Enlightened Liberty Enlightens the World 



Bartholdi's famous 

 statue now sends out 



THE Statue of Libert\ , 

 gift of the republic 

 of France to the 

 United States, has been 

 brought out of the 

 darkness that has hid- 

 den her every night 

 these thirty years, 

 and henceforth 

 she will be 

 bathed in the 

 perpetual day- 

 light of the 

 incandescent 

 lamp. 



In many re- 

 spects the light- 

 ing of Barthol- 

 di's famous 

 statue is the 

 most remark- 

 able work of its 

 kind in America. 

 It may be 

 regarded as the 

 climax of three 

 years' effort and 

 development in 

 the art called 

 "flood-light- 

 ing." The Wool- 

 worth tower was 

 the first perma- 

 nently flood- 

 lighted building 

 and the lessons 

 learned in this 

 installation were 

 out with notable 

 in the flood-lighting of the 

 Panama-Pacific Ex- 

 position. 



The idea of applying 

 this dignified and impres- 

 sive method of lighting 

 the Statue of Liberty was 

 conceived in 1915. A 

 popular fund-raising cam- 

 paign was conducted by 

 a New York city news- 

 paper and the statue made 

 her debut as a permanent 

 lighting spectacle during 

 America's "electric week." 



bvilk into a goddess bathed in a permanent flood of 

 light. The sources of light are completely concealed 



carried 

 success 



JHOIE CONDUIT 



? Mou coNoorr 



A diagram of the electrical 

 installation, showing the po- 

 sitions of the projectors 



its message by night 

 as well as day 



Except for a slight modifica- 

 tion of the torch, nothing 

 was added or taken 

 away from the statue. 

 The purpose of the 

 designers was to 

 transform the dull 

 lantern in Liber-* 

 ty's hand into a 

 flaming torch. 

 This was accom- 

 plished by re- 

 moving the 

 somewhat crude 

 steelwork, 

 which, in a way, 

 had distorted 

 the classic 

 contour of the 

 torch, and sub- 

 stituting sheet 

 bronze for it. 

 The whole torch 

 was thus rebuilt 

 to obtain a 

 bronze flame of 

 the shape and 

 size originally 

 intended by 

 Bartholdi. Gut- 

 zon Borglum, 

 the sculptor, 

 supervised this 

 work. 



When the 

 torch flame was 

 completed all 

 the bronze plates were cut 

 out, leaving as a skeleton 

 riveted lines about an 

 inch in width. These 

 plates were then used to 

 construct molds upon 

 which pieces of glass were 

 bent. In selecting the 

 glass Mr. Borglum picked 

 out three tones of yellow 

 cathedral glass. A dull 

 surface was preferred to 

 avoid the blinding noon- 

 day glare of a rich reflec- 

 tive surface. The lightest 

 tint was used to simulate 

 the tip of the flame, with 



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