50 Oldest Churches of NYC: Saint Mark’s in the Bowery

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Saint Mark’s in the Bowery 131 E. 10th Street at Second Avenue, Manhattan, New York.  In 1651, Petrus Stuyvesant, Director General of New Netherland, purchased land for a bowery or farm from the Dutch West India Company and by 1660 built a family chapel at the present day site of St. Mark’s Church. Stuyvesant died in 1672 and was interred in a vault under the chapel. This is why the church building faces true South, even though that makes it skewed from the City’s grid: it originally stood on a rural lane, before the city grew north to meet it.

in 1793, the Stuyvesant family sold the chapel to the Episcopal Church for $1. In 1795 the cornerstone of the present fieldstone Georgian style church was laid, built by John McComb Jr. who also built New York City Hall; it was consecrated on May 9, 1799.

Alexander Hamilton helped incorporate St. Mark’s as the first Episcopal parish independent of Trinity Church in the United States. By 1807, the church was flourishing.

St. Mark’s continued to grow in stature and prominence throughout the 1800s. In 1828 the church steeple, designed by Martin Euclid Thompson and Ithiel Town, was erected; in 1835, the Parish Hall was built; and in 1836 the Sanctuary was renovated, replacing its square pillars with slender Egyptian Revival pillars. The cast- and wrought-iron fence was added in 1838; in 1856, the Italianate cast-iron portico was added; and in 1861 the building gained a brick addition.

In 1903, beautiful stained-glass windows were installed (you can still see some of them in the Sanctuary’s first floor) and in 1913, St. Mark’s was given the altarpiece of the annunciation in the Parish Hall—a reproduction of an original created c.1475 by Andrea della Robbia.

On July 12, 1978 a fire started—apparently caused by a restoration worker’s acetylene torch. It turned into a three-alarm blaze. The iron fences around the church prevented fire companies from using normal equipment, and there was fear that the steeple would collapse. Fortunately, no one was injured, and the steeple stood the blaze—but a back section of the roof did fall in, and 9 of the 23 stained-glass windows in the church were destroyed. The 1836 church bell was cracked beyond repair. The bell and the steeple’s original clock still sit in the East and West churchyards today.

Saint Mark’s is New York’s oldest site of continuous religious practice, and the church itself second-oldest church building on Manhattan.

50 Oldest Churches of NYC: Saint Paul’s Church Yard

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Built in 1766, Saint Paul’s Church  is the oldest surviving church building in Manhattan, and one of the nation’s finest examples of Late Georgian church architecture.

The main entrance to the church faced west toward the large churchyard and the Hudson River beyond what is now One World Trade Center.

Notable individuals buried in the church yard include, General Richard Montgomery, Revolutionary War hero ho is buried beneath the east porch of St. Paul’s.

John Bailey, who forged the George Washington battle sword in Fishkill, NY, while the Continental Army was encamped there. The sword is preserved in the Smithsonian Institution.

John Holt, a patriotic printer and editor of The New York Gazette, New York’s first newspaper founded by William Bradford, and The New York Journal.

George Frederick Cooke, a renowned British character actor. He played Richard III at the Park Lane Theatre to an audience of 2,000 on November 21, 1810.

George Eacker, a New York lawyer, who mortally wounded Alexander Hamilton’s son Philip in a duel. Alexander Hamilton is buried at Trinity Church in NYC.

In 1960, the chapel was named a National Historic Landmark; it was also made a New York City Landmark and placed on the National Register of Historic Places in 1966.

50 Oldest Churches of NYC: Trinity Churchyard Memorial

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The Trinity Churchyard at 74 Trinity Place, near Wall Street and Broadway, includes tombstones and memorials dating back as far as 1681.  One of the largest monuments in the churchyard is the Soldiers’ Monument in honor of Revolutionary War soldiers held in captivity in the old Sugar House in New York City and thought to be buried at Trinity. The inscription said, “In memory of the officers and soldiers of the revolution ho died in British captivity in the city of New York, many of whom are buried in the North Part of Trinity Church yard  opposite Pine Street.

The claim those prisoners are buried in Trinity Churchyard is disputed by Charles I. Bushnell, who argued in 1863 that Trinity Church would not have accepted them because it supported Great Britain. The controversy was related to a proposal to build a public street through the churchyard.

Although his actual burial site is unknown, a bronze plaque commemorates Francis Lewis, a signer of the Declaration of Independence. He is the only signer buried in Manhattan.

The restored epitaph for the founder of New York’s first newspaper, William Bradford, is one of the most interesting in the churchyard: “Being quite worn out with Old age and labor he left this mortal State in the lively Hopes of a better Immortality. Reader reflect how soon you’ll quit the Stage…”

One of the churchyard’s most popular sites is Alexander Hamilton‘s tomb. In addition to being the namesake and main character of the Broadway hit Hamilton, he was the first Secretary of the Treasury, founded The Bank of New York and the U.S. Mint, and was the youngest framer of the Constitution. Elizabeth Schuyler Hamilton lies next to Alexander’s grave. Alexander Hamilton’s sister-in-law, Angelica Schuyler Church, is buried in the Livingston Family Vault. Her maternal grandmother was born a Livingston.

 

 

50 Oldest Churches of NYC: Saint Paul’s Church

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Built in 1766, Saint Paul’s Chapel  is the oldest surviving church building in Manhattan. It is a chapel building of Trinity Church, an episcopal parish, built on land granted by Anne, Queen of Great Britain. Saint Paul’s is located at 209 Broadway, between Fulton Street and Vesey Street, in Lower Manhattan, New York City.

Built of Manhattan mica-schist, St. Paul’s has a classical portico, boxy proportions and domestic details that are characteristic of Georgian churches.  The church’s octagonal spire rises from a square base.

The church has historically been attributed to Thomas McBean, a Scottish architect. Recent documentation published by historian John Fitzhugh Millar suggests architect Peter Harrison may have instead been responsible for the structure’s design.

Upon completion in 1766, the church was the tallest building in New York City. It stood in a field some distance from the growing port city to the south and was built as a “chapel-of-ease” for parishioners who thought the mother church inconvenient to access.

The Hearts of Oak, militia unit organized early in the American Revolutionary War, was composed in part of King’s College students, who would drill in the Chapel’s yard before classes nearby. Alexander Hamilton was an officer of this unit. The chapel survived the Great New York City Fire of 1776 when a quarter of New York City (then confined to the lower tip of Manhattan), including Trinity Church, burned following the British capture of the city after the Battle of Long Island during the American Revolutionary War.

George Washington, along with members of the United States Congress, worshiped at St. Paul’s Chapel on his Inauguration Day, April 30, 1789. Washington also attended services at St. Paul’s during the two years New York City was the country’s capital. Above Washington’s pew is an 18th-century oil painting of the Great Seal of the United States, adopted in 1782.

The rear of St. Paul’s Chapel faces Church Street, opposite the east side of the World Trade Center site. After the attacks on September 11, 2001, which led to the collapse of the twin towers of the World Trade Center, St. Paul’s Chapel served as a place of rest and refuge for recovery workers at the WTC site. For eight months, hundreds of volunteers worked 12-hour shifts around the clock, serving meals, making beds, counseling and praying with fire fighters, construction workers, police and others. Massage therapists, chiropractors, podiatrists and musicians also tended to their needs. The church survived without even a broken window. Church history declares it was spared by a miracle sycamore tree on the northwest corner of the property that was hit by falling debris. The tree’s root has been preserved in a bronze memorial by sculptor Steve Tobin.

In 1960, the chapel was named a National Historic Landmark; it was also made a New York City Landmark and placed on the National Register of Historic Places in 1966. When St. Paul’s Chapel remained standing after the September 11, 2001, attacks and the collapse of the World Trade Center behind it, the chapel was subsequently nicknamed “The Little Chapel That Stood”.

Hamilton at the Dr. Phillips Center for the Performing Arts

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 On November 15, 2018 tickets went on sale for Hamilton. With ticket prices upwards of $175 to $385, I really didn’t think I would be sketching this show. When tickets went on sale the Dr. Phillips Center was plagued by technology
failures. People called in and had to wait for hours only to wind up empty-handed. Social media lit up with frustration and annoyance from people who could not get ticket. Unknown to me, Pam and another member of her staff were among the first to call in for the tickets. On Christmas day she let me know that we would be going to the show. It is my understanding that the shows are all sold out but, there is still a lottery for the trickle of tickets that become available.

Tony-winning Hamilton, by Lin-Manuel Miranda, tells the story of
founding father Alexander Hamilton with a multi-racial cast and
energetic music. Since opening on Broadway in 2015, it has become
cultural phenomenon.chaos and frustration of the original sales date.

I stripped down my sketch kit and left the cell phone at home knowing that security would be tight at the Performing Arts Center. We put my kit in Pam’s purse thinking it might slip through more easily there. My pencil sharpener was still in my pocket as it always is. It raised suspicions since the guard wasn’t sure of why someone might need that analog technology. She let me through the metal detectors but then asked to look at the sharpener one more time as I waited for Pam to get through security.

In the theater I quickly blocked in the stage as people filed in to take their seats. When the play started the house lights went black. I needed Pam’s cell phone set to a very dim setting to see my sketch page. Painting would be impossible, so once the sketch was complete in ink I waited for an intermission.

All the hype for this show is well deserved. Joseph Morales plays the title character in the touring production of Hamilton. The show’s score blends hip-hop, jazz, blues, rap, RandB, and Broadway. The lyrics are fired off at a break neck pace, so it would be a good idea to listen to the show soundtrack before seeing the show in person. I caught the emotional broad strokes however of everything going on.

Besides being prolific in writing, and aggressive in politics, Hamilton was always striving for more. He worked as if running out of time, a candle burning bright. Aaron Burr (Nik Walker) acted as a lifelong political foil, being jealous of of Hamilton’s quick rise to power.  He married Eliza Schuyler (Shoba Narayan) as her sister Angelica (Ta’Rea Campbell) suppressed her feelings for the sake of their happiness. However his always restless heart gets him in trouble and he breaks Eliza’s heart. Amazingly she finds forgiveness in the second act and she is the one who keeps Hamilton’s name alive after he is gone. The final song of the show, “Who Lives, Who Dies, Who Tells Your Story” is a reflection on legacy and what we leave behind. It is why we create art. Can we ever do enough in this lifetime? Though the emotions might bring tears, it was the beast Christmas gift in years.

Artists Process

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Each month Urban Rethink (625 E Central Blvd • Orlando, FL), invites artists to show their work, and discuss their process. A computer was set up s that the first artist, Bob Snead, could share his work with us from New Orleans via a Google + video chat. The computer screen was projected on a screen so everyone in the room could see. The problem was that no one knew how to get the Google chat to work. Pat Greene started asking everyone who entered the event if they knew how to work the program. Finally someone did mess with the settings and Bob’s face filled the screen. Bob does representational that is autobiographical and often funny. For instance one self portrait had, “My father gave my mother syphilis.” written on it. Bob couldn’t see all of us as he showed his work and if we weren’t laughing, he couldn’t be sure we were still there.

Some of Bob’s art is performance oriented. He once staged a “Pro Wall mart” demonstration. With Clark Allen, he set up a toilet paper roll assembly line in which everything was made from cardboard. A cardboard pickup truck was displayed in a gallery. He later had to abandon the truck leaving in in a public space. A week later it was mangled beyond recognition.

 The second artist was Kevin Paul Giordano,  who is a writer, journalist, musician, photographer, and filmmaker. He began his career as a writer in New York City, publishing in the New York Times, New York Post, New York Sun, Salon.com, among others. He also worked as an editor at such magazines as Vanity Fair, GQ, Entertainment Weekly, Vibe, Spin, among others. His musical-play “It Must Be Love” appeared on Off-Off Broadway in 2002. He has received grants from Glenville State College, West Virginia for research on a book on the American Rust Belt. The grant offered him a car and a camera, so he set out to document an abandoned part of US history.

He screened a half hour documentary that explained the history of Rust Belt cities like Paterson, New Jersey. My father worked in Paterson, New Jersey his whole career, so I was fascinated to learn the city’s unique history. The city was founded by Alexander Hamilton, and his Society of Useful Manufacturers, to be a manufacturing mecca. Steam locomotives were built here as the nation pushed west. Then the city turned to silk weaving using the power generated by water from the Paterson falls. An intricate system of canals moved water to all of the manufacturing plants. In the 1960’s Rayon eliminated the need for silk. Much of this countries deindustrialization happened in the 1970s. Today all those plants sit empty and abandoned. More than 25% of the people in such abandoned cities are below the poverty line. The story is much the same for each Rust Belt city Kevin photographed.

There is a beauty in the way the rusting decay is being taken over by nature. Railroad lines lead nowhere with weeds and grass disguising the rails. Pealing paint creates intricate patterns and some tools remain where they were last used decades ago. Today we live in a computer society that fosters the free exchange of ideas. This free exchange doesn’t always make people money. By looking back, Kevin helps us look forward so we all can change and adapt.