In New York City – The Skylight Diner

By this time in my walk I had been walking around for nearly three hours and I was feeling tired and hungry. So I looked for something/somewhere to eat. I realized that coincidentally I had walked to the largest (I think) photographic store in New York: B&H Photo. It occurred to me that I could find somewhere close by to eat and then after that have a walk around B&H. Then I could return to wherever I found and have a coffee while waiting for my granddaughter to arrive. Looking around I discovered the Skylight Diner, just across the road.

It bills itself as “The Best Diner in Manhattan”, which might be true since there aren’t many classic diners left in Manhattan. I went in and found a very pleasant diner with, to my surprise, a number of nice black and white (i.e. monochrome) prints on the wall. I ordered a full English breakfast. The bacon was American style rather than my preferred English style (less smoky, less salty and more meaty), both other than that it really hit the spot. After I’d finished I went off to B&H. Amazingly I overcame my Gear Acquisition Syndrome (GAS) and didn’t buy anything. Then, as mentioned above returned to wait for my granddaughter.






Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

In New York City – The Moynihan Train Hall

I’ve always hated Pennsylvania Station, or at least the one under Madison Square Garden (which I also hate because it’s ugly and it caused the demolition of the beautiful old station, which preceded it). The old Pennsylvania Station was an architectural masterpiece and it was a tragedy when it was torn down in 1966 to make way for the current monstrosity.

So I was pleased to read that they were going to use a portion of the James A Farley Building as a train station. However, I hadn’t actually seen it until today.

The Moynihan Train Hall is an expansion of Pennsylvania Station, the main intercity and commuter rail station in New York City, into the city’s former main post office building, the James A. Farley Building. Located between Eighth Avenue, Ninth Avenue, 31st Street, and 33rd Street in Midtown Manhattan, the annex provides new access to most of Penn Station’s platforms for Amtrak and Long Island Rail Road passengers, serving 17 of the station’s 21 tracks. The hall is named after Daniel Patrick Moynihan, the U.S. Senator who had originally championed the plan. The building’s Beaux-Arts exterior resembles that of the original Penn Station; both buildings were designed by the architectural firm of McKim, Mead & White.

The 486,000 sq ft (45,200 m2) complex was built to alleviate congestion in Penn Station, which saw 650,000 daily riders before the COVID-19 pandemic in 2020. The $1.6 billion renovation restored the Beaux-Arts Farley Building, a designated landmark, and added a central atrium with a glass roof. Moynihan Train Hall includes retail space, a 320-seat waiting area, and public restrooms. The hall is decorated with three artworks: a ceiling triptych named Go, a group of photographic panels, and a sculptural group.

The project had been in consideration since the early 1990s, with the first blueprints made public in 1993. However, several previous plans had failed because of a lack of funding and logistical difficulties. Amtrak withdrew as a tenant in 2004, but returned after the Farley Building was sold to the New York state government in 2006. A first phase, involving an expansion of a concourse under the Farley Building, started in 2010 and was completed in June 2017. Construction of the train hall proper commenced in 2017, and it opened January 1, 2021. (Wikipedia)

While it’s not a patch on the old station, it’s a definite improvement on what preceded it.

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

In New York City – Stone Medallion

I came across this rather intricate sculpture and stained glass window on the brown brick façade of what was once the Capuchin Monastery of St. John the Baptist. It was built in 1974 in the Brutalist style and was one of the buildings associated with the St. John The Baptist church on West 31st. NYC. It was sold to a retail property developer in 2016.

Pictures of the monastery before it was sold show a standing Christ figure in front of the medallion. I believe the sculpture was called “Christ over the City” and the artist was Benoit Gilsoul.

Benoît D. Gilsoul, 1914- 2000 was Born in Namur, Belgium anld completed his primary studies and Greek-Latin humanities. He then entered the Académie Royale des Beaux Arts, the most prestigious Belgian art college from which he graduated in 1938. During the six years at the Académie, Gilsoul acquired a solid artistic training. By 1933, he had already founded the secessionist art group: “L’Esquisse,” an influential group of young artists in Belgium that developed into the group “Salon National des Jeunes Artistes”. In 1935, while still at the Académie, he collaborated in the design for the entrée Reine Astrid and the pavillon de la vie Catholique at the World’s Fair in Brussels, Belgium. During that same year, he also undertook an extensive study tour with Nicolas de Stael, a close friend and fellow student. Upon graduation from the Académie, Gilsoul traveled extensively in Italy, France and Spain painting and drawing continuously.

In 1958, he became président of the Association des Artistes Belges where he remained honorary president until his death in 2000. In 1960, he was commissioned to execute the murals in the Salle de Réception for the Belgian Line in Antwerp. Also in 1960, the Belgian government sent him to the United States on a grant to study the artists’ situation in that country. Gilsoul quickly fell in love with America and upon his return to Belgium decided to resettle in America with his family and became an American citizen in 1967. In 1960, he began to design and work extensively in the field of stained glass while continuing his work in painting, print making, tapestry, and sculpture. He operated his own studio in New York where he created, designed and executed his work. Gilsoul is regarded today as one of the foremost artists in the field of Stained Glass.

Thomas Venturella had the honor and pleasure of working with this renowned artist from 1969 through the 1980’s. He fabricated many of Gilsoul’s windows including those for St. John’s Capuchin Monastery in New York City, “Christ Over the City”. Venturella states that “Benoît Gilsoul was a major force in the field of stained glass and one of the best colorists this medium has known.” (Adapted from Venturella Studio)

According to a post on Flickr:

Above the entrance to the Capuchin Monastery Church of St. John is the largest outdoor religious statue in New York City. The eleven foot Romanesque figure, entitled “Christ in the City” is polished bronze.

The background is a stained glass-stone-and-metal window representing Manhattan island with the East River and Brooklyn above, and the Hudson River and New Jersey below. Buildings, bridges, parks, docks and ships can be seen in the stone work of the window. The dominant colors of the stained glass are red, symbolizing charity, and blue, symbolizing spirituality.

The sculptor, Benoit Gilsoul states, “The call to spirituality is the meaning of the window. This is why St. John’s Church is here, why the Capuchin Franciscans are here. The city is spiritually dark, but a deep shadow is cast only by a bright light. Christ is the light of the city. The window is a call to the spirituality.”

The statue was dedicated by Terence Cardinal Cooke Archbishop of New York, on April 19, 1975.

It’s certainly interesting, but as mentioned above, the figure is no longer there. I wonder what happened to it?

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

In New York City – Horace Greeley Statue

According to Tulane University:

“Horace Greeley, the son of a New England farmer and day laborer, was born in Amherst, New Hampshire in February 1811. The economic struggles of his family meant that Greeley received only irregular schooling, which ended when he was fourteen. He then apprenticed to a newspaper editor in Vermont, and found employment as a printer in New York and Pennsylvania. Seeking to improve his prospects, he gathered his possessions and a small amount of money, and in 1831, set out for New York City. The twenty year old Greeley found various jobs, which provided some capital, and in 1834, he founded a weekly literary and news journal, the New Yorker.
An omnivorous reader, eager to write as well as edit, Greeley contributed to the journal. It gained an increasing audience and gave him a wide reputation. However, it failed to make money, and Greeley supplemented his income by writing, especially in support of the Whig Party. His connections with Thurlow Weed, William H. Seward, and other Whigs led, in 1840, to his editorship of the campaign weekly, the Log Cabin. The paper’s circulation rose to about 90,000, and contributed significantly both to William Henry Harrison’s victory and Greeley’s influence. Greeley also directly participated in the Whig campaign by giving speeches, sitting on committees, and helping to manage the state campaign.

In April 1841, Greeley set himself on the path to national prominence and power when he launched the New York Tribune. The Tribune was multifaceted, devoting space to politics, social reform, literary and intellectual endeavors, and news. It was very much Greeley’s personal vehicle. An egalitarian and idealist, Greeley espoused a variety of causes. He popularized the communitarian ideas of Fourier, and invested in a Fourier utopian community at Red Bank, New Jersey. He advocated the homestead principle of distributing free government land to settlers, attacked the exploitation of wage labor, denounced monopolies, and opposed capital punishment.

Assisted by a talented and versatile staff, a number of whom were identified with the Transcendentalist movement, Greeley made the Tribune an enormous success. It merged with the Log Cabin and New Yorker, expanded its staff and circulation throughout the 1840s and 1850s, and by the eve of the Civil War had a total circulation of more than a quarter of a million. This number, however, vastly understated the paper’s influence, as each copy often had more than one reader. The weekly Tribune was the preeminent journal in the rural North.

Greeley opposed slavery as morally deficient and economically regressive, and during the 1850s, he supported the movement to prevent its extension. He opposed the Mexican War, approved the Wilmot Proviso, which called for the restriction of slavery in territories gained as a result of that war, and denounced the Kansas-Nebraska Act. Greeley’s free-soil sentiments brought him quickly into the Republican Party’s camp, and he attended the national organization meeting of the party at Pittsburgh in February 1856. He supported the Republican candidate in the presidential contest of 185 6, and four years later, he attended the Republican national convention in Chicago. Initially supporting Edward Bates, he turned to Lincoln on the eve of the balloting.

The secession crisis found Greeley strongly opposed to making concessions to slavery. He denounced the Crittenden proposals, and while he argued that succession should be allowed if a majority of southerners truly wanted it, he made clear his belief t hat the rebellion was, in fact, the work of an unscrupulous minority.

Once war came, Greeley joined the radical antislavery faction of the Republican Party and demanded the early end of slavery. He denounced more conservative Republicans, like Francis and Montgomery Blair, and criticized Lincoln for proceeding too cautiously to eradicate the institution. When Lincoln finally announced his Emancipation Proclamation, Greeley applauded the decision.

During and after the Civil War, Greeley’s political course proved highly controversial. His reluctance to support Lincoln’s renomination in 1864 lost him some popular support, as did his premature efforts to bring about an armistice and peace negotiations. After the war, he joined the Congressional Radicals in supporting equality for the freedmen. The Tribune also advocated the impeachment of President Andrew Johnson. At the same time, Greeley favored measures to restore relations with the South. In 1867, he recommended Jefferson Davis’s release from prison, and he signed Davis’s bond. He gradually grew disaffected with the Grant administration because of its corruption and indifference to civil service reform, and also because of its continued enforcement of Reconstruction measures in the South.

While much admired, Greeley was also regarded as eccentric and odd, in both his personal appearance and his reformist ideas. His behavior during and after the war raised widespread doubts about his judgment. When in 1872, the anti-Grant Liberal Republicans and the Democrats nominated Greeley to challenge Grant, Greeley was attacked as a fool and a crank. So merciless was the assault that Greeley commented later that he sometimes wondered whether he was run ning for the presidency or the penitentiary. He suffered a tremendous defeat in the election, carrying only six border and southern states.

During the period following the Civil War, Greeley’s association with the Tribune underwent significant change. The era of personal editorship was ending, and as the Tribune increased in size, Greeley’s influence diminished. Following his defeat in t he election of 1872, Greeley found that control of the paper had passed out of his hands. Shocked by his electoral repudiation, the recent death of his wife, and the effective loss of his editorship, Greeley suffered a breakdown of both mind and body, and died on November 29, 1872.”

The outdoor bronze sculpture of Horace Greeley by Alexander Doyle stands in Greeley Square Park, New York City. It was cast in 1892, dedicated on May 30, 1894 and sits atop a Quincy granite pedestal. It contains the following inscription:

THIS STATUE OF THE FIRST PRESIDENT
NEW YORK TYPOGRAPHICAL UNION NO. 6
WAS PRESENTED TO THE CITY OF NEW YORK BY
HORACE GREELEY·POST NO. 577 G.A.R.
NEW YORK TYPOGRAPHICAL UNION NO. 6 AND
BROOKLYN TYPOGRAPHICAL UNION NO. 98

GIVEN TO THE CITY OF NEW YORK IN 1890

Horace Greeley is also major figure in the history of Chappaqua, a town five miles away from where I live. The town’s high school is name after him. He lived in Chappaqua in what is now known as The Greeley House:

“The Greeley House is located at King (New York State Route 120) and Senter streets in downtown Chappaqua, New York, United States. It was built about 1820 and served as the home of newspaper editor and later presidential candidate Horace Greeley from 1864 to his death in 1872. In 1979 it was listed on the National Register of Historic Places along with several other properties nearby related to Greeley and his family.

Built in the 1820s as a typical small farmhouse, it was expanded in the mid-19th century. Greeley, editor of the New-York Tribune, settled in Chappaqua shortly before the Civil War in the mid-19th century, living there with his family primarily during the summer. After a mob of citizens opposed to Greeley’s abolitionist editorial stance threatened his wife at their earlier “House in the Woods,” Greeley bought the farmhouse and moved his family there, near the hundred acres (40 ha) where he ran a small farm and practiced experimental agricultural techniques.

After the war, Greeley built a mansion called “Hillside House” to live in, but died along with his wife shortly after the 1872 presidential election, where he ran on the Liberal Republican line against incumbent Ulysses S. Grant, so his children lived there instead, pioneering the suburban lifestyle that was later to define Chappaqua and its neighboring communities. Both of Greeley’s other houses burned down later in the 19th century, leaving the Greeley House the only one extant.

It, too, was almost demolished after falling into serious neglect in the early 20th century. After its restoration in 1940, it was used as a restaurant and gift shop. Following another restoration effort in the early 21st century, it is now the offices of the New Castle Historical Society.” (The Greeley House)

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II