Statue of Liberty (World Heritage)

Hardly any other building has such a symbolic power as the Statue of Liberty on Liberty Island in the port entrance of New York. The symbol of the city is a gift from France and was inaugurated in 1886 as a symbol of freedom and independence. »Miss Liberty« was designed by the French sculptor Frédéric Auguste Bartholdi, the iron frame is by Gustav Eiffel. The Statue of Liberty has a total height of 93 m.

Statue of Liberty: facts

Official title: statue of Liberty
Cultural monument: The Statue of Liberty, a design by the French sculptor Frédéric Auguste Bartholdi; Statue with a height of 46 m and a weight of 254 t, which stands on a 47 m high pedestal; 171 steps inside to the viewing platform in the head of the statue
Continent: North America; See top-mba-universities
Country: USA, New York
Location: Liberty Island, New York Harbor
Appointment: 1984
Meaning: Colossal figure as a symbol of freedom and independence

Statue of Liberty: History

1871-84 Work on the monumental figure with a steel frame inside, which was constructed by Gustave Eiffel
1876 Gift from France to the USA on the occasion of the 100th anniversary of American independence
1886 inauguration
1892-1954 on the nearby Ellis Island reception center and quarantine station for immigrants as well as internment camps
1903 Engraving of a sonnet, “The New Colossus”, by the American poet Emma Lazarus on the base
1984 Restoration work
2001 The monument was closed for security reasons after the September 11, 2001 attacks
2009 Reopening of the statue for visitors (the base from 2004)
2011 Closing of the statue after the 125th anniversary on October 28, 2011 for the installation of a new staircase system inside
October 29, 2012 Closing again one day after reopening due to damage from Hurricane Sandy; Reopening on July 4th, 2013

Colossal – “Miss Liberty”

She’s not overly pretty, “Miss Liberty,” the eternally virgin personification of the idea of ​​freedom. However, despite its 254 tonnes live weight, the newly lifted “National Monument” of the USA is nowhere near as ugly as the torch-bearing colossus of Rhodes, one of the seven ancient wonders of the world: “Freedom” has a pretty nose, a respectable inheritance Greek classical. In general, the monumental French-American co-production owes much more to the serious-looking goddess Athena than to the bare-breasted, tricolor-swinging full woman who helped her creator Eugène Delacroix to a place in the Louvre and herself to a million-fold distribution on current French banknotes.

“Miss Liberty” exchanged the red Jacobin cap for the crown of thorns – pardon: with the much more representative halo, which also offers a breathtaking view of the panorama of the metropolis. From the point of view of the people in the stuffy “tween decks” of incoming emigrant ships, there was no room for such subtleties anyway. The “oppressed masses urging freedom” were so unconditionally committed to their American dream that even the sobering experience of the Ellis Island quarantine station, within sight of the monument, did little to impress the “storm-borne” newcomers. For her, the not very capricious “Miss Liberty”, along with her electric torch, was the promise of a whole new chapter in life.

If you look a little disrespectfully under the antique robe of freedom, a copper-clad “Eiffel Tower” suddenly comes to light. However the ancient colossus of Rhodes may have stood upright, it certainly did not have such a riveted steel skeleton from the prominent noble forge Gustave Eiffels.

Originally, the Freedom Monument was intended as a shining landmark at the entrance to the Suez Canal for the greater glory of France, which was once again in a republican mood. In view of the unique, but vanishing chance towards America, to compete with the ancient lighthouse of Alexandria as a modern wonder of the world, Frédéric Bartholdi, the creator of »Freedom«, is likely to have crushed more than a tear.

The “older sister” of the Paris Eiffel Tower was never seriously assigned to the “technological titans” gender, which was quite widespread at the end of the 19th century, because of the paramount importance of her emotional dowry. It’s actually a shame, because another prominent figure in the Colossus dynasty is, technically speaking, her “older brother” and at the same time a declared “hereditary enemy”. The sculptor Ernst Bandel dedicated over three decades of his life to the sword-swinging “Hermann the Cherusker”, which was lifted up on the shield with a large train station in 1876. It is therefore due to him to be regarded as one of the founding fathers of the copper giants.

The excesses in art and technology mark the decades of global imperial power development in the 19th and early 20th centuries. The new possibilities of industrial culture fascinated artists and engineers alike. As a direct result of their cooperation, not only tin heroes emerged, but also sky-storming towers and “titanic ships”, which were sometimes even called that…

At the time, the United States, which had not yet matured into world power, did not view such large-scale gestures without deep-seated suspicion. But in the course of her imperial development she was no longer averse to taking the gigantomania to extremes with the presidential heads completed in 1941 on Mount Rushmore in South Dakota.

Statue of Liberty (World Heritage)

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