Progress brought with it the demolition of many old buildings in the city. The one in the upper center was a brewery on the Bowery. Scores of buildings such as seen in Tenements and the brownstone row houses in Old New York were razed to make way for large apartment buildings.

       In the 1950's, even Grand Central and the Public Library on Fifth Avenue were threatened with extinction, as were the quaint streets of Chinatown, where some developers sought to build still more high rises. Thanks to preservationists, some of this destruction of the city's landmarks and neighborhoods was stopped.

       Other sections of Manhattan lost much of their charm to the inevitable march of progress. The many quaint docks seen in New York Harbor #21 and in New York Harbor #22 on the Hudson became gigantic quansit huts; and on the east side, the fishing industry consolidated into a giant single building under the shadow of the Brooklyn Bridge.

       Even Brooklyn was affected by the changing times, as Manhattan growth swelled beyond its insular dimensions. The decline of military ship building at the Brooklyn Navy Yard after the war ended also drastically changed the harbor across the East River.

       The churches of New York were some of Dolice's favorite subjects. He often pictured them standing alone. Later, as Manhattan grew up around them, he juxtaposed them against their towering commercial neighbors; as in an early St. Patrick's seen alone in 1920, and a later St. Patrick's, dwarfed by Rockefeller Center. Trinity Church is seen in a solitary snowscene on Broadway and then in another view from Wall Street, and St. Paul's Chapel is both alone and in St. Paul's, 1930 is dwarfed by skyscrapers.

       In his studies of other churches, he ignored the towering background of adjacent skyscrapers and concentrated on mood, as in the nocturnal snowscene of St. Mark's; or on detail, as in the etching of the Church of the Transfiguation, known affectionately to New Yorkers as The Little Church Around the Corner.