Church of St. Ignatius of Loyola (New York City, U.S.A.)

The very first mass we attended in the US, on the eve of the Feast of St. John the Baptist, was held at the beautiful Church of St. Ignatius of Loyola, located on the Upper East Side of Manhattan. It was officiated by the very friendly and welcoming Fr. Dennis J. Yesalonia, S.J.

Church of St. Ignatius of Loyola

This Roman Catholic parish church, under the authority of the Archdiocese of New York, is administered by the Society of Jesus (Jesuits). The church is part of a Jesuit complex on the block that includes Wallace Hall, the parish hall (beneath the church), the rectory (at the midblock location on Park Ave.), the grade school of St. Ignatius’s School (on the north midblock location of 84th St., behind the church) and the high school of Loyola School (also 980 Park Ave.) at the northwest corner of Park Ave. and 83rd St. The Regis High School (55 East 84th St.), another Jesuit high school, occupies the midblock location on the north side of 84th St..

Established in 1851 as St. Lawrence O’Toole‘s (a twelfth-century bishop of Dublin) Church, a wooden church was erected in 1852 but was replaced, in 1853, by a modest brick structure. In 1886, it was entrusted to the care of the Society of Jesus  the Jesuits’ first major apostolate in the Yorkville area of New York.  In 1898, it was granted permission by Rome to change the patron saint of the parish to St. Ignatius of Loyola.

The church’s foundation was built from 1884 to 1886 and the present German Baroque-style church, designed by Arch. J. William Schickel of Schickel & Ditmars, was built from 1895 to 1900. On December 11, 1898, it was dedicated by the Most Reverend Michael Corrigan, third Archbishop of New York. On March 4, 1969, the church was declared as a New York City Landmark and, on July 24, 1980, the church was added to the National Register of Historic Places.

The beautiful church interior

Notable people whose funerals were held here include:

This 90 ft. high and 87 ft. wide architectural gem has a Classical Park Avenue exterior that is not static, with the central division raised in slight relief beyond the side divisions.  Its façade has 2 unbroken vertical orders, a Palladian arched window and a tri-part horizontal division which suggest the central nave and side aisles beyond. Directly beneath the pediment are inscribed the words “Ad Majorem Dei Gloriam” (“To the Greater Glory of God”, the motto of the Society of Jesus,  and the Great Seal of the Society (composed of a cross, three nails, and the letters I H S, the first three letters of Jesus’ name in Greek which later became a Latin acronym denoting Jesus the Savior of Humankind).

The altar

The varying intervals between the symmetrically positioned pilasters create a subtly undulating dynamism that introduces a note of syncopated rhythm reminiscent of the exterior of Il Gesù, the Jesuits’ mother church in Rome. Two copper-capped tower bases, on either side of the central pediment, are hints of the abandoned grander scheme of a pair of towers designed to reach 210 ft. above the ground. The church’s intricate marble work, executed by the firm of James G. Batterson, Jr., and John Eisele of New York, includes American (pink Tennessee), European (yellow Siena, veined Pavonazzo and white Carrara) and African (red-veined Numidian and pink Algerian) marble. The soaring ceiling was beautifully crafted and the intricate stained glass windows tells the story of Jesus life, death and resurrection.

The high ceiling

The marble mosaic Stations of the Cross panels were designed by Professor Paoletti for Salviati & Company of Venice.  The great 12-panel bronze doors, located at the sanctuary end of the side aisles, were designed by the Rev. Patrick O’Gorman, S.J. (pastor from 1924 to 1929) and were crafted by the Long Island Bronze Company. The Carrara marble Jesuit statues (including St. Francis Xavier and St. John Francis Regis) were carved by the Joseph Sibbel Studio of New York.  The church organ, built by N.P. Mander of London, was dedicated in 1993 and is New York City’s largest mechanical action (tracker) pipe organ.

The semicircular wrought-iron baptistery screen of gilt flaming swords, in the Chapel of John the Baptist, was wrought by Mr. John Williams to the designs of William Schickel. The Carrara marble baptistery font, set above the marble pavement, was designed “by Heaton, Butler & Bayne of London, with slight modifications made by Mr. John Buck of the Ecclesiastical Department of the Gorham Company of New York (also responsible for the cutting and installing the mosaic’s tesserae – the pieces comprising the mosaic).

The baptistery’s altar and the surrounding curved walls, designed and executed under the direction of Mr. Caryl Coleman of the Ecclesiastical Department of the Tiffany Glass and Decorating Company (who also executed the baptistery’s semi-dome), were made with Pavonazzo marble inlaid with mosaics (composed of that company’s justly famous opalescent Favrile glass, as delicate as the Venetian glass mosaics above are bold).

Church of St. Ignatius of Loyola: 980 Park Ave. cor. East 84th St., New York City, New York 10028.  Tel: +212-288-3588. Website: www.stignatiusloyola.org. Mass Schedule: Mondays-Fridays, 8:30 AM, 12:10 PM and 5:30 PM; Saturdays, 8:30 AM an 5:30 PM; Sundays, 8 AM, 9:30 AM, 11 AM (Solemn Mass) and 7:30 PM.

National September 11 Memorial & Museum (New York City, U.S.A.)

The National September 11 Memorial & Museum (also known as the 9/11 Memorial and 9/11 Memorial Museum), located at the former location of the Twin Towers (destroyed during the September 11 attacks) at the World Trade Center site, are the principal memorial and museum, respectively, that commemorate the September 11, 2001 attacks, which killed 2,977 victims, and the World Trade Center bombing of 1993, which killed six.

September 11 Memorial Plaza

The memorial was designed by Israeli architect Michael Arad (whose Reflecting Absence, on January 2004,was selected as the winner, from among 5,201 entries from 63 countries, of the World Trade Center Site Memorial Competition) of Handel Architects, a New York- and San Francisco-based firm, who worked with landscape-architecture firm Peter Walker and Partners on the design.

Layout of Memorial Plaza

Featuring a forest of trees with two square pools in the center where the Twin Towers stood, its design was consistent with the original Daniel Libeskind master plan which called for the memorial to be 9.1 m (30 ft.) below street level (originally 21 m./70 ft.) in a plaza. Started on August 2006, the memorial was dedicated on September 11, 2011, the tenth anniversary of the attacks, an was opened to the public the following day. The museum was dedicated on May 15, 2014 and opened on May 21.

South Pool

Two 4,000 m2 (1 acre) pools, with the largest man-made waterfalls (intended to mute the sounds of the city, making the site a contemplative sanctuary) in the United States, comprise the footprints of the Twin Towers, symbolizing the loss of life and the physical void left by the attacks. Delta Fountains engineered the fountain. Many parts of the memorial were planted by Walker with white oaks while almost 400 sweet gum and swamp white oak trees fill the remaining 24,000 m2 (6 acres) of the Memorial Plaza, enhancing the site’s reflective nature.

Parapet on wall with bronze plates inscribed with victims’ names

The parapets of the walls of the memorial pools are attached with 76 bronze plates inscribed with the names, arranged according to an algorithm, of 2,983 victims – 2,977 killed in the September 11 attacks and six killed in the 1993 World Trade Center bombing.

Flower offering for one of the victims

Around the perimeter of the North Pool are the names of the employees and visitors in the North Tower (WTC 1), the passengers and crew of American Airlines Flight 11 (which struck the North Tower), and the 5 employees and a visitor, all adults, of the 1993 World Trade Center bombing, all memorialized on Panel N-73.

North Pool

Around the perimeter of the South Pool are the names of the employees and visitors in the South Tower (WTC 2), the passengers and crew of United Airlines Flight 175 (which struck the South Tower), the employees, visitors, and bystanders in the immediate vicinity of the North and South Towers, the first responders (listed with their units) who died during rescue operations, the passengers and crew of United Airlines Flight 93 (which crashed near Shanksville, Pennsylvania) and American Airlines Flight 77 (which struck the Pentagon), and the employees at the Pentagon.

Though company names are not included, the company employees and visitors are listed together. Passengers on the 2 United Airlines and 2 American Airline flights are listed under their flight numbers. The phrase “and her unborn child” follows the names of ten pregnant women who died on 9/11 and one who died in the 1993 attack.

Survivor Tree

The “Survivor Tree,” a symbol of hope and rebirth, is a 2.4 m.( 8-ft.) tall callery pear tree (planted during the 1970s near Buildings 4 and 5, in the vicinity of Church St.) which was recovered, badly burned with one living branch, from the rubble at the World Trade Center site on October 2001. Nursed back to health by the Bronx nursery, the then 9.1 m. (30 ft.) tall tree was returned, on December 2010, to the World Trade Center site and is now a prominent part of the memorial.

September 11 Memorial Museum

The September 11 Memorial Museum, dedicated on May 15, 2014 and opened to the public on May 21, was built at the former location of Fritz Koenig‘s The Sphere, a large metallic sculpture placed in the middle of a large pool between the Twin Towers.  Designed by Davis Brody Bond, the museum, about 21 m. (70 ft.) below ground and accessible through a pavilion designed by Snøhetta,  encloses 10,000 m2 (110,000 sq. ft.) of publicly accessible space. Its exhibits include 23,000 images, 10,300 artifacts (including wrecked emergency vehicles, two tridents from the Twin Towers and pieces of metal from all seven World Trade Center buildings including the last piece of steel to leave Ground Zero in May 2002), nearly 2,000 oral histories of those killed  (mostly provided by friends and families) and over 500 hours of video.

National September 11 Memorial & Museum: 180 Greenwich St, New York City, New York 10007. Open daily, 7:30 AM – 9 PM. Admission: US$24/adult, children below 12 years old is free.

Solomon R. Guggenheim Museum (New York City, U.S.A.)

Solomon R. Guggenheim Museum

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is the permanent home, of a continuously expanding collection of Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year.

Museum Lobby

Overlooking Central Park, the site’s proximity to the park afforded relief from the noise, congestion and concrete of the city and nature also provided the museum with inspiration.  In 2013, nearly 1.2 million people visited the museum, and it hosted the most popular exhibition in New York City.

Atrium

Established in 1939 by the Solomon R. Guggenheim Foundation  (established in 1937, it fosters the appreciation of modern art) as the Museum of Non-Objective Painting.  The museum adopted its current name in 1952, after the death of its founder.

The skylight

In 1959, the museum moved, from rented space, to its current Modernist, distinctively cylindrical building, a landmark work of 20th-century architecture designed by Frank Lloyd Wright who experimented with his organic style in an urban setting.

It took him 15 years, 700 sketches, and six sets of working drawings to create the museum. The museum underwent extensive expansion and renovations in 1992 (when an adjoining tower was built) and from 2005 to 2008.

Three sculptures by Edgar Degas

Three sculptures by Constantin Brancusi

The building was conceived, by Rebay, as a “temple of the spirit” that would facilitate a new way of looking at the modern pieces in the collection.

The Studio (1928,oil and black crayon on canvas, Pablo Picasso)

Accordionist (1911, oil on canvas, Pablo Picasso)

Woman With Yellow Hair (1931, oil on canvas, Pablo Picasso)

The only museum designed by Wright and his last major work (he died six months before its opening on October 21, 1959), the appearance of the building, viewed from the street, is in sharp contrast to the typically rectangular Manhattan buildings that surround it (a fact relished by Wright).

Bend in the Road Through the Forest (Paul Cezanne)

Still Life Plate of Peaches (Paul Cezanne)

Still Life Flask, Glass and Jug (Paul Cezanne)

It looks like a white ribbon curled into a cylindrical stack, wider at the top than the bottom, and displaying nearly all curved surfaces.

Circumcision (oil on canvas, 1946, Jackson Pollock)

Plate from Poor Richard suite (1971, Philip Guston)

Internally, Wright’s plan for the viewing gallery was for the museum guests to ride to the top of the building by elevator, to descend, at a leisurely pace, along the gentle slope of the unique, continuous helical ramp gallery, extending up from ground level in a long, continuous spiral (recalling a nautilus shell) along the outer edges of the building and ending just under the ceiling skylight at the top.

The Antipope (December 1941–March 1942, Max Ernst)

Polyphonic (1945 Oil on canvas, Perle Fine)

The atrium of the building was to be viewed as the last work of art. The open rotunda afforded viewers the unique possibility of simultaneously seeing several bays of work on different levels and even to interact with guests on other levels.

Black Lines (Vassily Kandinsky)

Striped (1934, oil with sand on canvas, Vassily Kandinsky)

Wright’s spiral design, embracing nature, with continuous spaces flowing freely one into another, also expresses his take on Modernist architecture’s rigid geometry.

Dining Room on the Garden (1934-35, oil on canvas, Pierre Bonnard)

Invention (Composition No. 3) – 1933,oil on canvas, Rudolf Bauer

To reduce the cost, the building’s surface was made out of concrete, inferior to the stone finish, with a red-colored exterior, that Wright had wanted and which was never realized.

Men in the City (1919, oil on canvas, Fernand Leger)

The Smokers (1911-12, oil on canvas, Fernand Leger)

Also largely for financial reasons, Wright’s original plan for an adjoining tower, artists’ studios and apartments also went unrealized until the renovation and expansion.

Eiffel Tower (1911, oil on canvas, Robert Delaunay)

Portrait of Countess Albazzi, (1880, Pastel on primed canvas, Edouard Manet)

Wright’s carefully articulated lighting effects for the main gallery skylight had been compromised when it was covered during the original construction but, in 1992, was restored to its original design.

In the Vanilla Grove, Man and Horse (Paul Gaugin)

The Kiss (1927, Max Ernst)

The “Monitor Building” (as Wright called it), the small rotunda next to the large rotunda, was intended to house apartments for Rebay and Guggenheim but, instead, became offices and storage space. In 1965, the second floor of the Monitor building was renovated to display the museum’s growing permanent collection.

Nude Model in the Studio (1912-13, oil on burlap, Fernand Leger)

With the 1990–92 restoration of the museum, it was turned over entirely to exhibition space and christened the Thannhauser Building, in honor of art dealer Justin K. Thannhauser, one of the most important bequests to the museum. Much of the interior of the building was restored during the 1992 renovation.

Orphism (Robert Delauney)

Also in 1992, a new, adjoining rectangular 10-storey limestone tower, taller than the original spiral and designed by the architectural firm of Gwathmey Siegel & Associates Architects, expanded the exhibition space with the addition of four additional exhibition galleries with flat walls.

Knight Errant (1916, oil on canvas, Oskar Kokoschka)

Yellow Bar (Rolph Scarlett)

Between September 2005 and July 2008, the museum underwent a significant exterior restoration to repair cracks and modernize systems and exterior details. It was completed on September 22, 2008.  On October 6, 2008, the museum was registered as a National Historic Landmark.

Improvisation 28 (second version) – Vassily Kandinsky

In 2001, the museum opened the 8,200 sq. ft. (760 m2) Sackler Center for Arts Education (a gift of the Mortimer D. Sackler family), a facility located on the lower level of the museum, below the large rotunda.

Woman with Parakeet (1871, oil on canvas, Pierre-Auguste Renoir)

Listening (1920, oil on canvas, Heinrich Campendonk)

It provides classes and lectures about the visual and performing arts and opportunities to interact with the museum’s collections and special exhibitions through its labs, exhibition spaces, conference rooms and 266-seat Peter B. Lewis Theater.

Paris Through the Window (1913, oil on canvas, Marc Chagall)

The Flying Carriage (1913, oil on canvas, Marc Chagall)

The Soldier Drinks (1911-12, oil on canvas, Marc Chagall)

Beginning with Solomon R. Guggenheim‘s original collection works of the old masters since the 1890s, the museum’s collection (shared with the museum’s sister museums in Bilbao, Spain, and elsewhere) has grown organically, over eight decades. It is founded upon several important private collections. Here’s a chronology of the museum’s acquisitions:

Personage (1925, oil on canvas, Juan Miro)

  • In 1948, the collection was greatly expanded through the purchase of art dealer Karl Nierendorf’s estate of some 730 objects, notably German expressionist.

Mountains at Saint Remy (1889, oil on canvas, Vincent Van Gogh)

Landscape with Snow (1888, oil on canvas, Vincent Van Gogh)

Before the Mirror (1876, oil on canvas, Edouard Manet)

Arc of Petals (Alexander Calder)

Adam and Eve (Constantin Brancusi)

Little French Girl (Constantin Brancusi)

On Brooklyn Bridge (1917, oil on canvas, Albert Gleizes)

Woman with Animals (1914, oil on canvas, Albert Gleizes)

  • In 1992, the Robert Mapplethorpe Foundation donated 200 of Mapplethorpe’s best photographs to the foundation, an acquisition that initiated the foundation’s photography exhibition program.  Spanning his entire output, it includes early collages, Polaroids, portraits of celebrities, self-portraits, male and female nudes, flowers and statues, mixed-media constructions and included his well-known 1998 Self-Portrait.

  • In 2001, a large collection of the Bohen Foundation was gifted to the foundation. It consists of commissioned works of art (Pierre Huyghe, Sophie Calle, etc.), with an emphasis on film, video, photography and new media.

The building has been widely praised and inspired many other architects. However, the design polarized architecture critics who believed that the building would overshadow the museum’s artworks.

Alchemy (Jackson Pollock)

Some artists have also protested the display of their work in such a space. The continuous spiral ramp gallery, tilted with non-vertical curved walls, presented challenges to the museum’s ability to present art at all as it is awkward and difficult to properly hang paintings in the shallow, windowless concave exhibition niches that surround the central spiral.

The Neighborhood of Jas de Bouffan (Paul Cezanne)

Bibemus (Paul Cezanne)

Canvasses must be mounted raised from the wall’s surface. Paintings hung slanted back would appear “as on the artist’s easel.” There was also limited space within the niches for sculpture.

The Break of Day (1937, oil on canvas, Paul Delvaux)

Landscape Near Antwerp (1906, oil on canvas, Georges Braque)

The slope of the floor and the curvature of the walls also combined to produce vexing optical illusions. Three-dimensional sculpture or any vertical object appears tilted in a “drunken lurch.”

The Sun in Its Jewel Case (Yves Tanguy)

To compensate for the space’s weird geometry, special plinths were constructed at a particular angle, so that pieces were not at a true vertical would appear to be so.

The Red Bird (1944, oil on canvas, Adolph Gottlieb)

Fruit Dish on a Checkered Table Cloth (Juan Gris)

However, this trick proved impossible for an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical, “suggesting hallucination” in the disorienting context of the tilted floor.

The Fourteenth of July (Pablo Picasso)

Bird on a Tree (Pablo Picasso)

Three Bathers (Pablo Picasso)

Some of the most popular and important art exhibitions held here include:

  • The first season “Works and Process,” a series of performances at the Guggenheim begun in 1984, consisted ofPhilip Glass with Christopher Keene on Akhnaten and Steve Reich and Michael Tilson Thomas on The Desert Music.
  • “Africa: The Art of a Continent” (1996)
  • “China: 5,000 Years” (1998)
  • “Brazil: Body & Soul” (2001)
  • “The Aztec Empire” (2004)
  • The Art of the Motorcycle– an unusual exhibition of commercial art installations of motorcycles.
  • The 2009 retrospective of Frank Lloyd Wright – the museum’s most popular exhibit (since it began keeping such attendance records in 1992), it showcased the architect on the 50th anniversary of the opening of the building.

Dancers in Green and Yellow (1903, pastel and charcoal on tracing paper mounted to paperboard, Edgar Degas)

In The International, a shootout occurs in the museum. A life-size replica of the museum was built for this scene. 

Tableau No. 2, Composition No. VII (1913, Oil on Canvas, Piet Mondrian)

Composition 8 (Piet Mondrian)

Solomon R. Guggenheim Museum: 1071 Fifth Avenue corner East 89th Street, Upper East Side, Manhattan, New York City, NY 10128, USA. Tel: +1 212-423-3500. E-mail: visitorinfo@guggenheim.org. Open 10 AM – 5:45 PM. Admission: US$25 for adults, US$18 for students and seniors (65 years + with valid ID), children below 12 years old is free.

Metropolitan Museum of Art – Greek and Roman Art (New York City, New York, U.S.A.)

The Metropolitan Museum of Art’s collection of Greek and Roman art, comprising more than 30,000 works, ranging in date from the Neolithic period (ca. 4500 B.C.) to the time of the Roman emperor Constantine‘s conversion to Christianity in A.D. 312, naturally concentrates on items from the historical regions of ancient Greece and the Roman Empire.

Marble Statue of the Three Graces (Roman Imperial Period)

In 2007, the Greek and Roman galleries were expanded to approximately 6,000 m2 (60,000 sq. ft.), allowing the majority of the collection to be on permanent display.

Marble Statue of Aphrodite Anadyomene

It represents a wide range of cultures and artistic styles, from classic Greek black-figure and red-figure vases to carved Roman tunic pins. Dating back to the founding of the museum, the museum collection’s first accessioned object was, in fact, a Roman sarcophagus that is still currently on display.

Marble Statue of Athena Parthenos

The collection, among the most comprehensive in North America, includes the monumental Amathus sarcophagus; the “Monteleone chariot” (a magnificently detailed Etruscan chariot);  several large classical wall paintings and reliefs from different periods (including an entire reconstructed bedroom from a noble villa in Boscoreale, excavated after its entombment by the eruption of Vesuvius in AD 79);  as well as many pieces from far earlier than the Greek or Roman empires(among the most remarkable are an abstract; seemingly almost modern collection of early Cycladic sculptures from the mid-third millennium BC).

Terracotta pointed neck amphora with stand (470 BC)

The collection of Greek and Roman art, representing the geographic regions of Greece (though not as delimited by modern political frontiers) and Italy (its geographical limits coinciding with the expansion of the Roman Empire), includes the art of prehistoric Greece (Helladic, Cycladic, and Minoan) ) as well as art from the Greek colonies (established around the Mediterranean basin and on the shores of the Black Sea) and the increasingly Hellenized Cyprus; and pre-Roman art of Italic peoples (notably the Etruscans).

Marble Head of a Young Woman From a Funerary Statue

The Metropolitan Museum of Art’s extensive collection of ancient Greek art, preeminent in the Western Hemisphere and among the finest in the world, feature masterpieces from the Archaic and Classical periods (sixth through fourth centuries B.C.).  They are presented in seven large galleries, named after distinguished American collectors and philanthropists such as Mary and Michael Jaharis, Judy and Michael Steinhardt, Joyce and Dietrich von Bothmer and Malcolm Wiener, all refurbished to their original Neo-Classical grandeur.

Marble Statue o a Wounded Amazon (Roman, 1st – 2nd century AD)

All are arranged in a contextual display that combines works of many media.  Objects in the New Greek Galleries embrace such themes as religion, funerary customs, civic life, and athletics.

Greek Art of the Sixth through Fourth Centuries B.C.

The grand, barrel-vaulted Mary and Michael Jaharis Gallery (Greek Art of the Sixth through Fourth Centuries B.C.), formerly used for the display of Cypriot and Roman art, is a soaring, 140-ft.-long space flanked, on each side, by three galleries that present a chronological progression of works in all media of large-scale sculpture and other monumental works of the sixth, fifth, and fourth centuries B.C..

It extends south from The Robert and Renée Belfer Court for Early Greek Art all the way to the Sardis column.

The Museum’s distinguished collection of works of the sixth century, presented more or less chronologically and in close relationship to the art shown in the adjacent galleries, include large-scale sculpture, Panathenaic amphorae, large vases of conventional shape and decoration (once filled with olive oil and presented as prizes to victors in contests held during the Panathenaic festival, which honored Athena, patron goddess of Athens).

Marble Sphinx on a Cavetto Capital

The large-scale marble copies, at the central section of the gallery, are among the finest sculptures that dominate this space.  Made during the Roman period, these over-life-sized bronze statues, created in Greece during the fifth and fourth centuries (but lost or melted down over time), include a wounded Amazon and a statue of the Greek hero Protesilaus (the first Greek to set foot on the shore of Troy during the Trojan War).

Towering above two original, fourth century B.C. marble statues of draped women as well as an over-life-sized head of a youthful goddess, in an area devoted to the works of the fourth century B.C., are large marble foliate sculptures that once crowned tall Athenian grave monuments.

The Judy and Michael H. Steinhardt Gallery (Greek Art of the Sixth Century B.C.), three galleries on the east side of the Mary and Michael Jaharis Gallery, is unique in the Western Hemisphere in its display of the three major types of Greek freestanding marble sculpture of the sixth century B.C. – the kouros and kore, which served as funerary monuments or dedications, and the pillar-like grave stele.

6th Century Greek Art

The gallery is devoted primarily to original marble sculpture of the Archaic and Classical periods when Athens supplanted Corinth as the center of pottery production.  It is exemplified by several works attributed to the Amasis Painter, one of the most skillful and innovative of the black-figure artists. The gallery opens this sequence with the museum’s outstanding collection of Athenian funerary monuments of the sixth century B.C.

The New York Kouros, a marble statue of a nude youth (kouros) standing in the center of the room, once marked the grave of a young member of a wealthy landowning family and is one of the earliest monumental kouroi to have survived complete.

Other grave markers, displayed nearby, include rectangular shafts decorated with finely carved and painted reliefs of the deceased.  One of the best preserved archaic Attic Greek stelai in existence, standing over 13 ft. high, bears traces of most of its original painted decoration.

Free-standing and relief sculptures, monuments demonstrating the rapid development in naturalistic representation, includes one in particularly good state of preservation, complete with the crowning member in the form of a sphinx.

Also displayed throughout the room are vases, small bronzes and other objects of this period, are all grouped in a way that elucidates important customs and beliefs concerning death, warfare and drinking parties (known as symposia) which were current in Athens throughout the Archaic period.

The Bothmer Gallery I (Greek Art of the Sixth Century B.C.), through the museum’s exceptional collection of painted terracotta vases, provides an insight into the lives of Athenians of this time.  The pieces in this gallery are arranged in a roughly chronological order – from ca. 600 B.C. to 525 B.C., covering the mature Archaic style in Athens and ending with a major historical development – the initial westward push of the Persian Empire (which ultimately was defeated by the Greeks in the Persian Wars).

Some vase painters were known from their signatures (such as Nearchos, Lydos, Exekias, among others) while others remain anonymous and are given modern names of convenience (such as the Affecter or Amasis Painter) which may stem from the name of a collaborator that is known (such as a potter); a significant location; a particular collector in modern times; or a feature of the artist’s style.

Whether their ancient names are known or not, the potters and painters revealed distinctive artistic personalities and a singular capacity to depict a story. Decoration included all manner of scenes from daily life as well as from the colorful and complex world of mythology.
In the black-figure technique, practiced from about 600 to 530 B.C., glazed portions of a work were black and the remaining surface was the deep orange color of the clay. Exekias, among the known leading artistic personalities represented in this gallery, was the consummate master of this technique. During the time of the initial westward push of the Persian Empire, the red-figure technique in vase painting was invented and, gradually, began to replace the earlier black-figure technique.

Prehistoric and Early Greek Art

The Robert and Renée Belfer Court (Prehistoric and Early Greek Art), next to the Great Hall on the first floor, provides the introduction to all the galleries of ancient Greek and Roman art and includes a map of the ancient world.

Prehistoric and Early Greek Art

It displays prehistoric and early Greek art as well as, from time to time, rotating major artworks on loan of varying periods.

Prehistoric and Early Greek Art

The Bothmer Gallery II (Greek Art of the Fifth Century B.C.), providing examples of Athenian vase painting between about 530 and 400 B.C. (when the flexibility of the newly developed red-figure technique permitted artists to draw freely over the convex and concave surfaces of vases), displays vases (a high proportion were made for containing, pouring, and drinking wine), bronzes, terracottas, and gems of this period.  Original works of art from a time when the great creations of bronze and marble sculpture are, in large part, lost or preserved only in later copies of the Roman period, these are particularly important.

Greek Art of the Fifth Century B.C.

Coinage on display here, significant not only for its historical and commercial aspects but also for its iconographical and aesthetic qualities, represents specific cities (the head of Athena for Athens or Pegasus, the flying horse, for Corinth, etc.) and is also recurrent motifs in other media. In this gallery, the museum’s collections of coins were supplemented by a loan, from the American Numismatic Society, of approximately 75 significant coins.

Figuring prominently in this gallery are an extraordinary group of Greek potters and vase painters active in Athens who mastered, during the first half of the fifth century, the organic representation of the human body.

They include Euphronios and Euthymides (innovators who exploited the expressive possibilities of the red-figure technique at the end of the sixth and the beginning of the fifth century B.C.) as well as their successors (who often specialized in specific vessel shapes) Brygos Painter, Douris and Makron, who devoted themselves to the embellishment of drinking cups, and Kleophrades Painter, the Berlin Painter, Myson, and others who devoted themselves to larger pots. For the first time in many years, the current reinstallation makes it possible to see the major works of the foremost painters grouped together.

During this time, white-ground vases found particular favor. The most popular vases in the collection are superlative examples by the Achilles Painter as well as a toilet box (pyxis), decorated with the Judgment of Paris, and a bobbin (yo yo), that was made as a dedication, both attributed to the Penthesilea Painter.

The Carolyn, Kate, Elizabeth, Thomas, and Jonathan Wiener Gallery (Greek Art of the Fifth Century B.C.) presents a collection of some of the museum’s finest marble grave markers from Athens dating from the mid-fifth century B.C. through the early fourth century B.C.

5th Century BC Greek Art

There are also cases with clay and bronze vases, small bronze statuettes, glass vessels, gold jewelry, and terracotta figurines, all arranged to provide an overview of Athenian society.

Beautifully carved funerary reliefs include the well-known relief of a girl with doves (conveying some of the ideal beauty and sweetness of expression that is found in figures on the great architectural frieze that embellished the upper walls of the Parthenon in Athens); that of a young woman and her servant, and another of an entire family group, all giving a sense of the unprecedented flowering of art and culture that took place during the fifth century in Athens.

Greek Art of the 5th and Early 4th Century

The Stavros and Danaë Costopoulos Gallery (Greek Art of the Fifth and Early Fourth Centuries B.C.), presenting the art of Athens during the second half of the fifth century B.C. (the time in which the Parthenon was being erected between 447 and 432 B.C. on the Athenian Acropolis and when vase painting attained its most serene and classical expression), prominent displays funerary vases covered with a white slip (known as white ground) and decorated in a range of colors not previously used in Greek ceramics.

The Museum’s collections represent the major artists and, most importantly, convey the innovations that they brought to traditional subjects such as warfare, the life of women, and mythology.

The Achilles Painter, the great master and innovator trained in the red-figure technique by the Berlin Painter whose greatest innovations can be seen in the funerary lekythoi (oil flasks) that were covered with a white slip (permitting the use of polychromy), is represented by an important krater as well as by a variety of smaller vases.

The Spyros and Eurydice Costopoulos Gallery (Greek Art of the Fourth Century B.C.) includes Athenian funerary monuments (including large-scale marble vases that were used as grave markers) of this period (when Athens was still a center of artistic excellence) that became more and more elaborate over the years.

4th Century BC Greek Art

The graceful charm of the Athenian sculptor Praxiteles (famous throughout antiquity for having carved the first nude statue of Aphrodite) can be seen in one pair of fully three-dimensional figures of young girls that stood over a tomb.  Four colossal, three-dimensional stone funerary monuments, in the form of marble vessels decorated with low reliefs and commonly used to hold oil or water during funerary rites, stand at the center of the gallery.

Terracotta statuettes in several cases, known today as “Tanagra figurines” (since great numbers were found during the late 19th century at the site of the ancient city of Tanagra in Boeotia, north of Attica), were first made in Athens (during the second half of the fourth century B.C.) and represent fashionable women or girls. These terracottas are still prized today for their naturalness, vitality and charm.

Also on display in this gallery are large bronze vases decorated with reliefs; elaborate bronze mirrors; silver and glass vessels; and gold jewelry of a type found in the rich Macedonian tombs. An exceptional pair of earrings, a superb set of jewelry found in Macedonia, has tiny figures of Zeus in the form of an eagle abducting the young Trojan prince, Ganymede, and carrying him through the air to Mount Olympus (home of the gods).

Leon Levy and Shelby White Court for Hellenistic and Roman Art

The spectacular Leon Levy and Shelby White Court for Hellenistic and Roman art, created by the renowned architectural firm of McKim, Mead and White between 1912 and 1926, has an atrium which evokes the ambulatory garden of a large private Roman villa, with a glass roof allowing the objects below to be viewed in natural daylight.

The Met’s representative collection of Roman portrait busts, depicting emperors, other members of the imperial family, and private individuals, is displayed, in chronological order, along the perimeter of the court while on display at the center of the court are nearly 20 Roman sculptures created between the first century B.C. and the third century A.D.  Some of the Roman art on display include:

  • The Old Market Woman (Roman, Julio-Claudian, A.D. 14-68)
  • The life-size bronze Portrait Statue of an Aristocratic Boy (Roman, Augustan, 27 B.C.-A.D. 14)
  • Two larger-than-life-size statues of Hercules facing one another from either side of the court (both Roman, Flavian, A.D. 69-98) -both works were part of the Giustiniani Collection in Rome, first published in 1631
  • A marble portrait head of the Emperor Augustus (Roman, Julio-Claudian, ca. A.D. 14-37)
  • A fine marble bust of Caligula (Roman, Julio-Claudian, A.D. 37-41)
  • A marble portrait of Antoninus Pius (Roman, Antonine, A.D. 138-161)
  • The Marble Garland Sarcophagus (Roman, Severan, ca. A.D. 200-225) – found at Tarsus (southern Turkey) in 1863, it entered the Metropolitan in 1870 as the first object offered to and accepted by the museum.
  • The marble statue of Hope Dionysos (Roman, Augustan or Julio-Claudian, 27 B.C.-A.D. 68) – named after the prominent collector Thomas Hope (who acquired it in 1796, it is an adaptation of a Greek statue of the fourth century B.C.
  • A decorative support for a basin (Roman, Mid-Imperial, second century A.D.) – formed part of the collection of William Waldorf Astor (later Baron Astor of Hever) who assembled his collection of antiquities between 1890 and 1905.
  • Architectural fragments from the Emperor Domitian‘s palace on the Palatine in Rome (Roman, ca. A.D. 90-92)
  • The Badminton Sarcophagus (Roman, Late Imperial, A.D. 260-70) – carved in high relief from a single block of marble, it came from the collection of the dukes of Beaufort and was formerly displayed in their country seat, Badminton Hall in Gloucestershire, England.

Adjoining the Leon Levy and Shelby White Court are galleries designated for the presentation of South Italian art (fourth-first century B.C.); Hellenistic art and architecture, the Hellenistic treasury, and Hellenistic art and the Hellenistic tradition (third-first century B.C.); and the art of Augustan Rome (first century A.D.), Roman imperial art (second century A.D.), and the art of the later Roman empire (third century A.D.).

Highlights of these galleries are two actual rooms from Roman villas – with their stunning wall paintings – that were buried nearly two thousand years ago by the eruption of Mount Vesuvius in A.D. 79.

South Italian Art Fourth–First Century BC (Gallery 161)

South Italian Art (Fourth-First century B.C.) – One of the principal features of culture in South Italy, known since antiquity as “Magna Graecia” (“Greater Greece”), is its interest in Greek drama, often reflected in works of art. On display here are a number of kraters (bowls for mixing wine and water):

  • A red-figure calyx-krater (ca. 400-390 B.C., Greek, South Italian, Apulian, Late Classical) – vase painting attributed to the Tarporley Painter.
  • A terracotta column-krater (ca. 360-350 B.C., Greek, South Italian, Apulian, Late Classical). – at the entrance to the gallery.

Leon Levy and Shelby White Gallery for Helenistic Art and Architecture

Prominently displayed within the Leon Levy and Shelby White Gallery for Hellenistic Art and Architecture is the newly conserved, nearly 12 ft. high, fluted marble Sardis Column (Greek, Hellenistic, ca. 300 B.C.) – part of the shaft of a column, from the Temple of Artemis (one of the largest temples ever built in antiquity) at Sardis, that once stood some 58 feet high (from its scale-patterned base to its finely crafted Ionic capital) in its original setting.

It was excavated at Sardis (the ancient capital of Lydia, in western Turkey) early in the 20th century.

Marble column (Temple of Artemis, Sardis)

Also on display is a noble, radiant and monumental marble Head of a Ptolemaic Queen (Greek, Ptolemaic, ca. 270-250 B.C.).  Highly idealized in a pure Greek style and retaining its original polish, it ranks with the finest Ptolemaic royal portraits.

The Hellenistic Treasury is an intimate showplace for outstanding examples of luxury goods, primarily made of precious metals, gemstones or glass as well as coins (important loans from the American Numismatic Society) and refined small-scale objects having a private or religious use. Among those on display here are a pair of spectacular gold serpentine armbands (Greek, Hellenistic, ca. 200 B.C.) and a small bronze statue of a veiled and masked dancer (Greek, third-second century B.C.).

John Georgias Family Gallery for Hellenistic Art and Hellenistic Tradition

The John Georgas Family Gallery for Hellenistic Art and the Hellenistic Tradition (Third – First Century B.C.) displays a collection of bronze sculptures including a statue of Eros sleeping (Greek or Roman, Hellenistic or Augustan, third century B.C.-early first century A.D.), one of the few bronze statues that have survived from antiquity.

Wall painting (P. Fannius Synistor Villa, Boscoreale)

At its reception hall are several fresco panels, the largest of which is a grouping of three frescoes, from Boscoreale (located near Pompeii, it was buried by the eruption of Vesuvius in A.D. 79), the sumptuous villa of the wealthy Roman patron P. Fannius Synistor (Roman, Late Republican, ca. 50-40 B.C.), with figures that are generally agreed to be copies of a cycle of royal paintings created for one of the Macedonian courts of the Hellenistic period. They probably celebrate a dynastic marriage.

Wall painting (P. Fannius Synistor Villa, Boscoreale)

The Black Room (Gallery 165, Roman, Augustan, last decade of first century B.C.), a reconstruction of a room from the imperial villa (partially excavated between 1903 and 1905 after its accidental discovery during work on a railway) of Agrippa Postumus at Boscotrecase, incorporates surviving panels from the original walls.  The wall panels, set against a flat, monochrome surface, features Egyptianizing motifs and medallions with portraits of members of the imperial family.

The Black Room Late First Century BC (Gallery 167)

The Sylvia Josephs Berger and Joyce Berger Cowin Gallery for the Art of Augustan Rome (First Century A.D.) contains many exquisite examples of Roman imperial art.

Art of Augustan Rome Late First Century B.C.–First Century AD

They include:

  • A sardonyx cameo (Roman, Claudian, A.D. 41-54) – a masterpiece in miniature carving, it was part of the celebrated 17th-century collection of Thomas Howard, Earl of Arundel.
  • A beautiful cast glass bowl (Roman, Augustan, late first century B.C.)
  • A glass jug (Roman, Julio-Claudian, first half of first century A.D.) – signed by Ennion (from the eastern Mediterranean coastal city of Sidon in modern Lebanon), the most famous and gifted of the known makers of Roman mold-blown glass.

Art of Imperial Rome Second Century A.D.

Roman Imperial Art (Second Century A.D.) focuses on the arts of Rome during the peaceful and prosperous second century A.D. It includes a recently acquired marble cinerary urn or container for the ashes of a cremated body (Roman, Julio-Claudian, first half of the first century A.D.), a singular example of Roman funerary art.

The John A. and Carole O. Moran Gallery for the Art of the Later Roman Empire (Third Century A.D.) prominently displays a collection of Roman sarcophagi figures including:

  • A fine strigillated sarcophagus (a type that was very popular in Rome and Italy), although the marble from which it was made comes from northwest Asia Minor (Turkey).
  • The bronze statue of Trebonianus Gallus (Roman, Late Imperial, A.D. 251-53)
  • The monumental marble head of Constantine the Great (Roman, Late Imperial, ca. A.D. 325-70).

Also on display are gold, silver, and bronze coins that were minted primarily to supply money for state expenditure and to facilitate the collection of taxes. Additional galleries and a study collection are located on the mezzanine level. 

The dramatic Leon Levy and Shelby White Gallery for Etruscan Art (Ninth-Second Century B.C.), located at the Mezzanine Level, overlooking the Leon Levy and Shelby White Court to the north and Central Park to the south, is devoted to the art of the Etruscans, from their earliest creations to the time of Roman rule.

Its centerpiece is the newly restored, world-famous Etruscan chariot (second quarter of the sixth century B.C.), one of the great works in the museum’s collection and one of very few complete chariots to survive from antiquity. Made with bronze mounted on a wooden substructure, it is inlaid with precious elephant and hippopotamus ivory and richly decorated with scenes from the life of the Greek hero Achilles. It was probably used solely for ceremonial purposes before being buried in a tomb.

Displayed nearby is a rich array of smaller bronze and terracotta objects found in the same tomb as well as the Bolsena tomb-group, which includes works that were part of the burial of a woman.

Also on view are the following:

  • A small, charming Etruscan vase (which may originally have contained ink) in the shape of a cockerel (ca. 630-620 B.C.), inscribed with the 26 letters of the Etruscan alphabet.
  • A small bronze statuette of a young, elaborately dressed Etruscan woman (Archaic, late sixth century B.C.), most likely used as a religious offering in a sanctuary.
  • The so-called “Morgan amber” (Etruscan, Late Archaic, ca. 500 B.C.) – the most complex and most important carved amber surviving from ancient Italy, it shows a couple reclining on a couch.  It came to the museum with the bequest of the collection of J. Pierpont Morgan.
  • A set of jewelry found in a tomb (late archaic Etruscan, early fifth century B.C.) – the richest and most impressive set of Etruscan jewelry ever found, it comprises a splendid gold and glass pendant necklace, a pair of gold and rock-crystal disk earrings, a gold fibula decorated with a sphinx, a pair of plain gold fibulae, a gold dress pin, and five finger ring. Two of the rings have engraved scarabs. One is decorated with embossed satyr heads while the other two have decorated gold bezels.
  • A group of Etruscan and Italic armor
  • Elaborately carved cinerary urns
  • 14 beautifully engraved Etruscan mirrors.

Leon Levy And Shelby White Gallery For The Greek And Roman Study Collection (Prehistoric Greek-Late Roman), located at the Mezzanine Level, features a large display of study material, comprising more than 3,400 works in all media and covering the entire cultural and chronological span of the department’s collection, from the art of prehistoric Greece through late Roman art. Among its noteworthy works are:

  • A collection of prehistoric Greek vases – given to the Metropolitan Museum in 1927 by the Greek government
  • A Roman transport amphora – given by the noted underwater explorer Jacques Cousteau.
  • Several hundred examples of Roman glass in fantastic shapes and colors, ranging from clear colorless to darkest blue, and from greenish yellow to deep amber.

In lieu of traditional labels inside the display cases, an interactive system, developed specifically for the Metropolitan, allows the information to be kept up-to-date with the latest scholarship on each object. Six wall-mounted computer touch screens, located throughout the study collection, allow visitors to access information about each object on view.

An additional gallery, also on the mezzanine level, is devoted to the display of special exhibitions. 

Metropolitan Museum of Art: 1000 5th Ave, New York, NY 10028, USA. Tel: (212) 535-7710 and (212) 570-3951. Fax: (212) 472-2764. E-mail: communications@metmuseum.org.  Website: www.metmuseum.org. Open 10 AM – 9 PM. Admission: US$25/adult, children below 12 years old is free.

Metropolitan Museum of Art – Arms and Armor (New York City, New York, U.S.A.)

The Department of Arms and Armor, one of the Met’s most popular collections, was organized in 1975 with the help of the Russian immigrant and arms and armors’ scholar, Leonid Tarassuk (1925–90). This department focuses on “outstanding craftsmanship and decoration,” including pieces intended solely for display.

Metropolitan Museum of Art – Arms and Armor

The 14,000 objects in the collection, spanning more geographic regions than almost any other department, consists of late medieval European pieces; Japanese pieces from the 5th through the 19th centuries; weapons and armor from dynastic Egyptancient Greece, the Roman Empire, the ancient Near EastAmericas, Africa and Oceania; and American firearms (especially Colt firearms) from the 19th and 20th centuries.

The first thing you would notice, upon entering this department, is one of the most recognizable images of the museum – the Emma and Georgina Bloomberg Arms and Armor Court (European Armor for Field and Tournament).

The most extensive selection in the United States of rare and finely made sixteenth- and seventeenth-century European armor for men and horses, created for kings and noblemen to use on the battlefield and in tournaments, it features a distinctive “parade” of installed figures on horseback, dressed in elaborately decorated Greenwich armors, from the English Royal workshops founded by King Henry VIII of England, as well as one of Henry’s personal armors, made in Italy and worn by the king in his last campaign against the French at Calais in 1544. Other pieces made for and used by kings and princes includes armor belonging to  Ferdinand I of Germany.

The Bashford Dean Gallery (European Arms and Armor, Late Medieval to Renaissance), spanning the development of the art of the armorer from the fourteenth century through the early sixteenth century in Italy, Germany, and other parts of Europe, displays rare and distinctive examples of early field and tournament armor, swords, shields and crossbows.

The Ronald S. Lauder Gallery (European Ceremonial Armor), with works exemplifying artistic styles from the High Renaissance through Mannerism in exuberant etching, embossing, and gold and silver ornament, focuses on lavishly decorated ceremonial armor, shields, and weapons of the sixteenth century from Germany, Italy, and France. Highlights include an ornate armor made for King Henry II of France (embodying the king both as a warrior and a patron of the arts) and a helmet superbly sculpted, in the antique style, by Filippo Negroli.

The Russell B. Aitken Gallery of Firearms (European Hunting and Sporting Weapons),  devoted to hunting and sporting weapons as intricate and evocative works of art, highlights the art of the gun maker from the Renaissance, Baroque, Rococo, and Neo-Classical periods.  It features richly decorated European firearms, crossbows and accessories from the sixteenth to the nineteenth century including weapons that belonged to Emperor Charles V and King Louis XIII of France.

The Russell B. Aitken Gallery of European Edged Weapons (European Swords), offering an unparalleled display of finely decorated European swords dating from the sixteenth through the nineteenth century, includes rapiers, hunting weapons, ceremonial swords and presentation swords made of delicate and precious materials.  It also features the last royal armor made in Europe, created in 1712 for Luis, prince of Asturias, the five-year-old heir to the Spanish throne.

The Robert M. Lee Gallery (American Swords and Firearms), representing outstanding examples of American silver- and goldsmiths’ work, products of the Industrial Revolution, and American folk art, features American swords and firearms from the Colonial Period through the late nineteenth century. They include silver-hilted swords from the time of the American Revolution; an extensive series of Colt revolvers; firearms lavishly decorated by Tiffany & Company; Kentucky rifles; and engraved Colonial-era powder horns.

The Arms and Armor of Islamic Cultures, representing a wide spectrum of Islamic cultures from India, the Middle East, Turkey, and the Caucasus from the fourteenth to the nineteenth century, features rare and beautifully decorated armor and weapons. 

The Samurai Swords and Daggers Gallery, showing masterpieces in steel, lacquer, and gold that represent some of the highest achievements of the arts of the Samurai, features a changing selection of Japanese sword and dagger blades; mountings; and fittings from the fourteenth to the nineteenth centuries.

Japanese Arms and Armor Gallery

 The Japanese Arms and Armor Gallery includes the finest display, outside of Japan, of Samurai armor, edged weapons, equestrian equipment, and accessories from the Kofun Period in the fifth century to the end of the Edo Period in the late nineteenth century. Its centerpiece is the armor of Ashikaga Takauji, Shogun of Japan in the early fourteenth century. 

Japanese Arms and Armor

The Arms and Armor from the Stone Age to the Iron Age explores the function, technology, circulation and meanings of arms (to hunt animals, to defend their lives and goods, and to fight enemies), from the Stone Age through the Iron Age, and the particular significance of these tools during their working lives and beyond.

Metropolitan Museum of Art: 1000 5th Ave, New York, NY 10028, USA. Tel: (212) 535-7710 and (212) 570-3951. Fax: (212) 472-2764. E-mail: communications@metmuseum.org.  Website: www.metmuseum.org. Open 10 AM – 9 PM. Admission: US$25/adult, children below 12 years old is free.

Castle Clinton National Monument (New York City, U.S.A.)

Castle Clinton National Monument

The 0.4-hectare (1 acre), Medieval-looking Castle Clinton (or Fort Clinton), a circular sandstone fort previously originally known as West Battery and sometimes as Southwest Battery and Castle Garden, was the first American immigration station (predating Ellis Island), where approximately 7.7 million people arrived in the United States from 1855 to 1890. Lying near the northwestern corner of Battery Park, it serves as the park’s main attraction.

Some of the few noteworthy immigrants who passed through here include:

Built from 1808 to 1811, it has, over its active life, functioned as an administrative headquarters, a paymaster’s quarters and storage area for the United States Army (until 1821), a beer gardenexhibition halltheater, and public aquarium. Castle Clinton stood slightly two blocks west of where Fort Amsterdam was built in 1626 (when New York City was known by the Dutch name New Amsterdam). By 1790, after the American Revolutionary War, Fort Amsterdam was demolished.

Castle Clinton National Monument plaque

Here is the historical timeline of Castle Clinton:

  • In 1807, a group of three commissioners, including Lt.-Col. Jonathan Williams (a grandnephew of Benjamin Franklin) of the United States Army Engineers, submitted a report that recommended the construction of fortifications in New York Harbor.
  • In 1808, construction of the fort began on a small artificial island just off shore which was connected to Battery Park by a 200-ft. long wood causeway and drawbridge.
  • In 1811, the fort was completed although modifications continued through the 1820s.
  • In 1817, West battery was renamed Castle Clinton, its current official name, in honor of New York City Mayor De Witt Clinton (who eventually became Governor of New York).
  • In March 1822, it was ceded to the city by an act of Congress.
  • In June 1824, the fort was leased to New York City as a place of public entertainment.
  • On July 3, 1824, it opened as Castle Garden (a name by which it was popularly known for most of its existence), an open-air structure serving, in turn, as a promenadebeer garden/restaurantexhibition hall (new inventions such as the telegraph, Colt revolving rifles, steam-powered fire engines, and underwater electronic explosives were demonstrated there), opera house and theater.
  • That same year, it celebrated the arrival of Gen. Lafayette at the beginning of his year-long triumphal tour of America.
  • In 1844, a domed roof was placed to accommodate a 6,000-seat theater.
  • In 1850, to initiate her American tour, Swedish soprano Jenny Lind (the “Swedish Nightingale”), brought to America by by P.T. Barnum (famous for his American Museum full of “freaks” and, later, the famous circus which bears his name), gave two concerts for charity at the castle.
  • In 1851, European dancing star Lola Montez performed her notorious “tarantula dance” in Castle Garden.
  • In 1853–54, Louis-Antoine Jullien, the eccentric French conductor and composer of light music, gave dozens of very successful concerts mixing Classical and light music.
  • On June 17, 1851, the Max Maretzek Italian Opera Company notably staged the New York premiere of Gaetano Donizetti‘s Marino Faliero.
  • On July 20, 1854, the Max Maretzek Italian Opera Company also staged the New York premiere of Giuseppe Verdi‘s Luisa Miller  at Castle Garden.
  • During the 1860s, landfill was used to expand Battery Park at which point the island containing the fort was incorporated into the rest of Manhattan Island.
  • In the first half of the 19th century, most immigrants arriving in New York City landed at docks on the east side of the tip of Manhattan, around South Street.
  • On August 1, 1855, Castle Clinton became the Emigrant Landing Depot, functioning as the New York State immigrant registration center (the nation’s first such entity).
  • On April 18, 1890, the  S. government assumed control of immigration processing from the state government.
  • On January 2, 1892, after many unnecessary deaths and scandals over immigration workers cheating and stealing from immigrants, the immigration control was taken over by the federal government and the immigrant registration center was moved to the larger, more isolated Ellis Island
  • On June 15, 1897, a fire consumed the first structures on Ellis Island, destroying most of Castle Clinton’s original immigrant passenger records (it is generally accepted that approximately 7.7 million immigrants and, perhaps, as many as 10 million were processed during its operation).
  • On December 10, 1896, Castle Garden was opened as the site of the New York City Aquarium (designed by McKim, Mead & White) which, for many years, was the city’s most popular attraction, drawing hundreds of thousands of visitors each year to see its Beluga whale, sea lions and exotic fish. The structure was extensively altered and roofed over to a height of several stories, though the original masonry fort remained.
  • In 1941, Triborough Bridge and Tunnel Authority Commissioner Robert Moses wanted to tear the structure down completely, claiming that this was necessary to build the Brooklyn–Battery Tunnel.
  • In September 1941, to expedite construction of the tunnel, the city closed the New York Aquarium and moved its fish to other aquariums. The aquarium was not replaced until Moses opened a new facility on Coney Island in 1957.
  • On August 12, 1946, President Harry S. Truman signed the legislation making the castle a U.S. National Monument.
  • In July 1947, the New York City Board of Estimate voted to demolish Castle Garden. However, the Board delayed the demolition for another year to allow the federal government to review the decision.
  • In May 1948, the Board voted to demolish the castle for the sixth time in as many years.
  • After another year of discussion, the New York State Assembly reversed its decision to allow the castle to be demolished.
  • On July 18, 1950, the federal government finally obtained the property after the city deeded the land and castle to the federal government.
  • In 1956, after funding had been secured, a project to renovate Castle Clinton was announced.
  • On October 15, 1966, Castle Clinton National Monument was listed on the National Register of Historic Places.
  • In the 1970s, a major rehabilitation took place, largely restoring it to its original appearance.
  • In 1975, Castle Clinton was reopened.

Designed by John McComb Jr. and Jonathan Williams, West Battery had a red brick facade, 8-ft. thick walls and was roughly circular in shape, with a radius of approximately 28 m. (92 ft.).

The ticket office

About one-eighth of the circle was left “unfinished,” with a straight wall constructed between the “unfinished” segments.

Intended to complement the three-tiered Castle Williams (the East Battery, on Governors Island, named after Jonathan Williams) with crosshair fire so that the channel between them could be closed, West Battery was armed with 28 cannons, in casemated gun positions, which could fire a 32 pound cannonball a distance of 1.5 miles into the harbor.   Although garrisoned in 1812, the fort never saw action in any war.

Currently administered by the National Park Service and now part of the Statue of Liberty National Monument, Castle Clinton is now a departure point for visitors to the Statue of Liberty and Ellis Island, housing an information center and ticket booths for the ferries.

Castle Clinton Museum

In 2009, it recorded nearly 4.08 million visitors. In addition, the fort contains a small history exhibit and occasionally hosts concerts.

Check out “Statue of Liberty National Monument

Castle Clinton National Monument: Battery Park, 26 Wall St., ManhattanNew York City 10005. Tel: (212) 344-7220.

Grand Central Terminal (New York City, U.S.A.)

The historic and beautiful Grand Central Terminal, a world-famous landmark in Midtown Manhattan and one of the most majestic buildings of the twentieth century, was designed by the architectural firms of Reed and Stem and Warren and Wetmore and opened to the public on February 2, 1913.  On December 8, 1976, it was declared as a U.S. National Historic Landmark.

Grand Central Terminal

This massive, granite, Beaux-Arts-style  building has both monumental spaces and meticulously crafted detail, especially on its facade. At the top of the building is “The Glory of Commerce,” a cluster of sculptures designed by French sculptor Jules-Felix Coutan, carved by the John Donnelly Company and assembled by William Bradley of Long Island City, Queens.  Depicting  MinervaHercules, and Mercury (representing Wisdom, Speed, and Strength, according to Roman mythology), it was, during its unveiling in 1914, the largest sculpture grouping in the world. The exterior clock, just beneath Mercury, is the largest piece of Tiffany glass in the world, measuring 4 m. (13 ft.) in diameter.  The eagles, perched on the corner of the building, actually adorned the previous Grand Central Station, which opened in 1869.

The cavernous interior

Here are some interesting trivia regarding this terminal:

  • The terminal is one of the world’s most visited tourist attractions, with 21.9 million visitors in 2013.
  • So much granite was used that the building emits relatively high levels of radiation. At an average dose of 525 mrem/year, a level higher than permitted in a nuclear power facility.
  • Grand Central Terminal’s 20 hectare (49-acre) basements are among the largest in New York City.
  • The exact location of M42, a “secret” sub-basement under the terminal that contains the AC to DC convertersused to supply DC traction current to the tracks, is a closely guarded secret and does not appear on maps.
  • It covers 19 hectares (48 acres) and has 44 platforms, more than any other railroad station in the world.
  • The Main Concourse was featured in dozens of films, among them Alfred Hitchcock’s “North By Northwest” to the animated DreamWorks film” Madagascar” as well as scenes from the Avengers, Superman and the X-men.

The cavernous, 84 m. (275 ft.) long, 37 m. (120 ft.) wide and 38 m. (125 ft.) high Main Concourse, the center of Grand Central, is usually filled with bustling crowds and is often used as a meeting place. Since the introduction of ticket vending machines, the ticket booths here now stand unused or have been repurposed.

Bay Balcony

Its interior has 35 restaurants, such as the famous  Oyster Bar & Restaurant (the only business that remained from the very day that Grand Central opened in 1913), Shake Shack and various fast food outlets (Starbucks, etc.) surrounding the Dining Concourse on the level below the Main Concourse, as well as delis, bakeries (Magnolia Bakery, etc.), pharmacy (Rite Aid),  full-service watch repair shop (Central Watch), fourth floor tennis club (Vanderbilt Tennis Club, opened in the 1960s and now owned by onald Trump), newsstands, a gourmet and fresh food market, an annex of the New York Transit Museum, and 65 retail stores (Apple Store, Vineyard VinesM.A.C. Cosmetics, etc.).

Some of the restaurants and retail stores within the terminal

Right outside the Oyster Bar is the Whispering Gallery.  One of the most popular spots in the Terminal, people often crowd this relatively plain-looking space, their faces pressed into the corner as the gallery perfectly transmits sound from corner to corner so much so that you can have a conversation, at the barest whisper, with a friend, hearing each other as though you were standing face to face.  The precise arch of the ceiling and the tiled surface caused this architectural anomaly.

The main information booth, in the center of the concourse, has the Main Concourse Information Booth Clock, a 4-faced brass clock, on top. Perhaps the most recognizable icon of Grand Central, it was designed by Henry Edward Bedford and cast in Waterbury, Connecticut. Each of the four clock faces is made from opalescent glass (now often called opal glass or milk glass), though urban legend has it that the faces are made of opal and that Sotheby’s and Christie’s have estimated their value to be between $10 million and $20 million.

Information board

The original blackboard (with arrival and departure information) by Track 36, dubbed a Solari board (after its Italian manufacturer), was replaced, in the main concourse, by an electromechanical display over the ticket windows that displayed times and track numbers of arriving and departing trains.

This New York institution, an indicator of just how busy Grand Central was, once contained rows of flip panels that displayed train information as its many displays would flap simultaneously to reflect changes in train schedules. Today, high-resolution mosaic LCD modules replaced the flap-board destination sign.

The elaborately decorated astronomical ceiling

The starry, stunning and elaborately decorated astronomical ceiling of  the Main Concourse, depicting the constellations of the Zodiac (astronomically inaccurate in a complicated way as other constellations are reversed left-to-right), was conceived in 1912 by Architect Whitney Warren with his friend, French portrait artist Paul César Helleu, and executed by James Monroe Hewlett and Charles Basing of Hewlett-Basing Studio, with corps of astronomers and painting assistants working on it. In the late 1930s, the original ceiling was replaced to correct falling plaster. A 12-year restoration effort, completed in autumn 1996, removed tar and nicotine from tobacco smoke from the ceiling and restored to its original design.

Next to the Main Concourse sits Vanderbilt Hall, named for the family of Cornelius Vanerbilt that built and owned the station.  Serving as the entrance area from 42nd Street at Pershing Square, it was formerly the main waiting room for the terminal.  Today, it is used for the annual Christmas Market and special exhibitions, and is rented for private events.

Jandy with the Main Concourse Information Booth Clock behind him

Grand Central Terminal: 89 East 42nd St. at Park Ave., New York CityNew York 10017. Open aily, 5:30 AM – 2 AM. Website: www.grandcentralterminal.com. The Grand Central Market is open Mondays – Fridays, 7 AM -9PM; Saturdays, 10AM – 7PM; and Sundays, 11AM – 6PM..

How To Get There: The closest subway station is at the terminal itself (Grand Central Station) and is serviced by 4, 5, 6, and 7 trains as well as the S shuttle train from Times Square –42nd Street.

Museum of Modern Art (New York City, U.S.A.)

Museum of Modern Art

The first place we visited, upon arrival in New York City, was the Museum of Modern Art (MoMA),  an art museum located in Midtown Manhattan. One of the largest and most influential museums of modern art in the world. MoMA’s admission cost of US$25 makes it one of the most expensive museums in the city.

The crowd that day inside the museum

However, it has free entry on Fridays, sponsored by clothing company Uniqlo, after 4PM and this we availed of. As such, the museum was more crowded (including the inevitable Oriental selfie snappers) than I would have liked and it was hard to move around but who can complain?

Photography (minus the camera flash) was allowed here, though my pictures didn’t capture the impact of the in-real-life viewing. There are 5 floors of artwork to admire and the huge galleries, whose overall chronological flow presents a perspective of stylistic progression and place in time, were well laid out. I allow a minimum of two hours to explore the museum.

The author besides Joan Miro’s The Hunter – Catalan Landscape (1923-24, Oil on Canvas)

MoMA  has been important in developing and collecting Modernist art and its collection offers an overview of modern and contemporary art, including works of sculpturearchitecture and designdrawingpaintingphotographyprintsillustrated books and artist’s booksfilm and electronic media.

A private non-profit organization, MoMA is the seventh-largest U.S. museum by budget (its annual revenue is about US$145 million, none of which is profit).

Andre Derain (Bathers, 1907, Oil on Canvas)

Vasily Kandinsky (Picture with an Archer, 1909, Oil on Canvas)

Rene Magritte (The Lovers, 1928, Oil on Canvas)

MOMA is considered, by many, to have the best collection of modern Western masterpieces in the world.  Its holdings include more than 150,000 individual pieces in addition to approximately 22,000 films and 4 million film stills (access to the collection ended in 2002 and the collection is mothballed in a vault in Hamlin, Pennsylvania).

Claude Monet (Agapanthus, Oil on Canvas, 1914-26)

Andrea Bowers (A Menace to Liberty, 2012)

All the classics were here and it was moving, inspiring, immersive and absorbing but also a bit overwhelming. The nicely curated collection at the fifth floor houses such important and familiar works as the following:

Claude Monet (The Japanese Footbridge)

Jackson Pollock (One Number 31, 1950)

It also holds works by a wide range of influential European and American artists including Georges BraqueMarcel DuchampWalker EvansHelen FrankenthalerAlberto GiacomettiArshile GorkyHans HofmannEdward HopperPaul KleeFranz KlineWillem de KooningDorothea LangeFernand LégerRoy LichtensteinMorris LouisRené MagritteJoan MiróHenry MooreKenneth NolandGeorgia O’KeeffeJackson PollockRobert RauschenbergAuguste RodinMark RothkoDavid SmithFrank Stella, and hundreds of others.

Fernand Leger (The Mirror, 1925, Oil on Canvas)

Fernand Leger (Woman with a Book, 1923, Oil on Canvas) (1)

Many of the paintings have an audio option which is great for some background information.

Vincent Van Gogh (The Starry Night, 1889, Oil on Canvas)

Seeing the original painting of Vincent van Gogh’s famous The Starry Night was certainly a moving experience that I shall not soon forget. I could actually see the layers and layers of paint, the small brush strokes and all of the colors of paint that are far more vivid on canvas.

Claude Monet (Reflections of Clouds on the Water-Lily Pond)

Claude Monet’s Water Lilies triptych, breathtaking to see in person, was also a big highlight worth seeing. The Picasso’s were also stunning, It was also great to see the full set of Andy WarholCampbell’s Soup Cans.

Any Warhol (Campbell’s soup cans, 1962)

An acquired taste is required for the temporary exhibits at the 3rd and the 4th floors which were very contemporary and not to my liking. The perplexing abstract pieces, using garage components such as snow shovels and car tires hammered (which begs the question “what was that supposed to be?”), didn’t excited me but they were still worth seeing how imaginative (and indulgent) modern artists have become.

Check out “Unfinished Conversations: New Work From the Collection,” “Robert Rauschenberg: Among Friends” and Making Space: Women Artists and Postwar Abstraction”  

Shirana Shahbazi (Composition 40 2011)

Certain pieces here challenged my preconceived ideas, making me scratch your head and ask the question “Is that’s art?” upon seeing 7 boards of wood painted white being called art.

Frank Lloyd Wright at 150

However, being an architect, the very informative Frank Lloyd-Wright exhibit, with its original drawings (painstakingly rendered the old fashion way), blueprints, sketches and models for many of his projects (both completed and proposed); was very interesting.

Check out “Frank Lloyd Wright at 150: Unpacking the Archive” 

Frank Lloyd Wright

Articles about the the myth of the great American architect provide interesting insights into his thinking and inspirations, portraying how advanced his ideas were in many ways.

Henri Matisse – Music (Sketch, 1907, Oil and Charcoal on Canvas)

Henri Matisse (Periwinkles-Morrocan Garden, Oil, Pencil and Charcoal on Canvas, 1912)

Henri Matisse (Still Life with Aubergines, Oil on Canvas, 1911)

Henri Matisse (The Rose Marble Table, Oil on Canvas, 1917)

MoMA’s Department of Architecture and Design, was founded in 1932, is the first museum department in the world dedicated to the intersection of architecture and design.  Philip Johnson, the department’s first director, served as curator between 1932–34 and 1946–54.

Henri Matisse (La Serpentine, Bronze, 1909)

Henri Matisse (Dance-1, 1909, Oil on Canvas)

Henri Matisse (The Morrocans, Oil on Canvas, 1915-16)

The collection consists of 28,000 works including architectural models, drawings and photographs and one of its highlights is the Mies van der Rohe Archive. It also includes works of legendary architects and designers Frank Lloyd WrightPaul László, the EamesesIsamu Noguchi, and George Nelson.

Pablo Picasso (Les Demoiselle d’Avignon, Oil on Canvas, 1907)

Pablo Picasso (Woman with Pears, 1909, Oil on Canvas)

Pablo Picasso (The Studio, Oil on Canvas, 1927-28)

The Design Collection contains many industrial and manufactured pieces, ranging from a self-aligning ball bearing to an entire Bell 47D1 helicopter.

Bell 47D1 helicopter

In 2012, the department acquired a selection of 14 video games, the basis of an intended collection of 40 which is to range from Pac-Man (1980) to Minecraft (2011). The world-renowned Art Photography Collection, founded by Beaumont Newhall in 1940, includes photos by Todd Webb.

Pablo Picasso (Nude with Joined Hands, Oil on Canvas, 1906)

Pablo Picasso (Two Nudes, 1906, Oil on Canvas)

Pablo Picasso (Ma Jolie, 1911)

Pablo Picasso (Bather, Oil on Canvas, 1908-09)

The building also features an entrance for school groups, a 125-seat auditorium, an orientation center, workshop space for teacher training programs, study centers, and a large lobby with double-height views into the beautiful outdoor Sculpture Garden, at the mile of the museum, which features Aristide Maillol’s The River, a great statue of a woman diva laying on her back above the water.

Aristide Maillol (The River)

Alexander Calder (Sandy’s Butterfly, 1964)

From about 1.5 million a year, MoMA has seen its average number of visitors rise to 2.5 million after its new granite and glass renovation. In 2009, the museum reported 119,000 members and 2.8 million visitors over the previous fiscal year.

Paul Cezanne (Still Life with Apples, 1895-98, Oil on Canvas)

Paul Cezanne (L’Estaque, 1879-83, Oil on Canvas)

Paul Cezanne – Château Noir 1904-06, Oil on canvas, 73.6 x 93.2 cm.)

During its 2010 fiscal year, it attracted its highest-ever number of visitors of 3.09 million. However, in 2011, attendance dropped 11% to 2.8 million.

Paul Cezanne (The Bather, 1885, Oil on Canvas)

Paul Cezanne (Pines and Rocks – Fountainbleau)

Since its founding in 1929, the museum was open every day until 1975, when it closed one day a week (originally Wednesdays) to reduce operating expenses. In 2012, it again opened every day, including Tuesday, the one day it has traditionally been closed.

Henry Rosseau (The Sleeping Gypsy, 1897, Oil on Canvas)

Henri Rosseau (The Dream, 1910, Oil on Canvas)

The museum’s awesome gift shop had a lovely selection of gifts such as magnets, prints and more unique items like socks and scarves with art on them as well that summed up all of the amazing art throughout the museum. 

Vasudeo S. Gaitonde (Painting No. 4, 1962)

Mademoiselle Pogany (Constantin Brancusi)

Museum of Modern Art (MoMA): 11 West 53rd St. (between Fifth and Sixth Ave.) , New York City, NY 10019, USA. Open 10:30 AM – 5:30 PM (8 PM on Fridays). Admission: US$25/adult, children below 12 years old is free. 

How to Get There:

Bus: Any line to 53rd Street

Metro: Any line to Fifth Avenue or 53rd Street

Incheon International Airport (South Korea)

Incheon International Airport

Incheon International Airport (IIA) (IATA: ICN, ICAO: RKSI), sometimes referred to as Seoul–Incheon International Airport, is the largest airport in South Korea. Located west of Incheon‘s city center, the airport is located on an artificially created piece of land between Yeongjong and Yongyu Islands.

Originally separated by shallow sea, the area between the two islands was reclaimed for the construction project, effectively connecting the two islands. The reclaimed area. as well as the two islands, are all part of Jung-gu, an administrative district of Incheon.

L-R: Jandy, Grace, Cheska and Kyle

The airport opened for business on March 29, 2001, replacing the older Gimpo International Airport which now serves mostly domestic destinations plus shuttle flights to alternate airports in several East Asian metropolitan areas including Tokyo and Osaka, both in Japan; Beijing and Shanghai, both in China; and Taipei in Taiwan.

A Duty-Free Shop

Incheon International Airport’s terminal has 111 boarding gates altogether, with 44 in Terminal 1, 30 in Concourse A (connected to terminal 1), and 37 in Terminal 2. The airport serves as a hub for international civilian air transportation and cargo traffic in East Asia. Located 48 kms (30 mi.) west of Seoul, the capital and the largest city of South Korea, Incheon International Airport is the primary airport serving the Seoul Capital Area.

The author and son Jandy

Here are some interesting trivia regarding this airport:

  • The airport is the main hub for Korean AirAsiana AirlinesJeju Air, and Polar Air Cargo.
  • In 2016, the Incheon International Airport was the fifth busiest airport in the world and third in Asia by cargo traffic, and 19th in the world and eighth in Asia by passenger traffic. In 2017, the airport improved to being the world’s fourth busiest airport by cargo traffic (and still third in Asia).  It remained the world’s 19th busiest airport by passenger traffic (but dropped to ninth in Asia).
  • In 2016, the airport served a total of 57,849,814 passengers. In 2017, it increased its total to 62,082,032 passengers.
  • It is ranked among the fastest airports in the world for customs processing. It is claimed, by airport authorities, that average departure and arrival takes 19 minutes and 12 minutes, respectively, as compared to worldwide average of 60 minutes and 45 minutes, respectively.
  • It is rated as the world’s cleanest airport
  • It is one of the largest and busiest airports in the world.
  • In 2012, in the World Airport Survey results published by Skytrax, it was ranked as the world’s best international transit airport.
  • Incheon International Airport claims that it has only a 0.0001% baggage mishandling rate.

Since its opening, Incheon International Airport has been the recipient of a number of awards including:

  • For 11 consecutive years, from 2005 to 2016, the airport held the record of being ranked the Best Airport Worldwide by the Airports Council International(ACI)’s Airport Service Quality Award.
  • Since 2012, due to the Airports Council International(ACI)’s decision to discontinue the Best Airport Worldwide category, it has also been rated the world’s best among airports of its size (25–40 million passengers) and region (Asia-Pacific).
  • In January 2007, it won the GT Tested Award for Best Airport in the World.
  • In January 2008, it was named by Global Traveler (GT) as the Best Airport in the World for the second straight year.
  • In 2013, Business Traveller rated its duty-free shopping mall as the world’s best for three years in a row.

Kyle watching planes landing and taking off

The airport has a golf coursespa, private sleeping rooms, an ice skating rink, a casinoindoor gardens, and a Museum of Korean Culture.

Mactan Shrine (Lapu-Lapu City, Cebu)

Mactan Shrine.  On the left is the small building housing two plaques while on the right is the Magellan Monument

Part 4 of the Bluewater Maribago Beach Resort & Spa-sponsored City Tour

This shrine is dedicated in honor of Lapu-Lapu (the Philippines’ first National Hero) and the Portuguese explorer Ferdinand Magellan and was erected on the supposed spot where the Battle of Mactan (April 27, 1521) took place. The shrine has three prominent monuments

Lapu-Lapu Monument

The 20-ft. high Lapu-Lapu Monument, beside the shore, features a bronze statue, on a pedestal, of Datu Lapu-Lapu, sculpted with great realism, holding a kampilan (curved sword) on his right hand and a shield on the left.  The Magellan Marker, shaped like a large headstone, allegedly marks the spot where Magellan fell dead in the hands of Lapu-Lapu’s men.

Magellan Monument

A little farther away is the 30-ft. high Magellan Monument, on a base of several levels and surrounded by a low fence. It consists of plain, coralstone obelisk, on whose apex rests a sphere, mounted on a tall plinth that rests on a tripartite structure – an octagonal base, on which rests a tall quadrilateral structure, divided into a lower part, decorated with high relieves of vases, and an upper part pierced by narrow arches.

Relief of a vase

The monument is inscribed with texts. On one side is A Hernando de Magallanes, Ferdinand Magellan’s name written in the original Portuguese language.

Inscription with Magellan’s name

On a second side is the phrase Glorias Españolas (“Glory to Spain”),  on the third is the phrase Siendo Gobernaor Don Miguel Creus (the Spanish governor of the Philippines at the time) and on the fourth side is the phrase 1866 Reinando Ysabel II (the Spanish monarch at that time).

Inscription with Gov. Miguel Creus’s name

The monument was said to have been built in 1866 during the administration of Augustinian Fr. Simon Aguirre, who was cura (parish priest), from 1857 to 1871, of Opon (the old name of Lapu-Lapu City).

The plinth with two plaques

Between the Lapu-Lapu and Magellan monuments stands the Philippine flag.  East of the Magellan Monument is a small building housing a plinth flanked by plaques.

The Lapu-Lapu plaque

The plaque about Lapu-Lapu (installed by the Philippine Historical Committee in 1951) reads:

Lapulapu

Here on 27 April 1521, Lapulapu and his men repulsed the Spanish invaders, killing their leader Ferdinand Magellan thus Lapu Lapu became the first Filipino to have repelled European aggression.

The plaque about Magellan’s death

The other plaque about Ferdinand Magellan (installed by the Philippine Historical Committee in 1941) reads:

Ferdinand Magellan’s Death

On this spot Ferdinand Magellan died on April 27, 1521 wounded in an encounter with the soldiers of Lapu Lapu, Chief of Mactan Islands. One of Magellan’s ships, The Victoria, under the command of Juan Sebastian Elcano, sailed from Cebu on May 1, 1521 and anchored at San Lucar de Barrameda on September 6, 1522 thus completing the first circumnavigation of the earth.

The huge mural painting

Behind the plinth is a huge mural painting depicting the battle. The Battle of Mactan is reenacted along the shores near the shrine during the 27 April Kadaugan sa Mactan Festival.

The Kadaugan sa Mactan re-enactment site

Mactan Shrine: Punta Engano, Lapu-Lapu City, Cebu.

Bluewater Maribago Beach Resort & Spa: Buyong, Maribago, Lapu-Lapu City, 6015, Cebu. Tel: (032) 492-0100. Fax: (032) 492-1808.  E-mail: maribago@bluewater.com.ph.   Website: www.bluewatermaribago.com.ph.  Metro Manila sales office: Rm. 704, Cityland Herrera Tower, 98 Herrera cor. Valero Sts., Salcedo Village, Makati City, Metro Manila. Tel: (02) 887-1348 and (02) 817-5751. Fax: (02) 893-5391.