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In 1866, the Steinway and Sons piano company opened a combination recital hall and retail center in New York City. Known as "Steinway Hall" and originally located at 71-73 East 14th Street, the elegant showrooms and concert hall could accommodate over 2000 guests. As a result, Steinway Hall not only hosted concerts, but readings and performances from literary icons such as Charles Dickens. This original Steinway Hall was also home to the New York Philharmonic prior to the completion of Carnegie Hall in 1891. In 1925, the company moved from&nbsp;East 14th Street to this location, across the street from Carnegie Hall. In 2012, the company announced that they had sold this building and would open a more modern retail outlet at 1133 Avenue of the Americas. &nbsp;

The rotunda at Steinway Hall was a center of New York's cultural scene for over eight decades and was designed by the same firm that created Grand Central

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NY Times Article about the sale of the building

In 1925, the Steinway and Sons piano company opened a combination recital hall and retail center at this location known as "Steinway Hall." The ornate showrooms were only a block away from Carnegie Hall and replaced the original Steinway Hall, which had opened in 1866 on East 14th. The "new" Steinway Hall of 1925 featured recording studios and opened with a live radio broadcast. Some of the world's most famous pianists and composers performed at this location, including Sergei Rachmaninoff. In 2012, the company announced that they were selling the building and moving their retail outlet to an office building built in the 1970s. The new retail space includes a storefront with large glass windows that may be less of a tourist destination and more of a traditional retail space. “It’s not like somebody who’s just come from a concert [at Carnegie Hall] wanders across the street to buy a piano,” the architect of the new space said in an interview with the New York Times. 

Steinway Hall, 1925-2014

Starting at New York's Grand Army Plaza, this tour includes a host of New York landmarks such as the Plaza Hotel as it winds its way along the edge of Central Park along 59th Street to Columbus Square. The tour then returns to its starting place with a walk down 57th Street that includes Carnegie Hall, the Russian Tea Room, and the former home of Steinway Hall. Highlights of the tour include several statues, including those of South American and Cuban icons Simon Bolivar and Jose Marti. This tour is a work in progress, and more entries will be added soon. 

William Tecumseh Sherman was born into a prominent family in Lancaster, Ohio on February 8, 1820. His father, Charles R. Sherman, was a justice on the Supreme Court of Ohio. In 1829, Sherman’s father died unexpectedly. Soon after, he was sent to live with family friend, lawyer, and budding Whig politician, Thomas Ewing. When Sherman was sixteen years old, Ewing secured for him an appointment to the United States Military Academy at West Point. Four years later, in 1840, Sherman graduated near the top of his class.  After graduating from West Point, Sherman fought in the Second Seminole War in Florida before being transferred to Fort Moultrie on Sullivan’s Island at the entrance to Charleston Harbor. Unlike many generals of the Civil War, he did not serve in the Mexican War. In 1850, Sherman married Ellen Ewing, the daughter of Thomas Ewing, in Washington, D.C. The couple settled in St. Louis. Three years later, Sherman resigned from the military to pursue a business career. The Panic of 1857, however, derailed his plans. He then relied on two friends from the South, Braxton Bragg and P.G.T. Beauregard, to secure for him the position of superintendent at the newly founded Louisiana State Seminary of Learning and Military Academy (now Louisiana State University) in 1859.  When Louisiana seceded from the Union in January 1861, Sherman resigned from the position and returned to St. Louis. With the help of his younger brother, Senator John Sherman, he secured a commission as a colonel in the Union Army that spring. Sherman commanded a brigade at the First Battle of Bull Run and afterward received a promotion to the rank of brigadier general. He then briefly helped to oversee the federal occupation of Kentucky before becoming a divisional commander under General Ulysses S. Grant. In the spring of 1862, Sherman participated in the Battle of Shiloh and shortly after received a promotion to the rank of major general. The following year, while commanding XV Corps, he helped Grant capture Vicksburg, which gave the Union complete command of the Mississippi River.  During the final two years of the conflict, Sherman brought the war to the Deep South and, through hard war policies, struck a blow against the Confederacy’s ability to wage war. In May 1864, he invaded Georgia, capturing Atlanta on September 2. Sherman then commenced his famous “March to the Sea.” In November and December 1864, his army trampled through the heart of Georgia, destroying rail lines, toppling telegraph poles, burning factories, and stealing food and supplies along the way. By Christmas, Sherman had captured Savannah. In early 1865, he turned northward and invaded the Carolinas. Sherman captured Columbia on February 17 and defeated Confederate General Joseph E. Johnston at the Battle of Bentonville the following month. On April 26, 1865, Johnston surrendered his army along with all Confederate troops in Georgia, Florida, and the Carolinas to Sherman. It was the largest surrender of southern forces during the war.  After the war, Sherman remained in the military and was promoted to the rank of lieutenant general in 1866. When Grant became President of the United States in 1869, Sherman became the commanding general of the U.S. Army, a position he would hold until 1883. He died in New York City in 1891 at the age of seventy-one.  Shortly after Sherman’s death, his friends in the New York Chamber of Commerce appointed a committee to raise funds for the erection of a monument in honor of the Civil War hero. In 1892, the committee commissioned esteemed sculptor Augustus Saint-Gaudens and architect Charles McKim to design the statue and pedestal, respectively. Unveiled in Manhattan’s Grand Army Plaza on May 30, 1903, the monument consists of a larger-than-life-sized gilded bronze equestrian statue of Sherman led by a female allegorical figure representing “Peace.” The two sculptures rest on an oblong, pink granite pedestal adorned with six gilded bronze wreaths. The original plan was to install the monument in Riverside Park near Grant’s tomb. Sherman’s family, however, objected to the idea and later settled on Grand Army Plaza.

This monument commemorates William Tecumseh Sherman (1820-1891), one of the leading Union generals during the Civil War. A native of Ohio and graduate of West Point, he is best remembered for his 1864 “March to the Sea,” during which his army trampled through the heart of Georgia, destroying rail lines, toppling telegraph poles, burning factories, and stealing food and supplies en route to capturing the coastal city of Savannah. Shortly after Sherman’s death in 1891, his friends in the New York Chamber of Commerce appointed a committee to raise funds for the erection of a monument in honor of the Civil War hero. In 1892, the committee commissioned esteemed sculptor Augustus Saint-Gaudens and architect Charles McKim to design the statue and pedestal, respectively. Unveiled in Manhattan’s Grand Army Plaza on May 30, 1903, the monument consists of a larger-than-life-sized gilded bronze equestrian statue of Sherman led by a female allegorical figure representing “Peace.” The two sculptures rest on an oblong, pink granite pedestal adorned with six gilded bronze wreaths.

William Tecumseh Sherman Monument

Joseph Pulitzer was born into a prosperous family in the town of Makó in the Hungarian Empire on April 10, 1847. His father was a successful Jewish grain merchant. His mother was German and a devout Roman Catholic. When Pulitzer was a young boy, his father retired to Budapest. There, he received an education at private academies and with the help of private tutors. When he was seventeen years old, Pulitzer sought a military career and attempted to enlist in the Austrian army, the French Foreign Legion, and the British army. Despite being exceedingly tall, his poor eyesight and frail health resulted in his being rejected by all three. Soon after, however, while visiting the city of Hamburg, Pulitzer ran into a bounty broker who was recruiting for the U.S. Army. At the time, the United States was embroiled in the Civil War. Despite being able to speak only a few words in English, Pulitzer quickly sailed for the United States and enlisted in the First New York Cavalry. Also known as the Lincoln Cavalry, the unit contained many German-speaking men like Pulitzer.  Immediately after the Civil War, Pulitzer remained in the United States and settled in St. Louis, where he worked at several odd jobs while also spending a copious amount of time in libraries reading and learning English. In 1868, he caught a break and accepted a job as a reporter for the leading German-language newspaper in the city, the Westliche Post. After four years of distinguished journalism, Pulitzer purchased a controlling interest in the financially struggling newspaper in 1872, later selling it for a handsome profit. Two years later, he purchased the Staats-Zeitung, another German-language newspaper in the city, before selling its Associate Press franchise to the St. Louis Globe. By 1878, Pulitzer had purchased the St. Louis Dispatch and the St. Louis Post, and merged them to create the St. Louis Post-Dispatch. During his early years at the helm of the Post-Dispatch, the Hungarian-born newspaper editor established a national reputation as a champion of the common American through his pioneering of investigative journalism that exposed corruption in both the public and private sectors. As a result, the Post-Dispatch quickly became the city’s leading evening newspaper. In the early 1880s, Pulitzer’s career took an unexpected turn. Failing health coupled with an 1882 incident in which his chief editorial writer murdered a political critic of the newspaper led him and his wife to travel to New York City in 1883 to embark on a relaxing European vacation. While in America’s largest urban center, however, Pulitzer met with railroad magnate Jay Gould and purchased from him the financially distressed morning newspaper, the New York World. In an effort to increase readership and turn the struggling publication around, he incorporated comic strips, illustrations, and coverage of sports and women’s fashion into its pages. Along with investigative reporting, Pulitzer also published sensationalized stories and resorted to fabricating news events. While some of these activities and changes damaged his journalistic reputation, he nevertheless transformed the World into the most-read newspaper in the United States by the end of the decade.  In the 1890s, Pulitzer and the World became involved in a fierce circulation war with William Randolph Hearst and his newspaper, the New York Journal. To increase readership as much as possible, Pulitzer deepened the publication’s commitment to fabricated stories and sensationalized journalism. The dangerous, real-world implications of the latter—coined yellow journalism—came to fruition in 1898 when the United States went to war with Spain. Pulitzer’s intensified commitment to yellow journalism in the 1890s also helped to further damage his once elevated journalistic reputation.  During the last few decades of his life, Pulitzer’s health steadily declined. By the time of his circulation war with Hearst in the 1890s, he was almost completely blind. Additionally, the nervous condition that plagued him for much of his life had worsened so much that he could barely endure noises louder than a whisper. Pulitzer died in Charleston, South Carolina in 1911. In his will, he directed the executors of his estate to endow Columbia University’s School of Journalism and allocate funds for the creation of the Pulitzer Prize.  In addition to leaving money for the establishment of the award and the journalism school, Pulitzer bequeathed $50,000 to the City of New York for the creation and installation of a fountain in what is now Grand Army Plaza. Architect Thomas Hastings of the esteemed New York architectural firm, Carrère and Hastings, won the design competition and received the commission. Dedicated in 1916, the fountain features five stepped limestone basins capped by a bronze sculpture of Pomona, the Roman goddess of abundance. Designed by sculptor Karl Bitter, she stands atop a small circular basin holding a basket of fruit.

This fountain on the southern half of Manhattan’s Grand Army Plaza is named after prominent newspaper editor and publisher, Joseph Pulitzer (1847-1911). A native of Hungary and veteran of the American Civil War, he is best remembered as the owner and editor of the 'New York World,' which was the most-read newspaper in the United States by the end of the 1880s. In his will, Pulitzer directed the executors of his estate to endow Columbia University’s School of Journalism and allocate funds for the creation of the Pulitzer Prize. He also bequeathed $50,000 to the City of New York for the creation and installation of a fountain in what is now Grand Army Plaza. Architect Thomas Hastings of the esteemed New York architectural firm, Carrère and Hastings, won the design competition and received the commission. Dedicated in 1916, the fountain features five stepped limestone basins capped by a bronze sculpture of Pomona, the Roman goddess of abundance. Designed by sculptor Karl Bitter, she stands atop a small circular basin holding a basket of fruit.

Pulitzer Fountain

The three investors in the newly-constructed Plaza Hotel wasted little time expanding their hotel after its opening.&nbsp;The 19-story building was one of the largest hotels at the time of its construction and the investors spared little expense on the interior,&nbsp;enlisting the help of designer Janeway Hardenbergh who worked to make the New York hotel emulate the&nbsp;style of a lavish French Chateau. Hardenbergh designed and placed the single largest gold-encrusted china order in history with Straus &amp; Sons, along with an order of 1,650 crystal chandeliers. The plan was to make the glitz and glam of the hotel inviting to the wealthy clientele it would serve.

The building was also a residence for wealthy New Yorkers. Mr. and Mrs. Alfred Gwynne Vanderbilt were the first to sign the guest register and many wealthy New Yorkers maintained a suite at the hotel. The Plaza has hosted kings, ambassadors, actors, business executives, and world leaders. The Beatles were among the many musicians to stay at the hotel, and their six-day stay in 1960 enhanced the Plaza's reputation as the city's premier hotel. The Plaza has appeared in many films, including Alfred Hitchcock’s 1959 North by Northwest. The hotel was also the site of the filming of the original Great Gatsby, and its temporary owner Donald Trump (whose mismanagement of the hotel led to bankruptcy)&nbsp;was featured in Home Alone 2.&nbsp;In 1978, the hotel was listed on the National Register of Historic Places. Later, in 1986, is was given the prestigious title National Historic Landmark.&nbsp; It remains the only hotel in New York with that designation. Eight interior rooms including The Palm Court, the Grand Ballroom, the Terrace Room, the Edwardian Room, The Oak Room and the Oak Bar, the 59th Street lobby and the Fifth Avenue lobby were designated by The New York City Landmarks Preservation in 2005. That same year the Plaza closed its door for another extensive restoration—with the project’s total cost reaching $450 million. The doors reopened in 2007 to celebrate 100 years of business.Perhaps ironically, the hotel's most famous resident is a fictional character. Eloise is an elusive and unpredictable 6-year-old created by children’s author Kay Thompson. Eloise was Thompson’s alter ego, and she used her Eloise “voice” to entertain friends. She later wrote a book about Eloise’s adventures living in the Plaza with Nanny, her turtle Skiperdee, and her pug Weenie. The first book was published in November 1955 and was a huge success with three more books following:&nbsp;Eloise in Paris, Eloise at Christmastime, and Eloise in Moscow. Thompson&nbsp;lived at The Plaza and predictably began receiving phone calls from girls saying “Please may I speak to Eloise?” Children even began visiting the Plaza asking to meet the character. Soon, the staff began to play along and respond “I’m sorry, you just missed her. But if you run into Eloise, please tell her we found her missing shoes.” A pair of Mary Jane’s, her signature, was kept on hand to demonstrate Eloise’s continuous presence.&nbsp;The Plaza embraced Eloise over the years having people come in to play the character for all the visitors. Many parts of the hotel and activities in it were linked to Eloise’s adventures in tribute. In 2010, on The Plaza Concourse Level, the Eloise Plaza Shop opened and Betsy Johnson, a famous fashion designer, designed a spectacular Eloise Suite.&nbsp;

From its opening in 1907 to today, this iconic hotel has represented the glamour of New York City and has entertained celebrities and world leaders. The current Plaza Hotel replaced a much smaller hotel, also known as the Plaza Hotel, that operated at this location from 1890 to 1905. Investors Bernhard Beinecke, Fred Sterry, and Harry S. Black recognized the value of this location and constructed the present luxury hotel which became the first in the city to become a National Historic Landmark. 

The Plaza Hotel 

Anti-colonial rebellions erupted throughout Latin America in the early 19th century. For example,&nbsp;Chile fought and secured independence in a bloody series of wars between 1810 and 1826. Mexico also secured its independence between 1810 and 1821, followed by Venezuela between 1811 and 1823, and Argentina between 1810 and 1818. With the leadership of revolutionary general Simón Bolívar, the people of present-day Ecuador, Venezuela, Colombia, and Panama fought and defeated Spanish forces between 1819 and 1826. In the wake of the Haitian Revolution, Southern leaders feared that Latin American independence might become a threat to the institution of slavery. If the United States failed to expand its influence over the region, Southerners protested, the rebellions against Spain might become the opening phase of a continental revolution against slavery. At the same time, the Monroe administration welcomed the rebellion against Spain for strategic reasons, seeing an independent Latin America as a boon for US commerce.&nbsp;Monroe’s successor, John Quincy Adams, was particularly supportive of the new republics and accepted Simón&nbsp;Bolívar’s invitation to send delegates to a trans-continental congress in Panama despite Southern protest.&nbsp;Although the United States continued to isolate the Black republic of Haiti, the government extended full diplomatic recognition to each of the new republics by 1826.&nbsp;<div> Bolívar and his fellow rebels found inspiration in America’s fight against Britain and rebel leaders hoped to replace the colonial rule of Spain with democratic republics. United only in their desire for independence, each of these nations experienced years of political turmoil following the defeat of Spain. Bolívar became so alarmed by these events that he proclaimed himself the leader of a provisional government he hoped would provide temporary stability for northern South America. The republican-turned-dictator was soon forced to abdicate and may have fled to Europe had he not died of tuberculosis in 1830.</div>

Simón Bolívar became one of South America's leading revolutionary generals, with victories that led to the independence of Panama, Colombia, Peru, Ecuador, and Bolivia (which was named after Bolívar). Many Americans supported the efforts of Latin American revolutionary Bolívar during the 19th century. Although he helped to liberate Latin America from Spain, Bolívar’s legacy is troubled by the region’s instability after his death in 1830. 

Statue of Simón Bolívar

José Martí (full name: José Julián Martí y Pérez) was born poor to Spanish immigrants in Havana, Cuba on January 28, 1853. Despite the unenviable circumstances of his birth, he received some formal education during his early years. Possessed of incredible intellect, Martí published several poems by the age of 15. In 1868, Cuba experienced a revolutionary uprising to overthrown Spanish rule. Martí sympathized with the revolutionaries and supported the movement for Cuban independence. The following year, he established a newspaper, La Patria Libre (“The Free Fatherland”). His support for the Cuban revolutionaries along with his political newspaper drew the ire of Spanish authorities, who arrested him. Martí was sentenced to six months hard labor and later, in 1871, was deported to Spain.  While residing in his ancestral homeland, he continued his education, earning a master’s degree and a law degree from the University of Zaragoza in 1874. After earning his degrees, Martí lived in France, Mexico, and Guatemala before returning to his native Cuba in 1878. His stay, however, proved short; Spanish authorities once again exiled him to Spain the following year. Martí then left Spain to live for a short time in France and New York City, before settling in Venezuela. There, he founded the Revista Venezolana (“Venezuelan Review”), whose articles angered the country’s dictator, Antonio Guzmán Blanco. Fearing for his safety, Martí returned to New York City. While living in the United States, he continued to write poetry, newspaper articles, and essays.  Despite being deported from Cuba twice and serving six months hard labor for his beliefs, Martí’s revolutionary spirit and desire to see his native island achieve its independence never wavered. While residing in New York City, he founded the Cuban Revolutionary Party in 1892 and began plotting an invasion of Cuba, which he and others hoped would finally bring about the end of Spanish rule on the island. Martí left New York City in late January 1895 and, after spending some time in Florida, landed in Cuba in April. The following month, on May 19, he was killed during a skirmish with Spanish forces at Dos Ríos. In the 1950s, sculptor Anna Hyatt Huntington created a bronze, over-life-sized equestrian statue of Martí. The last major work of her career, she gifted the statue to the Cuban government, which donated it, along with a dark granite pedestal, to the people of New York City. In 1959, the statue was cast at the Domico Scoma bronze Works in Queens, but—in a twist of irony—a revolution in Cuba and subsequent strained diplomatic relations between Cuba and the United States delayed its dedication. In 1965, the statue—which depicts the moment Martí was fatally wounded in battle in 1895—was finally unveiled. Nearly thirty years later, in 1992, the Central Park Conservancy completed a full restoration effort on the statue. The organization financed the project through donations from Cuban-American across the United States. Today, it is one of three equestrian statues in Central Park (along with that of Simón Bolívar and José de San Martín) that honor important figures in Latin American history.

The bronze, over-life-sized equestrian statue honors the life and work of José Julián Martí (1853-1895). Born in Cuba in 1853, the poet and journalist supported Cuban independence from Spain in the late nineteenth century. Despite being deported from Cuba twice and serving six months hard labor for his beliefs, Martí’s revolutionary spirit and desire to see his native island achieve its independence never wavered. While residing in New York City, he founded the Cuban Revolutionary Party in 1892 and began plotting an invasion of Cuba, which he and others hoped would finally bring about the end of Spanish rule on the island. Martí left New York City in late January 1895 and, after spending some time in Florida, landed in Cuba in April. The following month, he was killed during a skirmish with Spanish forces at Dos Ríos. In the 1950s, sculptor Anna Hyatt Huntington created the statue. The last major work of her career, she gifted the statue to the Cuban government, which donated it, along with a dark granite pedestal, to the people of New York City. In 1959, the statue was cast, but—in a twist of irony—a revolution in Cuba and subsequent strained diplomatic relations between Cuba and the United States delayed its dedication. In 1965, the statue—which depicts the moment Martí was fatally wounded in battle in 1895—was finally unveiled. Nearly thirty years later, in 1992, the Central Park Conservancy completed a full restoration effort on the statue. The organization financed the project through donations from Cuban-American across the United States. Today, it is one of three equestrian statues in Central Park (along with that of Simón Bolívar and José de San Martín) that honor important figures in Latin American history.

José Julián Martí Statue

José de San Martín was born to Spanish parents in the small town of Yapeyú in what is now Argentina on February 25, 1778. His father, Juan de San Martín, was a soldier and colonial administrator. When he was six years old, he and his family moved to Spain. In 1785, San Martín enrolled in the Seminary of Nobles in Madrid. Four years later, he commenced his military career in the Murcia Infantry Regiment. While serving with the unit, San Martín fought against the Moors in North Africa in 1791, the British in 1798, and the Portuguese in the War of the Oranges in 1801. While fighting the British, he was captured and held as a prisoner of war for more than a year. For his service to the Spanish crown, San Martín received a promotion to the rank of captain in 1804. After Napoleon’s invasion of Spain in 1807 and the subsequent ouster of the Spanish monarch, San Martín supported the Spanish resistance and fought against the French occupation. After the Battle of Bailén in 1808, he was promoted to the rank of lieutenant colonel. Three years later, following the Battle of Albuera, San Martín was assigned to command a cavalry unit.  Rather than accept the new command, San Martín left Spain, traveling first to Great Britain and then to Buenos Aires, which at the time was the center of the South American independence movement. There, he offered his services to the revolutionary government and, in 1812, began recruiting and training an army to fight royalist forces and help liberate his native land from Spanish rule. San Martín’s motivations for deciding to take up arms against the country that he had served for more than two decades are unclear. Born not in Spain, but rather a small town located within its vast overseas empire, he—some historians argue—felt a stronger connection to the people of his native land than to those of the mother country. San Martín may also have been inspired by Spaniards’ resistance to Napoleon’s invasion and occupation of their homeland. Still other historians argue that San Martín came in contact with British sympathizers of the independence movement in South America, either while fighting the French in Spain or while in living in London, who persuaded him to change his allegiance.   Regardless of his motivations, San Martín proved a vital asset to the movement. His most remarkable accomplishment came in early 1817. In January and February of that year, San Martín did the unimaginable when he crossed the Andes with his army, a feat often compared to Hannibal’s crossing of the Alps. Soon after, he defeated royalist forces at Chacabuco and then took the city of Santiago. Over the course of the subsequent year, San Martín defeated the remaining royalist forces in Chile, delivering the final blow at the Battle of Maipú on April 5, 1818. With Chile liberated, he sailed to Peru. Pressed by San Martín’s army, royalist forces in Lima eventually withdrew to the surrounding mountains. San Martín then entered Lima and Peruvian independence was declared on July 28, 1821. A year later, he met with Simón Bolívar in the town of Guayaquil in what is now Bolivia. Exactly what was agreed upon at the secret meeting between the two military leaders in unknown. Following the meeting, however, San Martín resigned his post and returned to Europe, where he lived out his remaining years in poverty. He died in Boulogne-sur-Mer, France in 1850.  In 1950, in exchange for a statue of George Washington sent to it by the United States, the City of Buenos Aires gifted a bronze equestrian statue of San Martín to the City of New York. A smaller replica of the one designed by French sculptor Louis-Joseph Daumas and erected in Buenos Aires in 1862, the statue was dedicated on May 25, 1951. In 1995, the Central Park Conservancy, with financial help from the Argentine government, conducted a full restoration effort on the statue. Today, it is one of three equestrian statues in Central Park (along with that of Simón Bolívar and José Martí) that honor important figures in Latin American history.

The bronze equestrian statue honors the life of José de San Martín (1778-1850). Born in the small town of Yapeyú in what is now Argentina, San Martín enjoyed a successful, more than two-decades-long military career serving the Spanish crown before offering his services to the revolutionary government in Buenos Aires, which at the time was the center of the South American independence movement. There, in 1812, he began recruiting and training an army to fight royalist forces and help liberate his native land from Spanish rule. By the early 1820s, San Martín had helped not only Argentina, but also Chile and Peru gain their independence from Spain. In 1950, in exchange for a statue of George Washington sent to it by the United States, the City of Buenos Aires gifted the statue of San Martín to the City of New York. A smaller replica of the one designed by French sculptor Louis-Joseph Daumas and erected in Buenos Aires in 1862, the statue was dedicated on May 25, 1951. Today, it is one of three equestrian statues in Central Park (along with that of Simón Bolívar and José Martí) that honor important figures in Latin American history.

José de San Martín Statue 

By 1898, Spain’s overseas empire was a shadow of its former self. Throughout the nineteenth century, independence movements chipped away at the once vast, powerful empire that stretched from modern-day California to the Caribbean and from present-day Florida to the southern tip of South America. This wave of nationalist uprisings reached Cuba in 1868, when Cuban insurgents frustrated with Spanish rule declared the island independent and fought a spirited, but ultimately unsuccessful ten-year guerilla war with Spain. In 1895, the Cuban struggle for independence resumed.  The events unfolding on the Caribbean island caught the attention of the U.S. government, big business, and the American people. A brutal guerilla war in which Cuban insurgents focused on targets of economic value, such as sugar mills and plantations, not only threatened American investments in Cuba, which were estimated at about $50 million, but also disrupted commerce between the United States and Cuba, which was valued at roughly $100 million annually. In the United States, the yellow press (publications that often sensationalized the news in order to sell newspapers) ran stories on Spanish cruelty. In particular, they focused on the Spanish practice of rounding up Cuban civilians and forcing them to live in detention camps, where many died from starvation, disease, and exposure. These reports tugged at the heartstrings of Americans and increased public support for American intervention. Finally, Spain’s inability to quell the rebellion along with its reluctance to give in and grant Cuba its independence allowed the bloody conflict to drag on for years and garner the attention of the U.S. government.   In December 1897, riots rocked the city of Havana, compelling President William McKinley and Congress to send a battleship, the U.S.S. Maine, to Havana Harbor to protect American citizens and property. A few months later, on February 9, 1898, the New York Journal printed a letter written by Spain’s minister in Washington, D.C., Enrique Dupuy de Lôme, in which he characterized President McKinley as weak. Four days later, on the evening of February 15, an explosion destroyed the U.S.S. Maine, killing nearly 270 American sailors. An investigation by the U.S. Navy concluded that an external explosion probably caused by a mine ignited the vessel’s forward magazine. Despite the fact that the investigation could not determine exactly who was responsible for the tragedy, the yellow press in the United States pointed to Spain and rallied public support for American intervention with the slogan, “Remember the Maine, to hell with Spain!” Impelled by growing public support for American intervention in Cuba, President McKinley asked Congress to draft a series of resolutions. One resolution authorized President McKinley to use military force to end the conflict in Cuba, while another demanded that Spain relinquish its authority over Cuba and withdraw its military forces from the island. When Spain heard of the passage of the resolutions, it severed diplomatic relations with the United States and declared war on April 24. The following day, the United States declared war on Spain.  In the war that followed, the United States scored an overwhelmingly decisive victory. Unprepared and ill-equipped to fight a war against an emerging world power, Spain’s military forces simply proved no match for those of the United States. The fighting lasted roughly four months and resulted in less than 400 American combat deaths, prompting U.S. Secretary of State John Hay to dub it a “splendid little war.” As a result of its victory over Spain, the United States acquired Guam, the Philippines, and Puerto Rico, and Cuba achieved its independence.  Only a few days after the U.S.S. Maine exploded in Havana Harbor, New York newspaper publisher William Randolph Hearst began soliciting donations for a memorial to honor the nearly 270 American sailors who lost their lives. Architect H. Van Buren Magonigle and sculptor Attilio Piccirilli were commissioned to design and build it. Located in Merchants’ Gate Plaza at Central Park’s southwestern entrance, the monument consists of a large granite pylon topped with a gilded bronze female figure, Columbia Triumphant, riding in a seashell chariot pulled by three hippocampi. The bronze used for the statue was reportedly recovered from the guns of the sunken battleship. At the base of the pylon is a fountain and several marble figures that symbolize the Atlantic and Pacific Oceans, along with the ideas of courage, fortitude, justice, war, and peace. The monument was dedicated on May 30, 1913.

Located in Merchants’ Gate Plaza at Central Park’s southwestern entrance, the U.S.S. Maine National Monument honors the nearly 270 American sailors who lost their lives when the battleship exploded in Havana Harbor on the evening of February 15, 1898. Designed by architect H. Van Buren Magonigle, built by sculptor Attilio Piccirilli, and paid for by funds raised by New York newspaper publisher William Randolph Hearst, the monument consists of a large granite pylon topped with a gilded bronze female figure, Columbia Triumphant, riding in a seashell chariot pulled by three hippocampi. At the base of the pylon is a fountain and several marble figures that symbolize the Atlantic and Pacific Oceans, along with the ideas of courage, fortitude, justice, war, and peace. The monument was dedicated on May 30, 1913. 

The U.S.S. Maine National Monument

The Columbus monument, located in the center of Columbus Circle, was dedicated to the city of New York by working class Italian immigrants in the year 1892, 400 years after Christopher Columbus’ famous voyage to the New World.<a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn1" target="_blank">[1]</a> The monument stands over 70 feet tall, surmounted by a statue of Columbus himself, looking over the city. The monument is adorned with three bronze-colored ships, two scenes of the voyage represented via bas relief, and a “winged figure,” not an angel but the Genius of Geography, who is curled over a globe. The monument was sculpted by Italian artist, Gaetano Russo.<a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn2" target="_blank">[2]</a> Carlo Barsotti, founder of the first Italian-language newspaper in the United States, led the fundraising for the monument. <a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn3" target="_blank">[3]</a>This particular monument to Christopher Columbus was born out of an attempt for recently immigrated Italian Americans to be better accepted within American society. Many Italians were discriminated against due to their differing culture: their language, their food, and the color of their skin. The Italians in New York City chose to commemorate Columbus because “for a century, he had been adopted as a symbol of the United States, so, they thought that if Christopher Columbus- one of the most famous figures in Italian history- is so widely accepted by Americans, perhaps the working-class Italians can be as well." [1] To raise funds for the monument, Barsotti asked every Italian American business in New York to contribute up to $200, and eventually he was able to raise the $20,000 that was needed to sculpt the grand statue. The whole process, from raising the funds to finally erecting the statue, was completely Italian; the monument was made in Italy, of Italian marble, by Italian sculptor Gaetano Russo, and then was shipped to the United States on an Italian ship that was manned by an Italian crew. When it arrived in America, it was erected and prepared by Italian laborers. Finally, on October 12, 1892, over 10,000 spectators attended the installation ceremony.[1]Since the erection of the Columbus monument, it has served as an important symbol of identity within the Italian American community in New York. For many Italian Americans, Christopher Columbus symbolizes the journey and the hardships that they have overcome as immigrants, and therefore he serves as a source of inspiration. For many years, many Italian Americans have viewed this particular monument of Columbus as a source of pride regarding their history and ethnicity. In recent years, however, some have suggested that Columbus is less a symbol of American acceptance and more a symbol of American hate.Those of the opinion that Christopher Columbus represents everything that is deplorable about the United States caused the city of New York to take action regarding this monument. At the 2017 Columbus Day parade, as thousands of Italian Americans gathered to celebrate Columbus and their Italian heritage, a small group of protesters, who labeled Columbus as a “murderer and a rapist” gathered at the Columbus Circle monument. This group of protesters gained the attention of political figures, including state assemblyman Charles Barron. To quote Barron, “the land we are occupying now once belonged to indigenous people. Columbus was a murderer, a rapist, and a colonizer and he enslaved African people. We should not have a holiday named for an enslaver or glorifying a murderer.”[4] These protests led city officials and advocates for indigenous and colonized people to demand that the statue be removed from its prominent location.[5] Barron also called on Italian Americans to rename the Columbus Day parade as the Italian American day parade.[4] All of this surrounding tension eventually came to a head. In December 2017, the Columbus memorial was involved in a commission ordered by the mayor of New York City, Bill de Blasio, which had the purpose of reviewing “symbols of hate” in New York City.<a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn4" target="_blank">[6]</a> The monument’s involvement in the commission caused an uproar among many members of the Italian American community. In response to the escalating situation, the governor of New York, Andrew Cuomo, decided to nominate the statue to the National Register of Historic Places. By doing so, the monument would be protected from any future threats of removal or relocation, therefore remaining a permanent symbol of ethnic pride for the Italian American community.<a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn5" target="_blank">[7]</a> The monument was nominated to the Register on September 20, 2018, and after a unanimous vote was officially listed to the Register a couple of months later on November 20. This action was unpublicized due to the monument’s surrounding controversy.<a href="https://d.docs.live.net/068079220ba2c91b/Documents/KU%20SPRING%202020/HNRS%20310/CLIO/Clio%20peer%20writing.docx#_ftn6" target="_blank">[8]</a> In less than a year, the Columbus Circle statue was called into question, considered for removal, then named and permanently protected as a federal monument. Though the state of New York chose to preserve the Columbus monument, Jennifer Betsworth, the woman who presented the monument’s proposal to the National Register of Historic Places, acknowledged that Christopher Columbus “remains a controversial figure,” therefore attempting to address the concerns of the protesters who called for the removal of the statue.[8] For the opposing side of the argument, Angelo Vivolo, president of the Columbus Citizens Foundation, spoke up about the monument’s review on behalf of the Italian American community who supported keeping the monument:“Columbus Day and the Columbus monument have played a vital role in Italian American acceptance and the celebration of Italian culture. As all nations do, we must continue to re-evaluate our history as Americans, and whom we choose to honor. That being said, we will not allow that reflection to come at the expense of a monument that has come to represent the many achievements that Italian Americans have accomplished.”[4]This quote perfectly highlights the two sides of the tension regarding the Columbus monument; for many Italian Americans, removal of the statue would present as a removal of their history, of their ethnic pride, and of their successes in this country. For those opposed to Columbus and everything that he represents as an oppressor and a murderer, to keep the monument would be to honor such deplorable behavior without acknowledging the truth behind the past.To address the controversy, many have suggested solutions to help better understanding of Columbus, as well as to add more historical accuracy to his monument. Mayor de Blasio suggested that “historical texts be added to address Columbus’ faults as well as his successes.” [8] The city of New York is also working to erect an Indigenous Peoples monument as a form of counter-commemoration against the Columbus monument.[7] Though the Indigenous Peoples monument has officially been commissioned, as of 2018 the city had yet to determine an exact location for the new statue.[9] As of 2020, there has been no news regarding the erection of the monument. Moreover, others think that another statue that honors Italian laborers should be built nearby, as a true representation of hard-working Italian Americans, rather than the tarnished representation embodied by Christopher Columbus.[1]

In one of America's most bustling cities, a monument of Christopher Columbus has become a source of tension between the city's Italian American community and groups of anti-Columbus protesters due to the numerous roles that the explorer embodies as the man who "discovered" the New World. The Christopher Columbus Monument was dedicated to the city of New York nearly 130 years ago on behalf of the immigrated working-class Italian American community.  It has served as a source of identity and inspiration, as well as a source of ethnic pride for many Italian Americans for nearly 130 years.  However, in recent years, many have criticized the monument of symbolizing an inherent ethnic hate of Native Americans. Many Americans are opposed to recognizing Columbus as an inspirational figure due to his history of oppression and genocide of the Native Peoples. In December, 2017, the tension regarding this monument ultimately came to a head when the monument was commissioned for a review regarding "symbols of hate" in NYC. Those opposed to the recognition of Columbus called for the removal of the monument, while many Italian Americans demanded that it stay. 

Columbus Monument, Columbus Circle, NYC

The Museum of Contemporary Crafts, opened in 1956, focused primarily on providing exhibitions related to craft disciplines - jewelry, ceramics, fashion, etc. The institute addressed the changing direction of craftsmanship in society by helping locate emerging artists whose work linked craft to industry. The patron of the museum, Aileen Osborn Webb, was born into wealth, but she didn't allow her privileged upbringing to hamper her desire to contribute to society. According to Paul J. Smith, who later led the museum, Webb's interest in craft developed during the Great Depression, a time when people were trying to sell any goods they could. She used her time and resources to help these people make a living. From that point forward, Webb continued to develop her vision for the world of craft, as she was involved in the establishment of the Craft Horizons magazine, the American Craftsman Educational Council, and the World Crafts Council along with other programs and organizations. Paul J. Smith, the Museum's director from 1963 to 1987, contributed to the Museum's growth by promoting popular culture and mundane materials that mirrored the social climate of the time. In 1979, the Museum was renamed the American Craft Museum and moved to a larger location at 44 West 53rd Street. Further expansion was necessary as the museum continued to grow, and it moved again in 1986 to 40 West 53rd Street. It was during its time at this location that the American Craft Museum changed its name to the Museum of Arts and Design (MAD). This change was made to reflect the continually widening circle of objects displayed, and to allude to the interdisciplinary nature of the museum's programming. The 44 West 53rd Street remained MAD's home until 2008, when it moved to its current location on Columbus Circle. The museum's current building was designed by Brad Cloepfil. Controversy surrounded this move because the former building at this location was built by Huntington Hartford and was defended by preservationists who didn't want the move to destroy part of New York's heritage. The former building housed Hartford's art collection, which consisted of works from the 17th to the early-20th centuries. It was built in 1964 and designed by Edward Durell Stone. Along with the artwork inside, the outdated museum represented an old New York, rough and realistic. The new building, a representation of the Modernist movement that defines much of the artwork found inside, was criticized by New Yorkers who believed the city was catering to tourists by allowing a museum that reflected Modernism to move in. Nevertheless, MAD won the battle and moved into their new building in September 2008. Known as the Jerome and Simona Chazen building, the new structure features over 22,000 glazed terracotta tiles which reflect MAD's realm of interest. Concrete supports on the ground floor from the original Stone designed building are retained and encased in glass so that visitors may view a piece of the location's history.With 54,000 square feet of new space to utilize - over three times the space as the previous location - MAD greatly expanded its gallery and program offerings. The Open Studio program allows visitors to engage directly with the art and artists by interacting with them during the creative process. MAD is also the only American art museum to display contemporary and historical art jewelry, which it does in the Tiffany and Co. Foundation Jewelry Gallery. The museum features a variety of permanent galleries, such as the Jewelry Gallery, and rotating exhibitions. The museum strives to continue to fulfill the motivation behind its founding; to showcase the role of the creative process in improving our lives.

The Museum of Arts and Design (MAD) first opened its doors in 1956 as the Museum of Contemporary Crafts, with an original mission of recognizing the craftsmanship of contemporary American artists. The museum was founded by Aileen Osborn Webb, a patron of the arts. Today, the museum fosters the creative process and how it influences crafted works that better our contemporary lives. This is accomplished by educating and inspiring the public through exhibitions, family programs, workshops, and classes. The museum also includes a restaurant and theatre to provide visitors with an all-day experience.  

The Museum of Arts and Design

Carnegie Hall was funded by a man named Andrew Carnegie, who the building would be named after later on. It was originally intended to be a building only in use by the Ontario Society of New York and the New York Symphony Society, whose boards Carnegie served on. The construction of the venue started in 1890 and it was carried out by the Isaac A. Hopper and Company. The building was in use in April 1891, but would not have its first performance night until May where composer Walter Damrosch and Russian composer Pyotr Ilyich Tchaikovsky  performed for the crowd. The Carnegie Family owned the venue until 1925 when Andrew’s wife sold it to a real estate developer named Robert E. Simon. When Simon died, his son would take ownership of the venue in 1935.Robert E. Simon Jr. ordered for renovations to the Hall in 1947 carried out by the Kahn and Jacobs firm. However, in the 50s, changes in the music industry caused Simon Jr. to sell the venue to another owner. Simon Jr. wanted the New York Philharmonic group to become the new owners, but they were set to move to the Lincoln Center which created conflict. Simon Jr. threatened to terminate the lease to Carnegie Hall in 1959 which ended up happening. The Philharmonic group moved to the Lincoln Center and Carnegie Hall would be set to be purchased by the Glickman Corporation. The corporation wanted to demolish the building in order to build a skyscraper in it’s place, but funding money didn’t come through and delays in construction promoted Glickman to not buy Carnegie Hall.Simon Jr. asked some of the performers and musicians that notably resided in the Hall for their assistance in saving Carnegie Hall. There was a unanimous decision made that the best course of action was to get the city government involved in this matter. Legislation was passed by the city council and signed by Mayor of New York City Robert F. Wagner Jr. that let the government buy the building for $5 million. The city government then leased the hall over to the Carnegie Hall Foundation in order to help run the venue. It would be designated as a historical landmark in 1962.From there, a man named James Polshek would help give the venue renovations in 1986 and 2003. He is most notable for the construction and design of his post-modern planetarium at the American Museum of Natural History. During the renovations, many more halls and the creation of a Rose Museum would be added on to Carnegie’s main hall. The New York Philharmonic group had made plans to return to Carnegie Hall in 2003, but they fell through and never came to fruition. In 2014, Carnegie Hall officials added a Judith and Burton Resnick Education Wing , which was large enough to hold an entire chorus or orchestra.

Designed by architect William Burnet Tuthill and built by philanthropist Andrew Carnegie in 1891, Carnegie Hall remains among the most famous and prestigious venues in the world for both classical music and popular music. Carnegie Hall has its own artistic programming, development, and marketing departments and presents about 250 performances each year. Visitors can tour the building and also visit the Rose Museum which preserves and presents the history of the venue.

Carnegie Hall

It is known that New York is home to many different walks of life, which is why it is no surprise that Madonna did not conform to societal norms. The Russian Tea Room also showed a blend of culture by bringing Russian style decor to New York. Madonna broke down a barrier for women by dressing in wild, provocative outfits that many criticized her for at the time. Women were normally shamed for dressing in a way that would give them unwanted advances from men, ironically the ones who shamed them were also men. Different fashion trends in history were a marker of status as well as gender roles, sexuality, and body image. The Russian Tea Room also tells us more about the social status because it was a place where mainly elite actors, writers, politicians, and executives would go. According to a restaurant executive the dress code is business casual which means over time the standards for fashion have been less strict. Dress reformers began openly condemning fashion for the health and moral dangers it posed to women. While being related to Madonna, there is a much more deep historical meaning to this location. Eating is an everyday action necessary for survival, there is also a relationship between food, eating, and class. Social class refers to the hierarchical organization of particular societies which comes into play.One person who influenced society was Madonna. She has had a positive influence for girls by continuing to make a mark on history by denying the norms and working hard to stay true to the humble beginnings of her career in New York. Since Madonna, this restaurant has continued to flourish but taking a look back at its roots, I have found that this place has a lot of historical significance aside from being related to a world famous star. Restaurants run by Russian immigrants appeared in the late 19th century. Funny enough this restaurant was established by Jakob Zysman who was actually a Polish immigrant who operated a chocolate factory at the little tea room where ballerinas hung out. Even the dishes served reflect the history of its foundation. The Oxford Companion to American Food and Drink said that the Ukrainian beet soup was brought by Russian Jews who had immigrated earlier. To go into a more broad aspect of restaurant history, restaurants had a very important impact on social status.Due to its status as both a necessity and social activity, dining has developed complex codes of etiquette that differs based on social status and cultural facility. No two countries have exactly the same traditions and dining routines. This restaurant in particular was a more high class eatery but is now more of a tourist destination which may have had something to with Madonna's popularity as well as the diversity that can be found in New York City. The restaurant has had a rocky history and still has room to grow but it is more of a tourist attraction than a fine eatery. In December 1996, Warner LeRoy, who owned Tavern on the Green, bought the restaurant from Stewart-Gordon for $6.5 million and closed it down but after four years and $36 million in renovations, it reopened. It closed again with little notice on Sunday, July 28, 2002, after declaring bankruptcy. The Russian Tea Room reopened on November 1, 2006. The restaurant's interior has not been touched, and the over-the-top decor is the same as when it closed in 2002. However, several restaurant reviews have noted that the food and service leave significant room for improvement. This site has many historical impacts and comes from diverse roots.

The Russian Tea Room is located next to Carnegie Hall and was founded by members of the Russian Imperial Ballet in 1927. This restaurant had previously employed the legendary Madonna. Madonna worked here in the late 1970s in order to pay her rent in New York during her undergraduate studies. This has a major impact on history because without these experiences Madonna would not be as impactful in denying fashion norms as she was. The historical background of this restaurant also stands for what Madonna hoped for which was inclusion. Being in New York it is unsurprising that this restaurant contains a blend of different cultures and social statuses. I have found that this place has a lot of historical significance aside from being related to a world famous star. Restaurants run by Russian immigrants appeared in the late 19th century. Funny enough this restaurant was established by Jakob Zysman who was actually a Polish immigrant who operated a chocolate factory at the little tea room where ballerinas hung out. Even the dishes served reflect the history of its foundation. 

Grand Army Plaza to Columbus Circle New York City Walking Tour

Steinway Hall, 1925-2014

Introduction

Images

Backstory and Context

Additional Information