Soldiers' and Sailors' Arch

The Soldiers' and Sailors' Arch is at the southern end of Grand Army Plaza in Brooklyn, New York City, U.S., just north of the entrance to Prospect Park. Designed by John H. Duncan and completed in 1892, the arch was built as an American Civil War memorial. As built, the arch was surrounded by granite posts connected by a bronze chain. Including abutments on either side of the archway opening, the arch measures tall, with a footprint of . The interior of the arched opening is 50 feet tall and wide. At the top of the arch, the abutments narrow in thickness from 50 feet to . Design Exterior At the base of either of the arch's abutments is a course of darker granite from Quincy, Massachusetts, above which is lighter-colored granite. There are four pedestals, two each facing north and south; these were intended to support groups of statues, although only the southern pedestals have statuary. The archway opening's keystones reportedly weigh as well as one of two artworks of Lincoln on horseback that are known to exist. Beneath each equestrian relief, there are doorways in the abutments, which lead to the staircases. Each spandrel reportedly weighs . while the spandrels to the south depict female representations of victory. The monument's attic includes panels with disks surrounded by wreaths. The structure's parapet was to have globes with eagles resting above them, one inside each abutment. One staircase was originally used by visitors traveling to the roof, while the other was used by visitors descending to ground level. 107, 108, or 116 steps. Each of the stairs is made of iron and is illuminated by LEDs underneath. The room, measuring long, On the top of the arch is a quadriga or four-horse chariot, atop which is a figure of Columbia, the female personification of the United States. The figure holds a sword in her left (non-dominant) hand, signifying peace, in addition to a flag topped by a wreath, signifying victory. The quadriga is which represent the United States Army and United States Navy. in addition to a Valkyrie-like figure. The Navy grouping depicts a group of sailors pointing at a distant object; The Navy grouping includes a depiction of a black sailor kneeling; at the time of the arch's completion, comparatively few monuments depicted black men. There have been claims that the soldiers in the sculptures were modeled on French people. For example, the president of the Kings County Historical Society claimed in 1930 that the sculptures' uniforms were based on French soldiers' uniforms, while the caps are slightly different from those worn by Civil War veterans. One of the wounded figures depicts MacMonnies's former mentor, Augustus Saint-Gaudens. The sculptures were intended to honor "common soldiers", in contrast to other war memorials, which honored military leaders. During the 1980s, these included a multimedia exhibit, an equestrian-themed exhibit, a show with works themed to angels, a show based on classical architecture, and an exhibit about monuments and home goods. There were also exhibits in the 1990s, including works about civil wars, Ghanaian folk art, Nuyorican art, photos of Prospect Park, Additionally, during the 2024 restoration of the Soldiers' and Sailors' Arch, a set of works by local contemporary artists was placed at the arch's base. == Development ==

Planning After the American Civil War, the city of Brooklyn planned a grand memorial to Union Army soldiers. Although a statue of Lincoln on Grand Army Plaza and a memorial shaft on Battle Hill were erected in the late 1860s, no major monuments were built in Brooklyn for two decades. The legislature decided in 1888 to instead appoint a three-person commission to develop the monument. The commission consisted of Brooklyn's mayor, Brooklyn's aldermanic president, and the Grand Army of the Republic Memorial Committee's chairman. of which half was to be made available during 1888 and half in 1889. The monument was planned as a shaft, and contracts were about to be awarded for the shaft when the plans were changed. an architectural design competition for the monument was hosted for the arch. By October 1888, thirty-six architectural firms had submitted designs. The state government added another $150,000 for the arch's construction in 1889. Duncan received $1,000 for his design, Duncan's design, known as "Red Seal", called for a structure with statuary at the top and pilasters supporting the attic. There were supposed to have been pedestals at the base of either of the arch's abutments, topped by bronze allegorical groups of statues. The arch was originally supposed to stand tall, but the Monument Commission recommended reducing the arch's height to reduce the amount of stone needed. Even with a reduced height, the arch was intended to be one of the world's largest triumphal arches. and Cranford & Valentine were hired to excavate the foundations for $12,274. Brooklyn's park commissioners also discussed relocating streetcar tracks in Prospect Park Plaza, as these tracks intersected near the site of the arch. Duncan also contemplated raising the arch's foundation to make it more prominent, though he did not want to add "filigree ornamentation". The cornerstone of the arch was laid on October 30, 1889, and Civil War general William Tecumseh Sherman spoke at the ceremony. The foundation of the eastern abutment was constructed first because the site of the western abutment was occupied by streetcar tracks. By the end of 1889, plans were being drawn up for the upper portion of the arch. Duncan revised his plans for the arch in February 1890 so the abutments would be more sturdy. Work was delayed due to the need to relocate the streetcar tracks. Gallagher was originally required to complete the arch within a year, but the Arch Commission extended the deadline to September 1891 shortly afterward. Four existing streetcar tracks in the plaza were rerouted, and the new tracks were completed in July. By that September, a temporary construction fence had been erected around the site of the arch, and the contractors had erected derricks to install the arch's granite pieces. Brooklyn's park commission wanted to allow advertisements on the fence, but this was controversial, and the commission ultimately decided against the advertisements. State legislators also tried to allocate another $100,000 for the acquisition of statuary, but the effort was unsuccessful. but work was delayed because of a strike at the granite supplier's quarry. The Arch Commission voted in July 1892 to install incandescent light bulbs on the southern facade and to delay the installation of all the arch's sculptures. The monument ultimately cost $250,000 (). == Completion and modifications ==

The arch was dedicated on October 21, 1892, with a ceremony led by U.S. President Grover Cleveland. The ceremony coincided with a citywide celebration of the 400th anniversary of Christopher Columbus's expedition to the Americas. When the arch was dedicated, the area around its base was devoid of plantings and ornamentation. After the arch's dedication, the lights on the arch were not reactivated until January 1894. The New-York Tribune also alleged that the arch's construction had been mismanaged and that several construction contracts had been grossly overpriced, such as the contract for the electric lights. Installation of bas-reliefs and sculptures and William Rudolf O'Donovan designed for the arch. Brooklyn Park Commissioner Frank Squire engaged Frederick MacMonnies to design a quadriga, or chariot with four horses, above the arch in October 1894. MacMonnies was also hired to design two other sculptural groups next to the arch's base. Eakins's and Donovan's bas-reliefs of Grand and Lincoln were installed during late 1895. The bas-reliefs were controversial, and critics regarded them as being of poor quality. Brooklyn park commissioner Timothy L. Woodruff initially refused to pay $7,500 of the bas-reliefs' $17,500 cost, but he had agreed to provide the funds in July 1896. Additionally, as part of a renovation of Prospect Park Plaza, new lamps were installed, and several laurels and evergreens were planted around the monument to draw attention away from its bare walls. The bollards at the arch's base were moved, and workers installed a heavy bronze chain through the bollards. A pavement was also laid around the base of the arch. Meanwhile, MacMonnies designed the arch's sculptures at his studio in Paris's Latin Quarter; he was still sketching out the Army and Navy sculptures by mid-1896. By June 1897, the design of the quadriga was finished. MacMonnies used a different cast for each of the figures, such that none of the figures were identical. The Grand Army of the Republic (GAR) preferred that the sculptures be completed by Memorial Day in 1898, as they wanted to invite MacMonnies to see the dedication of his own work. The quadriga was shipped to the United States in August 1898. Although the arch was strong enough to carry the quadriga, a granite foundation for it had to be built on the arch's roof. The quadriga's installation was delayed because workers had to wait for MacMonnies's foreman to come to the U.S., but the sculpture was in place by the end of 1898. The skylights on the arch's roof were covered to make way for the quadriga. while the models for the Navy statues were finished by 1899. The Army sculptures were completed by March 1900 and shipped to the U.S. that July. MacMonnies initially refused to install the sculptures himself. He ultimately relented after being notified that he would not be paid unless the sculptures were installed. Additionally, the sculptures' black iron frames had to be replaced with galvanized iron before they were installed, The Army sculptures were in place by November 1900. The Navy sculptures were damaged while being shipped to the U.S. They were repaired at the Barnard studio in Manhattan, then transported across the Brooklyn Bridge for installation. The sculptures were dedicated on April 13, 1901. The Army and Navy sculptures cost $50,000 20th century As early as the 1900s, the adjacent plaza was unofficially known as Grand Army Plaza because of the presence of the Soldiers' and Sailors' Arch. In the arch's early years, it was visible from much of Brooklyn, as it was located atop one of the highest points in the borough. It was frequently lit for events during the early 20th century. and Brooklyn's annual Memorial Day parades. Ceremonies at the arch also commemorated major events, such as when the Spanish–American War, World War I, and World War II ended. Other events included a ceremony in 1926 when Prospect Park Plaza was formally renamed Grand Army Plaza, as well as another ceremony in 1955 when the Brooklyn Dodgers won the World Series. The room in the monument's attic remained empty for several years after its completion, The New York City Department of Parks and Recreation (NYC Parks) used the ground story of one abutment as a tool shed, while the other abutment's ground story contained pumps for the adjacent Bailey Fountain. NYC Parks solicited bids for the arch's renovation in June 1930, and workers began repairing the arch's stonework later that year. With the construction of the Bailey Fountain, in 1931, workers installed a pump for the fountain underneath the monument. NYC Parks announced in 1935 that it would clean the arch again when funds were allocated. The project would include cleaning the granite and the Army and Navy sculptural groups, as well as repairs to the brick pavement, bas-reliefs, and electroliers. City officials said in 1937 that there would be no funding for the arch's restoration for at least a year, but, by 1938, no renovations were being planned for the arch itself. The arch was not illuminated during World War II due to wartime blackout regulations. although the Board of Estimate voted to defer the installation of the lights until after the end of the war, citing a lack of funds. The lights were installed in November 1945 after the Board of Estimate allocated $3,500 to pay for new floodlights. A piece of copper flashing near the arch's roof was knocked loose following a storm in 1952, prompting NYC Parks officials to plan emergency repairs. The flashing was removed pending permanent repairs. NYC Parks engineers found that the original quadriga had a design flaw; Engineers initially estimated that the repairs would cost $30,000, though this was later reduced to $16,000. NYC Parks requested funds for the renovation in early 1954, however, little documentation exists for this renovation. Following the assassination of John F. Kennedy, there were proposals to suspend an eternal flame from the arch in 1963; the flame was ultimately placed next to the arch instead. Additionally, in the early 1960s, Brooklyn borough president Abe Stark and NYC Parks commissioner Newbold Morris proposed adding stronger floodlights to the arch. This was part of Stark and Morris's proposal for a wider-ranging renovation of Grand Army Plaza. Mayor John Lindsay and NYC Parks commissioner August Heckscher provided $150,000 for a renovation of the arch in 1967. NYC Parks allocated around $147,000 in 1971 to clean the arch and install new pavement around it. In addition, NYC Parks planned to add new doors, gates, chains; replace the arch's bronze decorations; and reinstall damaged lampposts. and the LPC granted the landmark designation in October 1973. The Board of Estimate approved the designation that December. The central figure of the arch's quadriga came loose during a windstorm in October 1976; according to Prospect Park's administrator Mariella Bisson, the figure was dangling by one screw. and members of the public requested that the figure be restored. Work was delayed four years due to the New York City fiscal crisis. and a $432,000 restoration contract was awarded to Thomason Industries Corporation that November. The restoration included cleaning the statues, adding waterproofing and wire mesh, applying a preservative to protect against pigeon droppings, and restoring the interior stair. The quadriga's central figure was reinstalled in October 1980, and the restoration was completed the same month, several weeks ahead of schedule. The arch was seldom vandalized after its renovation was completed. and the arch's interior was also opened to the public for the first time that year. and 25,000 people had visited within two years of its reopening. The arch and its deck also began hosting artwork by local artists. Until the early 1990s, the arch hosted two art exhibitions a year; the western abutment was used as storage space, while the eastern abutment and attic were used for exhibits. The arch was closed in late 1991 for a roof repair that was supposed to take two years. By then, the attic frequently suffered water damage due to the leaky roof, restricting certain types of art from being displayed in the arch; in addition, the attic had to be repainted annually due to water infiltration. The roof restoration was expected to cost $375,000. The arch reopened in May 1994, and artists again began hosting exhibits in the arch's attic. Workers cleaned MacMonnies's sculptures, although not the bas-reliefs inside the archway opening; the restoration was completed by the end of the year. 21st century The rooftop observation deck was closed in the 2000s because the deck had severely degraded. The New York Puppet Library agreed to lease the room in the arch's attic from the Prospect Park Alliance in 2003, on the condition that the puppet group host three annual puppet shows in Prospect Park. The sculptures were cleaned yet again in 2009; the project cost $1.1 million and was funded by borough president Marty Markowitz and City Council member Letitia James. During the 2010s, the interior was closed except for special events. By then, the roof deck had partially collapsed, and invasive species were growing from the deck. In addition, one of the staircases inside had detached from the wall. At the time, the city planned to reopen the arch's observation deck once the renovation was complete. Western Waterproofing Co. was awarded a contract to restore the arch in March 2023, and work began that May. Before restoring the arch, workers had to scan the arch's interior, since the original blueprints had disappeared. The project included the addition of brick reinforcement and the restoration of the facade, drains, stairways, lights, and roof; == Impact ==

Reception Contemporary In 1889, a writer for the magazine ''Harper's Weekly'' likened Duncan's design to the Arc de Triomphe in Paris and to triumphal arches in Rome, although the arch was to be shallower and have a lower attic compared to the older arches. A reporter for Scientific American wrote that they hoped the arch's completion would cause "the tasteless granite column" to fall out of fashion. and the Municipal Art Commission thought the arch faced the wrong way. The Brooklyn Times-Union described the Soldiers' and Sailors' Arch as superior to Manhattan's Washington Square Arch The American Institute of Architects' Brooklyn chapter declared the reliefs to be "disreputable examples of the arts of sculpture and design". When the quadriga was installed in 1898, The New York Times wrote that the sculptures attracted "much attention by reason of its artistic beauty", The Brooklyn Daily Eagle critic wrote that the quadriga added an artistic touch to the arch, whereas the bas-reliefs were present purely for political purposes. Retrospective The architectural critic Henry Hope Reed Jr. wrote in 1963 that the Soldiers' and Sailors' Arch was the "outstanding triumphal arch in the country" in part because of its sculptural decoration. A New York Times writer said in 1973 that the Grant and Lincoln reliefs evoked European equestrian statues but that they still had "downhome simplicity about them". Paul Goldberger, writing for the same newspaper in 1984, said that the Soldiers' and Sailors' Arch was the greatest classical grouping in New York City" despite the disconnected architecture of the surrounding neighborhood. A writer for The Philadelphia Inquirer said the arch's placement was as "majestic as the Arc de Triomphe", and NYC Parks commissioner Adrian Benepe regarded the arch as likely "the city's most impressive work of art". Similarly, a writer for The American Enterprise regarded the arch as the best example of a triumphal arch in the United States. In 2011, a writer for American Civil War magazine wrote that the arch's design was "perhaps second only to the Arc de Triomphe", even though the Brooklyn arch was hard for pedestrians to access. In addition, mosaics and plaques with angel motifs were installed in the New York City Subway's nearby Grand Army Plaza station in 1996. The motifs, part of an artwork known as Wings for the IRT: The Irresistible Romance of Travel, were inspired by the decorations on the Soldiers' and Sailors' Arch. Depictions of the arch are also engraved onto bronze medallions at the Park Union, a nearby apartment building. ==See also==