Where Can I Buy Tickets For The Statue Of Liberty
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The statue is a figure of Libertas, a robed Roman liberty goddess. 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 shackle and chain lie at her feet as she walks forward, commemorating the recent national abolition of slavery.[7] After its dedication, the statue became an icon of freedom and of the United States, seen as a symbol of welcome to immigrants arriving by sea.
Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol.[21] A figure of Liberty was also depicted on the Great Seal of France.[21] 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.[22] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[22] 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.[25]
Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet.[26] Delacroix's figure wears a pileus,[22] and Bartholdi at first considered placing one on his figure as well. Instead, he used a radiate diadem, or crown, to top its head.[27] In so doing, he avoided a reference to Marianne, who invariably wears a pileus.[28] The seven rays form a halo or aureole.[29] They evoke the sun, the seven seas, and the seven continents,[30] and represent another means, besides the torch, whereby Liberty enlightens the world.[25]
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,[31] 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.[32] 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.[25] Bartholdi wrote of his technique:
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.[27] Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata,[34] used to evoke the concept of law.[35] Though Bartholdi greatly admired the United States Constitution, he chose to inscribe JULY IV MDCCLXXVI on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.[34]
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.[45] In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition,[46] and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities.[47] The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi.[48] Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds.[49] After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.[49]
"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.[113]
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!"[130][131] 59ce067264