Villa Berulia

Massimo Bollini loves to share stories of his historic Italian restaurant where mayors, governors, actors, gangsters, and even Oprah have dined. "But my favorite was always Ed Koch! " he exclaimed. Spread over two charming levels, with about ten tables on each, the walls are filled with changing artwork, old family photos, and pictures of Italy. Massimo arrived in the U. S. in 1978, working first as a bar boy in a hotel, then as a waiter, until joining his Uncle Sam on East 39th Street, where he has been a cheerful fixture ever since. Visitors to Sam’s Place go for the warm greetings and pleasant conversation and stay for the fettuccine alfredo — always a crowd-pleaser, despite the hefty calories. This delectable dish is just one reason customers have been returning for over thirty years, regulars for whom Massimo is “happy to change the menu according to their pleasures. ”

Keeping it in the family has been what has made Rossini's so successful for over thirty-five years. Begun by Romano Bernaz in 1978, his two sons and their cousin continue with the traditions of fine Italian dining. The restaurant is quite impressive, with a bar up front and then many white-clothed tables in the rear surrounded by murals and paintings on each of the walls. Every detail for a fine dining experience is met, including soft live piano music, well-dressed, attentive waiters and, of course, excellent food.

Originally known as the Manhattan Opera House, 311 West has had an interesting history. Oscar Hammerstein built the theater in 1906, but after a few short years, the Metropolitan Opera House came to him requesting that he not compete with them, and made him an offer that he could not refuse. Shortly thereafter, Mr. Hammerstein sold the building to the Shubert brothers where they continued to feature a variety of shows and concerts. In 1922, it was sold again, and this time a Grand Ballroom was added. Unbeknownst to the builders, they had created an outstanding acoustic setup where musicians from Harry Belafonte to the Grateful Dead have performed and recorded. Over the past twenty plus years, construction has been on-going as more multimedia studios have been added and a refurbishing done to the Hammerstein Ballroom to accommodate large private events.

With construction starting in 1958 and finishing ten years later, Saint Vartan Cathedral represents the first Armenian Apostolic cathedral built in North America. Named after a saint who was martyred a millennium and a half ago defending Armenian Christianity, Saint Vartan Cathedral had a memorable beginning. During its construction and immediately following its completion, the building was visited by the highest authority within the Church, His Holiness Vasken I, marking the first such visit by a Supreme Patriarch and Catholicos of All Armenians in the United States. For a people so persecuted throughout history, and especially by the recent Armenian genocide, the building and consecration of this holy house was a monumental event in the community. His Holiness Vasken I, looking out at an assembled audience soon after Saint Vartan's completion, spoke of "an admirable picture of spiritual grace - a rare moment of spiritual bliss - to which we are all witnesses. " But far from being a relic, the church continues to thrive with the energy of the community it houses. I encourage any visitors to the church to walk through the intricately decorated doors and take some time to absorb the sheer size and depth of the church. Narrow strips of stained glass depicting biblical scenes and significant events in the history of the Armenian Church rise up to the impressive dome, which depicts Christian symbols in paint and stained glass, such as a human eye within a triangle (representing the omniscient Triune God), the wooden ship (representing the Church), and the white dove (representing the Holy Spirit). Closer to the altar, the “Head of Christ” is chiseled on a slate of stone in high relief. Silver and gold crosses decorate the distinctly Armenian altar. On the sides of the altar are paintings of St. Sahag and St. Mesrob, the two men credited with inventing the Armenian Alphabet, and a painting that seeks to honor the victims of the dreadful Armenian genocide.