Statue of Liberty
| |
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Location | Liberty Island New York City |
Coordinates | 40°41′21″N 74°2′40″W / 40.68917°N 74.04444°W |
Height |
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Dedicated | October 28, 1886 |
Restored | 1938, 1984–1986, 2011–2012 |
Sculptor | Frédéric Auguste Bartholdi |
Visitors | 3.2 million (in 2009)[1] |
Governing body | National Park Service |
Website | www |
Type | Cultural |
Criteria | i, vi |
Designated | 1984 (8th session) |
Reference no. | 307 |
Region | Europe and North America |
Designated | October 15, 1924 |
Designated by | President Calvin Coolidge[2] |
Official name | The Statue of Liberty Enlightening the World[3][4] |
Designated | September 14, 2017 |
Reference no. | 100000829 |
Official name | Statue of Liberty National Monument, Ellis Island and Liberty Island |
Designated | May 27, 1971 |
Reference no. | 1535[5] |
Designated | June 23, 1980[6] |
Reference no. | 06101.003324 |
New York City Landmark | |
Type | Individual |
Designated | September 14, 1976[7] |
Reference no. | 0931 |
The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty Island in New York Harbor in New York City, United States. The copper statue, a gift from the people of France, was designed by French sculptor Frédéric Auguste Bartholdi and its metal framework was built by Gustave Eiffel. The statue was dedicated on October 28, 1886.
The statue is a figure of Libertas, the Roman goddess of liberty. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed JULY IV MDCCLXXVI (July 4, 1776, in Roman numerals), the date of the U.S. Declaration of Independence. A broken chain and shackle lie at her feet as she walks forward, commemorating the national abolition of slavery following the American Civil War.[8] After its dedication the statue became an icon of freedom and of the United States, being subsequently seen as a symbol of welcome to immigrants arriving by sea.
The idea for the statue was born in 1865, when the French historian and abolitionist
The torch-bearing arm was displayed at the
The statue was administered by the United States Lighthouse Board until 1901 and then by the Department of War; since 1933, it has been maintained by the National Park Service as part of the Statue of Liberty National Monument, and is a major tourist attraction. Limited numbers of visitors can access the rim of the pedestal and the interior of the statue's crown from within; public access to the torch has been barred since 1916.
Design and construction process
Origin
According to the
According to sculptor
Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France.[10] As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans.[16] In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.[17]
Arriving at New York Harbor, Bartholdi focused on Bedloe's Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states."[18] As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue.[19] Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project.[17] But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.[20]
Bartholdi had made a first model of his concept in 1870.
Design, style, and symbolism
Bartholdi and Laboulaye considered how best to express the idea of American liberty.
The statue's design evokes iconography evident in ancient history including the Egyptian goddess
Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol.[23] A figure of Liberty was also depicted on the Great Seal of France.[23] However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830). In this painting, which commemorates France's July Revolution, a half-clothed Liberty leads an armed mob over the bodies of the fallen.[24] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[24] Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.[27] Its second toe on both feet is longer than its big toe, a condition known as Morton's toe or 'Greek foot'. This was an aesthetic staple of ancient Greek art and reflects the classical influences on the statue.[28]
Crawford's statue was designed in the early 1850s. It was originally to be crowned with a
Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother,[34] but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact.[35] He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose.[27] Bartholdi wrote of his technique:
The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.[36]
Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does stride over a broken chain, half-hidden by her robes and difficult to see from the ground.
Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project.[35] As chief engineer,[35] Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored.[39] After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.[35][40] An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy's Sancarlone and the German statue of Arminius, both made with the same method.[41]
Announcement and early work
By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition to be held in Philadelphia led Laboulaye to decide it was time to seek public support.[42] In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World.[43] The French would finance the statue; Americans would be expected to pay for the pedestal.[44] The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia.[43] French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life.[44] Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by the composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.[43]
Initially focused on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway,[45] though this has not been conclusively determined after testing samples.[46] According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 200,000 pounds (91,000 kg) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 128,000 pounds (58,000 kg) of copper.[47]
Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop.
During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union.[53] Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia.[54] The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee".[55] One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States.[53] On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.[56]
Construction in France
On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered.[57] The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.[58]
The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier.[59] The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel.[57] Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars[35] which culminated in a mesh of metal straps, known as "saddles", that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually.[60][61] To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.[62]
Eiffel's design made the statue one of the earliest examples of
The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead, he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.[67]
In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by
The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete.[74] There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue.[74] There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen.[75] Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once."[76] The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances."[77] Faced with these criticisms, the American committees took little action for several years.[77]
Design
The foundation of Bartholdi's statue was to be laid inside
Hunt's pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture.[35] The large mass is fragmented with architectural detail, in order to focus attention on the statue.[81] In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 of them), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises.[82] According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty".[81] The committee hired former army General Charles Pomeroy Stone to oversee the construction work.[83] Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal's cornerstone was laid in 1884.[80] In Hunt's original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks.[84][85] This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut.[86] The concrete mass was the largest poured to that time.[85]
Fundraising
Fundraising in the U.S. for the pedestal had begun in 1882. The committee organized a large number of money-raising events.[88] As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled antisemitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue.[89] The resulting sonnet, "The New Colossus", including the lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty in American culture and is inscribed on a plaque in its museum.[90]
Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.[92]
Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000 (equivalent to $3,257,000 in 2022). Pulitzer pledged to print the name of every contributor, no matter how small the amount given.[93] The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial."[94] One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with."[95] Another dollar was given by a "lonely and very aged woman."[94] Residents of a home for alcoholics in New York's rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons.[96] A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.[94] As the donations flooded in, the committee resumed work on the pedestal.[97] France raised about $250,000 to build the statue,[98] while the United States had to raise up to $300,000 to build the pedestal.[99][100]
Construction
On June 17, 1885, the French steamer Isère arrived in New York with the crates holding the disassembled statue on board. New Yorkers displayed their newfound enthusiasm for the statue. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the ship.[101][102] After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar (equivalent to $33 in 2022).[103]
Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel
Dedication
A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event.
A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication.
No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only women granted access were Bartholdi's wife and Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area
Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":
"Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.[118]
After dedication
Lighthouse Board and War Department (1886–1933)
When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon."
Wars and other upheavals in Europe prompted large-scale emigration to the United States in the late 19th and early 20th century; many entered through New York and saw the statue not as a symbol of enlightenment, as Bartholdi had intended, but as a sign of welcome to their new home. The association with immigration only became stronger when an immigrant processing station was opened on nearby Ellis Island. This view was consistent with Lazarus's vision in her sonnet—she described the statue as "Mother of Exiles"—but her work had become obscure. In 1903, the sonnet was engraved on a plaque that was affixed to the base of the statue.[121]
Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled:
I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.[122]
The statue rapidly became a landmark.[122] Originally, it was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue.[123] Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $2,045,000 in 2022) for various repairs, and to paint the statue both inside and out.[124] There was considerable public protest against the proposed exterior painting.[125] The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful."[126] The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.[126]
On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Russia[127] for its war efforts were detonated. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about $100,000 (equivalent to about $2,690,000 in 2022). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.[116]
That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise $30,000 (equivalent to $807,000 in 2022) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.[128]
After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.[129]
In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a national monument.[119] A suicide occurred five years later when a man climbed out of one of the windows in the crown and jumped to his death.[130]
Early National Park Service years (1933–1982)
In 1933, President
During World War II, the statue remained open to visitors, although it was not illuminated at night due to
In 1956, an
In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women's New York chapter draped an enormous banner over a railing which read "WOMEN OF THE WORLD UNITE!"[136][137]
Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a federal court order.
A powerful new lighting system was installed in advance of the
Renovation and rededication (1982–2000)
The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986.
In May 1982, President
In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world's largest free-standing
The entire
July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail,[162] and the statue was reopened to the public on July 5.[163] In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."[162]
Closures and reopenings (2001–present)
Immediately following the September 11 attacks, the statue and Liberty Island were closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004,[163] but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of the Bush administration.[164] New York Congressman Anthony Weiner made the statue's reopening a personal crusade.[165] On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.[164]
The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code. The statue was reopened on October 28, 2012,[166][167][168] but then closed again a day later in advance of Hurricane Sandy.[169] Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty and Ellis Islands, including the dock used by the ferries that ran to Liberty and Ellis Islands. On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done.[170] Since Liberty Island had no electricity, a generator was installed to power temporary floodlights to illuminate the statue at night. The superintendent of Statue of Liberty National Monument, David Luchsinger—whose home on the island was severely damaged—stated that it would be "optimistically ... months" before the island was reopened to the public.[171] The statue and Liberty Island reopened to the public on July 4, 2013.[172] Ellis Island remained closed for repairs for several more months but reopened in late October 2013.[173]
The Statue of Liberty has also been closed due to government shutdowns and protests, as well as for disease pandemics. During the October
On October 7, 2016, construction started on the new
Access and attributes
Location and access
The statue is situated in
No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use,
Visitors intending to enter the statue's base and pedestal must obtain pedestal access for a nominal fee when purchasing their ferry ticket.[189][193] Those wishing to climb the staircase within the statue to the crown must purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day can ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.[194] The balcony around the torch was closed to the public following the munitions explosion on Black Tom Island in 1916.[116] The balcony can however be seen live via webcam.[195]
Inscriptions, plaques, and dedications
There are several plaques and dedicatory tablets on or near the Statue of Liberty.
- A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.).[196]
- A presentation tablet, also bearing Bartholdi's name, declares the statue is a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."[196]
- A tablet placed by the American Committee commemorates the fundraising done to build the pedestal.[196]
- The cornerstone bears a plaque placed by the Freemasons.[196]
- In 1903, a bronze tablet that bears the text of Emma Lazarus's sonnet, "The New Colossus" (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; later, it resided in the Statue of Liberty Museum, in the base.[196]
- "The New Colossus" tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.[196]
A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.[197]
Historical designations
President
In 1984, the Statue of Liberty was designated a
Measurements
Feature[79] | Imperial | Metric |
---|---|---|
Height of copper statue | 151 ft 1 in | 46 m |
Foundation of pedestal (ground level) to tip of torch | 305 ft 1 in | 93 m |
Heel to top of head | 111 ft 1 in | 34 m |
Height of hand | 16 ft 5 in | 5 m |
Index finger | 8 ft 1 in | 2.44 m |
Circumference at second joint | 3 ft 6 in | 1.07 m |
Head from chin to cranium | 17 ft 3 in | 5.26 m |
Head thickness from ear to ear | 10 ft 0 in | 3.05 m |
Distance across the eye | 2 ft 6 in | 0.76 m |
Length of nose | 4 ft 6 in | 1.48 m |
Right arm length | 42 ft 0 in | 12.8 m |
Right arm greatest thickness | 12 ft 0 in | 3.66 m |
Thickness of waist | 35 ft 0 in | 10.67 m |
Width of mouth | 3 ft 0 in | 0.91 m |
Tablet, length | 23 ft 7 in | 7.19 m |
Tablet, width | 13 ft 7 in | 4.14 m |
Tablet, thickness | 2 ft 0 in | 0.61 m |
Height of pedestal | 89 ft 0 in | 27.13 m |
Height of foundation | 65 ft 0 in | 19.81 m |
Weight of copper used in statue | 60,000 pounds | 27.22 tonnes |
Weight of steel used in statue | 250,000 pounds | 113.4 tonnes |
Total weight of statue | 450,000 pounds | 204.1 tonnes |
Thickness of copper sheeting | 3/32 of an inch | 2.4 mm |
Depictions
Hundreds of
As an American icon, the Statue of Liberty has been depicted on the country's coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York's 2001 entry in the
Depictions of the statue have been used by many regional institutions. Between 1986
The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith's 2002 song "Courtesy of the Red, White and Blue (The Angry American)", and in opposition, appearing on the cover of the Dead Kennedys' album Bedtime for Democracy, which protested the Reagan administration.[217] In film, the torch is the setting for the climax of director Alfred Hitchcock's 1942 movie Saboteur.[218] The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand.[217][219] It is knocked over in the science-fiction film Independence Day [220] and in Cloverfield the head is ripped off.[221] In Jack Finney's 1970 time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role.[222] Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979:
Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted Earth—giants have uprooted it, aliens have found it curious ... the symbol of Liberty, of optimism, has become a symbol of science fiction's pessimistic view of the future.[223]
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Head of Liberty, U.S. airmail stamp, 1971
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Presidential Dollar coin
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3D model. Click to interact.
See also
- Goddess of Liberty, 1888 statue by Elijah E. Myers atop the Texas State Capitol dome in Austin, Texas
- Miss Freedom, 1889 statue on the dome of the Georgia State Capitol (US)
- Place des États-Unis, in Paris, France
- The Statue of Liberty (film), a 1985 Ken Burns documentary film
- Statues and sculptures in New York City
- List of tallest statues
References
Citations
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statue of liberty planet of the apes.
- ^ "10 Movies That Hated The Statue Of Liberty >> Page 6 of 10". March 13, 2014. Archived from the original on March 24, 2014. Retrieved March 24, 2014.
{{cite web}}
: CS1 maint: bot: original URL status unknown (link) - ^ "'Cloverfield' Release Will Be Test of Online Hype : NPR". NPR.org. Archived from the original on April 14, 2008. Retrieved March 24, 2014.
{{cite news}}
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General and cited references
- Bell, James B.; Abrams, Richard L. (1984). In Search of Liberty: The Story of the Statue of Liberty and Ellis Island. Garden City, New York: Doubleday & Co. ISBN 978-0-385-19624-6.
- Harris, Jonathan (1985). A Statue for America: The First 100 Years of the Statue of Liberty. New York City: Four Winds Press (a division of Macmillan Publishing Company). ISBN 978-0-02-742730-1.
- Hayden, Richard Seth; Despont, Thierry W. (1986). Restoring the Statue of Liberty. New York City: McGraw-Hill Book Company. ISBN 978-0-07-027326-9.
- Khan, Yasmin Sabina (2010). Enlightening the World: The Creation of the Statue of Liberty. Ithaca, New York: Cornell University Press. ISBN 978-0-8014-4851-5.
- Moreno, Barry (2000). The Statue of Liberty Encyclopedia. New York City: Simon & Schuster. ISBN 978-0-7385-3689-7.
- Sutherland, Cara A. (2003). The Statue of Liberty. New York City: Barnes & Noble Books. ISBN 978-0-7607-3890-0.
External links
- Statue of Liberty National Monument
- Statue of Liberty–Ellis Island Foundation
- Statue of Liberty – UNESCO World Heritage
- "A Giant's Task – Cleaning Statue of Liberty", Popular Mechanics (February 1932)
- Views from the webcams affixed to the Statue of Liberty
- Made in Paris The Statue of Liberty 1877–1885 – many historical photographs
- Front page of The Evening Post (New York) extensively describing October 28, 1886, dedication
- Statue of Liberty at Structurae
- Historic American Engineering Record (HAER) No. NY-138, "Statue of Liberty, Liberty Island, Manhattan, New York City County, NY", 404 photos, 59 color transparencies, 41 measured drawings, 10 data pages, 33 photo caption pages
- HAER No. NY-138-A, "Statue of Liberty, Administration Building", 6 photos, 6 measured drawings, 1 photo caption page
- HAER No. NY-138-B, "Statue of Liberty, Concessions Building", 12 photos, 6 measured drawings, 1 photo caption page
- The Statue of Liberty, BBC Radio 4 discussion with Robert Gildea, Kathleen Burk & John Keane (In Our Time, February 14, 2008)