Central Park

Central Park: A Musical Destination for all New Yorkers

The blog this week highlights the long tradition of music concerts in Central Park. It is adapted from our new book, “The Central Park: Original Designs for New York’s Greatest Treasure.”

Alterations to Music Pavilion, mason’s and carpenter’s contract, 1886. Black and colored inks with colored washes on paper backed with linen, 23¾ x 34¾". Department of Parks Collection, NYC Municipal Archives.

The vividly colored Music Pavilion was originally constructed in 1862 and was moved to several different locations on the Mall during its lifetime. Jacob Wrey Mould prepared this drawing for alterations to the structure in 1886.

New Yorkers have enjoyed musical performances in Central Park from its earliest days. Park planners Calvert Vaux and Frederick Law Olmsted believed that their urban oasis should provide not only “healthful recreation,” but also serve as a cultural destination for the appreciation of art and beauty. In 1859, an estimated five thousand people delighted in the first formal concert at a temporary bandstand built in the newly-opened Ramble.

Temporary winter covering for the Music Pavilion, carpenter’s and ironmonger’s contract, 1869. Black ink with colored washes on paper backed with linen, 19½ x 21". Department of Parks Collection, NYC Municipal Archives.

As crowds grew larger, Vaux and Olmsted decided that the west side of the Mall, near the Bethesda Terrace, would be the ideal spot for a permanent structure. As they explained to the Board of Commissioners of the Central Park: “This site is recommended because it is conspicuous without being obtrusive, and is easy to access from the promenade [later known as the Mall] and from one of the leading avenue entrances; while, to the north, it commands from its terraces and verandas the finest views that are to be obtained in the lower part of the park.”

By 1862, the overwhelming popularity of free concerts in the park prompted the Board of Commissioners to approve building a permanent Music Pavilion to be located at the north end of the mall. Architect Jacob Wrey Mould’s Moorish-influenced cast-iron and wood bandstand, with six slender red columns that carried a bright blue cupola decorated with gilt stars, is still considered one of his park masterpieces.

Study for a floating music pavilion on the Lake, c. 1861. Black ink and pencil with colored washes on paper backed with linen, 17½ x 18½". Department of Parks Collection, NYC Municipal Archives.

These detail maps show the pavilion’s positions on the Lake during a concert and when not in use; the central panel lifts up to reveal a second seating arrangement for a larger orchestra.

Before the Music Pavilion was built, Olmsted had toyed with a much different location. In 1861, he wrote to Central Park Board Commissioner Andrew Haswell Green suggesting that a bandstand floating on the Lake might be the best place to feature orchestras and bands during the concert season. Always fearful that large crowds of any size would trample and ruin the grass, Olmsted also believed that acoustics on the Lake would carry the music to listeners scattered around its shores, including on the Terrace, where chairs could be placed. The structure could be movable and would offer seating arrangements for both large and small groups of musicians. In the end, it was Mould’s Music Pavilion that was built, but occasionally a ten-man cornet band would give afternoon concerts from a boat on the water.

Here the Music Pavilion can be seen in its original location at the north end of the mall just behind a small decorative fountain that lead toward to the Terrace. The Pavilion would later be moved further the south and the fountain would be removed altogether. Department of Parks Collection, NYC Municipal Archives.

Large crowds gather to enjoy a concert in the park, c. 1910. The bench seating was designed by Calvert Vaux especially for concert-goers around the Music Pavilion. Photo by A. Tennyson Beals, NYC Municipal Archives Collection.

Design for modification of the area in the vicinity of the Music Stand on the Mall, c. 1865. Black and colored inks with colored washes on paper backed with linen, 28 ½ x 21 1/4." Department of Parks Collection, NYC Municipal Archives.

In this drawing prepared by Calvert Vaux, we can see the Music Pavilion located along the western side of the mall. In 1884, a statue of Ludwig Van Beethoven was installed near this location of the Pavilion where it still stands today.

In 1921, Elkan Naumburg, a retired banker and music lover, offered the city $100,000 to replace the acoustically outdated Mould Pavilion. Naumburg’s nephew William Tachau designed the new venue in a neoclassical style. It was constructed with cream-colored Indiana limestone with side staircases and a coffered and gilded half-domed ceiling. Dedicated in 1923 and described as a “Temple of Music,” the Naumburg Bandshell is one of the few examples of the City Beautiful architectural style in the park. It is nestled into a hillside near the Mall and Pergola and has hosted everything from orchestral performances and big band era dances to a rousing speech by Martin Luther King Jr.

In addition to the Music Pavilion and the Bandstand, in more recent years the Great Lawn and the Sheep Meadow have served as open-air venues for concerts on a much grander scale. Ranging from Barbra Streisand in 1967 and Elton John in 1980 to the massive crowds that flood through the gates to see the annual concert given by the New York Philharmonic each year, the park has been filled with music to the delight of all New Yorkers for over 160 years.

Harvest dance contest at Naumburg Bandshell, September 1942. NYC Municipal Archives Collection.

Music remained a popular attraction in the park even after the removal of Mould’s Music Pavilion. The Naumburg Bandshell, designed by William Tachau, replaced it in 1923 and is still in use today.

These illustrations, and more than 250 others, such as the original winning competition entry submitted by Olmsted and Vaux, meticulously detailed plans and elevations of many of the architectural features of the park, as well as intricate engineering drawings are included in “The Central Park: Original Designs for New York’s Greatest Treasure.” It is available at bookstores throughout the city and through on-line retailers.

Mayor Edward Koch walking through the crowds while waiting for the start of the annual concert given by the New York Philharmonic in Central Park, August 8, 1983. Mayor Edward I. Koch Collection, NYC Municipal Archives.

The Philharmonic’s concert in 1986 had an estimated attendance of 800,000 people, one of the largest gatherings for a musical event in the history of the park.

The Central Park: Original Designs for New York’s Greatest Treasure, a conversation with author Cynthia Brenwall

The Department of Records & Information Services is pleased to announce The Central Park: Original Designs for New York’s Greatest Treasure, will be in bookstores beginning Tuesday, April 16. We asked author Cynthia Brenwall, conservator at the Municipal Archives, to share her favorite stories about the park and to highlight some of the beautiful drawings from the collection that are featured in the book.

Kenneth Cobb: One of the most striking drawings in the collection, the gilded bird cage, is on the cover of the book. Is it true that the cages contained live birds in the early years of the park?

Ornamental birdcage on a blue stone pedestal, 1864.

Attributed to Jacob Wrey Mould, architect.

Black ink and watercolor with pencil on paper, 18 ½ x 13 ¼ inches

Cynthia Brenwall: Yes, they put live birds in the cages for the enjoyment of visitors promenading on the mall near the Terrace. We do not know when they removed the cages, but their bases are still in the park today, used to hold large floral planters.

KC: It must have been difficult to choose from the more than 1,500 drawings of the park in the collection. Can you describe how you came up with the overall organization of the book?

CB: With so many amazing drawings in our collection, my hardest task was selecting items that best represented different areas of the park. The creators of the park, Olmsted and Vaux, felt that the view and the scenic landscape that they devised were the most important aspect of the park. I wanted to find a way to convey how they made sure a visitor would experience a “respite for the eye and the soul,” as I put it, from any point in the park. In the southern end of the park they installed a formal landscape with linear views and features such as distinctive bridges, natural looking bodies of water and pathways for pedestrians, horses and carriages. Moving northward in the park, the view becomes more rugged featuring the natural landscape of rock outcroppings, rolling hills and long vistas. Finally, there is the ceremonial and architecturally detailed Bethesda Terrace and Mall—the heart of the park.

Map of Central Park, c. 1875. Black ink on linen, 24 x 74 inches.

This map shows work both planned and completed as of the mid-1870s. It includes Drives, Rides, Walks, bridges, named gates, and major structures as well as several building that were being planned at the time but were never completed.

In the early stages of shaping how I would display the drawings in the book, I found a very detailed map of the park from 1872. As I began identifying all the places on the map that corresponded to the drawings I realized I could organize the book as though the visitor were strolling through the park, enjoying these ever-changing, but always pastoral, views.

Huddlestone Arch, plan showing the southern elevation and a schematic sketch of the north side, 1864.

Black ink with pencil on graph paper, 13 ¼ x 16 ½ inches

KC: We often say that along with the Brooklyn Bridge, Central Park was one of the greatest public works achievements of the 19th century. What were some innovative features of the park that you found illustrated in the drawings?

CB: Probably the best known feature is the transverse roads. Again, it was all about the views. The designers knew they had to accommodate vehicular traffic across the park but did not want to spoil the views, or the visitors’ sense of being in a natural landscape. The below-grade transverse roads brilliantly solved the problem. This design feature contributed to Vaux and Olmsted’s submission, “The Greensward” being selected as the winning entry in the contest to design the Park

Another of my favorite innovative designs is the Huddlestone Arch in the northern section of the park. It is constructed completely out of stones excavated during park construction. It uses only gravity (no mortar or other binding materials) to hold it together and it is still today a load-bearing (cars and trucks instead of horse drawn carriages) roadway carrying the East Drive over the Loch. The largest stone is estimated to weigh two tons.

Plan of Terrace drainage, showing drains and basin, 1863. Black and red ink colored washes and pencil on graph paper, 16 x 13 inches

Some of the most fascinating drawings are those pertaining to the unseen, but very necessary drainage system devised for the swampy areas of what became the park. George E. Waring, Jr., age 23, was the original drainage engineer. He developed a spider web of clay drains that carried water in and out of the park lands, and the collection contains stunning drawings of the wells and how the system worked.

Another new technology illustrated by the drawings were tree grates—probably not something that park visitors give much thought to. They were first developed in Paris as a way to allow trees to root deeper in the earth along walkways, and to prevent people from trampling on new plantings. The first use of tree grates in America was our Central Park.

Ornamental tree gratings, ironmonger’s details, c. 1872. Ink and watercolor on paper, 18 x 20 inches

KC: What are some of the other hidden secrets of the park that you discovered during your research for the book?

Drinking fountain on the Esplanade, elevation, stonecutter’s and ironmonger’s contract, 1865. Jacob Wrey Mould, architect.

Black and colored inks with colored washes on paper, 14 x 10 inches

CB: Drinking fountains! The park planners knew how important water would be for park visitors, both human and animal. And speaking of water for animals, the design for the drinking trough for horses is a lovely example of their attention to the smallest detail. We have two drawing that show drinking fountains for horses, one of which is still in the park today at Cherry Hill near the Lake. It features Minton Tiles and bird baths above the drinking trough.

The drinking fountains for people are placed throughout the park. Several near the Terrace included a hidden luxury—water would pass over blocks of ice providing chilled water on hot summer days. During the early years of the park, the drinking fountains featured a shared common cup attached with a chain to the fountain. Fears of communicable diseases, such as cholera and yellow fever, led to the end of the common cup practice after 1910.

KC: I expect that many readers will enjoy the drawings of the Paleozoic Museum and the rendering of what they thought a dinosaur would look like.

CB: There was to be a Paleozoic Museum on the west side of the park. They built the foundation for the museum, and plaster models of the dinosaurs, but the City’s political leaders at that time, ca. 1871, preferred lighthearted entertainment rather than educational or cultural institutions within the park.

Paleozoic Museum, transverse view with specimens, 1870. Ink and watercolor on paper, 19 x 26 inches.

This side view shows an example of an interior scene proposed for the museum, which was to include aquariums, geological specimens as well as reconstruction of dinosaurs in the main exhibition hall.

KC: Have you thought of a name for your dinosaur?

CB: No, not yet. Maybe we should make that into a contest… name the dinosaur??!!

KC: Are all the features of the park that we enjoy today included in the original design?

Swedish Schoolhouse (Svenska Skolhauset), perspective view and ground plan. Magnus Isaeus, architect, 1876. Black ink and pencil on paper, 21 x 14 inches.

The Swedish Schoolhouse is the only structure in park that was originally designed for something other than Central Park

CB: The Swedish Schoolhouse (now the marionette theater and called the Swedish Cottage) is the only building that was not designed specifically for the park. It had been built as the Swedish entry into the Philadelphia World Exhibition of 1876 and was later transplanted to Central Park. Over the years it has served as a bike shelter, an entomological laboratory, a library and even a Civil Defense headquarters during WWII.

And of course legendary Park Commissioner Robert Moses made numerous changes to the park. The original park plan did not include playgrounds as we know them, but rather large open areas for “healthful recreation.” Moses installed nearly forty “pocket playgrounds” throughout the park in the 1930s and early 40s.

KC: I know that you conducted a great deal of research to provide context for the illustrations in the book. What were some of the most useful resources?

CB: I made extensive use of Parks Commission and Department annual reports here in our Municipal Library, as well as the minutes and reports of the City’s legislative bodies—the Common Council, Board of Aldermen, etc. in the Municipal Archives. These government records helped me follow how changes in the city’s political landscape translated into changes in our park landscape. They also provided good factual data about payments, work timelines and specific projects that were completed during a given time period.

KC: What is your favorite place in the Park?

Drinking fountain for horses, bronze details, 1871. Black and red ink with colored washes on paper, 17 x 25 inches

CB: I love the more wild and untamed landscapes of the north end of the park. There are many hidden features to discover near the Loch and it feels like you are wandering through the country-side.

KC: Favorite drawing?

CB: There are so many amazing drawings in our collection. I love the tilework designs within the Bethesda Terrace Arcade. I spent a lot of time on the conservation treatment of that drawing and the tiles are stunning. But my absolute favorite drawing is the simple temporary enclosure post that I used at the end of the book. It is minimal and elegant and represented to me that no detail was too small to be overlooked in the design of the park. That, and the fact that it is one of the few drawings to include the names of the architects Calvert Vaux and Jacob Wrey Mould as well as Frederick Law Olmsted who was serving as the president and treasurer of the Board of Commissioners.

Temporary enclosure posts for Central Park, 1872.

Ink and watercolor on paper, 19 x 12 inches

This preliminary study was prepared by Vaux and Mould and was approved by Olmsted, who was serving as the president and treasurer of the Board of Commissioners at the time.

Skating in Central Park

The sport of ice skating in Victorian-era New York was so popular that all submissions to the 1857 design competition for Central Park were required to include a winter skating area. As one of the few socially acceptable activities that could be enjoyed in mixed company (along with tennis and bicycling), the Department of Parks’ Board of Commissioners recognized that a public skating rink would be a great source of healthful recreation for city dwellers. Called the Skating Pond on Calvert Vaux and Frederick Law Olmsted’s winning Greensward plan, the Lake was one of the first areas of the park to be open to the public for the 1858-59 skating season, well before construction of many other park areas had started.

Detail of Calvert Vaux and Frederick Law Olmsted’s 1857 Greensward plan submission drawing showing the skating pond. Black ink with colored pencil on paper. Department of Parks Collection, NYC Municipal Archives.

In the early days of the park, ice skating on the Lake drew huge crowds—some thirty thousand people daily. Beginning in 1868, a three-story chalet-style “skate tent,” as it was called, was put up and taken down at the south end of the lake during the winter season. The 1870 report of the Board of Commissioners described the tent amenity: on the first floor it had concessions, changing areas, a place to warm up, a refreshment stand, and a cloak room. The second story provided windows for spectators to view the skating while enjoying a beverage, and the third level served as a “ladies look-out exclusively.” 

Design for a Skate House. Julius Munckwitz, architect, 1884. Ink and watercolor on paper. Department of Parks Collection, NYC Municipal Archives.

To replace the original “skating tent,” actually a wooden structure, after it had fallen into disrepair, architect Julius Munckwitz prepared this drawing for a new Skate House in 1884, which provided a detailed elevation view and a floor plan with restaurants for men and women as well as a parlor and smoking room.

In addition to the main skating area, Vaux and Olmsted also provided a more secluded space reserved for women who preferred to skate away from the mixed-gender, social atmosphere on the Lake. Located on a small inlet just beyond Balcony Bridge, the Ladies Skating Pond provided a “ladies only” option for the more modest skaters of the day. As construction in the park continued, other bodies of water such as the Conservatory Water and the Pond also became popular skating venues.

In an effort to make the man-made Lake safe throughout the year, it was equipped with waste weirs (to lower water levels) and sluice gates (to raise water levels). During summer, sluice gates kept the water level at seven feet deep to accommodate boaters. In winter, the waste weirs lowered the level to just four feet to lessen the possibility of an accidental drowning if a skater fell through too-thin ice and each night, a series of eighteen hydrants, or valves, spread water to create a fresh sheet of ice.

Design of the sluice gate for the outlet of the Skating Pond, c. 1858. Black and red ink with pencil, blue crayon, and colored washes on paper. Department of Parks Collection, NYC Municipal Archives.

With large crowds arriving daily, Olmsted instituted many park rules for wintertime users of the Lake. He stipulated, for example, that visitors should “not drop any tobacco, segar-stumps, paper, nutshells, or other articles on the ice” and that, “a ball will be hoisted to the top of the pole, near the bell tower whenever the ice is in full condition for skating.” However, Olmsted did relax one rule during the ice-skating season—park closing time—extending it from eight o’clock to midnight. Harper’s Monthy Magazine in 1861 described the nighttime spectacle: “The dramatic aspect of the jubilee [of skating] is greatly increased by the sparkle of the moonbeams and the glare of the Drummond lights, which flood the scene with startling brilliance.”

Summer and winter water levels at the site of the Rustic Bridge crossing an arm of the Ladies Skating Pond, c. 1860. Black and colored inks with pencil on paper. Department of Parks Collection, NYC Municipal Archives.

The levels of the water of the Lake ranged from seven feet deep in the summer to provide ample room for boaters and swimmers to only four feet in the winter as a safety measure should anyone fall through the ice.

While the popularity of ice skating waned in the later part of the century, it never completely fell out of fashion and remained a wintertime draw for the park, albeit one contingent on the fickle nature of New York weather. In 1949, philanthropist Kate Wollman donated $600,000 toward construction of a new kind of "artificial rink" to be built in Central Park. The Parks Department publicity materials stated that the rink guaranteed access to safe skating for New Yorkers "who have been deprived of the pleasure of regular, uninterrupted outdoor ice skating throughout the winter half year because of vagaries of our climate." Created as a memorial to her parents and four brothers, Wollman Rink opened at the south end of the park in 1950. More than 300,000 visitors arrived in the first year and by 1953 the rink had welcomed its one millionth skater. Noted for its vast size of approximately 31,000 square feet, the rink required over sixteen miles of 1 ¼ inch wrought-iron pipe for construction.

Wollman Memorial Skating Rink, Central Park, 1960. Mayor Wagner Collection, NYC Municipal Archives.

In addition to Wollman Rink, Central Park is also home to the Lasker Rink and Pool located at the northern end of the park near the Harlem Meer. Named for its major benefactor Loula Davis Lasker, a philanthropist and social worker, who donated $600,000 to help build the rink in 1961, the skating rink opened in 1966 and is converted into a public swimming pool during the summer months.

This blog is adapted from the Municipal Archives’ forthcoming publication, The Central Park, Original Designs for New York’s Greatest Treasure.

The book is now available for pre-order from the publisher, Abrams Books:


Digitizing the Greensward

Some of the most spectacular items in the NYC Municipal Archives are the 3,200 drawings in the Department of Parks & Recreation collection. Of these, 1,500 are related to the design and construction of Central Park and will be the basis of the Municipal Archives’ new book The Central Park: Original Designs from the Greensward to the Great Lawn, to be published by Abrams in 2018. The Greensward is the master plan submitted in 1858 as part of the proposal of landscape architects Frederick Law Olmsted and Calvert Vaux for the Central Park design competition.