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Home , Richard Morris Hunt, Statue of Liberty

AN AMERICAN SYMBOL: THE OF A Historical Perspective June F. Tyler

Americans All ® Copyright © 1991, 1993 and 2000 by the People of America Foundation. This publication has been supplied to the participating school or school system for use in the All ® program. All rights reserved. Americans All ® authorizes the educational institution to reproduce any portion of this publication for use in its instructional program provided proper credit is given to Americans All ®. Commercial use or reproduction of any of this material in any form requires the written permission of the People of America Foundation.

ISBN 1-56192-004-5 Library of Congress 91-091030, No. 3 Printed and bound in the of America AN AMERICAN SYMBOL: THE A Historical Perspective June F. Tyler

Americans All ® Editorial and Advisory Staff Organizational Resources June F. Tyler, Ph.D., co-author of several guides in both The First Experience, Inc. social studies and general curriculum development, c/o First Experience Communications served as director of Educational and Editorial Services 3011 Main Street for The First Experience, Inc. She has taught at many dif - Glastonbury, CT 06033 ferent grade levels and has served as a consultant for the (860) 657-3815 Connecticut Department of Education. Library of Congress Ira W. Yellen, a professional photographer and Prints and Photographs Division designer, is president of The First Experience, Inc., a Washington, DC 20540-4730 Connecticut company specializing in the development (202) 707-6394 and production of educational products. Mr. Yellen’s National Archives at College Park work stresses the need for environmental preservation, Still Pictures Staff and he played a significant role in creating public aware - 8601 Adelphi Road, 5th Floor ness of the need to restore . College Park, MD 20740-6001 (301) 713-6625, ext. 234 Note: Biographical information was compiled at the time the individuals contributed to Americans All ®. United States Department of the Interior Photo Section and Picture Library Room 3045 18th and C Streets, NW Washington, DC 20240 (202) 208-6843 Contents

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...... iv Preface ...... 1 History of the Statue of Liberty ...... 3 Restoration of the Statue ...... 5 Student Background Essays ...... 6 The Photograph Collection ...... 9 Bibliography ...... 10 Photo Credits Front Cover ...... 10 Back Cover ...... 10 Text ...... 10 The Photograph Collection ...... 10 ...... Back Cover Map and Aerial View Showing Ellis Island and the Statue of Liberty Preface

Today’s youth are living in an unprecedented period of about all groups simultaneously. These activities ensure change. The complexities of the era include shifts in sensitivity to the previously untold stories of women, demographics, in social values and family structures as working-class people and minority and majority groups. well as in economic and political realities. A key to under - Results from the program’s implementation in ethnically standing young people’s place in both the present and and culturally diverse school systems confirm the effi - the future lies in history. History is so much more than a cacy of this approach. collection of facts. When appropriately studied, it is a lens We have answered “yes” to the frightening questions for viewing the motivations, beliefs, principles and imper - about teaching diversity without teaching hate. Our atives that give rise to the institutions and practices of peo - nation’s leaders must now answer even more frightening ple and their nations. As our nation’s schools reform their questions: Can we afford not to teach history that is curricula to reflect the diversity of our school-age popula - diverse and inclusive when school dropout rates range tion, a major challenge arises. Is it possible to teach from 25 percent to 77 percent among Native American, United States history as a history of diversity without African American, Asian American, Hispanic and for - evoking feelings of anger, bitterness and ethnic hatred? eign-born youth? Can we afford to continue preparing so Is it possible to diversify classroom resources without many of our nation’s youth for a future of exclusion from generating feelings of separatism and alienation? the economic mainstrea m— a future that mirrors a his - Americans All ® answers “yes” to both these questions. tory curriculum that excludes them? The Americans All ® program has proven that not only is To compound the problem, we must add the very real it possible, it is preferable. By choosing to chronicle the constraint of urgency. The future of our nation is char - history of six diverse group s— Native Americans, acterized by computer technology and global interde - , Asian Americans, European pendence. All students, regardless of their gender or Americans, Mexican Americans and Puerto Rican their socioeconomic, ethnic or cultural status, must be American s— the program provides a frame upon which helped to see themselves as participants in this human an inclusive approach to education on a nationwide basis continuum of scientific and mathematical development can be built. to both visualize and actualize a place for themselves in Nomenclature, regional differences, language and the our future. demands of interest groups will always challenge an Students need to be challenged to think critically and evolving diversity-based approach to education. These examine how today’s technology grew out of yesterday’s challenges are by-products of the freedoms that we trea - industrial era, an era spawned by the agricultural accom - sure and strive to protect. This reality necessitates a pro - plishments of prior generations. They need to understand cess that becomes part of the product, however. that even the simple tasks of weaving fabric and making Americans All ® has integrated feedback from a diverse dyes from fruits or plants required mathematical and sci - group of scholars in developing this program and main - entific understanding; that today’s freeways grew out of tains open lines of communication for continuous input yesterday’s hand-hewn trails; that ancient tribal herbs from educators, parents and community members. The from many cultures formed the basis of many of today’s program’s emphasis on six groups is based on historic wonder drugs; and that it took the agricultural skills of patterns of migration and immigration. These six groups many different peoples to produce the nucleus of today’s provide an umbrella under which many other groups fall. complex farming and food industries. Students must also By developing 51 customized, state-specific resource see the relationship between citizenship responsibilities packages, the continuing saga of diversity in the United and privileges and understand their own importance in States can and will be told. that dynamic. Americans All ® has succeeded in avoiding the land The Americans All ® materials provide diverse and mines found in victim/oppressor approaches to our inclusive images of history that can be a catalyst for this diverse history by using a thematic approach. The theme type of understanding. Not only is it wise to teach about focuses on how individuals and families immigrated to diversity, using an inclusive approach as modeled in the and migrated through the United States (voluntarily and Americans All ® program, it is essential. by force). Carefully planned learning activities engage Gail C. Christopher teachers and students in comparative critical thinking January 1992

iv History of the Statue of Liberty June F. Tyler

Edouard de Laboulaye (1811–1883) was a key figure in the building of the Statue of Liberty as a gift from . He was an influential Republican politician in France, a man known for his written history of the United States and for his knowledge of American constitutional history. Laboulaye despaired of the French nation ever developing a stable government. He believed that the great ideals of democracy had come to fruition in the United States. He often used American incidents to criti - cize French political actions. According to Frédéric Auguste Bartholdi, designer of the Statue, it was first discussed at a dinner at the home of Laboulaye in 1865. Laboulaye suggested that the building of a to independence in the United States would be a wonderful thing if it demonstrated the common bond between the two nations and was a joint project. In actual fact, the French and the Americans were not the greatest of friends at this particular historic moment, but this was not important. Those present were seeking to serve their own purposes and to stir French sentiments by using an American even t— the coming centennial of American independence. The French people had been deeply moved by the Edouard de Laboulaye death of Abraham Lincoln. The Republicans thought that this provided an opportunity to point out to the people Committee was established to build the Statue. Laboulaye then in power that some symbolic gesture could be made. naturally headed the organization in France. Liberty, in First, a was struck in Lincoln’s honor. fact, was a password for the French liberals. The After the Franco-Prussian War, there was a struggle Republicans hoped to persuade other Frenchmen of the between the Monarchists and the Republicans for control Statue’s importance by making it a gift to America. of the government. In 1875 the Republic finally was re- Eventually the French wished they had not decided to established. The time was ripe to press Republican ideas erect the Statue in the United States at all. After it was dis - about a Statue of Liberty. played in , they wanted to retain it, but it was too late. In 1871 Bartholdi had made a journey to the United Instead, they had to be satisfied with a quarter-size copy. States. He traveled extensively, visiting many parts of the This was a time when making large was country and meeting many dignitaries, including somewhat fashionable. Bartholdi certainly enjoyed the President Ulysses S. Grant. At this time Bartholdi creation of large works of art. He did not imitate the great selected the site, Bedloe’s Island in harbor. He Egyptian sculptures directly, but he did consider them even thought that Congress might support his plans. On in his planning. Although he devoted two years to design - returning home, Bartholdi enthusiastically proposed a ing a statue for the new , it was never built and monument so gigantic that it would be the biggest since he used the work by converting it for the new project. ancient times. Comparison of the face of the Statue to the face of It was nearly five years later before the project was Bartholdi’s mother shows the clear resemblance of the made public. In 1875 the French-American Union two. The Statue was based in the classical tradition but

1 was not a direct copy of it. The use of seven rays in the probably referred not only to the seven seas, but also to the seven continents and to the seven planets known at the time. In addition, Bartholdi’s family emblem was a sunburst. The arm held at various times a broken vase and broken chain before it held a tablet. The best vantage point for viewing the Statue is from a ship in the harbor moving toward the port of New York. The island vantage point is too close; the back is not very exciting. Park view is too far away. Indeed, it is a colossus designed to be viewed from a ship’s deck. Although the Statue does not really face Europe, it seems to— one reason the site was selected by Bartholdi. Construction of the Statue was a complex process. First a clay model was made and then enlarged three times in plaster. The final enlargement was full-scale components for the Statue. Using large wooden forms, workers ham - mered sheets into the shape of the plaster molds. The problems were so immense that Bartholdi called in a structural engineer for guidance. His first choice was not successful, so he turned to Gustave . Eiffel viewed the Statue as a challenge to engineering technology, one that he was happy to meet. His interior structure design Frédéric Auguste Bartholdi and the Statue of Liberty was much in advance of his time. Eiffel’s design called for an exceedingly strong interior truss structure attached to a paying for the pedestal themselves. Using his other news - pylon and a type of floating connection of the skin to this papers, he stressed that this was a symbol for all America. structure with ever lighter trusswork. This became the Finally, he published the names of every contributor, more curtain style of architecture. than 121,000 of whom had a part in the final effort. The design for the base was the responsibility of the The Statue almost immediately lost its original mean - Americans, because this was a joint project. General ing of “Liberty Enlightening the World.” The Emma Charles P. Stone, a Civil War veteran, was in charge of Lazarus poem was just one expression of what seemed to developing and building the pedestal for the colossus. He be the most significant role of the Statue, that of being a used concrete and iron in new ways to build a foundation symbol of the United States as an open door for people to support it. The design of the actual pedestal was cre - from the rest of the world. It remains such a symbol today. ated by Richard M. Hunt, who had associations with both France and the United States. Of course, payment had to be made for all of this glory. Americans had a great deal of difficulty raising the funds Not like the brazen giant of Greek fame, for the pedestal. Congress barely accepted the gift and the With conquering limbs astride from land to land; idea of providing a site for it, let alone donating any Here at our sea-washed, sunset gates shall stand money for the cause. The state of New York donated A mighty woman with a torch, whose flame $50,000, which Grover vetoed. Is the imprisoned lightning, and her name Ironically, as United States president, he gladly presided Mother of Exiles. From her beacon-hand over the unveiling just two years later. The public was no Glows world-wide welcome; her mild eyes command more enthusiastic. All types of fundraisers were trie d— The air-bridged harbor that twin-cities frame. an auction of art objects, a poetry contest, the sale of “Keep, ancient lands, your storied pomp!”cries she signed models of the Statue and private appeals. Although With silent lips. “Give me your tired, your poor, more than one-half the funds had been raised by 1883, the Your huddled masses yearning to breathe free, project came close to failure. People generally believed The wretched refuse of your teeming shore. that the monument was a gift to New York rather than to Send these, the homeless, tempest-tossed to me. the United States as a whole. finally res - I lift my lamp beside the golden door!” cued the project by using the to stimulate — interest and raise funds. He first blasted the rich for not

2 Restoration of the Statue

Two rock climbers from San Francisco climbed the maintenance in the future. The skin support system would Statue of Liberty in as a form of political be repaired and replaced where necessary with exact repli - protest. When the National Park Service checked the cas built of superior metals, such as . The condition of the Statue after that event, staff discovered armature and pylon would be cleaned and repaired. A ven - to their horror that the Statue was in deep trouble. A tilation and air-conditioning system was to be installed in group of French engineers and technicians led by the interior of the Statue to protect it in the future. Philippe Vallery-Radot and Philippe Grandjean con - Another problem addressed by the committee was the firmed that the Statue of Liberty was approaching its existing facilities for visitors at the Statue. It is one of the hundredth birthday with as many symptoms of old age as most visited parks in the nation, and the facilities were might be expected in a human. Therefore, a French- just not up to the numbers who wanted to see the interior American Committee for the Restoration of the Statue of of the Statue. The lines are long during the height of the Liberty was formed in 1980. tourist season. Four proposals were made by the commit - After careful studies, the committee’s researchers dis - tee to remedy the problem. Proposal 1 kept the existing covered many problems. In their report they stated that elevator and the and redesigned the crown platform the exterior skin had suffered corrosion, but it was not and the rest areas on the staircase. Proposal 2 retained the really more than anticipated considering the environment elevator and added a new staircase as far as the lower of the Statue. The torch was in very bad condition. Water shoulder. The existing stairs would be used from there to had leaked through the glass and caused so much corro - the new crown platform (and could be used for descent sion that the structure might fail. The decorative elements in an emergency). This plan would require some minor of its gallery also had been severely damaged. Although several protective coatings had been applied to the inte - rior skin, this, too, had suffered the effects of corrosion and the paint was peeling badly. The drastic temperature changes had caused several additional problems, and interior supports had been damaged. The armature had both rib and saddle corrosion. Many secondary frame bars were found to have been put in place improperly and to have warped. This was particularly true in the area of the misplaced arm and head. Although the central pylon appeared in good condition, even it needed some work. Both the staircase and the observation platform in the crown were considered unsafe by today’s standards. The interior environment of the Statue was felt to need some sort of controls to make air quality and temperatures more acceptable and the entire area watertight. The French-American committee proposed a plan to solve the problems by the Statue’s hundredth birthday. On the exterior, the copper plates were to be replaced, restored or refastened. Between 20,000 and 25,000 rivets needed to be replaced. New plates and rivets would be artificially oxidized to match the Statue’s patina. The torch was beyond repair, and it would be replaced with a new one built to the original design but constructed to be watertight. The interior skin and armature would be repaired and restored, with better provisions made for inspection and Renovation of the Statue of Liberty

3 alterations, but provided a much more easily climbed out having to contend with the crowds of visitors. In staircase. Proposal 3 included a new elevator and a new addition, the spiral staircases were refurbished and staircase. It suggested a glass-enclosed elevator so people enclosed with glass for both visitor comfort and safety. could observe how the Statue was constructed. Proposal 4 Funds for this project, estimated to cost $30 million, retained the existing elevator and provided an inclinator to were raised by a special federal advisory commission the lower shoulder level in the Statue itself. From there, headed by , chairman of the Cor- people could use the existing staircase to get to the poration. The Statue of Libert y–Ellis Island Centennial platform in the crown. Glass-enclosed cabs would move Commission, Inc., which collected the donations, also slowly to minimize vibration. sought an additional $20 million to improve Liberty The solution to the problem was twofold. A new Island itself and $20 million for special events and double-deck hydraulic elevator was installed to replace celebrations. In addition, this group sought the funds the old electric elevator, and a small service elevator was needed to refurbish nearby Ellis Island in time for its inserted in the Statue itself to go directly to the shoulder centennial in 1992. area. The double-deck elevator would speed the flow of By , 1986, all work was completed and a great visitors through the monument; the service elevator celebration, rivaling the one at which the Statue was orig - would be used, first, as an emergency device to facilitate inally dedicated, was held. Another ceremony in October the removal of visitors quickly in the event anyone in the marked the actual centennial. Part of the restored Statue crown suddenly became ill and, second, to provide the of Liberty is a tracing the history of this maintenance crews with easy access to the crown with - important symbol.

4 Student Background Essays

The Americans All ® student essays provide back - the language and social studies requirements of grades ground information on Native Americans, African 3– 4, 5– 6 and 7–9. These essays are in blackline-master Americans, Asian Americans, European Americans, format and appear in their respective grade-specific Mexican Americans and Puerto Rican Americans, as teacher’s guides. Learning activities found in each well as on Angel Island, Ellis Island and the Statue of teacher’s guide encourage the use of these student Liberty. Adapted from the Americans All ® resource essays both in the classroom and at home. texts, the student essays have been created to meet both

5 The Photograph Collection

1. Front view of the restored Statue of Liberty. The Statue. The French-American Union Committee Statue, located on in New York appealed to the French for money to support the harbor, has stood since 1886 as a symbol of project. Money was raised quickly in France, American democracy. some of it from schoolchildren. 2. (left) Frédéric Auguste Bartholdi, the sculptor 6. The curtain-style architecture is visible in this chosen by the French-American Union Com- photo. A strong interior truss structure acts as a mittee to design “Liberty Enlightening the supporting skeleton for the skin of the sculpture. World.” Bartholdi envisioned a Statue of colossal Much in advance of its time, the technique con - proportions. (right) Edouard de Laboulaye, tinues to be used today in building skyscrapers. French politician and historian, initiated the idea 7. The arm and torch of the Statue on display at that resulted in the Statue of Liberty. Laboulaye the Philadelphia Centennial Exhibition, 1876. The wanted to present the United States with a gift cel - giant forearm and torch dwarf the people and ebrating the centennial of the Declaration of buildings around it. It was hoped such displays Independence. Also, he hoped that his gesture of would encourage the American people to con - goodwill would remind French citizens of their tribute money to the project. dedication to the Republican ideal of liberty. 8. Paddlewheel boats flank the completed Statue on 3. (left) Bartholdi’s design for a statue intended for October 28, 1886. A military and naval salute the Suez Canal. That statue was never built, but announced the arrival of President Grover the sculptor used his idea in creating the Statue Cleveland, who presided over the unveiling of commissioned by the French-American Union Bartholdi’s “Liberty Enlightening the World.” Committee for the United States. of such Some Americans saw the Statue as France’s gift to monumental scale were fashionable in his day. New York, not to the entire nation. (right) A Bartholdi sketch showing the proposed 9. The Statue of Liberty as immigrants on Ellis Island design of the Statue and the pedestal. Approxi- would have viewed her. Over the years, the Statue mately 305 feet tall, the monument was designed grew to symbolize hope and freedom to people to tower over its surroundings. In 1871 Bartholdi emigrating to America from across the Atlantic. traveled widely in the United States to locate a site 10. Close-up view. The seven rays on Liberty’s crown for his work. He decided on a small island in New symbolize the seven seas; its torch symbolizes a York harbor. beacon of enlightenment. The tablet represents the 4. (left) , French engineer and builder Declaration of Independence. of Paris’ Eiffel Tower. The Statue’s monumental 11. Emma Lazarus, author of the poem “The New size required an engineer’s know-how to construct Colossus,” written in 1883 to inspire public sup - it. Eiffel considered the project to be a challenge to port for the Statue. Lazarus called the Statue the engineering technology. He proposed an interior “Mother of Exiles.” In 1903 the poem was structure design known today as the curtain style engraved on a plaque inside the pedestal. Lazarus’s of architecture. (right) Joseph Pulitzer, an immi - words, “Give me your tired, your poor, your hud - grant and the publisher of several newspapers, dled masses yearning to breathe free,” came to used his publications to gain financial support for symbolize the meaning of the Statue the Statue project. As part of the agreement, the of Liberty. French-American Union Committee had decided 12. Contemporary view of Liberty Island from Ellis that money for the Statue would be raised by the Island showing the 11-pointed star base, the French and money for the pedestal by Americans. pedestal and the 150-foot-high Statue. In 1980 a 5. Interior shot of Bartholdi’s studio in 1876 show - joint French-American committee organized to ing the large crew of workers needed to carry restore the monument, which was suffering inside out the many phases involved in producing the and out from severe structural deterioration.

6 13. Scaffolding encases the Statue during restoration. quality and temperature control. These improve - A century of wear caused by weather and pollution ments were meant to protect the Statue in the plus serious flaws in the original construction made future. The island’s location complicated the restoration a major undertaking. For example, the restoration effort. Workers and materials had to be arm and torch were not attached at the right points, brought by boat to Liberty Island. Similarly, tons of and the head stood at the wrong angle on the body. debris had to be carried off the island. The torch, found to be beyond repair, was replaced 14. Statue of Liberty as seen at night. Strengthened to by a new one constructed to the original design, but face the future, the Statue of Liberty remains an watertight. A ventilation and air-conditioning sys - evocative work of art and a tribute to the history of tem was installed in the interior to maintain air immigration in the United States.

1 2 3

Statue of Liberty today F. A. Bartholdi and E. de Laboulaye Early statue and pedestal designs

4 5 6

Gustave Eiffel and Joseph Pulitzer Interior of Bartholdi’s studio Curtain-style architecture

7 8 9

Arm and torch on display Celebrating the unveiling of the Statue Statue as seen from Ellis Island

7 10 11 12

Close-up of torch, crown and tablet Emma Lazarus Statue of Liberty, 1983

13 14

Scaffolding around the Statue, 1984 Statue of Liberty at night

8 Bibliography

Allen, Leslie Levine, Benjamin and Isabelle F. Story JV6450.A565 F128.64.L6L48 . New York, NY: Statue . Liberty: The Statue and the American Drea m Statue of Liberty, National Monument, Liberty Island, New Yor k of Libert y– Ellis Island Foundation, with the cooperation of the Revised. National Park Service Historical Handbook Series, no. 11. National Geographic Society, 1985. Weaves the story of Ellis Island Washington, DC: National Park Service, 1957. Includes a wide into the larger history of immigration to the United States. selection of historical photographs.

Baker, Paul R. Loyrette, Henri NA737.H86B34 TA140.E4L6913 . Cambridge, MA: MIT Press, 1980. Architect . NewYork, NY: Rizzoli, 1985. Translation of Richard Morris Hun t Gustave Eiffe l Eiffel, Un designed the pedestal for the Statue. . French engineer Gustave Eiffel devised the Ingenieur et Son Oeuvr e internal iron framework that supports the Statue. Barrows, Chester Leonard E664.E88B3 . Chapel Hill, NC: Schneider, Richard H. William M. Evarts: Lawyer, Diplomat, Statesma n F128.64.L6S36 University of North Carolina Press, 1941. Issued also as Ph.D. thesis, . Nashville, TN: T. Nelson, 1985. Affirms the Freedom’s Holy Ligh t . For nine years William M. Evarts was chairman Statue’s power to thrill the hearts of patriotic Americans. of a citizens’ committee to raise funds to build a pedestal for the Statue. On October 28, 1886, he made the presentation at the Spiering, Frank F128.64.L6S66 dedication ceremony. Bearer of a Million Dreams: The Complete Story of the Statue of . Ottawa, IL: Jameson Books; New York, NY: distributed by , James B., and Richard I. Abrams Kampmann, 1986. F128.64.L6B45 In Search of Liberty: The Story of the Statue of Liberty and Ellis . First edition. Garden City, NJ: Doubleday, 1984. Comments Swanberg, W. A. Islan d PN4874.P8S9 on the evolution of these into symbols of the arriving immi - . New York, NY: Scribner, 1967. publisher Pulitzer New York World grants’ dreams of freedom. Joseph Pulitzer raised money to build the Statue’s pedestal by appeal - ing to the American public through editorials in his newspapers. Burchard, Sue F128.64.L6B87 . San Diego, CA: Harcourt Trachtenberg, Marvin The Statue of Liberty: Birth to Rebirt h NB553.B3T72 Brace Jovanovich, 1985. Traces the history of the Statue of Liberty . New York, NY: Viking Press, 1976. An art The Statue of Liberty from its conception to its centennial with an emphasis on the Statue’s historian’s perspective on the Statue. restoration, its significance through the years, and the plans for the 1986 centennial celebration. Vogel, Dan PS2234.V6 . Twayne’s United States Author Series, TUSAS 353. Emma Lazaru s George, Michael , MA: Twayne Publishers, 1980. In 1883 Emma Lazarus F128.64.L6G46 . New York, NY: H. N. Abrams, 1985. A book of composed a sonnet, “The New Colossus,” for a literary auction held to The Statue of Liberty photographs with accompanying quotations about liberty. raise funds for the pedestal. In 1903 the poem was engraved on a plaque inside the pedestal. Gschaedler, Andre NB553.B3G8 . First edition. True Light on the Statue of Liberty and Its Creator Narberth, PA: Livingston Publishing Co., 1966. The story of French Note: These entries are from a bibliography compiled by Sheridan Harvey and sculptor Frédéric Auguste Bartholdi who designed the Statue. Karen E. Belanger, Telephone Reference, Correspondence, and Bibliography Section, General Reading Rooms Division, and published in the Library Handlin, Oscar and the editors of June 23, 1986. Library of Congress call of Congress Information Bulletin, the Newsweek Book Division numbers have been provided. F128.64.L6H3 . Wonders of Man. New York, NY: Newsweek, 1971. Statue of Liberty

9 Photo Credits

The author is grateful to the following for their aid in the search for unusual and interesting photographs with Text which to illustrate the text. In some instances, the same page 1 Library of Congress, photo photograph was available from more than one source. LC-USZ62-14948 When this occurred, both sources have been listed and page 2 Library of Congress, photo the reference number is included for the photograph sup - LC-USZ62-2289 plied by each organization. page 3 Ira W. Yellen, photo 119

Front Cover top left Frédéric Auguste Bartholdi, the sculptor The Photograph Collection chosen by the French-American Union 1 The First Experience, Inc., photo 101 Committee to design “Liberty 2 (left) Library of Congress, photo LC-USZ62-2289; Enlightening the World.” (right) Library of Congress, photo LC-USZ62-14948 Library of Congress, photo 3 (left) The First Experience, Inc., photo 104; (right) LC-USZ62-2289 The First Experience, Inc., photo 105 top right Interior shot of Bartholdi’s studio in 4 (left) Library of Congress, photo LC-USZ62-84681; 1876 showing the large crew of workers (right) Library of Congress, photo LC-USZ62-54274 needed to carry out the many phases in 5 Library of Congress, photo LC-USZ62-20113 producing the Statue. 6 Library of Congress, photo LC-USZ62-20115 Library of Congress, photo 7 Library of Congress, photo LC-USZ62-14736 LC-USZ62-20113 8 Library of Congress, photo LC-USZ62-19869 bottom left Preparing the Statue for shipment to the 9 The First Experience, Inc., photo 114 United States. 10 The First Experience, Inc., photo 115 Library of Congress, photo 11 Library of Congress, photo LC-USZ62-53145 LC-USZ62-20121 12 Statue of Liberty National Monument, photo 61-JB- bottom right Scaffolding encases the Statue during 0763, Jack E. Boucher; slide, Visual Horizons, restoration. identification number unknown Ira W. Yellen, photo 119 13 The First Experience, Inc., photo 119; slide, Ira W. Yellen, slide 190 Back Cover 14 Library of Congress, photo LC-USZ62-87199 top Portfolio Project, Inc., photo 37 bottom Library of Congress, photo LC-USZ6-600

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Midtown Tunnel 95 495 280 19 278 Bridge JERSEY NEWARK CITY ELLIS N ISLAND 78 STATUE OF W E LIBERTY

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Aerial view showing Ellis Island (top right) and the Statue of Liberty (bottom).