Angel of the Waters at Central Park

At the centerpiece of the Bethesda Fountain, located in the middle of Central Park, is a statue called the Angel of the Waters. It is the only statue that was actually commissioned by the Park in its original plans in 1842, and also marks the first time a public art commission was given to a woman (Emma Stebbins) in New York City.  

Upon stepping onto Bethesda Terrace, a subtle nuance struck me. Realizing that this fountain, and the statue at its center, were parts of the original plans for the park, it becomes apparent that the entire surrounding area was built around and tailored to the piece. The north-facing terrace that I found myself on looks out perfectly over the fountain and the pond behind it, and I couldn’t help but to feel that this piece was very deliberately situated as a part of the identity of the city, more so than almost any other feature of the city that I’ve yet to come across.

Although this piece was designed to be an identifying feature of the city as a distinctly Christian facet, I feel it transcends any experience as being unique to one religion. Its placement in what is, potentially, the most public space the city has to offer suggests that it should be open to the appreciation and interpretation of any who should pass by. The impression I formed at first was that it was a symbol more of tranquility and peace than anything else, providing a venue for reflection and leisure in a city that otherwise offers few escapes from the stresses and commotion that it’s become infamous for. Additionally, while the Angel of the Waters is explicitly mentioned in Christian scripture, it would seem that individuals from most any faith, even atheists or agnostics, could easily appreciate the symbolic significance associated with the image of an angel without any obligation to view it as exclusive to a Christian faith.

Also, as I later found out, this statue commemorates the installation of a water system designed to deliver clean drinking water to New York after a severe cholera epidemic in the 1800s. The angel is referenced in the Gospel of John where it describes her blessing the Pool of Bethesda and giving it healing powers. The statue of the angel also shows her holding a lily while blessing the water beneath her, signifying purity. This reference holds a great deal of significance, as is demonstrates a rare convergence of the interests and advancements of a struggling community with the intricacies of a religious perspective. It seems that the implementation of this reference to Christianity serves not only to commemorate a monumental innovation, but more importantly to bring about evocative interpretations of the meanings within scriptures that are normally regarded as obscure and estranged.
          I feel that the contemporary temperament of the New York City community calls for the reconsideration and contemplation of the traditional meanings of any artifact. Failing to attempt to see beyond the original interpretations of a work is something that runs contrary to the nature of what it is to be New Yorker. The Angel of the Waters statue is a perfect case for this kind of discourse because of its unique place in New York’s history and community.