Lower Manhattan’s Monument to a Ship That Never Arrived in New York to Shine Once Again
The Titanic Memorial Lighthouse, at the corner of Pearl and Fulton Streets since 1976, has been restored by the South Street Seaport Museum.
After a year of stabilization and refurbishment, the restoration of the Titanic Memorial Lighthouse by the South Street Seaport Museum is nearing completion.
Museum president Captain Jonathan Boulware reported to Community Board 1 members that programmers were finalizing the project and configuring the Memorial’s time ball, a long-dormant horological aid. A large metal globe that once descended a pole precisely at the stroke of noon each day (triggered by a telegraphic signal from the U.S. Naval Observatory in Washington, D.C.), the time ball of the Titanic Memorial Lighthouse enabled sailors aboard ships offshore to calibrate their marine chronometers, needed for celestial navigation and the determination of longitude at sea. (This device was the origin of the now-renowned Times Square ball drop on New York’s Eve.) “That maritime tradition will now happen again every day at noon,” Mr. Boulware said.
Above: The Titanic Memorial Lighthouse was originally located atop the now-demolished Seamen’s Church Institute at the corner of South Street and Coenties Slip, on the site of what is now Vietnam Veterans Plaza. Below: The “time ball” at the top of the lighthouse descended a pole precisely at the stroke of noon each day, triggered by a telegraphic signal from the U.S. Naval Observatory in Washington, D.C.
This local memorial to the 1912 sinking of the RMS Titanic has been hiding in plain sight at the corner at the corner of Pearl and Fulton Streets for five decades. Originally perched atop the Seamen’s Church Institute (a philanthropic organization that provides social services to mariners) at the corner of South Street and Coenties Slip, it was dedicated on April 15, 1913, the one-year anniversary of the sinking of the Titanic. Designed by the architectural firm Warren and Wetmore (who created Grand Central Terminal), the Titanic Memorial Lighthouse featured a trio of 2500-candle power mercury lamps, the emerald beams from which could be seen ten miles out at sea.
“There is a new set of lights in there, which are green,” Captain Boulware noted. “When the lighthouse was erected on the Seamen’s Church building on Lower South Street in 1913, it had three green lanterns, which were deliberately intended to avoid confusion with an actual lighthouse.”
The South Street Seaport Museum saved the Titanic Memorial Lighthouse a half century ago, by arranging to accept the structure as a donation when the Seamen’s Church Institute building was demolished in the mid-1970s. The Titanic Memorial was initially moved to Pier 16 and then in 1976, after a partial restoration, the lighthouse was moved to its current location atop a lighthouse-like base at Titanic Memorial Park where it welcomes visitors to the South Street Seaport Historic District.
“We also had a treatment for the plinth, the base, which is not part of the artifact itself,” Captain Boulware added, “but inhabits one of this object’s multiple roles, that of wayfinding, the entry point to the Seaport, making it really clear where you are. We’re already finding that people say, ‘meet by the lighthouse.’”
“The Titanic Memorial Lighthouse will again shine in Lower Manhattan as a beacon of history and hope in honor of those lost in the Titanic disaster,” he said, suggesting the lighthouse as a new locale for “a downtown New Year’s Eve celebration for New Yorkers.”
Matthew Fenton
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THE BROADSHEET
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
During the Covid pandemic in 2020 the Department of Records & Information Services assigned several Municipal Archives staff to assignments that could be completed remotely. The projects included transcribing collection inventories, lists, finding guides and other descriptive materials into searchable databases and spreadsheets.
Pen-maker John Foley to Mayor Abram Hewitt, 1887. Early Mayors records, NYC Municipal Archives.
Recently, archivist Cynthia Brenwall resumed transcribing descriptions of documents in the Early Mayors’ collection. This series comprises correspondence and documents from New York City mayoral administrations from 1826 through 1897 and totals 157.5 cubic feet. The collection had been assembled by Rebecca Rankin during her 32-year tenure as the Director of the Municipal Library between 1920 and 1952. This was a core collection in the Municipal Archives when it opened in 1952, and remains one of the most important series documenting nineteenth-century government and policies.
One feature of the correspondence noted by Ms. Brenwall during her work in 2020 and again more recently, is the elaborate commercially produced stationery and letterheads used by businesses and governments. This week For the Record takes a closer look at these wonderful works of art that defined an era of letter writing.
Real-Estate Union letterhead form 1893. Early Mayors records, NYC Municipal Archives.
An example of the original documents that were transcribed by NYC Municipal Archives staff in 2020. Entry 146 is the reference to the Real-Estate Union letterhead shown above.
Pastor Nathan Hubbell to Mayor Gilroy, 1893. Early Mayors records, NYC Municipal Archives.
Johnson & Johnson Company, 1893. Early Mayors records, NYC Municipal Archives.
Twine, rope, cord and hammock makers the Travers Brother Company highlighted the products that they produced in this elaborate letterhead. 1892. Early Mayors records, NYC Municipal Archives.
Sherriff John J. Gorman to Mayor Grant in 1893. Early Mayors records, NYC Municipal Archives.
Leo Schlesinger & Company was located on Crosby Street and manufactured tin toys, among other items. 1893. Early Mayors records, NYC Municipal Archives.
The 1893 letterhead for the Tiffany Glass & Decorating Company the graphic logo of the original glass company. Early Mayors records, NYC Municipal Archives.
Technically, the term letterhead did not appear until 1890. Before then, it was simply called “letter paper.” The rich illustrations depicted on the stationery corresponds with industrialization in America. By the 1860s, the images became more detailed and creative. It was a period when Americans could see their growing nation reflected in the artwork on their bills and correspondence.
The primary role of these illustrations was publicity. The images show busy factories, bustling street corners, and bold bank buildings. Government agency and department correspondence visually conveys the nature of their responsibilities.
While the content of the letters in the Early Mayors’ collection might be standard government business, the stationery offers a delight for the eye and creates a window into the business and government culture of a time gone by. For more examples, readers are also invited to review two For the Record articles published in 2020: The Transcription Project, Early Mayors’ Collection and Early Mayors Collection Part 2
The Grand Union Hotel was located across the street from the Grand Central Depot. 1888. Early Mayors records, NYC Municipal Archives.
William McCoy to Mayor Thomas Gilroy shows off the work of both the engraver and designer of this letterhead. Early Mayors records, NYC Municipal Archives.
This detailed letterhead features an image of a beehive to promote the business of a grocery and tea dealing company. Letter from the office of Callahan and Kemp sent to Mayor Hugh Grant, 1889. Early Mayors records, NYC Municipal Archives.
Eureka Fire Hose Company logo on a letter dated 1893. Early Mayors records, NYC Municipal Archives.
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New York Municipal Archives
JUDITH BERDY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
