Eldridge Street Synagogue

A Photo-Essay on America’s First Eastern European Shul

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Eldridge Street Synagogue is on Eldridge Street between Canal and Division Streets on the Lower East Side of Manhattan in New York City.

Eldridge Street Synagogue is the first synagogue in the United States built by Eastern European Jews, who began immigrating at the end of the 19th Century. Most came from the Pale of Settlement, the vast western swathe of the Russian Empire where Jews were permitted to live. Their migration was initially sparked by the Pogroms during 1881–4 that saw Jews scapegoated for the assassination of Czar Alexander II.

The facade as seen from the west on Eldridge Street. The lower door at the left is now the principal entrance, leading to the Museum and Beth Midrash downstairs. Although not officially confirmed, it is believed the facade’s layout has intentional meaning: 12 Stars of the Rose Window for 12 Tribes of Israel, 10 Tablets of the Rooftop for 10 Commandments, 5 Windows below the Rose for 5 Books of Moses, 4 doors for 4 Matriarchs, and 3 staircases within for 3 Patriarchs.

The Synagogue’s lot was first purchased by Kahal Adath Jeshurun in 1886, consolidated from three smaller lots that had hosted wooden row houses. The edifice was completed in less than a year for what would today be $25 million, opening in 1887. It was designed by the Herter Brothers, Roman Catholic architects of German extraction, and built by R.H. Casey, an Irish-American firm experienced in ecclesiastical construction.

Left: The Rose Window in detail, which is original to the edifice. Right: The central Portals in detail.

The edifice is a blend of architectural styles, brought together with Romanesque masonry of stone, brick, and terra cotta. The shape of the facade is reminiscent of Victorian architecture, but features the Moorish conventions of horseshoe arches, high-relief columns and cornices, as well as canopied, domed finials. These are matched with a grand Gothic Rose Window, along with smaller Roses that fill the Moorish arches.

The anteroom of the Beth Midrash, which serves as the Museum Reception. The Beth Midrash features numerous exhibits on the Synagogue and Eastern European Jewry, as well as having served as an active worship space even after the restoration and Museum conversion.

The earliest congregations from Eastern Europe were small, as they were organized around the particular origins of their members, consisting of individuals from the same town or province. This motivated Kahal Adath Jeshurun, itself descended from the first Russian Jewish congregation in America, to develop and grow a congregation that moved past inter-communal divisions. Thus, beyond being the first original edifice for Eastern European Jews, the Synagogue was also the first initiative bringing together the broader community into a large, unified body.

The Pews of the Beth Midrash, which, along with the hardwood floor, are original.
The Beth Midrash in detail, with the Ark on the eastern wall and the Bimah centrally situated before it, which is conventional to Orthodox synagogues.

The Synagogue flourished in its first 50 years with a diverse Congregation consisting of merchants, artisans, clerks, lawyers, peddlers, and laborers. It hired its first full-time Rabbi, Aharon Yudelovitch, in 1918 and had already featured world-renowned Cantors. However, the 1920s brought challenges, as non-northwestern European immigration was reduced by the National Origins Formula and greater prosperity incentivized Jewish families to move out of the Lower East Side.

Two perspectives on the Ark of the Beth Midrash.
The exhibits flanking the Ark of the Beth Midrash. Left: A Grogger (early 1900s), Menorah (late 1900s), Torah Cover (early to mid-1900s), Torah Breastplate (post-1909), Havdalah Box (mid-1900s), Seder Plate (mid-1900s), Candlesticks (late 1800s), and Kiddush Cup (early 1900s). Right: A Torah Mantle (early to mid-1900s), Torah Finials & Crown (early to mid-1900s), Torah Breastplate (early to mid-1900s), Torah Fragment (late 1900s), and Torah Pointer (late 1800s to early 1900s).

The decline of the Congregation continued, compelling remaining members in the 1940s to move worship services to the downstairs Beth Midrash, as the Main Sanctuary became too expensive to maintain. The Sanctuary fell into severe disrepair over the following decades, until renewed attention on the Synagogue was brought by New York University Professor Gerard Wolfe in the 1970s. The Synagogue was featured in Wolfe’s book, The Synagogues of New York’s Lower East Side, which compelled interested parties to organize a formal restoration of the edifice.

The Main Sanctuary, featuring a basilican floor plan with a Nave, Aisles, and mezzanine Galleries. Per Orthodox tradition, men and boys would sit on the lower level, while women and girls would sit in the Galleries.
The Sanctuary as seen from its southwestern corner. It is 3,060 square feet and includes 67 stained glass windows. The Ark is once again on the eastern wall and the Bimah centrally situated. What appears to be fine marble and mahogany is actually trompe-l’œil method painting, an economical approach yielding remarkable opulence.

The nonprofit, nonsectarian Eldridge Street Project was incorporated by journalist-preservationist Roberta Brandes Gratz and attorney William Josephson in 1986. The Project cost $20 million and spanned 20 years, making it the grandest restoration in New York City unconnected to public or private institutions. The restoration was guided by architects Jill Gotthelf and Walter Sedovic, specialists in sustainable preservation, and completed in 2007, with the Project succeeded by the Museum at Eldridge Street.

Left & Right: The northern and southern Aisles in detail. The pine hardwood floor, fully exposed between Pews, was intentionally left untouched by the restoration.
The walnut Ark of the Sanctuary, which used to contain 24 Sifrei Torah, as seen from the Pew ahead of the Bimah. In front of the Ark is the Cantor Stand, with an adjustable ledge to accommodate varied heights.
The eastern wall of the Sanctuary in detail. The circular stained glass window, designed by artist Kiki Smith and architect Deborah Gans, was installed in 2010. It is sixteen feet in diameter and two tons in weight, consisting of 1,200 individual pieces of colored glass etched with over 650 stars. The glass is fused with silicon rather than lead, making it more luminous, a method pioneered in Germany and inaugurated in the United States via this window.
Left: A reverse perspective on the Sanctuary from in front of the Bimah, featuring the western Gallery and Rose Window. The Victorian brass Chandelier consists of 400 parts. Right: The stairs at the southwestern corner leading to the mezzanine Galleries.

Kahal Adath Jeshurun continued to use the Beth Midrash until a few months ago, when the Rabbi that led the Congregation accepted a new job. Not all of the remaining members were immediately made aware of his departure, so some still showed up for services before promptly leaving and not returning. With Minyan subsequently unfulfilled, the Congregation, for all intents and purposes, is no longer active and the Synagogue now exists only as a Museum.

The ceiling of the Sanctuary as seen from the western Gallery. The ceiling maximally measures 50 feet high at the Vaults and 70 feet high at the apex of the Dome.
The floor of the Sanctuary as seen from the western Gallery. All of the seats in the Sanctuary were intentionally numbered at the outset to effectively fundraise for construction of the edifice. Seat selections had formal contracts, with better seats selling for higher prices. Seat #1 was sold for $1,100 to Isidor Abraham in 1887.
Left & Right: The northern and southern Galleries, featuring domed vaults. A portion of the northern Gallery wall was intentionally left untouched to display the pre-restoration state of the Sanctuary.

The long journeys of the Synagogue and its Congregation have been true of many houses of worship throughout history, so often defined by periods of inspiring growth and discouraging decline. So much of mortal life is beyond attempts at preservation, but the dedication that saved the Synagogue reveals that earnest commitment is among the most Divine of human traits. It is a fundamental reflex of the individual human conscience that, when enjoined in collective efforts and a common vision, can truly achieve the seemingly insurmountable.

The Rose and Keyhole Windows behind the western Gallery, which form the central portion of the principal facade.

These photos were taken on a single day exclusively utilizing a wide angle lens. All of the interior photos were taken swiftly to keep pace with the group tour and to avoid capturing other visitors. Acknowledgments and gratitude go to Gil, who worked security, and Herb, who led an informative tour.

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Haytham ad-Din → The Photographic Muslim
The Photographic Muslim

Male. New Yorker. Pluralistic Muslim. Disciple of the Indonesian Renewal of Islamic Thought. Photo-essays on houses of worship.