Culture in the Heights

Walking through the hallowed halls of this fine institution, one is bound to hear the usual laundry list of complaints against Yeshiva University: there is a lack of school spirit, there is nothing to do on campus, cafeteria prices are simply exorbitan t. But the most troubling and untruthful complaint is that the immediate neighborhood contains few recreational spots for students to "get away from it all." Indeed, the argument goes, if one wants to enjoy "city life," then the only way to do so is by ho pping on a subway and going to midtown.

This sentiment could not be further from the truth. Located on 191st street near Washington Square Park, just two subway stops and a 15 minute walk away from YU is The Cloisters; a branch of the Metropolitan Museum of Art devoted specifically to exhibi ting Medieval art, represents the perfect haven for the typical Yeshiva student fed up with the congestion and daily ennui of urban life.

Built at the dawn of the second World War in 1938, The Cloisters was largely financed by the altruism of the great American tycoon, John D. Rockefeller. Its imposing hilltop setting, and verdant greenery (even in the winter) establishes an ambiance rip e for aesthetic prosperity. It owes its name to the five medieval cloisters integrated into the general structure.

When first entering into this large stone edifice, one is immediately struck by its castle-like quality. For a fleeting moment, one feels trapped in a medieval time warp.

The museum is arranged chronologically from Romanesque (approximately the 1100's) to the Gothic (1500's) period, possessing a whole slew of poignant works. Chief among the works that and initially striking are: the Fuentiduena Chapel, whose apse was ca refully constructed stone by stone and reconstructed at The Cloisters as a permanent loan from the Spanish government, the stained glass windows in the Early Gothic Hall, and the Nine Heroes Tapestries which tell the epic stories of nine figures from paga n, Hebrew, and Christian history.

Generally the stained glass windows were made to let lush, saturated colors pervade a church’s interior, while tapestries were usually commissioned by wealthy noblemen both as a way of insulating rooms against dampness and displaying wealth. In particu lar, the stain glass windows at The Cloisters make for varnished imagery by depicting various Christian myths to the last detail; famous figures are rendered with amazing accuracy, leaving little to the observer’s imagination. This overall emphasis on nua nce and subtlety are apparent in most of the exhibited works. Two other endearing rooms that one must be sure not to miss are the unicorn room, exhibiting the famous unicorn tapestries, and the treasury, housing finely sketched liturgical works. For jewel ry aficionados the treasury will provide even a greater delight as it contains rare, valuable jewels from the twelfth and thirteenth centuries.

However, the true stars of The Cloisters are, not surprisingly, the cloisters themselves. In traditional Europe, a cloister consists of a covered walkway surrounding a large open courtyard with access to other monastic buildings. The central courtyard functioned as a passageway, a place for religious contemplation and a place for social congregation. Although late twentieth century New York City might differ greatly from barbaric medieval Europe, the cloisters at The Cloisters still fulfill a similar r ole. Shrewdly, the museum organizers have placed opulent herb gardens and benches throughout three main cloisters, helping to accentuate the museum’s placid tranquility. A person could spend hours just sitting down and breathing in the fresh city air whil e taking in an awe inspiring view of the Hudson. But for those who are not content in merely enjoying nature’s aesthetics, sitting in the courtyards can be a great way to see New York city’s multi-cultural heritage at its vibrant best.

Unlike other art museums, where the crowds tend to be mostly upscale and priggish, the visitors at The Cloisters come from a cross-section of New York City. The sounds of German, Spanish, Portuguese and French mix in with lower middle class Bronx accen ts forming cacophonous melodies brimming with life. The Cloisters is a popular spot for Spanish immigrants taking advantage of the local area, working class families enjoying a cheap recreational activity, young European tourists backpacking around the ci ty, old Jewish grandmothers out on a Sunday morning stroll, avante garde artists searching for inspiration, amorous lovers yearning for a little privacy and, yes, boisterous Israelis prattling endlessly on their cellular phones.

Thus, if one is looking for a stimulating yet enjoyable way to kill time, and is fed up with the hackneyed "Upper West Side" scene or "Museum Mile," The Cloisters is the perfect place. Even for those with less acute artistic senses, visiting The Cloist ers can still prove illuminating. Indeed, it is only so often that a person will be afforded the opportunity to live near a place which unknowingly acts as a congregating center for so many people from such differing backgrounds. Before ranting about how little there is to do in Washington Heights, hop on the A train and get ready to see a breathless collection of unique artistic works, and a side of Washington Heights rarely spoken about.