Welcome to I Ride the Harlem Line, home of the Metro-North Panorama Project, which toured all the stations across the Metro-North system. If you’re interested in history, check out the SmartCat Historical Archives, which contains old timetables, tickets, postcards and more from the old New York and Harlem Railroad.
Continuing along on our tour of the 4 line’s Arts for Transit glasswork are five more stations – each with a unique piece of art that adds color to the urban landscape.
Artist: Jose Ortiz
Title: Many Trails
Found in the mezzanine area of the station, the glassword at 183rd Street depicts scenes from the area, both from the past and present. The title of the piece derives from the symbol depicted on the first panel of the piece – it is the Mohican “Many Trails” symbol. The meaning behind the symbol is described as thus:
The design symbolizes the endurance, strength, and hope of a long-suffering, proud, and determined people. The curved shape represents the arms of a man raised in prayer. the circles represent many campfires. The lines represent the many trails taken from the time the Indians left their ancestral homes.
Some of the scenes depicted in the piece are the lands once inhabited by the Siwanoy Nation (a branch of the Mohicans) in the 1600s, the Croton Aqueduct, St. Nicholas of Tolentine Church, and the Hall of Fame for Great Americans at Bronx Community College.
As has been readily established on this blog, I’m not much of a fan of subways. The subterranean lack of light has never been of much intrigue to me, though I do find some interest in the stations located above ground. Many of New York City’s above-ground subway stations feature attractive stained glass art, through the Arts for Transit program. While I thought it might be interesting to do a post featuring some of the attractive stained glass found on the subway, I ended up with a whole lot more material than I anticipated.
Though we won’t be going as in-depth as my previous tours of Metro-North stations, I did think it would be fun to tour some of the above-ground sections of the NYC subway, focusing on the glass art found at various stations. When trains went back underground – I bailed – and when the art wasn’t glass in the windows or windscreens, I skipped it.
We’ll start our exploration on the 4 Line. If you’re interested in joining up via Metro-North, board a Bronx-bound 4 train to Woodlawn from Grand Central or Harlem-125th Street. We’ll be starting at Woodlawn – the end of the line – and working our way down.
Though the clock tower in Grand Central may be one of the coolest windows of all of New York City, if you’re looking for an entire vantage point to see the city in a new way the old New York Central building is an absolute gem. I’ve professed my love for the building previously, but I recently got a chance to head up to the building’s cupola – high above the bustle of Park Avenue and face-to-face with the behemoth MetLife Building. From Harlem-125th Street it is possible to see the four miles down Park and spy the old railroad building – likewise, from the building’s cupola you can see straight ahead to the station’s platform and arriving and departing trains.
If you’ve ever wondered what the view from the top of the New York Central Railroad looked like (well, sort of, a lot has changed since then!), here are some photos from the cupola:
Since 1925 The New Yorker magazine has been putting out issues with the most wonderfully designed covers (and a few controversial ones). Often times the covers don’t necessarily reflect any specific article found within magazine, but sometimes they do reflect current events. Other times they show typical New York area scenes. In a city as reliant on mass transit as New York, it was inevitable that buses, trains, and subways would frequently wind up on the cover of the magazine. Even Grand Central Terminal and the original Pennsylvania Station have also been featured several times.
Because several of the illustrators contributing to the magazine lived in Connecticut, the New Haven Line and commuters from the state were depicted on The New Yorker’s cover several times. Westport’s Historical Society had an exhibit featuring some of the Connecticut artwork from the magazine. From what I’ve seen on the internet, the exhibit (which ended last month) looked quite interesting, including some preliminary sketches of the covers by some of the artists.
I figured that I’d create my own little exhibit of covers here, of course, railroad related. Below you’ll find a collection of some of my favorite covers from The New Yorker, all featuring transit in some way. Enjoy!
If you’re looking to visit one of Europe’s historical railroad stations, the Berlin Hauptbahnhof probably isn’t it. Opened in 2006, the city’s “main” or “central” station is a modern mix of rail and commercial space, encased in glass. There is, however, something to be said about the station’s upper floor, with a dome that evokes the train sheds of yesteryear (the glass is, however, thoroughly modern and contains 2700 square meters of solar paneling). While several tracks are located below ground, and there is a U-Bahn station further underground that will transport you to the Reichstag or Brandenburg Gate, the station’s most photogenic spot likely can be found under that dome.
Historically, the Berlin Hauptbahnhof was constructed on the former site of the Lehrter Bahnhof, which dated back to 1871. Unfortunately, that station was heavily damaged in World War II, and after the partition of Germany – which wreaked havoc on the city’s transportation systems – it was ultimately decided to demolish it. The last train departed the station in August of 1951, and by 1959 the station was completely gone, though the Stadtbahnhof viaducts which ran overhead were preserved.
The Lehrter Stadtbahnhof in 1998, photo by Röhrensee.
The adjacent Lehrter Stadtbahnhof station, opened in 1882, lasted longer than the Lehrter Bahnhof, but ultimately met the same fate. Carrying suburban traffic, these trains were electrified and were given the name S-Bahn in 1930. Although surviving World War II intact, the division of Germany similarly affected the station. After the construction of the Berlin Wall, West Berliners boycotted the S-Bahn, as it was operated by the state railway of East Germany, which further took its toll. Although West Berlin assumed control of the station in the 1980s, and it was subsequently renovated for Berlin’s 750th anniversary, the Lehrter Stadtbahnhof finally met its end in 2002 to make way for the Hauptbahnhof.