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SOPHIA OF WISDOM III - GOD IN NEW YORK HARBOR 0
TO SEE PICTURE OF THIS SITE SEE LINKS BELOW DECEMBER 11, 2006 THE LIBRARY OF SOPHIA OF WISDOM III THE
SOPHIA OF ALL SOPHIA OF WISDOMS aka CAROLINE E. KENNEDY___________________________________ JUDGEMENTS: GOD
IN NEW YORK HARBOR - LADY LIBERTY ****NOTES FROMSOPHIA OF WISDOM III- TO SEE LIVE PICTURES OF THE STATUE OF
LIBERTY CLICK PICTURE..... As Bill Murray said in The Movie Ghost Busters.......She's tough......She's a Harbor
Chick...... I would like to confirm that Lady Liberty is The God of All Gods.....God is really a WOMAN.......
Her crown means...... RA = Rays of Light ILLUMINATOR = She is The Light Bearer Her Book means........
BOOK OF THE TREE OF LIFE = JUDGEMENT She is........ MA'AT of BALANCE, JUSTICE & THE LAW Statue
of Liberty Statue of Liberty, originally named "Liberty Enlightening the World," was a gift from France, unveiled
on 28 October 1886 at Bedloe's Island (later Liberty Island) in New York Harbor. There, President Grover Cleveland accepted
it as a long-delayed commemoration of a century of American independence. Rising 151 feet above an 89-foot pedestal, it was
then the tallest structure in New York City. The French sculptor Frédéric Auguste Bartholdi had designed the statue
with assistance from the great engineer Gustave Eiffel. It was then shipped from Paris in sections. The project's sponsors
were a group of French liberals who tirelessly promoted the United States as a model of popular government rooted in stability
and order and wanted France to follow the American example. Accordingly, Bartholdi's gigantic classical goddess carries a
tablet representing the American Declaration of Independence. Yet she faces outward, stolid, strong, and unmovable as beams
from her upraised lamp radiate across the sea. The history of the Statue of Liberty is largely a story of its growing
centrality and importance among the cherished symbols of the American nation. At first it differed chiefly in size and location
from numerous other classical goddesses who crowded the nineteenth century's repertory of symbols. But size and location were
crucially important. She was an overwhelming presence at the entry to America's greatest city. As more vaporous goddesses
faded in the harsh light of modernity, the great statue became the centerpiece of a magical American place, recognizable everywhere
through postcards and magazine covers, with the New York City skyline rising behind her. To many Americans she also
conveyed a profoundly personal message. The millions of immigrants who were landing at New York City in the early twentieth
century saw in this majestic figure their first intimation of a new life. In her uplifted arm they read a message of welcome
that said, "This vast republic wants me!" By 1910 public schools in some large cities were reenacting in pageants (with a
teacher as the statue) the gathering of immigrants into an inclusive nation. The use of the statue to identify America
with an active promotion of freedom received further emphasis in the Liberty Bond drives and parades of World War I and from
the ideological mobilization of the United States against totalitarian regimes during and after World War II. In domestic
affairs, embattled images of the statue also energized campaigns for civil liberties and women's rights. In the mid-1980s,
a fabulously successful fund-raising campaign led by Chrysler executive Lee Iacocca produced a deep restoration of the statue,
capped in October 1986 by a four-day extravaganza celebrating its centennial. Bibliography Dillon, Wilton
S., and Neil G. Kotler, eds. The Statue of Liberty Revisited: Making a Universal Symbol. Washington, D.C.: Smithsonian Institution
Press, 1994. Liberty: The French-American Statue in Art and History. New York: Harper and Row, 1986. Trachtenberg,
Marvin. The Statue of Liberty. New York: Penguin Books, 1977. Statue Of Liberty Posters Framed posters of
all your favorite places. Statue Of Liberty & more! www.AllPosters.com Statue Of Liberty We've Found the
Best 4 Sites About Statue Of Liberty Best4-Sites.com Encyclopedia Directory > Reference > Encyclopedia
Liberty, Statue of, statue on Liberty Island in Upper New York Bay, commanding the entrance to New York City. Liberty Island,
c.10 acres (4 hectares), formerly Bedloe's Island (renamed in 1956), was the former site of a quarantine station and harbor
fortifications. The statue, originally known as Liberty Enlightening the World, was proposed by the French historian Édouard
Laboulaye in 1865 to commemorate the alliance of France with the American colonies during the American Revolution and, according
to scholars, was originally intended as an antimonarchy and antislavery symbol. Funds were raised by the Franco-American Union
(est. 1875), and the statue was designed by the French sculptor F. A. Bartholdi in the form of a woman with an uplifted arm
holding a torch. Believed to be the tallest metal statue ever made, 152 ft (46 m) in height, it was constructed of copper
sheets, using Bartholdi's 9-ft (2.7-m) model. It was shipped to New York City in 1885, assembled, and dedicated in 1886. The
base of the statue is an 11-pointed star, part of old Fort Wood; a 150-ft (45-m) pedestal, built through American funding,
is made of concrete faced with granite. On it is a tablet, affixed in 1903, inscribed with “The New Colossus,”
the famous sonnet of Emma Lazarus, welcoming immigrants to the United States. By the early 20th cent, this greeting to the
arriving stranger had become the statue's primary symbolic message. Broadening in its meaning, the statue became a symbol
of America during World War I and a ubiquitous democratic symbol during World War II. An elevator runs to the top of the pedestal,
and steps within the statue lead to the crown, but the public has not been permitted to climb to crown since Sept., 2001,
when access to the statue was restricted for reasons of security and, subsequently, safety. The statue was extensively refurbished
prior to its centennial celebration in 1986. The Statue of Liberty became a national monument in 1924. In 1965, Ellis Island,
the entrance point of millions of immigrants to the United States, was added to the monument. Bibliography See
M. Trachtenberg, The Statue of Liberty (1976); W. S. Dillon, ed., The Statue of Liberty Revisited: Making a Universal Symbol
(1994); B. Moreno, The Statue of Liberty Encyclopedia (2000). --------------------------------------------------------------------------------
Fine Arts Directory > Arts > Fine Arts Dictionary Statue of Liberty A giant statue on an
island in the harbor of New York City; it depicts a woman representing liberty, raising a torch in her right hand and holding
a tablet in her left. At its base is inscribed a poem by Emma Lazarus that contains the lines “Give me your tired, your
poor, / Your huddled masses yearning to breathe free.” Frederic Bartholdi, a Frenchman, was the sculptor. France gave
the Statue of Liberty to the United States in the nineteenth century; it was shipped across the Atlantic Ocean in sections
and reassembled. The statue was overhauled and strengthened in the 1980s. For many immigrants who came to the
United States by ship in the late nineteenth and early twentieth centuries, the Statue of Liberty made a permanent impression
as the first landmark they saw as they approached their new home. WordNet Directory > Reference
> WordNet Note: click on a word meaning below to see its connections and related words. The noun Statue of Liberty
has one meaning: Meaning #1: a large monumental statue symbolizing liberty on Liberty Island in New York Harbor --------------------------------------------------------------------------------
Wikipedia Directory > Reference > Wikipedia Statue of Liberty Statue of Liberty and Liberty
IslandStatue of Liberty National Monument IUCN Category III (Natural Monument) Location: Liberty Island, New
York, USA Nearest city: Jersey City, New Jersey Coordinates: 40°41′21″N, 74°2′40″W Area:
12 acres (49,000 m²) Established: October 15 1924 Visitation: 4,235,595 (includes Ellis Island NM) (in 2005) Governing
body: National Park Service Liberty Enlightening the World (La liberté éclairant le monde), known more commonly as the
Statue of Liberty, is a statue given to the United States by France in 1885, standing at Liberty Island in the mouth of the
Hudson River in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper statue, dedicated
on October 28 1886, commemorates the centennial of the United States and is a gesture of friendship between the two nations.
The sculptor was Frederic Auguste Bartholdi. Alexandre Gustave Eiffel, the designer of the Eiffel Tower, engineered the internal
structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the
Repoussé technique. The Statue of Liberty is one of the most recognizable icons of the U.S. worldwide,[1] and, in a more general
sense, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the Jet age, often the first
glimpse of the United States for millions of immigrants after ocean voyages from Europe. In terms of visual impact, the Statue
of Liberty appears to draw inspiration from il Sancarlone or the Colossus of Rhodes. History Discussions
in France over a suitable gift to the United States to mark the Centennial of the American Declaration of Independence were
headed by the politician and sympathetic writer of the history of the United States, Édouard René Lefèvre de Laboulaye. French
sculptor Frederic Auguste Bartholdi was commissioned to design a sculpture with the year 1876 in mind for completion. The
idea for the commemorative gift then grew out of the political turmoil which was shaking France at the time. The French Third
Republic was still considered as a "temporary" arrangement by many, who wished a return to Monarchism, or to some form of
constitutional authoritarianism which they had known under Napoleon. The idea of giving a colossal representation of republican
virtues to a "sister" republic across the sea served as a focus for the republican cause against other politicians. Various
sources cite different models for the face of the statue. One indicated the then-recently widowed Isabella Eugenie Boyer,
the wife of Isaac Singer, the sewing-machine industrialist. "She was rid of the uncouth presence of her husband, who had left
her with only his most socially desirable attributes: his fortune and... his children. She was, from the beginning of her
career in Paris, a well-known figure. As the good-looking French widow of an American industrialist she was called upon to
be Bartholdi's model for the Statue of Liberty." [2] Another source believed that the "stern face" belonged to Bartholdi's
mother, Charlotte Bartholdi (1801-1891), with whom he was very close. [3] National Geographic magazine also pointed to his
mother, noting that Bartholdi never denied nor explained the resemblance. [4] The first model, on a small scale, was built
in 1870. This first statue is now in the Jardin du Luxembourg in Paris. While in a visit to Egypt that was to shift
his artistic perspective from simply grand to colossal, Bartholdi was inspired by the project of Suez Canal which was being
undertaken by Count Ferdinand de Lesseps who later became a life-long friend to him. He envisioned a giant lighthouse standing
at the entrance to Suez Canal and drew plans for it. It would be patterned after the Roman goddess Libertas, modified to resemble
a robed Egyptian peasant, a fallaha, with light beaming out from both a headband and a torch thrust dramatically upward into
the skies. Bartholdi presented his plans to the Egyptian Khediev, Isma'il Pasha, in 1867 and, with revisions, again in 1869,
but the project was never commissioned.[5], [6] It was agreed upon that in a joint effort the American people were
to build the base, and the French people were responsible for the Statue and its assembly in the United States. However, lack
of funds was a problem on both sides of the Atlantic. In France, public fees, various forms of entertainment, and a lottery
were among the methods used to raise the 2,250,000 francs. In the United States, benefit theatrical events, art exhibitions,
auctions and prize fights assisted in providing needed funds. Meanwhile in France, Bartholdi required the assistance of an
engineer to address structural issues associated with designing such a colossal copper sculpture. Gustave Eiffel (designer
of the Eiffel Tower) was commissioned to design the massive iron pylon and secondary skeletal framework which allows the Statue's
copper skin to move independently yet stand upright. Eiffel delegated the detailed work to his trusted structural engineer,
Maurice Koechlin. On June 30, 1878, at the Paris Exposition, the completed head of the statue was showcased in the
garden of the Trocadéro palace, while other pieces were on display in the Champs de Mars. Back in America, the site,
authorized in New York Harbor by Act of Congress, 1877, was selected by General William Tecumseh Sherman, who settled on Bartholdi's
own choice, then known as Bedloe's Island, where there was already an early 19th century star-shaped fortification. Bartholdi's
design patentOn February 18 1879, Bartholdi was granted a design patent, U.S. Patent D11023, on "a statue representing Liberty
enlightening the world, the same consisting, essentially, of the draped female figure, with one arm upraised, bearing a torch,
and while the other holds an inscribed tablet, and having upon the head a diadem, substantially as set forth." The patent
described the head as having "classical, yet severe and calm, features," noted that the body is "thrown slightly over to the
left so as to gravitate upon the left leg, the whole figure thus being in equilibrium," and covered representations in "any
manner known to the glyptic art in the form of a statue or s
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SOPHIA OF WISDOM III - GOD IN NEW YORK HARBOR 1
PICTURES BELOW LIBRARY OF SOPHIA OF WISDOM III SOPHIA OF ALL SOPHIA OF WISDOMS AKA CAROLINE E. KENNEDY________________________
JAN 22, 2007 Frédéric-Auguste Bartholdi French, 1834 - 1904 Bartholdi was born in Colmar,
in the Alsace region of France, to a family of German Protestant origin (the name was latinized from Barthold, probably in
the late seventeenth century). His father, Jean-Charles, a counselor to the prefecture and well-to-do property owner, died
when Auguste was two years old. His mother, Augusta Charlotte, moved with Auguste and his older brother Jean-Charles to Paris,
where another prosperous and influential branch of the family lived. Throughout Bartholdi's childhood, however, the family
spent long periods in Colmar, and a passionate devotion to his native region colored the artist's life. Auguste took
drawing lessons with Martin Rossbach (1787-1870) in Colmar, and in Paris he went on to study sculpture with Antoine Etex (1808-1888),
architecture with Henri Labrouste (1801-1875) and Eugène-Emmanuel Viollet-le-Duc (1814-1879), and painting with Ary Scheffer
(1795-1858). Scheffer encouraged his interest in sculpture, which he pursued further in the studio of Jean-François Soitoux
(1816-1891). He submitted a Good Samaritan sculptural group (later edited in bronze) to the Salon of 1853, and within two
years had wrested the commission by his native city for a bronze commemorative statue of the Napoleonic General Jean Rapp
from the older Alsatian sculptor Lavalette (1855-1856). Thus began Bartholdi's career as a prolific creator of patriotic monuments,
primarily in Alsace, and as a proficient lobbyist for his own artistic ambitions. A journey to Egypt and Yemen in
1855 and 1886, in the company of Jean-Léon Gérôme (1824-1904) and other orientalist painters, fueled Bartholdi's fascination
with colossal sculpture. He returned to Egypt in 1869 with a proposal to create a lighthouse--in the form of a gigantic draped
figure holding a torch--at the entrance to the newly completed Suez Canal. The commission never came, but his plan found a
new form later in the Statue of Liberty. Throughout the 1860s Bartholdi worked on well-received patriotic monuments
for Colmar, including one to the painter/engraver Martin Schongauer (1861-1863, Musée Bartholdi, Colmar) and the fountain
memorial to Admiral Bruat (1856-1864). As an officer during the Franco-Prussian War of 1870-1871, he took part in the defense
of Colmar. Desolate over the French defeat and the loss to Germany of his beloved Alsace, Bartholdi channeled his anguish
into monuments celebrating French valor in the defense against Germany. The most spectacular of these was the colossal Lion
of Belfort (110 centimeters high and 220 centimeters long; 1871-1880), which was constructed of sandstone blocks against the
side of a cliff. In 1871 Bartholdi made his first trip to America, to promote the idea of a colossal statue of Liberty
as a gift from the French to the American people in honor of the centennial of American independence. The idea of such a gift,
according to Bartholdi, was first broached in 1865 by his friend Edouard-René Lefebvre de Laboulaye, an eminent professor
of law, political philosopher, and scholar of American history. Laboulaye's intellectual circle, including Bartholdi, shared
republican sympathies and a dedication to liberty. After the Suez colossus proposal fell through, Bartholdi reshaped his idea
into a French statue for America, to stand on an island in New York harbor. An able and tireless entrepreneur, Bartholdi
campaigned throughout the 1870s to raise support and funds for the statue of Liberty Enlightening the World. Viollet-le-Duc
and later Gustave Eiffel (1832-1923), who would subsequently build the famous tower in Paris, designed the interior iron-and-steel
armature that supported the copper sheets composing the exterior of the 151-foot statue. Constructed in Paris, the statue
was then dismantled, shipped to New York, rebuilt, and inaugurated in 1886. During its production Bartholdi made frequent
trips to America and left several sculptural monuments there, including a cast-iron fountain near the Capitol in Washington,
D.C. (1878). He married Jeanne-Emile Baheux, a fellow native of France, in Providence, Rhode Island, in 1876. Continuing his
energetic production of statues, portraits, and monuments, he exhibited in the Paris salons from 1853 until 1904, the year
of his death. The Statue of Liberty secured Bartholdi a fame perhaps disproportionate to his artistic talent, but
commensurate with his ambition, drive, and showmanship in the promotion of great artistic undertakings. In addition to sculpture,
Bartholdi practiced oil painting, drawing, watercolor, and photography. The family house in Colmar, maintained by the artist
even when he lived elsewhere, became the Bartholdi Museum in 1922. [This is an edited version of the artist's biography published,
or to be published, in the NGA Systematic Catalogue] Bibliographic References Lami, Stanislas. Dictionnaire des
sculpteurs de l'école française au dix-neuvième siècle. 4 vols. Paris, 1914-1921: 1(1914):63-69. Betz, Jacques. Bartholdi.
Paris, 1954. Société d'histoire et d'archéologie de Colmar. Bartholdi, Annuaire 1979. Colmar, 1979. Busco, Marie.
In Peter Fusco and H. W. Janson, eds. The Romantics to Rodin. Exh. cat. Los Angeles County Museum of Art, 1980: 121-133. Schmitt,
Jean-Marie. Bartholdi: une certaine idée de la liberté. Strasbourg, 1985. Liberty: the French-American Statue in Art and
History. Exh. cat. New York Public Library, 1986. Schmitt, Jean-Marie. In Saur Allgemeines Künstler Lexikon. Die Bildenden
Künstler aller Zeiten und völker. Multiple vols. Munich and Leipzig, 1992-: 7(1993):236-238. Vidal, Pierre. Frédéric-Auguste
Bartholdi 1834-1904: par la main, par l'esprit. Lyon/Montpelier, 1994. Hargrove, June. "Bartholdi." Dictionary of Art
1996, 3:289-291. Butler, Ruth, and Suzanne Glover Lindsay, with Alison Luchs, Douglas Lewis, Cynthia J. Mills, and Jeffrey
Weidman. European Sculpture of the Nineteenth Century. The Collections of the National Gallery of Art Systematic Catalogue.
Washington, D.C., 2000: 3-4. planning a visit | the collection | exhibitions | online tours | education | programs
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