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Construction of The Eiffel Tower
Construction
The construction of the Eiffel Tower took place in between 1887 to 1889, during which around 300 workers worked simultaneously to join approximately 18,000 pieces of puddle iron. The construction team officially consisted of contractor Gustana Eiffel and Cie, engineers Maurice Koechlin and Emile Nouguier, and architect Stephen Sauvestre. The Eiffel Tower is now 120 years old and consists of 2.5 million rivets. It also has a flagpole at the top.
The construction and designing of the tower were done keeping in mind the available equipment at that time. In order to construct such a highly tall tower, it was essential to implant four bases which were eighty meters apart from each other and meticulously placed in order to raise the four pillars at a slant and prop them up. The Eiffel Tower is made up of a base, which resembles a bar stool resting on four main pillars, joined and extended with a lighter platform at a lower level.
The other important aspect of the Eiffel Tower is the tower which is firmly attached at the top of the structure. An expert team of rivet workers used an exclusive method of construction, which involved joining the metal pieces by rivets. The process included each rivet to be first heated and then molded by using a hammer.
The uprights were placed on the concrete foundation that was placed few meters below the ground level. All the corner edges of the uprights were positioned to rest on each of their supporting blocks, which resulted in a pressure of three to four kg/square centimeters on each one of them. On the side which faces the river Seine, the constructers used caissons (watertight chambers used for construction under water) and forced compressed air in order to carry out work below the water level.
Twelve temporary wooden platforms, each having a height of thirty meters and four larger platforms of forty meters each were used for the construction process. Moreover, small-sized steam cranes were also placed on the tower for lifting the heavy metal bars. The use of hydraulic jacks allowed the workers to position the metal girders to the estimated level of one millimeter. On 7th December 1887 the workers started the task of joining the main beams up to the first level. These pieces were pushed up by steam cranes which could climb on their own using the tower runners, which were later to be used for the building’s lifts. In all, it took five months to construct the foundation and 21 months to join the metal bars. Because of the kind of means available, the duration taken to make the structure was quite incredible.
Eiffel Tower under construction in July 1888
Construction Of The Statue of Liberty
Design and Construction
Origin
The origin of the Statue of Liberty project is generally traced to a comment made by French law professor and politician Édouard René de Laboulaye in mid-1865. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, stated: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations."
Laboulaye's comment was not intended as a proposal, but it inspired a young sculptor, Frédéric Bartholdi, who was present at the dinner. Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Instead, Bartholdi approached Ismail Pasha, Khedive of Egypt, with a plan to build a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.
The American 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. 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. In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.
Arriving at New York Harbor, Bartholdi focused on Bedloe's 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." 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. Bartholdi crossed the United States twice by rail, and met many Americans whom he felt would be sympathetic to the project. 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.
Bartholdi had made a first model of his concept in 1870. The son of a friend of Bartholdi's, American artist John La Farge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge's Rhode Island studio. Bartholdi continued to develop the concept following his return to France. He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.
Design, style, and symbolism
Bartholdi and Laboulaye considered how best to express the idea of American liberty. In early American history, two female figures were frequently used as cultural symbols of the nation. One, Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Mariannecame to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans. The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time, and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.
Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Liberty. A figure of Liberty was also depicted on the Great Seal of France. 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 Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen. Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes. 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.
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. Delacroix's figure wears a pileus, and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head. In so doing, he avoided a reference to Marianne, who invariably wears a pileus. The seven rays form a halo or aureole. They evoke the sun, the seven seas, and the seven continents, and represent another means, besides the torch, whereby Liberty enlightens the world.
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. The face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother. 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. 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.
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 rise over a broken chain, half-hidden by her robes and difficult to see from the ground. Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata, a keystone-shaped tablet used to evoke the concept of law. 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.
Consultations with the metalwork foundry Gaget, Gauthier & Co. led Bartholdi to conclude that the skin should be made of copper sheets, beaten to shape by there poussé method. An advantage of this choice was that the entire statue would be light for its volume—the copper need be only .094 inches (2.4 mm) thick. He decided on a height of 151 feet (46 m) for the statue, double that of Italy's Colosso di San Carlo Borromeo and the German statue of Arminius, both made with the same method. Bartholdi interested a former teacher of his, architect Eugène Viollet-le-Duc, in the project. Viollet-le-Duc planned to construct a brick pier within the statue, to which the skin would be anchored.
Announcement and early work
In 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exhibition in Philadelphia led Laboulaye to decide it was time to seek public support 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. The French would finance the statue; Americans would be expected to pay for the pedestal. 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. 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. 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 composerCharles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.
Despite its initial focus 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 theFrench 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 firm of Japy Frères, copper merchants, donated all the copper needed to build the statue, a gift valued at 64,000 francs (about $16,000 at the time or the equivalent of $323,000 today). The copper is said to have come from a mine in Visnes, Norway, though this has not been conclusively determined.
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. In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition, and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities. 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. 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. 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.
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. Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia. The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee". One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States. 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. PresidentRutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.
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. 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.
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. The following year, Bartholdi was able to obtain the services of the innovative designer and builder Alexandre-Gustave Eiffel. 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. 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 an armature—a metal framework that ends in a mesh of metal straps, known as "saddles", that are riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually. To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac. 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.
Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown. Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long. As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure.
In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton. The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors. Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban. By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue. Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York. The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.
Fundraising, criticism, and construction in the United States
The committees in the United States faced great difficulties in obtaining funds. 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. 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. 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. 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." The New York Timesstated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances." Faced with these criticisms, the American committees took little action for several years.
The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station. The fortifications of the structure were in the shape of an eleven-point star. The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean. In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months. He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).
Hunt's pedestal design contains elements of classical architecture, including Doric portals, and the large mass is fragmented with architectural detail to focus attention on the statue. 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 40 U.S. states), 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. 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". The committee hired former army General Charles Pomeroy Stone to oversee the construction work. Construction on the 15-foot (4.6 m) deep foundation began in 1883, and the pedestal's cornerstone was laid in 1884. 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. The concrete mass was the largest poured to that time.
Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events. As part of one such effort, an auction of art and manuscripts, poet Emma Lazaruswas 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 anti-Semitic 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. The resulting sonnet, "The New Colossus", including the iconic lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in the base.
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, failed when Democratic representatives would not agree to the appropriation. 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. Joseph Pulitzer, publisher of the World, a New York newspaper, announced a drive to raise $100,000 (the equivalent of $2.3 million today). Pulitzer pledged to print the name of every contributor, no matter how small the amount given. 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." 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." Another dollar was given by a "lonely and very aged woman." 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. A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.
As the donations flooded in, the committee resumed work on the pedestal. In June, New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel Isère arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère. 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.
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 I-beams within the concrete pedestal and assembled. Once this was done, the sections of skin were carefully attached. Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from the armature by ropes while installing the skin sections. Nevertheless, no one died during the construction work. Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch (which was covered with gold leaf) and placed the lights inside them. A power plant was installed on the island to light the torch and for other electrical needs. After the skin was completed, renowned landscape architect Frederick Law Olmstead, designer of New York's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication.
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. On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to Battery Park at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building onPark Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.
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. De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. AFrench flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address. President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world". Bartholdi, observed near the dais, was called upon to speak, but he refused. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.
No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote. A scheduled fireworks display was postponed until November 1 because of poor weather.
Physical characteristics
| Feature | U.S. | 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 |
| Length 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 metric tonnes |
| Weight of steel used in statue | 250,000 pounds | 113.4 metric tonnes |
| Total weight of statue | 450,000 pounds | 204.1 metric tonnes |
| Thickness of copper sheeting | 3/32 of an inch | 2.4 mm |
Model of the Statue of Liberty
Men in a workshop hammering sheets of copper for the construction of the Statue of Liberty
Men in a workshop shaping sheets of copper for the construction of the Statue of Liberty.
View of the workshop, with models of the Statue of Liberty in the background
Men at work on the construction of the Statue of Liberty
Construction of the skeleton and plaster surface of the left arm and hand of the Statue of Liberty.
The statue's head on exhibit at the Paris World's Fair, 1878
View of the external area of the workshop in Paris, showing construction materials, the head of the Statue of Liberty, and a group of men gathered in front of the left foot of the statue.
Scaffolding for the assemblage of the Statue of Liberty, of which the head is shown at left, in Paris
Assemblage of the Statue of Liberty in Paris, showing the bottom half of the statue erect under scaffolding, the head and torch at its feet.
Assemblage of the Statue of Liberty in Paris
Photographer of all photographs - Albert Fernique, 1883
Source: Album de la construction de la Statue de la Liberte.
Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Construction of The Titanic
Introduction
Titanic was launched on May 31, 1911, and her commissioning was slightly delayed due to ongoing repairs of Olympic. The ship left the port of Southampton April 10, 1912 for her maiden voyage, narrowly avoiding a collision with SS New York, a ship moored in the port pulled by the propellers ofTitanic. After a stopover at Cherbourg, France and another in Queenstown, Ireland, she sailed into the Atlantic with 2,200 passengers on board (a total capacity of 3,500), under the command of Captain Edward J. Smith headed for New York City. The crossing took place without major incident until Sunday, April 14 at 23:40.
Titanic struck an iceberg at 41°46′N 50°14′W. while sailing about 400 miles south of the Grand Banks of Newfoundland shortly before midnight. The strike and the shock blew the rivets, thus opening a leak in the hull below the waterline. This caused the first five compartments to be flooded while the ship could only stay afloat with four compartments flooded. The ship sank 2 hours and 40 minutes after the collision and with not enough lifeboats for all of the passengers, 1,517 of the 2,223 people on board were killed, making it one of the deadliest peacetime maritime disasters in history.
Construction
Of the two steam-powered steering engines installed, one was kept in use and one kept in reserve; the engines could be slid away and disengaged when not required. A quarter-circle rack-and-pinion drive was connected to the short tiller through stiff springs, to isolate the engines from any shocks in heavy seas or during fast changes of direction. As a last resort, the tiller could be moved by ropes connected to two steamcapstans. Construction of RMS Titanic, funded by the American J.P. Morgan and his International Mercantile Marine Co., began on 31 March 1909.Titanic's hull was launched at 12:13 on 31 May 1911, and her outfitting was completed by 31 March the following year. Her length overall was 882 feet 9 inches (269.1 m), the moulded breadth 92 feet (28 m), the tonnage 46,328 GRT, and the height, from the water line to the boat deck, 59 feet (18 m). She was equipped with two reciprocating four-cylinder, triple-expansion steam engines and one low-pressure Parsons turbine, each driving a propeller. There were 29 boilers fired by 159 coal burning furnaces that made possible a top speed of 23 knots (43 km/h; 26 mph). Only three of the four 62 foot (19 m) funnels were functional: the fourth, which only provided ventilation, was added to make the ship look more impressive. The ship was licensed to carry 3547 persons, passengers and crew.Titanic was built at the Harland and Wolff shipyard in Belfast, UK, and designed to compete with the rival Cunard Line's Lusitania andMauretania. Titanic, along with her Olympic-class sisters, Olympic and the soon-to-be-built Britannic (originally named Gigantic), were intended to be the largest, most luxurious ships ever to sail. The designers were Lord Pirrie, a director of both Harland and Wolff and White Star, naval architect Thomas Andrews, Harland and Wolff's construction manager and head of their design department, and the Right HonourableAlexander Carlisle, the shipyard's chief draughtsman and general manager. Carlisle's responsibilities included the decorations, equipment and all general arrangements, including the implementation of an efficient lifeboat davit design. Carlisle would leave the project in 1910, before the ships were launched, when he became a shareholder in Welin Davit & Engineering Company Ltd, the firm making the davits.
Construction of Capitol, Washington, D.C.
Construction
L'Enfant secured the lease of quarries at Wigginton Island and along Aquia Creek in Virginia for use in the foundations and outer walls of the Capitol in November 1791. Surveying was underway soon after the Jefferson conference plan for the Capitol was accepted. A groundbreaking ceremony for the Capitol took place on September 18, 1793. Washington, dressed in masonic attire, laid the cornerstone, which was made by silversmith Caleb Bentley.
Construction proceeded with Hallet working under supervision of James Hoban, who was also busy working on construction of the White House. Despite the wishes of Jefferson and the President, Hallet went ahead anyway and modified Thornton's design for the East front and created a square central court that projected from the center, with flanking wings which would house the legislative bodies. Hallet was dismissed by Jefferson on November 15, 1794. George Hadfield was hired on October 15, 1795 as superintendent of construction, but resigned three years later in May 1798, due to dissatisfaction with Thornton's plan and quality of work done thus far.
The Senate wing was completed in 1800, while the House wing was completed in 1811. However, the House of Representatives moved into the House wing in 1807. Though the building was incomplete, the Capitol held its first session of United States Congress on November 17, 1800. The legislature was moved to Washington prematurely, at the urging of President John Adams in hopes of securing enough Southern votes to be re-elected for a second term as president.
Later extension
When the Capitol's new dome was finally completed, its massive visual weight, in turn, overpowered the proportions of the columns of the East Portico, built in 1828. The East Front of the Capitol building was rebuilt in 1904, following a design of the architects Carrère and Hastings, who also designed the Senate and House office buildings.
The next major expansion to the Capitol started in 1958, with a 33.5 feet (10.2 m) extension of the East Portico. A marble duplicate of the sandstone East Front was built 33.5 feet (10.2 m) from the old Front. (In 1962, a connecting extension incorporated what formerly was an outside wall as an inside wall.) In the process, the Corinthian columns were removed. It was not until 1984 that landscape designer Russell Page created a suitable setting for them in a large meadow at the National Arboretum as the National Capitol Columns, where they are combined with a reflecting pool in an ensemble that reminds some visitors of Persepolis. Besides the columns, hundreds of blocks of the original stone were removed and are stored behind a National Park Service maintenance yard in Rock Creek Park.
On June 20, 2000, ground was broken for the Capitol Visitor Center, which subsequently opened on December 2, 2008. From 2001 through 2008, the East Front of the Capitol (site of most presidential inaugurations until Ronald Reagan began a new tradition in 1981) was the site of construction for this massive underground complex, designed to facilitate a more orderly entrance for visitors to the Capitol. Prior to the center being built, visitors to the Capitol had to queue on the parking lot and ascend the stairs, whereupon entry was made through the massive sculpted Columbus Doors, through a small narthex cramped with security, and thence directly into the Rotunda. The new underground facility provides a grand entrance hall, a visitors theater, room for exhibits, and dining and restroom facilities, in addition to space for building necessities such as an underground service tunnel.On December 19, 1960, the Capitol was declared a National Historic Landmark by the National Park Service. The building was ranked No.6 in a survey conducted for the American Institute of Architects' list of "America's Favorite Architecture". The Capitol draws heavily from other notable buildings, especially churches and landmarks in Europe, including the dome of St. Peter's Basilica in the Vatican and St. Paul's Cathedral in London. On the roofs of the Senate and House Chambers are flagpoles that fly the U.S. flag when either is in session. On September 18, 1993, to commemorate the Capitol's bicentennial, the Masonic ritual cornerstone laying with George Washington was reenacted. Strom Thurmond was one of the Freemason politicians who took part in the ceremony.
