Other Circulating Libraries

NOTE

Although the purpose of this Handbook is to tell the principal facts about the Library as an institution, its chief use is likely to be that of a guide to the Central Building. The section about the Central Building is therefore given first place. Any visitor who cares to take the trouble, before beginning his tour of the Building, to read the brief historical sketch (on pages 63-73) will have a better understanding of the organization and work of the Library, and see the reasons for a number of things which might not otherwise be clear.

THE CENTRAL BUILDING

Open: Week days, including holidays, 9 A.M. to 10 P.M. Sundays, 1 P.M. to 10 P.M.

(Except where otherwise noted these are the hours of the special reading rooms.)

THE CENTRAL BUILDING

The Central Building of The New York Public Library is on the western side of Fifth Avenue, occupying the two blocks between 40th and 42nd Streets. It stands on part of the site of the old Croton distributing reservoir, and it was built by the City of New York at a cost of about nine million dollars.

Competitions to choose the architect for the building were held in 1897, two years after The New York Public Library was incorporated. The result of the competition was the selection of Messrs. Carrère and Hastings, of New York, as architects. In 1899 the work of removing the old reservoir began. Various legal difficulties and labor troubles delayed beginning the construction of the building, but by November 10, 1902, the work had progressed so far that the cornerstone was laid. The building was opened to the public May 23, 1911, in the presence of the President of the United States, the Governor of the State of New York, the Mayor of New York, and an audience of about six hundred persons.

Exterior. The material of the building is largely Vermont marble, and the style that of the modern Renaissance, somewhat in the manner of the period of Louis XVI, with certain modifications to suit the conditions of to-day. It is rectangular in shape, 390 feet long and 270 feet deep, built around two inner courts. It has a cellar, basement or ground floor, and three upper floors.

MAIN ENTRANCE

"The Library," wrote Mr. A. C. David, in the Architectural Record[1], "is undeniably popular. It has already taken its place in the public mind as a building of which every New Yorker may be proud, and this opinion of the building is shared by the architectural profession of the country. Of course, it does not please everybody; but if American architects in good standing were asked to name the one building which embodied most of what was good in contemporary American architecture, The New York Public Library would be the choice of a handsome majority."

Mr. David continued: "The Library is not, then, intended to be a great monumental building, which would look almost as well from one point of view as another, and which would be fundamentally an example of pure architectural form. It is designed rather to face on the avenue of a city, and not to seem out of place on such a site. It is essentially and frankly an instance of street architecture; and as an instance of street architecture it is distinguished in its appearance rather than imposing. Not, indeed, that it is lacking in dignity. The façade on Fifth Avenue has poise, as well as distinction; character, as well as good manners. But still it does not insist upon its own peculiar importance, as every monumental building must do. It is content with a somewhat humbler rôle, but one which is probably more appropriate. It looks ingratiating rather than imposing, and that is probably one reason for its popularity. It is intended for popular rather than for official use, and the building issues to the people an invitation to enter rather than a command....

"The final judgment on the Library will be, consequently, that it is not a great monument, because considerations of architectural form have in several conspicuous instances been deliberately subordinated to the needs of the plan. In this respect it resembles the new Museum of Fine Arts in Boston. The building is at bottom a compromise between two groups of partly antagonistic demands, and a compromise can hardly ever become a consummate example