When I was recently walking around Washington Heights for the “Great Saunter” perimeter walk around the coast line of Manhattan over the summer, I revisited this little park that is tucked away inside Highbridge Park that lines the eastern side of Upper Manhattan. This is the Sherman Creek Park and Swindler Cove. I just thought it was a small extension of the park but it is way more.
The is a once dumping ground for garbage and waste that has been reclaimed and given a rebirth as a ecologically created watershed that is not only helping clean the East River with its plantings but also a sanctuary for birds, butterfly’s and other small creatures when they are migrating.
The paths are well landscaped and offer a sense of quiet and relaxation from the noise of the neighborhood especially in the summer when families are barbecuing and having parties in the small strip of part that is Highbridge Park. Small streams, a waterfall and river plantings plus a boathouse for canoes and Kayaks gives a different more relaxing view of the park.
The entrance to Sherman Creek Park.
Sherman Creek Park
(from the park website)
Sherman Creek Park, a former illegal dumping site, began as a shore cleanup and now encompasses 15 beautifully reclaimed acres along the Harlem River including Swindler Cove, Riley-Levin Children’s Garden, and a living shoreline installation. The neighboring Harlem River Greenway includes a sprawling esplanade, bike path, and a cherry tree planting framing the Harlem River Drive.
The pathways in Sherman Creek Park.
The park serves to demonstrate sustainable management of public lands in an underserved neighborhood, from hosting a major community green space in Northern Manhattan, to implementing organic gardening techniques and best horticultural practices on a daily basis.
The waterfall in Sherman Creek Park
NYRP’s work in Sherman Creek and the surrounding landscape recognizes the remarkable value of natural resources found in Northern Manhattan and works to improve and support public access to Manhattan’s largest remaining wetland complex.
The pathways through Swindler Cove Park.
SWINDLER COVE
(from the park website)
NYRP is responsible for conceiving, developing, executing and maintaining the vibrant and versatile Swindler Cove at Sherman Creek Park, a former illegal dumping site transformed by NYRP into a gorgeous green space. The 5-acre space is home to the Riley-Levin Children’s Garden.
Swindler Cove represents the crown jewel of New York Restoration Project’s public park projects. Opened to the public in August 2003, Swindler Cove represents the full spectrum of NYRP’s mission to restore open space as a catalyst for community revitalization and environmental conservation.
The restoration of the Manhattan coastline.
In 1999, in partnership with the State of New York Department of Transportation and acclaimed landscape designer Billie Cohen, NYRP transformed the land into an oasis of native natural habitats with a lush array of restored woodlands, wetlands, native plantings and a freshwater pond, accented by a gracious pathway.
LIVING SHORELINE
(from the park website)
Sherman Creek Park is threatened by climate change-induced erosion and sea level rise and in 2020 we introduced an ecosystem-based solution called a living shoreline.
Replanting and renovating the coastline.
Integrating native plantings and an artificial oyster reef, our living shoreline design aims to not only attenuate waves that wash away sediment but also enhance the native wetland habitat—one of the last of its kind in all of Manhattan. By stacking specialized concrete blocks called Oyster Castles, its design helps build new habitat for marine species that, over time, could transform the dynamics of a park that we might otherwise lose.
We continue to monitor the shoreline’s evolution to better understand and quantify the ecosystem services that urban wetland restoration projects like ours might offer. “We know that, acre per acre, wetlands are better than forests at fighting climate change,” says Director of Northern Manhattan Parks Jason Smith. “It just requires shifting our relationship with the landscape and realizing it’s not about building a big project and walking away; it’s about staying engaged, stewarding it, and learning from it.”
Video on the New York Restoration Project: Rebuilding parks and gardens.
When I was walking through High Bridge Park while exploring Washington Heights for my blog, ‘MywalkinManhattan.com’, I came across the Water Tower inside the park right next to the pool that was closed for the season and the Highbridge Walkway, which used to be the old aqueduct that used to bring fresh water into New York City.
The Highbridge Water Tower when I walked “The Great Saunter” through the neighborhood in 2023.
The Highbridge Water Tower is nearly 200 feet tall and stands around 174th Street in Washington Heights. The tower used to hold a 47,000-gallon water tank that was fed by the Croton Aqueduct. The Highbridge next to it was the last leg of the aqueduct’s forty-mile journey from upstate New York to Manhattan and is the oldest surviving bridge in New York City (T.M.Rives 2012).
The Highbridge in Highbridge Park
The tower itself was built between 1866-1872 by architect John B. Jervis in the Romanesque Revival and neo-Greco styles and had a seven acre reservoir next to it. It opened in 1872 and was fully working in 1875. In 1949, the Water tower was disconnected from the system. The tower like the rest of the park had sat in disrepair for years and was restored between 1989-1990 (Wiki). The tower is now going through another restoration that should be finished by April of 2021 (NYCParks.com).
When I visited in the park that summer and then again in the Fall, it was behind fencing because it was still unsafe.
Highbridge Park is beautiful in the Spring and Fall but not the safest park in NYC.
Walking the paths of Highbridge Park
Highbridge Park is a wonderful park to walk around in in the middle of the day during the warmer months. I would not venture around it later at night or in the winter months. It can be a bit desolate and when you walk around the paths by the river with all the abandoned cars and graffiti can be a bit dangerous. I got some looks when walking around.
This was at the bottom of the bridge just off the path.
The front of the American Museum of Arts & Letters at 633 West 155th Street
I was finally able to visit the American Academy of Arts and Letters on the last day it was open for the year to the public. It was for the ‘Ceremonial Exhibition: Work by New Members and Recipients of Awards’, an exhibition on members art that was chosen specifically for the show. Most of the work was very contemporary and some a little political. It was interesting work by new artists that filled the small gallery rooms.
The front of the American Museum of Arts & Letters
One of the buildings was used for the contemporary art while the one across the courtyard was used for the more architectural pieces. The galleries are small but the art was impressive. What I liked when I talked with one of the women who worked there said to me that after the show, the pieces would be donated to galleries and museums all over the country. The galleries are only open four months out of the year and this was the last day of the exhibition so the work being shown will be gone.
I visited the museum in January 2025 and it had just reopened after a three year renovation after it had been closed since Pre-COVID and it is now fully open with a new exhibitions. All the galleries are brightly lit and displaying new exhibitions.
The entrance to the museum from the courtyard
Some of the pieces that really stood out when I visited in 2019 were by Judith Bernstein, a contemporary painter who seems to not like the current administration too much. The themes were on power and money and corruption in the administration. Her work really shows what she personally thinks of our President. Her ‘Trump Genie” was very clever and I can see this in a major museum in the future.
Judith Bernstein’s work
Other work in the main gallery in 2019 were by artists Stephen Westfall with ‘Solid Gone’, Hermine Ford with ‘Paris, France’ and Paul Mogensen with several ‘Untitled’ pieces. The contemporary works I was not sure what the meaning of them were but they were colorful.
The works of the artists of the front gallery
One of the pieces in the front gallery that really stood out was by artist Francesca Dimattio, ‘She-wolf’ which was a classic Greek character made of porcelain, enamel, paint and steel.
‘She-wolf’ by Francesca Dimattio
There were light installations in 2019 that were very interesting by artist James O. Clark. He had one piece, ‘Wunnerful, Wunnerful’, which is a work that just keeps being creating itself by bubbles and ink markers moving along a turntable that stops and starts.
There was a permanent exhibition of Charles Ives home in Connecticut that was transported and recreated here. His studio and works are featured here as well as his family life. There are copies of his works in the display cases and his career.
The museum in 2025 was fully open with the exhibition by artist Christine Kozlov, a contemporary Video artist whose works were being featured in the main gallery.
The main gallery of the Kristine Kozlov exhibition
In more than fifty artworks arrayed across four galleries at Arts and Letters, Christine Kozlov shows the breadth of Conceptual artist Christine Kozlov’s practice with a focus on works from the mid-1960s through the late 1970s. Nearly all of the works Kozlov contributed to public exhibitions during this period will be on view, many of which were created for landmark exhibitions of Conceptual art such as: One Month (1969), organized by Seth Siegelaub; Information (1970), curated by Kynaston McShine at the Museum of Modern Art, New York; Arte de Sistemas organized by Jorge Glusberg / CAYC—Centro de Arte y Comunicación at the Museo De Arte Moderno (1971); and the Number Shows, a series of exhibitions curated by Lucy Lippard between 1969 and 1974 (American Museum of Arts & Letters website).
Part of the Kristine Kostov exhibition
Works by artist Christine Kozlov
The next exhibition that I viewed was by artist Wadada Leo Smith, which consisted of an exhibition based on colors and sounds. You could take the headsets around the gallery and tour and admire the work with the sounds of the musical groups.
The gallery with works by artist Wadada Leo Smith
Wadada Leo Smith (b. 1941, Leland, MS) is a composer-performer and Arts and Letters member. Formerly an educator at CalArts, he has influenced decades of musicians and artists, including Raven Chacon. In Kosmic Music, Smith’s first solo exhibition in New York, he shares over fifty years of Ankhrasmation (Museum website).
The “Sphere” works by artist Wadada Leo Smith
Ankhrasmation is a musical language Smith began exploring in 1965. Smith does not consider Ankhrasmation to be his creation but rather something he discovered. The name derives from Ankh,anancient Egyptian symbol of life; Ras,an Ethiopian word for leader or father; and Ma, for mother. The distinctive language uses line, color, and shape to designate musical components such as tonal range and intensity of activity. For Smith, performing Ankhrasmation requires focused practice and “having that space in your heart and mind so that you can play from inspiration.” (Museum website).
The last exhibition I saw was in the gallery across the courtyard from the main museum was by artist Raven Chacon. You would walk in the main gallery to the sounds of birds both living and extinct. Just five minutes in the main gallery by myself and I felt like Tippi Hedren in the movie “The Birds”. There were all sorts of bird sounds with no birds around.
The instruments that the artist uses to achieve the sounds of the birds
When Raven Chacon (b. 1977, Fort Defiance, Navajo Nation) visited Arts and Letters for the first time, he paused in our North Gallery to clap his hands, then counted how long it took for the room to go silent. It took around six seconds—a long rate of decay. Standing in that echoing chamber, Chacon noted the building’s Beaux Arts design by Cass Gilbert, with its imported Spanish tile and cage-like glass ceiling that filters the sky. He became curious to learn the history of the land it sits on, once owned by John James Audubon, who purchased it in 1841 with funds from the sale of his illustrated Birds of America (Museum website).
Chacon is a composer and artist who frequently works with the materials and histories of a given site and who considers, as he puts it, “what has been silenced and what happens when it is not.” For the past year, he has worked on Aviary, his site-specific commission for the North Gallery, creating a soundscape that makes space and time for careful listening (Museum website).
Museum Mission:
(from the museum website)
The American Academy of Arts & Letters was founded in 1898 as an honor society of the country’s leading architects, artists, composers and writers. Charter members include William Merritt Chase, Kenyon Cox, Daniel Chester French, Childe Hassam, Henry James, Theodore Roosevelt, Elihu Vedder and Woodrow Wilson. The Academy’;’s 250 members are elected for life and pay no dues.
The main gallery of the museum
In addition to electing new members as vacancies occur, the Academy seeks to foster and sustain an interest in Literature, Music and the Fine Arts by administering over 70 awards and prizes, exhibiting art and manuscripts, funding performances of new works of musical theater and purchasing artwork for donation to museums across the country.
Collections:
(from the museum website)
The Academy’s collection, which are open to scholars by appointment, contain portraits and photographs of members, as well as paintings, sculptures, drawings, prints and decorative art objects. The library has more than 25,000 books by or about members. The archives house correspondence with past members, press clippings, institutional records and original manuscripts of musical and literary works.
History:
(from the museum website)
The National Institute of Arts & Letters, the parent body of the Academy, was founded in 1898 for “the advancement of art and literature”. The Institute met for the first time in New York City in February 1899 and began electing members that fall. Architects, artists, writers and composers of notable achievement were eligible and membership was soon capped at 250. In 1913, President Taft signed an act of Congress incorporating the organization in the District of Columbia.
American Academy of Arts & Letters at twilight
In 1904, The Institution created the American Academy of Arts & Letters, a prestigious inner body of its own members that modeled itself on the Academie francaise. The first seven members of the Academy were William Dean Howells, Augustus Saint-Gaudens, Edmund Clarence Stedman, John La Farge, Mark Twain, John Hay and Edward MacDowell. Those seven then chose eight more and so on, until the full complement of 30 and later 50 was reached. Only after being elected to the Institute, was a member eligible for elevation to the Academy. This bicameral system of membership continued until 1993, when the Institute dissolved itself and all 250 members were enrolled in the American Academy of Arts and Letters.
The Academy inaugurated its annual awards program in 1909 with the Gold Medal for Sculpture. Since then, over 70 awards and prizes have been endowed through gifts and bequests or established by the Academy’s board of directors in the fields of architecture, art, literature and music. There are conferred each year at the Ceremonial in May when new members are inducted and a distinguished speaker is invited to deliver the Blashfield Address.
In 2005, the Academy purchased the former headquarters of the American Numismatic Society, the neighboring building on Audubon Terrace. A Glass Link now connects the Academy’s existing galleries to newly renovated ones in the former Numismatic building. These new galleries house the permanently installed Charles Ives Studio.
The entrance of the Cloisters for the “Holiday Decorating at The Cloisters” exhibition and talk
I go to The Cloisters on a pretty regular basis, and they have interesting walking tours and lectures especially in the warm months. If you like Medieval or religious art, this is a museum that is worth visiting. It is out of the way and be prepared to walk up a hill but in the summer months, the view of the Hudson River is spectacular, and the gardens are beautiful.
The Cloisters in Fort Tyron Park
Don’t miss the walking tours and gallery talks at the museum. I have recently been to a series of walking gallery talks dealing with the history of Medieval arts. There were discussions on Medieval art between Christian and Muslim religions, Traveling the Silk Road and its influences on art in the regions and the collection and how it has improved and grown over the years. It seems there has been a uptick in this type of art.
This section of the shine is on a permanent loan from Spain
The building is just beautiful as it was created from pieces of religious sites all over Europe. Many of the doorways, cloisters (archways), stone work and fountains and windows come from churches that had been destroyed by wars over the past 600 years. Bits and pieces of all of the these buildings are displayed in the architecture of the museum itself. Some are on permanent loan to the museum from foreign countries.
Don’t miss the famous “Hunt of the Unicorn” tapestries that are on display here. They are quite a spectacular exhibit.
The ‘Hunt of the Unicorn’ tapestries
Be sure to visit the outside terraces of the Cloisters to see the views of the Hudson River below and the beautiful gardens of Fort Tyron Park where the building is located. It is a sea of green lawns and woods and beautifully landscaped flowering paths.
The Cloisters Gardens in the winter of 2022
The Cloisters Gardens in the Spring of 2024
The view from the gardens of the Hudson River
The view of the Hudson River in Spring 2024:
There is a nice café on property but there is also a small restaurant row on Dyckman Avenue at the foot of the park right near the subway stop. There are also many terrific Spanish restaurants on Dyckman Street as you walk down the block towards Fort George Hill.
‘Christmastide’ at The Cloisters:
I recently went to the Cloisters for a very interesting walking tour called “Holly & Hawthorne: Decorating for a Medieval Christmas” in 2019 and a similar tour in 2022 entitled “Holiday Decorations at The Cloisters” the use of plants like holly, mistletoe, pine and ivy were used in the winter months to decorate the churches and homes of the people until the Puritan influences took over.
Sampling of the plants used at the holidays in Medieval times.
(Part of the description of the tour in the guidebook-credit to the Met Cloisters):
“The wreaths and garlands that deck The Cloisters from early December until early January are made from plant stuffs associated with the Medieval celebration of Christmastide. This great feast embraced the twelve days between the Nativity and the Epiphany, which commemorated the visit of the Three Kings to the infant Jesus.
The Candelabras of the Cloisters.
Because pictorial representation of medieval Christmas decorations are rare, the Museum’s designs are based on evidence gleaned from carols, wassails, romances and artworks. Medieval churches and halls were decked for the season, a practice with roots in ancient custom. The early Church had banned the use of evergreens because of their ties with pagan winter festivals, such as the Roman Saturnalia. By the Middle Ages, these plants had been given Christian interpretations and were used to celebrate the feast days of the Church calendar. Bay Laurel, associated in ancient times with victory, became a symbol of the triumph of Christ and of eternal life.
By the Middle Ages, holly and ivy had been thoroughly Christianized, although mistletoe remained suspect. Ivy was identified with the Virgin and the red berries of the holly with the blood of Christ. The holly and ivy carols still sung today spell out these meanings older associations derived from pre-Christian winter festivals.
Apples and nuts, stored for winter consumption, were a conspicuous part of the Christmas feast, as they are today. It was also the custom in winter to wassail fruit and nut trees, to encourage them to bear plentiful crops in the coming year. Fruits and nuts were ancient symbols of fertility Christian meanings; in a medieval poem on the Nativity.
The Cloisters decorated for Medieval Christmas
The tour guide discussed by touring the paintings and tapestries where these symbolic plants took shape during this time. She even explained how ivy when it reaches sunlight that its shape goes from a three leaf shape to a heart shape which was symbolic during the Middle Ages. The gardens were a good source of inspiration for the holidays.
The stonework was decorated with garland and holly and flowering plants
The Cloisters decorated for Christmas
Don’t miss walking the halls and cloisters to look at all the decorations for the holidays. The museum keeps them simple and elegant but it really does put you in the holiday spirit. The use of flowering plants during the holiday season was not just related to the holiday season but they gave a nice smell to this musty churches and added a bit of cheer to the environment as well.
The flowers and pine when you enter The Cloisters
The “Holiday Decorations at The Cloisters” walking tour: December 2022:
The altar at The Cloisters
The Medieval plants for decorating the church including Bay Laurel, Myrtle, Rosemary and Cyclamen.
The flowers decorating the windows. Roses and pine.
Decorated altar candles
Decorated Altar Candles
Decorated Altar Candles
The Fruits and Ivy that decorate the archways at The Cloisters is changed regularly. Each of the ivy vines was encased in small water tubes that had to be changed each week.
The Christmas wreaths were decorated with fruits, ivy and pinecones
Along the walls and floors of The Cloisters were potted plants that would have been used to decorate churches during this time period. The flowering plants gave The Cloister such a nice smell and would have lighted up the inside rooms from the gloom of winter.
The hallways were lined with winter greens
The winter greens that lined the hallways of The Cloisters
The decorative winter greens lining the walls of The Cloisters
The orange tree was a symbol of gold and prosperity.
The Medieval door decorated for the holidays.
The tour guide also pointed out for the story of Christmas depictions of the three wise men in art all over the building and its importance in the holiday season. The story continued to develop on the three ‘kings’ who visited the holy child.
She explained that over the years it went from three ‘visitors’ wisemen’ that was loosely translated in older text to the modern development of ‘three kings’ from the continents of Asia, Africa and Europe. In 2024, I took a holiday tour on “Three Kings Day”, the celebrated the three kings and their visitation of the holy child.
The three Wise Men and the Virgin Mary
The three Wise Men and the Virgin Mary and Child as depicted in the painting
The three Wise Men in a more modern depiction. It seemed that the story morphed over time from three Kings, one being older, one younger and one with a darker complexion became a King from each continent to represent the diversity in the church and the spread of Catholicism.
The “Adoration of the Shepherds”
The Virgin Mary with the Christ child and the three wise men in the “Adoration of the Shepard’s”.
The “Adoration of the Magi”
The stained glass window of the “Adoration of the Magi”.
The “Thirty-Five Panels” of the Three Wiseman”
The Three Wisemen from the “Thirty-Two Panels”
The stained glass window of the “Three Scenes of the Infancy of Christ”
The “Three Scenes of the Infancy of Christ”
The “Christ is born as Man’s Redeemer” Tapestry.
The small section of the tapestry with the Three Wisemen.
Walking through the Cloisters during the holiday season.
The tour guide went onto explain that in more elaborate feasts, the utensils and items used during ceremonies would have been of the most elaborate that the church could show.
Elaborate vessels. plates, challices and specters used in ceremonies
Elaborate drinking glasses
I toured the Cloisters again in 2023 and saw the same symbols of Christmastime in the halls with elaborate floral displays and beautiful potted floral arrangements all over the building.
The hallways of the Cloisters decked with flowering plants.
The “Winter Roses” with other flowering plants.
More flowering plants lining the walkways.
Flowering displays
The winter plants of the Cloisters.
The Candelabra’s were quite elaborate.
I thought this Dragon painting was very interesting.
The Dragon Sign.
The Dragon Painting.
Spain 1000-1200: Art at the Frontiers of Faith” tour in 2021:
I visited again this Christmas holiday season in 2021 to see “Spain 1000-1200: Art at the Frontiers of Faith”, where the Catholic and Muslim Kingdoms of Spain influenced each other in the manner of decoration and art borrowing from each other. It was interesting to see how the two communities used each other’s art over time to develop an interesting hybrid of design that was both colorful and intricate.
“Spain 1000-1200: Art at the Frontiers of Faith” artworks
Another tour of the Cloisters that I attended was on the ‘Four Medieval Flowers: The Lily, Iris, Violet and Rose’. It was interesting how society of this era used the former Pagan and Roman/Greek symbols in their Christian religious art.
You see the Rose in the stained glass to represent strength and honor
You will see the meanings in the tapestries, stained glass art and in the sculpture to represent purity, rebirth and sexual symbols of the time. It seemed that the artisans of the time used ancient meanings to convey something that they could not out and out talk about.
In the “Hunt of the Unicorn” Tapestries you can see flowers such as Lilly, Violet and Iris woven into the work which may have meant it was a wedding present to the new owner. The tour guide said there was meaning in lots of the works which may have had a different purpose originally. It was a tour steeped in symbolism.
The Spring and Summer Time visits to The Cloisters and the Gardens:
The Cloisters in the Spring and Summer months is very different. The Gardens are in full bloom, the views of the Hudson River are still amazing and the flowers look and smell so beautiful. There are three sets of gardens in the Cloisters, the potted plants on the deck facing the Hudson River and the two Cloisters on the first level and the one in the Trie Cloister where the cafe is located. Each has their unique plantings.
The potted plants on the deck of The Cloisters in the Spring of 2024
As pretty as some of these plants are some are poisonous so you have to watch out.
The view from the back decks of the museum of the Hudson River
The view of the Hudson River
The gardens in The Cloisters
On Sunday, August 10th, I took an extensive garden tour of the separate Cloisters in each parts of the museum. The tour talked about the use of the Cloisters gardens of the past and they were used for herbs, remedies and for the simple pleasure of beauty, color and relaxation.
The religious symbols in the gardens
The gardens have been planted with historical accuracy but as the tour guide explained, to keep the gardens in bloom from the early Spring to the late Fall, you have to add different plants for color.
The beauty of the gardens in bloom
The beauty of the gardens in the Spring of 2024
The gardens were very popular over the weekend
Some of the Cloisters gardens produce fruits, vegetables and herbs that the staff can take home. These gardens show not just how beautiful they look but how people used them for every day purposes.
The gardens were popular that day
The beauty of the gardens
The gardens in the Spring of 2024
These walking tours at the Cloisters happen at 12:00pm and 2:00pm on the weekends when in season.
The beauty of the Cloisters
The herb gardens in the summer in 2025
The Cloisters Mission:
Welcome to The Cloisters, the branch of The Metropolitan Museum of Art devoted to the art and architecture of medieval Europe. Set on a hilltop with commanding views of the Hudson River. The Cloisters is designed in a style evocative of medieval architecture specifically for the display of masterpiece created during that era. Arranged roughly chronologically and featuring works primarily from Western Europe, the collection includes sculpture, stained glass, tapestries, painting, manuscript illumination and metalwork. The extensive gardens feature medieval plantings, enhancing the evocative environment.
The Gardens at the Cloisters in bloom
History of the Museum
John D. Rockefeller Jr. generously provided for the building, the setting in Fort Tryon Park and the acquisition of the notable George Grey Barnard Collection, the nucleus of The Cloisters collection. Barnard Collection, the nucleus of The Cloisters collection. Barnard, an American sculptor whose work can be seen in the American Wing of the Metropolitan, traveled extensively in France, where he purchased medieval sculpture and architectural elements often from descendants of citizens who had appropriated objects abandoned during the French Revolution. The architect Charles Collens incorporated these medieval elements into the fabric of The Cloisters, which opened to the public in 1938.
Romanesque Hall
Imposing stone portals from French churches of the twelfth and thirteenth centuries open onto a gallery that features rare Spanish frescoes and French sculpture.
Fuentiduena Chapel
The twelfth-century apse from the church of San Martin at Fuentiduena, Spain and the great contemporary fresco of Christ in Majesty from a church in the Pyrenees Mountains dominate the space. Sculpture from Italy and Spain enriches the chapel, which is the setting for a celebrated concert series.
Saint-Guilhem Cloister
The fine carving of this cloister from the monastery of Saint-Guilhem-le-Desert, near Montpellier, harmoniously and playfully adapts the forms of Roman sculpture in a medieval context. The plants depicted in the sculpture, acanthus and palm, are growing in pots near the small fountain. The gallery also features early sculpture from Italy, Islamic Spain and elsewhere in France.
Langon Chapel
Architectural elements from the twelfth-century church of Notre-Dame-du-Bourg at Langon near Bordeaux form the setting for the display of thirteenth-century French stained glass and important Burgundian sculpture in wood and stone.
Pontaut Chapter House
Monks from the Cistercian abbey at Pontaut in Aquitaine once gathered for daily meetings in this twelfth-century enclosure known as a chapter house. At the time of its purchase in the 1930’s by a Parisian dealer, the column supports were being used to tether farm animals.
The distinctive pink stone of this cloister, featuring capitals carved with wild and fanciful creatures, was quarried in the twelfth century near Canigou in the Pyrenees Mountains for the nearby Benedictine monastery of Saint-Michel-de-Cuxa. The typical cloister garden features crossed paths and a central fountain from the neighboring monastery of Saint-Genis-des-Fountaines. Both medieval and modern species of plants are grown in the garden. In winter, the arcades are enclosed and fragrant potted plants fill the walkways.
Early Gothic Hall
With thirteenth-century windows overlooking the Hudson River, the gallery features stained glass from France’s great churches, including Saint-Germain-des-Pres in Paris. Sculptures and paintings from France, Italy and Spain evoke the great age of cathedrals.
Nine Heroes Tapestries Room
From an original series of nine hangings created about 1400 for a member of the Valois court, the tapestries portray fabled heroes of ancient, Hebrew and Christian history, including the legendary King Arthur. It is among the earliest sets of surviving medieval tapestries.
Unicorn Tapestries Room
With brilliant colors, beautiful landscapes and precise depictions of flora and fauna, these renowned tapestries depicting the hunt and capture of the mythical unicorn are among the most studied and beloved objects at The Cloisters. Probably designed in Paris and woven in Brussels about 1500 for an unknown patron, these hangings blend the secular and sacred worlds of the Middle Ages.
Boppard Room
Stained glass from the fifteenth-century Camelite convent at Boppard-am-Rhein dominates one end of the room. Fifteenth-century panel paintings and sculpture from the Rhineland and northern Spain, a brass lectern, domestic furniture, Spanish lusterware, tapestries, metalwork and sculpture further evoke a sacred space.
Merode Room
One of the most celebrated early Netherlandish paintings in the world, the Merode Altarpiece, painted in Tournai about 1425-30, forms the centerpiece of this gallery. The altarpiece, intended for the private prayers of its owners, represents the Annunciation to the Virgin Mary taking place in a fifteenth-century household. Details of the scene are echoed in the late medieval furnishings of the room in which other works made for private devotion are also exhibited.
Late Gothic Hall
Large fifteenth-century limestone windows from the refectory of the former Dominican monastery in Sens, France, illuminate the hall, which showcases sculpture and altarpieces from Germany, Italy and Spain as well as a great tapestry from Burgos Cathedral.
Gothic Chapel
Beneath richly colored stained-glass windows from fourteenth-century Austria carved images from royal and noble tombs of France and Spain fill the chapel-like setting.
Glass Gallery
Silver-stained glass roundels decorate the windows of the Glass Gallery, complementing small works of art, many made for secular use, with their lively, sometimes worldly subjects. Carved woodwork from a house in Abbeville, in northern France, forms a backdrop for paintings and sculpture.
“Bonnefont” Cloister and Garden
Long thought to be part of the abbey at Bonnefont-en-Comminges, the elements of this cloister come instead from other monasteries in the region including a destroyed monastery in Tarbes. The herb garden contains more than 250 species cultivated in the Middle Ages. Its raised beds, wattle fences and central wellhead are characteristic of a medieval monastic garden.
Trie Cloister and Garden
The gardens at the Trie Cloister
The stone cloister elements were created primarily for the Carmelite convert at Trie-sur-Baise in the Pyrenees. The garden is planted with medieval species to evoke the millefleurs background of medieval tapestries, such as the Unicorn series.
The Cloisters Trie Cafe is a seasonable restaurant that overlooks the Cloisters Gardens. This offers sandwiches , pastries and beverages and is a bit over-priced.
*Please note that the prices in the restaurant do go up every year so please look to the website for updated prices.
Treasury
An array of precious objects in gold, silver, ivory and silk reflects the wealth of medieval churches. Illuminated manuscripts testify to the piety and taste of royal patrons such as Jeanne d’Evreux, Queen of France; jewelry and a complete set of fifteenth-century playing cards suggest more worldly pastimes.
The Gift Shop:
Even the gift shop was decked in the holiday spirit
The gift shop has all sorts of themed items from the Medieval era.
The gift shop at The Cloisters
*Disclaimer: This information is taken right from the Cloisters pamphlet from the Metropolitan Museum of Art. Please call the museum before visiting to see if anything has changed with the hours or days open. It is well worth the trip uptown to visit The Cloisters. Take the A subway up to 190th Street and take the elevator up to Fort Tryon Park and walk across the park.
Visiting a Museum: The Unique, Unusual, Obscure and Historical 