Iconographic precedents
As mentioned above, the colossus of Rhodes could have been one source of inspiration for the radiant crown.
In the modern era, radiant-crown-wearing allegorical statues were scuplted by Italian artists, notably Canova's' allegory of Faith on the tomb of pope Clement XIII[45], and Camillo Pacetti's allegory of New Testament above the entrance of Milan Cathedral.[46]
They became increasingly common in the second half of the 19th century in France and Élias Robert's France crowning Art and Industry (1855), among others, could have provided inspiration for the Statue of Liberty [47]. The Great Seal of the French Second Republic (1848–1852) displays an allegory of Liberty represented sitting and wearing a seven ray radiant crown[48][49].
Earlier modern versions of statues of Liberty include the one erected atop a temple of Concordia in Lyon for the Federation festival of May 30, 1790[50] and the plaster figure wearing a red phrygian cap and carrying a spear in her right hand, replacing Louis XV's equestrial statue on the place de la Révolution - formerly place Louis XV, now place de la Concorde - in Paris from August 1793 to 1800 next to the guillotine[51], inspiring Madame Roland's famous remark: Oh Liberty, what crimes are committed in thy name![52].
The decision to depict Liberty wearing a radiant crown rather than the traditional attribute of liberty, the phrygian cap, is a negative one, avoiding what was then perceived as the symbol of radical revolutionary movements[53]. Similarly, Thomas Crawford had to renounce to his project to dress the Capitol's Statue of Freedom with a phrygian cap because of the concern that it might be seen as an abolitionist symbol.
The torch was associated with Liberty prior to Bartholdi's statue of Liberty in the right hand of Augustin Dumont's Genius of Liberty on the July Column, a monument inaugurated in 1840. The idea of bringing light to the world was expressed with a torch by Jean-Baptiste Carpeaux in his Imperial France bringing light to the world and protecting Agriculture and Science in 1866.[54], but the idea proposed by Hector Horeau in 1868 to build a colossus of Intelligent France enlightening the world on the Hill of Chaillot was never carried out[55]
Physical characteristics
Except for a period of time between September 11, 2001, and July 4, 2009,[56] the interior of the statue has been open to visitors. Visitors must purchase crown tickets in advance. Once they arrive by ferry, they must check in at the information center, then go to the base for the start of the walk up the monument. The climb to the top is 146 stairs on the double-helix stair case. Inside the copper statue it is approximately 15 to 20 degrees (F) warmer than it is outside. The NPS allows 10 people at a time with 3 groups an hour up into the crown. This provides a view of New York Harbor (the orientation of the statue faces Brooklyn) through 25 windows, the largest approximately 18" (46 cm) high. The view does not, therefore, include the skyline of Manhattan, except through the smallest windows on the left side of the crown. The wait outside regularly exceeds three hours, excluding the wait for ferries and ferry tickets.
The grey-green verdigris color is the patina which is caused by a chemical reaction and produces such copper salts as brochantite, atacamite, and antlerite, resulting in the current hue.[57]
The sandstone used in the base is from Locharbriggs Quarry on the edge of Dumfries in south west Scotland, Great Britain.[58]
There are 354 steps inside the statue and its pedestal, with 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The keystone which the statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of the adoption of the Declaration of Independence.
The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour (80 km/h) cause the Statue to sway 3 inches (76 mm) and the torch to sway 5 inches (130 mm). This allows the Statue to move rather than break in high wind load conditions.
| Feature[18] | Customary | Metric |
|---|---|---|
| Height from base to torch | 151 ft 1 in | 46 m |
| Foundation of pedestal (ground) 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 granite pedestal | 89 ft 0 in | 27.13 m |
| Height of foundation | 65 ft 0 in | 19.81 m |
| Weight of copper used in Statue[59] | 60,000 pounds | 27.22 metric tonnes |
| Weight of steel used in Statue | 250,000 pounds | 113.4 metric tonnes |
| Total weight used in Statue | 450,000 pounds | 204.1 metric tonnes |
| Thickness of copper sheeting | 3/32 of an inch | 2.4 mm |
The statue is built top-heavy in order to create a slight forced perspective and appear more correctly proportioned when viewed from its base. When the statue was designed in the late 1800s (before easy air flight), there were few other angles to view the statue from. This became an issue for special effects technicians working on the movie Ghostbusters II.[60]
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