10 Relics From the Horse-Powered City Hiding in Plain Sight

Library of Congress
Library of Congress

The commerce and transportation of modern cities initially relied on the horse. While there are still places where they serve a vital role, on the whole the horse has disappeared from the urban environment as cars, trains, subways, and other hoofless transportation took over in the 20th century. Look closely enough, though, and you can still find reminders of this equine past in our infrastructure.

1. STABLES

Wally Gobetz, Flickr // CC by 2.0

A city powered by horses needs shelters for them to rest and sleep. Stables and carriage houses thus once lined the streets, their arched doorways still recognizable even when converted into homes and businesses. Mews all over London still have rows of stables, often dating to the 17th and 18th centuries, which are almost entirely now housing. According to the Greenwich Village Society for Historic Preservation, in just New York City, there were around 4500 stables by the beginning of the 20th century.

Artists were sometimes the first to take over stables after the horses had gone, appreciating their roomy floorplans. MacDougal Alley in Manhattan, for example, changed over from horses to sculptor and painter residents in the Gilded Age. Elsewhere, sculptures of horse heads still crane their necks from former stable façades, such as on 19th century stables in Rittenhouse Square in Philadelphia, and the 1906 stable for Schlitz brewery in Chicago. 

2. HORSE WALK

Some carriage houses incorporated "horse walks": interior passageways that allowed a horse to walk from the street to a stable. Dense urban areas like New York City still have evidence of these discrete entrances, such as at 7 Leroy Street in Greenwich Village, constructed in 1831, and 336 West 12th Street in the West Village, from the 1850s. Often they just appear as a door alongside the main entrance to the home, wide and tall enough for a horse to slip through.

3. EQUESTRIAN STAIRCASES

Riders' Staircase, Old Royal Palace, Prague. Image credit:Richard Mortel via Flickr // CC BY 2.0

Equestrian staircases are most often found in old European cities, built into or alongside castles and other complexes as sloping steps for horses to access upper floors. A 16th century example in Vladislav Hall at Prague Castle, for instance, has a "rider's staircase" so knights didn't have to dismount to enter. In Bologna, the town hall contains a huge staircase designed by Renaissance architect Donato Bramante to accommodate carriages.

4. TROUGHS

Horses have to drink, but urban settings rarely have convenient streams with clean water. Organizations concerned with animal welfare—like the Metropolitan Drinking Fountain and Cattle Trough Association, formed in 1859 in London—spearheaded the construction of troughs with freely available water. Henry Bergh with the ASPCA was particularly involved with installing troughs with fresh water around New York City, and a few are still visible, including a low granite one by the carriage horses that still give tourists rides in Central Park. The trough in Grand Army Plaza is one of the many funded by local Edith Bowdoin, and was rededicated in 2001 at its current site. The troughs weren’t the ASPCA’s only initiative for Manhattan steeds, however: They also offered free showers on the streets and gave out eye-shading straw hats for horses with specially designed ear holes. 

5. FOUNTAINS

Like troughs, horse fountains offered water for city stallions, but fountains were often incredibly elaborate. One with a clock and Shakespeare quotes from the 1880s can still be seen in Stratford-upon-Avon, England. The 1919 Gumbel Memorial Fountain in New Orleans is adorned with a dramatic sculpture by Isidore Konti, and the Temperance Fountain in Washington, D.C. has water flowing from the mouths of dolphins, the overflow of which was collected for horse drinking. As that one’s name suggests, many of these doubled as temperance fountains, built to encourage humans to drink water instead of beer. Others were simply donated by animal-loving philanthropists, like advertising agent John Hooper, who died in 1889 and left $10,000 for two fountains "whereat man and beast can drink." The 1894 Hooper Fountain in Manhattan has a monumental column topped with a lantern, with a broad basin below fit for horse muzzles. 

6. AUCTION HOUSES

Horses did not come into the cities through spontaneous generation. Auction houses were a common sight for the horse trade, with large entryways similar in structure to private stables. The grand Winter Garden Theatre on Broadway in Manhattan, for instance, was erected in 1896 as the American Horse Exchange. Artists later converted these as well, including the Beaux-Arts 1904 Van Tassel and Kearney Horse Auction Mart at 126-128 East 13th Street in New York City. After it ceased sales in the 1920s, it was a candy factory and school before artist Frank Stella purchased it in 1978. He moved out in 2005, and it’s now a dance center.

7. HORSE BLOCKS 

Jochen Wolters, Flickr // CC by 2.0

To give carriage passengers and horseback riders a boost, mounting blocks were installed in locations of regular use. Basically just a block of stone or a tiny staircase, a few are still preserved in the sidewalks. London’s Waterloo Place has one from 1830, which, according to its plaque, was placed “by the desire of the Duke of Wellington” (see above). Another of these upping stones is inscribed with the initials "WW" in Camden, New Jersey, just outside the house of none other than poet Walt Whitman.

8. HITCHING POSTS 

Phil Roeder, Flickr // CC by 2.0

Hitching posts weren’t just a Western fantasy for cowboys in saloons—all cities with horses needed convenient tethering points to keep the animals from straying. Often just a pole with a ring, others were more elaborate, like the horse-shaped ones in Brooklyn’s 19th century Green-Wood Cemetery, and in the historic French Quarter of New Orleans. You can even find a combo version in Homer, New York, that’s both a hitching post and a mounting step.

9. TETHERING RINGS

iStock

More integrated into the infrastructure than hitching posts but basically serving the same purpose, tethering rings are discreet metal loops embedded in walls, sidewalks, and curbs. They are sometimes ornate, like the one shaped like a dragon in Florence, Italy, that doubles as a sconce (above), but on the whole they are plain. Now mostly obsolete, some have found an unusual afterlife in Portland, Oregon, where they host ephemeral art installations, including tiny horses

10. HORSECAR TRACKS 

Wikimedia // Public Domain

Before there were trolleys and then buses, aboveground transportation often involved the horsecar. Omnibuses were pulled by horses on rails, and these tracks would often transition over to be used by electric cars. The horsecar tracks in Portland, Oregon changed over to electricity in the late 1800s, while the former horsecar tracks in Charlotte, North Carolina were turned electric and began operation in 1891. During the turn of the last century, horses and trolleys would sometimes be riding side-by-side. A photographer in Manhattan caught one of the last horsecars riding the rails in 1917, while the electric trolley raced alongside, and presumably overtook, the fading fixture of transportation.

15 Fascinating Facts About Schindler’s List

Universal Pictures
Universal Pictures

In 1993, Steven Spielberg’s Schindler’s List brought to the screen a story that had gone untold since the tragic events of the Holocaust. Oskar Schindler, a Nazi party member, used his pull within the party to save the lives of more than 1000 Jewish individuals by recruiting them to work in his Polish factory. Here are some facts about Spielberg’s groundbreaking film on its 25th anniversary.

1. The story was relayed to author Thomas Keneally in a Beverly Hills leather goods shop.

In October 1980, Australian novelist Thomas Keneally had stopped into a leather goods shop off of Rodeo Drive after a book tour stopover from a film festival in Sorrento, Italy, where one of his books was adapted into a movie. When the owner of the shop, Leopold Page, learned that Keneally was a writer, he began telling him “the greatest story of humanity man to man.” That story was how Page, his wife, and thousands of other Jews were saved by a Nazi factory owner named Oskar Schindler during World War II.

Page gave Keneally photocopies of documents related to Schindler, including speeches, firsthand accounts, testimonies, and the actual list of names of the people he saved. It inspired Keneally to write the book Schindler’s Ark, on which the movie is based. Page (whose real name was Poldek Pfefferberg) ended up becoming a consultant on the film.

2. Keneally wasn't the first person Leopold Page told about Oskar Schindler.

The film rights to Page’s story were actually first purchased by MGM for $50,000 in the 1960s after Page had similarly ambushed the wife of film producer Marvin Gosch at his leather shop. Mrs. Gosch told the story to her husband, who agreed to produce a film version, even going so far as hiring Casablanca co-screenwriter Howard Koch to write the script. Koch and Gosch began interviewing Schindler Jews in and around the Los Angeles area, and even Schindler himself, before the project stalled, leaving the story unknown to the public at large.

3. Schindler made more than one list.

Liam Neeson, Agnieszka Krukówna, Krzysztof Luft, Friedrich von Thun, and Marta Bizon in Schindler's List (1993)
Universal Pictures

Seven lists in all were made by Oskar Schindler and his associates during the war, while four are known to still exist. Two are at the Yad Vashem in Israel, one is at the US Holocaust Museum in Washington, D.C., and one privately owned list was unsuccessfully auctioned off via eBay in 2013.

The movie refers to the first two lists created in 1944, otherwise known as “The Lists of Life.” The five subsequent lists were updates to the first two versions, which included the names of more than 1000 Jews who Schindler saved by recruiting them to work in his factory.

4. Steven Spielberg first learned of Schindler in the early 1980s.

Former MCA/Universal president Sid Sheinberg, a father figure to Spielberg, gave the director Keneally’s book when it was first published in 1982, to which Spielberg allegedly replied, “It’ll make a helluva story. Is it true?”

Eventually the studio bought the rights to the book, and when Page met with Spielberg to discuss the story, the director promised the Holocaust survivor that he would make the film adaptation within 10 years. The project languished for over a decade because Spielberg was reluctant to take on such serious subject matter. Spielberg’s hesitation actually stopped Hollywood veteran Billy Wilder from making Schindler’s List his final film. Wilder tried to buy the rights to Keneally’s book, but Spielberg and MCA/Universal scooped them up before he could.

5. Spielberg refused to accept a salary for making the movie.

Though Spielberg is already an extremely wealthy man as a result of the many big-budget movies that have made him one of Hollywood’s most successful directors, he decided that a story as important as Schindler’s List shouldn’t be made with an eye toward financial reward. The director relinquished his salary for the movie and any proceeds he would stand to make in perpetuity, calling any such personal gains “blood money.” Instead, Spielberg used the film’s profits to found the USC Shoah Foundation, which was established in 1994 to honor and remember the survivors of the Holocaust by collecting personal recollections and audio visual interviews.

6. Before Spielberg agreed to make the movie, he tried to get other directors to make it.

Part of Spielberg’s reluctance to make Schindler's List was that he didn’t feel that he was prepared or mature enough to tackle a film about the Holocaust. So he tried to recruit other directors to make the film. He first approached director Roman Polanski, a Holocaust survivor whose own mother was killed in Auschwitz. Polanski declined, but would go on to make his own film about the Holocaust, The Pianist, which earned him a Best Director Oscar in 2003. Spielberg then offered the movie to director Sydney Pollack, who also passed.

The job was then offered to legendary filmmaker Martin Scorsese, who accepted. Scorsese was set to put the film into production when Spielberg had an epiphany on the set of the revisionist Peter Pan story Hook and realized that he was finally prepared to make Schindler’s List. To make up for the change of heart, Spielberg traded Scorsese the rights to a movie he’d been developing that Scorsese would make into his next film: the remake of Cape Fear.

7. The movie was a gamble for Universal, so they made Spielberg a dino-sized deal.

When Spielberg finally decided to make Schindler’s List, it had taken him so long that Sheinberg and Universal balked. The relatively low-budget $23 million three-hour black-and-white Holocaust movie was too much of a risk, so they asked Spielberg to make another project that had been brewing at the studio: Jurassic Park. Make the lucrative summer movie first, they said, and then he could go and make his passion project. Spielberg agreed, and both movies were released in 1993; Jurassic Park in June and Schindler’s List in December.

8. Spielberg didn't want a movie star with Hollywood clout to portray Schindler.

Kevin Costner and Mel Gibson auditioned for the role of Oskar Schindler, and actor Warren Beatty was far enough along in the process that he even made it as far as a script reading. But according to Spielberg, Beatty was dropped because, “Warren would have played it like Oskar Schindler through Warren Beatty.”

For the role, Spielberg cast then relatively unknown Irish actor Liam Neeson, whom the director had seen in a Broadway play called Anna Christie. “Liam was the closest in my experience of what Schindler was like,” Spielberg told The New York Times. “His charm, the way women love him, his strength. He actually looks a little bit like Schindler, the same height, although Schindler was a rotund man,” he said. “If I had made the movie in 1964, I would have cast Gert Frobe, the late German actor. That’s what he looked like.”

Besides having Neeson listen to recordings of Schindler, the director also told him to study the gestures of former Time Warner chairman Steven J. Ross, another of Spielberg’s mentors, and the man to whom he dedicated the film.

9. Spielberg did his own research.

In order to gain a more personal perspective on the film, Spielberg traveled to Poland before principal photography began to interview Holocaust survivors and visit the real-life locations that he planned to portray in the movie. While there, he visited the former Gestapo headquarters on Pomorska Street, Schindler’s actual apartment, and Amon Goeth’s villa.

Eventually the film shot on location for 92 days in Poland by recreating the Płaszów camp in a nearby abandoned rock quarry. The production was also allowed to shoot scenes outside the gates of Auschwitz.

10. The little girl in the red coat was real.

Promotional image for 25th anniversary rerelease of Schindler's List.
Universal Pictures

A symbol of innocence in the movie, the little girl in the red coat who appears during the liquidation of the ghetto in the movie was based on a real person. In the film, the little girl is played by actress Oliwia Dabrowska, who—at the age of three—promised Spielberg that she would not watch the film until she was 18 years old. She allegedly watched the movie when she was 11, breaking her promise, and spent years rejecting the experience. Later, she told the Daily Mail, “I realized I had been part of something I could be proud of. Spielberg was right: I had to grow up to watch the film.”

The actual girl in the red coat was named Roma Ligocka; a survivor of the Krakow ghetto, she was known amongst the Jews living there by her red winter coat. Ligocka, now a painter who lives in Germany, later wrote a biography about surviving the Holocaust called The Girl in the Red Coat.

11. The movie wasn't supposed to be in English.

For a better sense of reality, Spielberg originally wanted to shoot the movie completely in Polish and German using subtitles, but he eventually decided against it because he felt that it would take away from the urgency and importance of the images onscreen. According to Spielberg, “I wanted people to watch the images, not read the subtitles. There’s too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else.”

12. The studio didn't want the movie to be in black and white.

The only person at MCA/Universal who agreed with Spielberg and director of cinematography Janusz Kaminski’s decision to shoot the movie in black and white was Sheinberg. Everyone else lobbied against the idea, saying that it would stylize the Holocaust. Spielberg and Kaminski chose to shoot the film in a grimy, unstylish fashion and format inspired by German Expressionist and Italian Neorealist films. Also, according to Spielberg, “It’s entirely appropriate because I’ve only experienced the Holocaust through other people’s testimonies and through archival footage which is, of course, all in black and white.”

13. Spielberg's passion project paid off in Oscars.

Schindler’s List was the big winner at the 66th Academy Awards. The film won a total of seven Oscars, including Best Picture and Best Director awards for Spielberg. Neeson and Ralph Fiennes were both nominated for their performances, and the film also received nods for Costume Design, Makeup, and Sound.

14. Schindler's List is technically a student film.

Steven Spielberg gives a speech
Nicholas Hunt, Getty Images

Thirty-three years after dropping out of college, Spielberg finally received a BA in Film and Video Production from his newly minted alma mater, Cal State Long Beach, in 2002. The director re-enrolled in secret, and gained his remaining credits by writing essays and submitting projects under a pseudonym. In order to pass a film course, he submitted Schindler’s List as his student project. Spielberg describes the time gap between leaving school and earning his degree as his “longest post-production schedule.”

15. Spielberg thinks the film may be even more important to watch today.

In honor of the film's 25th anniversary, it's currently back in theaters. But Spielberg believes that the film may be even more important for today's audiences to see. "I think this is maybe the most important time to re-release this film," the director said in a recent interview with Lester Holt on NBC Nightly News. Citing the spike in hate crimes targeting religious minorities since
2016, he said, "Hate's less parenthetical today, it's more a headline."

Additional Sources:
The Making of Schindler’s List: Behind the Scenes of an Epic Film, by Franciszek Palowski

An earlier version of this article appeared in 2015.

What is Wassailing, Anyway?

iStock
iStock

It’s easy to think that wassailing is some cozy wintertime tradition that’s fun for the whole family. After all, there’s a jaunty, wholesome Christmas carol about it! But the truth is, if you ever see a minor out wassailing, you may want to call his or her parents.

The word wassail has many meanings. For centuries, it was a way to toast someone’s good health. Before the Battle of Hastings in 1066, English soldiers reportedly sang:

Rejoice and wassail!

(Pass the bottle) and drink health.

Drink backwards and drink to me

Drink half and drink empty.

But, in England, wassail also denoted the alcoholic beverage you imbibed during that toast—an elixir of steamy mulled mead or cider. Sometimes, wassail was a whipped dark beer flavored with roasted crab apples.

Wassail was usually slurped from a communal bowl before, during, and after big events and holidays. It was supposedly on the menu during Lammas Day, a pagan autumnal harvest holiday that involves transforming cornhusks into dolls. It was also imbibed on Twelfth Night, a January holiday that involves lighting a fire in an orchard, dancing, and singing incantations to apple trees in hopes of encouraging a bountiful harvest.

By the Middle Ages, the practice of sharing a giant bowl of wassail—that is, the practice of wassailing—evolved from a holiday celebration to a form of boozy begging. “At Christmastide, the poor expected privileges denied them at other times, including the right to enter the homes of the wealthy, who feasted them from the best of their provisions,” Robert Doares, an instructor at Colonial Williamsburg, explained. The poor would either ask to sip from their rich neighbor’s wassailing bowl or would bring their own bowl, asking for it to be filled. According to Doares, “At these gatherings, the bands of roving wassailers often performed songs for the master while drinking his beer, toasting him, his family, his livestock, wishing continued health and wealth.” The original lyrics of Here We Come a-Wassailing are quite upfront about what’s going on:

We are not daily beggars

That beg from door to door

But we are neighbours’ children

Whom you have seen before.

Not all rich folk were happy to see wassailers at their doorstep. One 17th century polymath, John Selden, complained about “Wenches … by their Wassels at New-years-tide ... present you with a Cup, and you must drink of the slabby stuff; but the meaning is, you must give them Moneys.”

Misers like Selden may have had a point: Since alcohol was involved, wassailers often got too rowdy. “Drunken bands of men and boys would take to the streets at night, noise-making, shooting rifles, making ‘rough music,’ and even destroying property as they went among the wealthy urban homes,” wrote Hannah Harvester, formerly the staff folklorist at Traditional Arts in Upstate New York. In fact, boisterous wassailers are one reason why Oliver Cromwell and Long Parliament passed an ordinance in 1647 that essentially banned Christmas.

By the 19th century, wassailing would mellow. Beginning in the 1830s, music publishers started releasing the first commercial Christmas carols, uncorking classics such as God Rest Ye Merry Gentlemen and The First Noel. Among them were dozens of wassailing songs, including the circa 1850 Here We Come a-Wassailing and dozens of others that are now, sadly, forgotten. As the custom of caroling became the dominant door-to-door pastime, alcohol-fueled begging dwindled. By the turn of the 20th century, carolers were more likely to sing about libations than actually drink them.

But if you’re interested in engaging in some good, old-fashioned wassailing, the original lyrics to Here We Come a-Wassailing are a helpful guide. For starters, ask for beer.

Our wassail cup is made

Of the rosemary tree,

And so is your beer

Of the best barley.

Don’t be shy! Keep asking for that beer.

Call up the butler of this house,

Put on his golden ring.

Let him bring us up a glass of beer,

And better we shall sing.

Remind your audience that, hey, this is the season of giving. Fork it over.

We have got a little purse

Of stretching leather skin;

We want a little of your money

To line it well within.

Screw it. You’ve sung this far. Go for it all, go for the gold, go for ... their cheese.

Bring us out a table

And spread it with a cloth;

Bring us out a mouldy cheese,

And some of your Christmas loaf.

Thirsty for your own wassail? Stock up on sherry and wine and try this traditional recipe from The Williamsburg Cookbook.

Have you got a Big Question you'd like us to answer? If so, let us know by emailing us at bigquestions@mentalfloss.com.

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