becoming a calamity was a spirit of cooperation and camaraderie that prevailed among the concert-goers.
In short, the event became an iconic moment in the counterculture movement of the sixties. And though it was, financially, a disaster for the organizers, the 1970 documentary of the festival more than recouped the expenses.
Nothing I could write would capture the amazing energy of the original festival better than the documentary. While the youth were boiling over with indignation at the horrors of racism and the Vietnam War, they were simultaneously filled with an extraordinary hopefulness, actuated by the belief that music and love could herald in a better world.
No event, then, could be further in spirit from the original festival than the anniversary concert. Hippiedom has passed from counterculture to kitsch. If the original event was a logistical disaster, this one was impeccably planned. If the original event did not turn a profit, this one certainly did. The hippies were filled with a do-it-yourself ethos; they thought that they could escape the perils of commercial culture by creating things by hand, by getting back in touch with nature, by cooperating rather than competing with each other. Now, hippie garb can be bought at the gift shop, for inflated prices; and Bethel Woods transparently squeezes its visitors, by prohibiting them from bringing anything from home into the event.
The original attendees slid around on the mud and bathed in the river; they entertained themselves with drum circles. You cannot bring a guitar or a drum into Bethel Woods, and to see the music you sit on either a rented lawn chair or within the concrete pavilion. The hippies tried to reject capitalism. Now, two jumbo-trons beside the stage play commercials and display ads before, between, and after the show. And the contrasts did not stop there.
The first band to play was Blood, Sweat, and Tears, who in another iteration had played at the original festival. The band’s line-up has changed quite a bit over the years; and nobody currently in the group was present at Woodstock. In fact, the current vocalist, Keith Paluso, was years away from being born in 1969. The 30-year-old singer rose to fame as a contestant on the NBC show, The Voice; before that, he informed us, he had been a park ranger in Tennessee. “So don’t let anyone tell you that you can’t be anything you want,” he said to a cheering crowd. But I wonder if the hippies of 1969 would have thought that being chosen on a corporate TV show by a cast of super-rich celebrity judges was a really inspiring origin-story.
The band played well, sticking to its signature style of jazz-rock—a fusion of exotic harmonies, elaborate solos, and a steady backbeat. Paluso said that they played nearly the same set as the band did fifty years ago (though their set wasn’t captured on the documentary).
The next to perform was Edgar Winter, brother of the famous guitarist Johnny Winter, and famous in his own right for the hit song “Frankenstein” in the seventies. The aging rocker played with a power trio, guitar, bass, and drums, while he switched between synthesizer, saxophone, and timbales, all the while singing in his surprisingly powerful falsetto (he’s 72 years old, after all). His act featured a lot of jamming, with Winter playing call-and-response with each of the instrumentalists in turn, scatting a lick and having the player repeat it. I thought it was a little much.
Finally Ringo came out, accompanied by his All Starr Band. The idea of this band is that Ringo gathers together former members of prominent rock groups, and each of them performs songs from the high points of their careers. It is like a retirement home for aging rockers. The current line-up features Colin Hay, of Men at Work; Hamish Stuart, of Average White Band; Steve Lukather, of Toto; and Gregg Rolie, who played with Santana at the original Woodstock. During their set, then, Colin Hay sang “Land Down Under,” Hamish Stuart sang “Pick up the Pieces,” Steve Lukather sang “Rosanna,” and Gregg Rolie sang “Evil Ways.” Ringo, for his part, sang several of his hits from the Beatles, including “Yellow Submarine” and “With a Little Help from My Friends,” as well as some hits from his solo career, like “Photograph.”
Ringo was charming as ever, effortlessly funny even if occasionally sounding out-of-tune, such as when he asked “Are there any young girls in the audience?” before singing “You’re Sixteen.” In the age of Jeffrey Epstein, this does not sound like an innocent question. The other members played and sang well, too, delivering a crowd-pleasing performance. I was happy to see Ringo, not only since I think he was one of the keys to the Beatles’ success (despite his reputation, his drumming was innovative and crucial to the band’s sound), but also because this meant that I had seen both living Beatles (having seen Paul McCartney in Yankee Stadium, years ago). For a man of 79, he looks and sounds great.
While I do not wish to disparage the music of the anniversary, I think it also illustrates a major shift since the days of Woodstock. Rock music used to be the affair of amateurs, who figured out how to play and sing by themselves. Nowadays, rock music has been professionalized. The musicians at this concert played with a technically immaculate polish that was very different from the original generation of musicians. As a contrast I might offer Richie Havens, a man with no musical education who created an entirely original way to play the guitar, tuning it to an open chord, barring it with his thumb, and strumming like a madman. Or I might mention Jimi Hendrix, whose self-taught style has remained basically inimitable. The guitarists who played at the anniversary, by contrast, were studied professionals, capable of playing flawless blues solos, jazz chords, or funk riffs. They could sound like anyone, in other words, except themselves.
So what are we to make of this immense contrast? In truth, it is not surprising that the youthful hippie culture puttered out. People get older, more successful, more integrated, and more conservative. Besides, such an outpouring of naïve hope was perhaps unsustainable. In any case, as a method of social change, the hippie way was rather self-indulgent and hedonistic, hoping that drugs and dancing was enough to change the world.
The change also illustrates the immense power of the culture to absorb a counter-culture, commercializing everything to the extent that it loses its teeth and even its identity. We actively buy into this commercialization. Money is basically irresistible.
Yet for all the naiveté, the fuzzy thinking, the hedonism, and the self-righteous nonsense of the hippie movement, it is difficult not to regret the disappearance of that immense, hopeful energy, that impossible dream of ushering in a new world. Now we have many of the same problems as the hippies had—foreign wars, racism, exploitative capitalism—but without the spirit of cooperation, inventiveness, and optimism that might allow us to push back. For Woodstock was not about the trappings of hippiedom, or even ultimately about the music. It was about a dream.
There is no place in New York City to which I have a more intimate connection than the American Museum of Natural History. I practically grew up inside its walls. For a nerdy boy on the Upper West Side, it was the perfect place for a weekend outing. My mom recalls taking me there and letting me run around in the big Hall of Ocean Life, while she enjoyed a beer at the refreshment stand. (They do not sell beer anymore.) My dad took me plenty of times, too, and then followed up the visit with a meatball subway sandwich.
Kids still love the museum. The natural world, after all, is far more accessible than the highfalutin world of art. A child who is still figuring out the basics of the world around her has no need of elaborate images to reconnect her to her senses. And it is fortunate for our society that the museum is so accessible to children. Judging from the case of Carl Sagan, Stephen Jay Gould, or Neil deGrasse Tyson (as well as myself) the fascination exerted on youthful visitors to the museum often matures into a fascination for the natural world and a respect for the power of human reason. And you do not need to be a child to feel this twin amazement at world without and the intelligence within. I feel it every time I visit.
You can enter the museum from several spots. The grandest is, without a doubt, through the Roosevelt Rotunda on Central Park West. When walking up the stairs, the visitor will notice the heroic equestrian statue of President Theodore Roosevelt. It is worth pausing to continue this statue, for it encapsulates much of the controversial history of the institution. The mustachioed man is flanked by a Native American and an African man, both on foot, and both looking rather dejected to my eyes. The racial message is clear: the white man sits atop the lesser races. To its credit, the AMNH is acknowledging this imagery with a special exhibit, “Addressing the Statue.” I think this strategy is far preferable to the idea of simply removing it, since now the statue provides an opportunity for learning.
Theodore Roosevelt holds a special place in the history of the museum. His father was one of the museum’s founders, when it was still housed in the Arsenal Building of Central Park. The younger Roosevelt was himself an ardent naturalist, and we have him to thank for many of our country’s most beautiful national parks. But being a nationalist in those days did not mean what it means today. Roosevelt did an awful lot of hunting on behalf of the museum, providing some of the exotic animals that were later stuffed and mounted in the amazing displays. Our views on hunting big game and on racial differences have both, fortunately, evolved since then.
To thank the President for his support, the museum is studded with acknowledgements. The most extravagant of these is the massive mural painted by William Andrew Mackay, covering three tall walls of the Roosevelt Rotunda, where the visitor enters. These depict the eventful life of the naturalist president, turning him into a kind of secular saint on the walls of the cavernous room. But of course most people’s attention is absorbed by what is happening in the middle: the dramatic encounter between a brontosaurus protecting its calf, and the hungry allosaurus prowling for prey. Both the baby and the predator are dwarfed by the gargantuan form of the brontosaurus, whose already significant height is bolstered by standing on its hind legs. Personally I doubt that such a massive animal could perform such a maneuver without breaking its legs. Indeed, replica fossils had to be used, since the real fossils (made of stone, after all) are too heavy to mount in such a way.
Much as I would like to move on to the museum’s exhibits, there is one more relic from the museum’s past that deserves comment. Downstairs from the glorious Roosevelt Rotunda is the Roosevelt Memorial Hall, which includes four small exhibitions about the varied activities of the president: his interest in nature; his love of exploration; his time as a statesman; and his life as a writer. What draws most attention, however, is a diorama showing a meeting between Peter Stuyvesant—the Dutch leader of what later became NYC—and the indigenous Lenape people. Made in 1939, this diorama contains several omissions and inaccuracies that work in the Europeans’ favor, such as showing the Lenape almost nude. Again, to its credit, the AMNH has included annotations on the glass, pointing out several of these problems; and their website includes lesson plans to help visiting teachers use the diorama.
I am dwelling on these examples of the museum’s less noble past, not to portray the institution in a negative light, but to show that the museum is working to improve itself without burying its past. It is a model to imitate. And the museum has a long history. This year, 2019, marks the 150th anniversary of the institution. This makes the AMNH one year older than the Metropolitan, which was founded in 1870.
Now it is finally time to enter the museum. Luckily, the entrance fee is still a suggested donation for all visitors, so you need not break the bank. What should we see first? There is a great deal to choose from. In fact, the AMNH is the largest natural history museum in the world, with millions upon millions of specimens of animals, fossils, minerals, artifacts… It would be virtually impossible to see the entire thing in one day. For my part, it has taken me dozens of visits to fully wrap my mind around the museum; and even a lifetime would not suffice to learn all it has to teach.
Let us go on straight ahead from the Roosevelt Rotunda into the Hall of African Mammals. Simply as a work of art, this is one of the high points of the museum. In the center a herd of eight African elephants—bulls, cows, and calves—huddle together. Arranged around this heard, in little niches in the walls, are other exotic animals: lions, zebras, giraffes. The visitor would be forgiven for thinking that all of these were merely plastic replicas; but they are real taxidermied specimens of animals (one of the elephants was shot by Theodore Roosevelt himself). This gives the dioramas a kind of macabre air, which is combined with melancholy when examining endangered species such as the rhinos and the gorillas.
Yet art intervenes to uplift this collection of exotic bodies into a thrilling exhibit. Every diorama is masterfully done: the animals stand in dramatic, lifelike poses amid an environment so scrupulously recreated as to be totally convincing. Added to this are the paintings on the curved surfaces enclosing the dioramas. These hand-painted backgrounds are worthy works of art in their own right: adapting perspective to the wall’s curvature in order to create a nearly seamless continuation with the scene in the foreground. The result is a strange blend of natural beauty and human invention, which is at turns convincingly lifelike and technically astounding. As I walked along from diorama to diorama, I felt like pilgrim visiting a church, walking around from chapel to chapel.
The lion’s share of the credit for this work goes to Carl Akeley, who participated in both collecting and mounting these specimens. Though this business of big-game taxidermy can seem to us in the present day as grim and barbaric, I think that Akeley deserves to be viewed as an artist of high ability. Creating compelling nature dioramas is no easy matter. It requires a naturalist’s eye for fact and a sculpture’s eye for form. To construct a compelling design that is, at the same time, true to nature, requires a special knack. Akeley was a master of it.
A kind of sister to this gallery is the Hall of Asian Mammals, also accessible through the Roosevelt Rotunda. This is a decidedly smaller space; and as the plaque on the wall informs us, the animals here are owed to a “Mr. Ferney” and a “Colonel Faunthorpe,” who made six expeditions into Asia to hunt these animals. Two Asian Elephants stand in the center of this gallery, slightly smaller than their African counterparts. This gallery originally contained a specimen of a giant panda and a Siberian tiger, but the subsequent history of those species led the museum to place these in the Hall of Biodiversity as examples of endangered species (more later). On my latest trip, I learned that there is a type of Asian Lion with a rangy mane, which lives in a small sliver of India.
Now let us descend a flight of stairs once again to the Rockefeller Memorial Hall, on the ground floor. Here we can enter the space directly below the Hall of African Mammals: the Hall of North American Mammals. We find still more superb animal dioramas. The most famous of these is the Alaska Brown Bear. Two of these stand behind the glass. One is reared up on its hind legs, while the other prowls menacingly nearby. The height of the upright bear is startling. Standing before it, you feel how easily this creature could overpower you. Another superb display is of the moose, which features two bull moose jousting with their antlers. As a Canadian friend once told me, moose are the “king of the beasts.”
A quick trip through the Roosevelt Memorial Hall will lead us to one of the museum’s newer spaces: the Hall of Biodiversity. Opened in 1998, it did not exist when I was a young child. The room has a stunning design. Through the center is a swath of artificial rainforest, made to replicate one of earth’s most diverse environments. A legion of tentacled creatures hang from the ceiling, including a giant squid, an octopus, and a massive jellyfish. A glass case holds the giant panda and Siberian tiger, among others, as examples of endangered species; and the bones of the long-dead dodo can be found. Most of the action takes place on the far wall, which is illuminated from behind. Here is represented the entire panoply of life, from bacteria, to algae, to fungi, to plants, and finally to all the many variations of animals: worms, insects, crustaceans, mollusks, and vertebrates of every kind. (There is an online version that you can click through.)
The sheer abundance of models on display gives a visual illustration to the richness of life on this planet. This amazing variety, developed over 3 billion years of evolution, goes far beyond our humdrum ideas about plant and animal types. To give an example, once a teacher of mine asked everyone in class to make a guess at how many species of bee there are in the world. People’s guesses ranged between 12 and 300. The answer is 20,000. Unfortunately, this biodiversity is being dramatically curtailed through human action—which is why this gallery was made.
This attractive space opens up to what has always been, for me, the most dramatic room in the museum: the Hall of Ocean Life. Here is where I would spend most of my time as a child. This hall is one of the biggest spaces in the museum. It is dominated by the life-sized model of a blue whale, the largest animal to ever exist on the planet, hanging from the ceiling. This lightweight model weighs no less than 21,000 pounds—so just imagine what the real animal must weigh. It is frankly stupefying that something so large can be alive. The entire herd of elephants from the Hall of African Mammals can huddle underneath its belly.
Dioramas line the walls of both floors of this hall. The best of these are on the bottom, where you can find a polar bear, a pod of walruses, and a huddle of sea lions. Here, as elsewhere, these displays are amazingly dramatic and lifelike. We can see the sharks in pursuit of the poor sea turtle, and the dolphins jumping out of the water to catch some flying fish. But the real masterpiece of this hall is the battle between the sperm whale and the giant squid. The sperm whale is the biggest toothed predator in the world, and its prey is likewise large. This big-headed mammal dives deep under the water—sometimes over a mile deep, going more than an hour without breathing—in order to prey on the invertebrate monsters that lurk below.
The most notable foe of this whale is the giant squid, itself one of the world’s largest animals, capable of growing to over 40 feet in length. When a whale finally catches on of these squids, it must be a serious fight, as the suction-cup scars found on the hide of sperm whales attest to. The diorama evokes all the drama of this encounter. We arrive once the fight has commenced: the whale has one of the squid’s tentacles in its jaws, and the squid is wrapped around the whale’s enormous head. The diorama is illuminated in a semi-darkness that recalls the inky blackness of the deep ocean
As a child, I found this scene both fascinating and terrifying, and became obsessed. I drew the battle over and over, doing my best to perfect the two different forms: the smooth blue whale and the sprawling red squid. Even now, this conflict between the big-brained sperm whale and the monstrous giant squid calls to mind a deep conflict within our own nature.
This description only touches upon the strange, otherworldly beauty on display in the Hall of Ocean Life—a beauty that captivated me as a child and which still moves me. The world below the seas is more fantastic and alien than anything dreamed up in science fiction. You can see this clearly in the three dioramas depicting life in the ancient oceans: creatures whose bodies form spirals, cones, wings, prowling about on an ocean floor populated with blooming anemones. The colorful, twisting, bulbous forms of the coral reef also evoke this strange allure. A part of me has always wished to be a marine biologist.
Now we will leave the Hall of Ocean Life to travel back through the Hall of Biodiversity, to enter a space which I have still not adequately explored. The first is the Hall of North American Forests. This space is dedicated to the sorts of environments present in the United States and Canada, from the deserts of Arizona to the cold forests of Ontario. The most impressive object on display is a cross section from a 1,400 year-old Sequoia. It is enormous: big enough to serve as a dance floor or even to serve as the foundation for a house. Notable historical events are marked on the tree rings, going from the invention of book printing in China (in 600), to the crowning of Charlemagne (in 800), to the death of Chaucer (in 1400), to the ascension of Napoleon (in 1804), to when the tree was finally cut down, in 1891.
This hall is also notable for a diorama depicting the little critters who live in the soil, responsible for breaking down organic matter and keeping the cycles of life in swing. The worm, centipede, and daddy-long-legs are blown up to 24 times their actual size, which is not a pleasant sight. The same can be said for the giant model of a malarial mosquito, which does not increase my affection for that species. Teddy Roosevelt played a part in educating the public about the role mosquitos play in spreading malaria, since he had to deal with the disease when overseeing the Panama Canal.
When we leave this hall, we enter yet another of the museum’s grand entrance spaces. This is named, appropriately enough, the Grand Gallery. It is most famous for the hanging Great Canoe, made by the peoples of the Pacific Northwest. Carved from a single tree, this enormous boat can hold a dozen people and is suitable for use in ocean waves. The front features an exquisite painting of a killer whale. When I was a boy, I normally entered the museum here. At the time the canoe was filled with the plastic figures of Native Americans; and I would look at these mannequins with a kind of uncomprehending terror, since I could not figure out what those men were doing. The museum has since refurbished the canoe and removed the figures, hanging it higher so as to make the decoration more visible.
There are still other treasures to be found in this gallery. In one corner is a glass containing an ammonite fossil. This are extinct mollusks which looked like squids living in a spiral shell. This particular ammonite happened to fossilize under high pressure, which resulted in it being an iridescent rainbow. Nearby is a magnificent stibnite: a metallic crystal formed from antimony and sulfur. These crystals form themselves into a collection of jagged silver spikes all sprouting from a central core. A nearby child compared it to a porcupine.
The Grand Gallery normally leads to the Northwest Coast Hall; but it is currently closed for renovation. This hall is the oldest continued exhibit space in the museum, having been opened in 1900. The peoples of the Pacific Northwest are known throughout the world for the high quality of their visual art, including the iconic totem pole. This hall contained a great many of these poles, among other art, which made it one of the museum’s more beautiful spaces. Much of this was collected by the pioneering anthropologist, Franz Boas, during the famed Jesup North Pacific Expedition of 1897 – 1902. The current renovations are yet another example of the museum’s attempt to confront its past: updating the information to reflect how these cultures wish to be represented, rather than how anthropologists represented them 100 years ago.
The Grand Gallery also leads into the equally grand Hall of Human Origins. Opened in 1921, this hall was the first exhibit about the controversial topic of human evolution in the United States. The hall still performs this admirable task, teaching visitors about the evolutionary past of our own species. The visitor is first confronted with three skeletons, one of a modern human, one of a chimpanzee (our closest living relative), and one of a Neanderthal (our nearest extinct cousin). On the wall there are models of various primates, with their genetic similarity to humans shown underneath. Chimpanzees are nearly identical, with 99% similarity.
A major highlight are casts of famous human ancestor fossils, including Turkana Boy and Lucy. (I myself studied human evolution in the Turkana Basin, so it is always gratifying to see the plaque about the region.) There is also a reproduction of the Laetoli Footprints—imprints preserved in volcanic ash 3.5 million years ago, showing clear evidence of bipedalism—and a diorama of the what the two australopithecus may have looked like as they walked across the ashy plain (the male with his arm snuggly around his mate). There are also scenes representing the life of early humans, building shelters out of mammoth bones or being ambushed by giant hyenas. It was a tough life back in the paleolithic.
After moving through the Hall of Human Origins, you come to the Hall of Meteorites. This is most notable for containing a large chunk of the Cape York Meteorite. It is unknown when this iron meteorite struck the earth (near Cape York, in Greenland), though it was likely thousands if not millions of years ago. The original meteorite broke up into three large pieces, which were used by the Inuit living nearby to make iron tools. For decades Westerners searched for the mysterious source of iron (not easy to come by in the arctic), until Robert Peary, the explorer, finally found the meteorites and arranged for them to be transported and sold to the AMNH (likely without compensating the Inuit). The fragment displayed is so heavy that the foundations for the platform had to be built down to the bedrock below. It’s an awfully big rock.
The Hall of Meteorites normally leads to the Hall of Gems and Minerals. However, this hall is closed for renovations at the moment, which does not surprise me, since every time I visited the hall struck me as looking decidedly retro. The angular, geometrical design of the room (which appropriately mirrors that of a crystal) was praised highly when it was opened in the 1970s; but nowadays it looks very similar to how Kubrick imagined the future would be, in 2001: A Space Odyssey. Nevertheless, this is one of the most beautiful corners of the museum. The glass displays, arranged throughout the room, are filled with gleaming stones—gems which reflect and refract light in a thousand distinct ways.
(Visit here to see photos of the original gallery and concept drawings for the new gallery.)
This hall has a colorful history. Whenever I visit, I think that the hall looks like the kind of place Lex Luther would rob in order to get some kryptonite. Other people have had similar thoughts, it seems. In 1964, Jack Roland Murphy (“Murph the Surf”), with two accomplices, snuck into the museum and stole some of its most famous pieces: the Eagle Diamond, the DeLong Star Ruby, and the Star of India sapphire (all donated to the museum by J.P. Morgan). The thieves were eventually caught, and the jewels found and returned to the museum—the Star of India was found in a bus station foot locker—with the notable exception of the Eagle Diamond, which was likely cut into smaller pieces and sold. (Murph the Surf was later convicted for murder; in prison he became a minister and was released early; he is currently the vice president of the International Network of Prison Ministries.)
We have gone to the very end of the museum, but we have still left out one of the museum’s most notable wings: the Rose Center for Earth and Space. Opened in 2000 (so I did not see it as a child) this is the newest part of the museum, and it shows. The space-age design features a massive central sphere enclosed in a glass cube. The new Hayden planetarium is housed within this sphere, where visitors can see shows projected on the upper dome. Neil deGrasse Tyson is the first and, so far, the only director of the Rose Center; and he narrates many of the astronomical shows.
Below this “cosmic cathedral” (as the designer called it) is the Hall of the Universe. Here you can find information about stars, planets, galaxies, and the moon, all displayed on sleek metallic panels. There are scales that tell you what your weight would be on Mars and the Moon (in pounds, which requires a conversion for non-American visitors). In one clear glass case there is a self-contained ecosystem of algae and tiny shrimp—a microcosm that represents the macrocosm of earth. A curving walkway that leads away from the planetarium takes the visitor through the entire history of the universe, from the big bang to the present day.
The star of the hall is the Willamette Meteorite. This is another iron meteorite, yet it looks strikingly different from the Cape York Meteorite. Its surface is pockmarked—I believe from centuries of weather erosion. The rock has been on earth a long time. Possibly the core of an early proto-planet, smashed to smithereens in a cosmic collision, this meteorite struck earth thousands of years ago (but we have yet to be able to find the impact sight). It was found in Oregon, but it was likely moved by expanding and receding glaciers. As with the Cape York Meteorite, the Willamette Meteorite was taken without the consent of the native peoples who had long known about it. This led to a lawsuit, in 1999, by the Confederated Tribes of the Grand Ronde Community of Oregon, demanding the return of the rock (which had been in the museum for nearly 100 years by then). Luckily, the AMNH reached a deal that allowed it to keep the meteorite.
Adjoining the Hall of the Universe is the Hall of Planet Earth, devoted to geology. This gallery has accomplished the difficult job of rendering geology visible, tactile, and immediate. The space is filled with models of geological formations, many of which can be touched. These slices of earth help to illustrate the normally invisible processes below the surface which have shaped our planet—the slow churning of the continental plates, the effects of receding glaciers and running water, the volcanic explosions which hurl up new land from the depths. The hall also has a section devoted to climate change, which features an ice core (a piece of ice formed over thousands of years) which the visitor can “read” by moving a monitor over different sections, thus revealing how the climate has changed.
From what I observed, children love the Rose Center for Earth and Space. Everywhere I looked young kids were reading, looking, touching, laughing, and in general having a great time. To me this represents an accomplishment of a high order. Making whales and dinosaurs accessible to children is straightforward; but to make accessible the abstract theories of physics, the slow processes of geology, and the distant threat of global climate change—this calls for subtlety and skill, and the designers of this hall have accomplished their task with brilliance.
Now we must get to an elevator and ascend from the bottom to the top floor. We have dallied in the museum for a good, long time, and it will close soon, so we had better get to the spectacular fossil rooms on the fourth floor.
The proper place to begin is on the Orientation Hall. Here the visitor can see a video that explains some background of evolution and cladistics (making evolutionary trees). But the visitor will likely have difficulty focusing on this video, since in 2016 the museum added an enormous dinosaur to the room. This is the Titanosaur, a massive, long-necked sauropod whose form dominates the space. From tail to head, the animal stretches 119 feet (or 32 meters); and in life it likely weighed well over 60 tons (an adult elephant, by comparison, weighs about one-tenth as much). The size of these animals is simply staggering—especially considering that they began life in an egg scarcely bigger than that of an ostrich. How much vegetation did one of these have to eat in a day in order to survive?
The fossil rooms make a closed circuit, so the visitor can go in any direction. The most logical direction to go in, however, is to begin with the Hall of Vertebrate Origins—since this way the galleries are chronological.
From the perspective of biology, the Hall of Vertebrate Origins is likely the most fascinating hall of fossils, even if it lacks any of the spectacular specimens of later eons. We can see examples of the first vertebrates, on sea, on land, and in the air. One of the more memorable fossils on display are the jaws of the extinct Megalodon, a shark that lived millions of years ago, and which grew several times larger than today’s great white shark. The tremendous and terrifying jaws, hanging from the ceiling, dwarf even the bite of a Tyrannosaur. Nearby hangs a model of the Dunkleosteus, an armored fish that lived many hundreds of millions of years before the Megalodon, and which likely was major predator of its day. Further on is a Pterosaur, a member of the first known vertebrates to have achieved flight. (Commonly called dinosaurs, the Pterosaurs were closely related but technically not dinosaurs. Also, the term “Pterodactyl” only refers to one subgroup of the Pterosaurs.)
These three examples only touch on the immense biological richness in this hall. For anyone hoping to better understand the history of life on our planet, their time will be well spent in close examinations of the specimens on display. The museum also offers computer booths that allow visitors to scroll through various evolutionary trees and learn more about different species.
We now come to one of the museum’s most spectacular spaces: the Hall of the Saurischian Dinosaurs. Now, Dinosaurs are typically split into two large evolutionary groups, the Ornithiscia and the Saurischia. The latter includes all carnivorous dinosaurs as well as sauropods (and birds, the only living dinosaur group). This means that this gallery includes the famous Tyrannosaur. Even when manifestly dead, the Tyrannosaur has a commanding presence. The mere thought of it being alive is enough to cause goose bumps. And this predator—one of the largest to have ever walked the earth—was likely even more terrifying than we normally think. According to the paleontologist Stephen Brusette, Tyrannosaurus was highly intelligent, had excellent vision, and likely lived and hunted in packs. One of them is frightening enough; imagine a gaggle of T. Rex. And to think that this fearsome creature began its life no bigger than a chicken.
Across from the Tyrannosaur is another museum favorite, the Apatosaurus (sometimes called the Brontosaurus). This is a sauropod, somewhat smaller than the Titanosaur in the other room, but still large enough to make even the Tyrannosaur look petite by comparison. Another fearsome predator on display is the Allosaurus, a carnivore somewhat smaller than Tyrannosaurus that lived several million years earlier, which was an apex predator in its own epoch. This Allosaur is bending over to scrape some meat off of a fresh carcass. One less flashy specimen on display is the skull of a velociraptor (which, despite its portrayal in Jurassic Park, was about the size of a turkey).
Next we come to the Hall of the Ornithischian dinosaurs. This group does not contain quite as many star dinosaurs as the other hall, but it will not disappoint. Here can be found one of the museum’s most important specimens, a mummy of a duck-billed dinosaur. Unlike in the vast majority of dinosaur remains, here we do not only have the skeleton, but the skin of the ancient animal. This has allowed scientists to get a much better idea of what the scales of a dinosaur were like. Also on display is a Stegosaurus, famous for its small brain, spiked tail, and a back covered in vertical plates (whose purpose is still debated). My personal favorite, however, is the Triceratops, an herbivore that lived alongside T. rex and was one of its principal foes. Powerfully built, with a three-pronged horn and a protective ridge, hunting these beasts must have been no easy matter.
I am always moved by the dinosaurs. They were magnificent animals, many of them so far beyond the range of size and power that we can find among today’s land mammals and reptiles. That such a diverse group of powerful beasts could go entirely extinct from a chance event—a meteoric bolt from the blue—cannot but remind us of our own precarious existence. Indeed, these chance catastrophes play a disturbingly crucial role in the history of life on our planet. Dinosaurs themselves would never have become so dominant if not for the Triassic-Jurassic extinction event (possibly caused by volcanic activity), which eliminated much of their competition. And the mammals would never have been able to emerge as the current dominant life form if not for the Cretaceous-Paleogene extinction event, which eliminated every one of these creatures (except for birds), thus leaving the stage set for us. But how long will we last?
The next hall focuses on the early history of our own clan, the mammals. The further back one goes in evolution, the mudier become the distinctions between distinct lineages. Thus, some of the fossils on display in the Hall of Primitive Mammals do not strike us as mammals—and in fact are not, only early relatives. Into this class falls the Dimetrodon, a sail-backed cuadroped that looks far more reptilian to my eyes than anything resembling a house cat. But a close examination of its skull reveals the tell-tale opening behind its eye socket, leaving a bony arch which scientists have decided constitutes the defining mark of a new class of animal, the Synapsids, which includes mammals.
The Hall of Primitive Mammals is notable for the mammal island—a large array of fossil specimens that illustrate the range of mammalian diversity. By any measure, we mammals are an immensely diverse lot, having populated the land, sea, and air, occupying all sorts of niches, and ranging in size from a large insect (the smallest bat) to the biggest animal ever to exist (the blue whale). Amid this sea of variety we find the Glyptodont, an extinct relative of the armadillo, far larger and far more heavily armored. The face of this fossil preserves a sense of the patient drudgery which must have characterized this poor beast’s life, as it dragged its heavy shell through the landscape. The saber-toothed cat led a more exciting, if not more successful, life thousands of years ago, as did the lumbering cave bear. But the most terrifying skeleton of all may belong to the Lestodon, an enormous ground sloth whose gaping nose socket seems to look at you like a cyclops.
Finally we come to the Hall of Advanced Mammals, which features species more recently extinct (many of which died off during the great megafauna extinction 10,000 years ago). Here we can see a large array of specimens that illustrate the evolution of horses, growing up from dainty things the size of dogs up into the stallions of today (though, as often happens with evolution, this progress was not always linear). At the end of the hall we see extinct relatives of the elephant. One is the mastodon, which is about the size and build of a modern elephant, if slightly stockier. This nearly complete fossil skeleton was found in New York—amazing to consider.
Standing a head taller is the Mammoth, a much closer relative of the elephant that went extinct not too long ago, while the Mesopotamian and Egyptian civilizations were well under way. It is massive, of nearly dinosaurian proportions, with tusks that curve so tightly inward that it seems they would have been useless for defense. (Scientists are now playing with the idea of using DNA from frozen mammoth remains to bring them back. I wish them luck.)
By now, you must be exhausted. Museum fatigue has set in, and you can no longer concentrate on or even enjoy what you are seeing. This is inevitable at the American Museum of Natural History. There is just way too much. I have already written far, far more than I planned to, and there is still so much of the museum left to explore. I have left out the Hall of Reptiles and Amphibians, the Hall of North American Birds, and the Hall of Primates. And that is not all. The museum has huge exhibits devoted to cultural anthropology. Aside from the aforementioned Northwest Coast Hall, there is the Hall of Asian Peoples, the Hall of African Peoples, the Hall of Mexico and Central America, and the Hall of South American Peoples.
And here I must add a note of criticism. It says a great deal that a museum of natural history would include exclusively non-Western cultures. Admittedly, this is largely a historical artifact of the time when the study of “primitive” living peoples was grouped with the study of human evolution and primate behavior in the discipline of “anthropology.” This grouping obviously reflected cultural and racial biases of the original founders of the field. But we have moved far beyond that, and now it seems discordant and strange to walk through, say, the Hall of Asian Peoples. How could a single hall, however well-made, encompass the enormous history and diversity of the Middle East, Central Asian, Southeastern Asia, and East Asia? Even encompassing the traditions of China alone would require a museum for itself. Not only that, but the cultural halls generally have a dark and dingy aspect, as if they have been left unchanged for decades.
So it is my hope that the museum soon refurbishes, not just the Northwest Coast Hall, but all of the cultural halls—taking into account not only advances in our understanding, but how the cultures themselves would like to be represented. Judging by the progress that the museum is already making in this respect, I think that the future looks bright.
What more can I say about the Museum of Natural History? I have already said more than I planned to, and yet it scarcely seems enough. My visits to the museum had a fundamental influence on me. My shifting interests throughout my childhood and adulthood—in marine biology, chemistry, physics, botany, human evolution, and human cultures—have virtually tracked the floor plan of the museum. From an early age, I have been possessed with a desire to collect, catalogue, and display—an urge which I am sure owes much to this place. Beyond its importance in my life, however, I see the Museum of Natural History as a model institution for the coming ages, as something much needed in our society, even as a kind of secular church for the new age: capable of appealing to the mind and to the emotions. I hope that every child may feel the wonder I felt, and still feel, at both the universe around us and the intelligence within, which has allowed us to know something of this universe.