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The
Mall and Bethesda Terrace are the main formal elements in Olmsted
and Vaux's design for Central Park. They acknowledged the public's
need for a place to socialize; they knew that a "grand
promenade" was an "essential feature of a metropolitan
park." But Olmsted and Vaux wanted to satisfy that need without
compromising the primacy of the Park's natural features. They felt
that the Mall must be secondary to the natural view, in this case the
Lake and the Ramble.
Flanking
the 40-foot wide Mall are quadruple rows of American elms. The elm
was one of the designers' favorite trees and provides, as they
envisioned, a living cathedral ceiling high over the walkway. The
Mall is breathtaking in any season. In the springtime, the sun
filtering through the translucent leaves seems to tint the atmosphere
a lime-green. As the canopy matures over the summer, it creates a
cool dense shade for the landscape below. When autumn's yellow and
gold leaves fall, they reveal the bold architecture of the trees'
skeletons. A fresh winter snow creates a lace veil in the black and
white tree branches.
The
southern end of the Mall is often referred to as "Literary
Walk." Fearing that increasing requests to install sculpture
throughout the Park would change its naturalistic character,
Commissioners proposed in 1873 that the Mall be the designated
location for sculpture. Over a short period of time representations
of the following literary figures were installed: William Shakespeare
(by John Quincy Adams Ward, dedicated in 1872), Sir Walter Scott (by
Sir John Steell, dedicated in 1880), Robert Burns (by Fitz-Greene
Halleck, dedicated in 1877). Though not a literary figure,
Christopher Columbus, by Jeronimo Suñol, was dedicated in
1894. Victor Herbert (by Edmond T. Quinn, dated 1927), and Ludwig van
Beethoven (by Henry Bearer, dated 1884). Composers Herbert and
Beethoven are near the Mall concert ground, site of the original
Central Park Bandshell, and now of the Naumburg Bandshell and
SummerStage at Rumsey Playfield.
Two
other sculptures in the Mall area are worthy of note, each eliciting
divergent critical response in its time. The first is "The
Indian Hunter" by John Quincy Adams Ward (dedicated in 1869)
which helped to establish Ward as a leading post-Civil War sculptor.
Critics felt a harmonious connection with the Park in Ward's
observation of nature and in his focus on a truly American subject.
Christopher Fratin's "Eagles and Prey" (dedicated in 1863)
did not fare as well. Park commissioners thought the naturalistic
theme would be highly appropriate for a Park setting. But noted
nineteenth century critic Clarence Cook disagreed, saying in 1869
that such wild, exotic depictions (in this case, two birds of prey
attacking a goat trapped between two rocks) did not fit in with
"the tranquil rural beauty of the park scenery&ldots;" Such
sculpture flew in the face, as it were, of the nobler purpose of both
art and the Park's design, felt Cook.
Finally,
one little-known fact: at the southernmost end of the Mall is the
only tribute in Central Park to Frederick Law Olmsted. The Olmsted
Bed, beautified with seasonal pansies, impatiens, and flowing
groundcover, is a memorial garden surrounded by American elms. Its
elegant but naturalistic plantings, both annual and perennial, offer
year-round color and texture to the delight of Park visitors.
In
1991, the Conservancy completed restoration of the Mall, installed
new benches that replicate the original design by Calvert Vaux
encircling the planting islands near the Bandshell, and established
an endowment fund for a zone gardener to maintain the area.
Finally,
one little-known fact: at the southernmost end of the Mall is the
only tribute in Central Park to Frederick Law Olmsted. In 1997, the
Conservancy restored the Olmsted Bed. Beautified with seasonal
pansies, impatiens, and flowing groundcover, it is a memorial garden
surrounded by American elms. |
