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text:
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From the moment of its dedication, the Statue of Liberty has been an enigmatic monument, a powerful symbol of the tensions between national independence and universal human rights.
Francesca Lidia Viano
Statue of Liberty, ca. 1905. [Library of Congress]
The experience of the old is not a motor: it is only a lamppost, warning against dangers; the light that illuminates the long path ahead is you, the youth, who are holding its torch; it is you who are to illuminate the future and its obscurities.
—Frédéric Auguste Bartholdi, July 30, 1898
In late October 1886, a French delegation arrived in New York for the inauguration of a colossal monument. It was the tallest in the world, taller than the column in the Place Vendôme, and more than twice as tall as the statue of San Carlo Borromeo in Arona, Italy (pedestals included). 1 Compared to the new statue, which rose 305 feet high and weighed more than two hundred tons, the gigantic Bavaria — an imposing woman with an oak wreath in her raised left hand, erected in Munich in 1850 — now seemed "a shadow of herself." 2 The New York statue had no trace of the aggressive femininity of the German Valkyries. With a stern, almost severe face staring straight ahead, and her right arm outstretched to lift a burning torch, the figure of a robed woman rather recalled a Teutonic warrior raising his sword to the skies. No wonder that Karl Rossmann, the unlucky hero of Franz Kafka's Amerika, at first mistook the statue's torch for a weapon: "The arm with the sword rose up as if newly stretched aloft, and round the figure blew the free winds of heaven." 3 The military fort on which she was sited and the surrounding cannons were menacing enough; not to mention her skin, made from the kind of copper sheets also used to make bullets and guns.
The massive statue, designed by the sculptor Frédéric Auguste Bartholdi, was a gift from France to the United States; she was named Liberté éclairant le monde: Liberty Enlightening the World.
Audio Listen to an audio version of this article here. Find more at Audm.
For almost a week foul weather had threatened, and on October 28, the day of the official dedication, New Yorkers awoke under a leaden sky. A bad start, commented the acerbic Times of London, and it was hard to disagree. A rain-drenched celebration meant no fireworks and more police; those who had rented balconies weeks in advance to watch the parade would be disappointed; those who had taken off work would now have to stand, soaking, in the downpour. No one could have deplored the lousy weather as much as the man in charge of the parade, General Charles Pomeroy Stone, who had for six years supervised construction of the statue and its pedestal on what was then called Bedloe's Island. Stone had seen much in an extraordinarily adventurous life. A graduate of West Point, he had served in the Mexican War. He tried a banking career in San Francisco, and directed an ill-fated surveying expedition to Mexico. On the eve of the Civil War, Stone was serving as Inspector General of the Washington Militia; in charge of security for the inauguration of Abraham Lincoln, he unraveled a conspiracy against the president-elect. Stone joined the Union Army and for his actions in D.C. was swiftly promoted to high rank. Accused (probably unjustly) of causing the defeat of Ball's Bluff in 1861, he spent six months in solitary detention at Fort Lafayette in Brooklyn. After his decommission Stone traveled to Africa where he served as chief of staff to the Khedive of Egypt and Sudan; there his military career ended ingloriously, under the fire of British bombs.
All along the parade route, recent immigrants were jostling to join the flag-waving procession.
Mysteries and suspicions followed him back to America and were surrounding him still that October morning. At ten o'clock, "handsome and erect" in his dress uniform, he entered 57th Street ready to lead the parade. 4 Moving down Fifth Avenue, the parade grew into a long column with more than two miles of regular troops, resplendent with swords and medals. The troops were followed by military bands, the New York Times noted, "somber and sad and thin, looking as though they had been packed away in a damp trunk some time about the centennial, with no camphor, and had just emerged, somewhat moldy and careworn and a little moth-eaten, but amazingly enthusiastic and discordant." 5 Following the military marchers were the "sons of France"— French societies and their Franco-American counterparts — and "the Judges and Governors, the Mayors, the veterans of wars," as well as the famous police forces of Philadelphia and Brooklyn. Next in line were the higher ranks of the masonic orders of the Knights of Pythias and the Knights Templar, whose march was so swift that it looked like the passing of a "comet" that burned its way past and swept seaward, "dissolving like a dream." 6
All along the parade route, the side streets were crowded with groups of recent immigrants jostling to join the flag-waving procession, while ordinary people everywhere were scouting for comfortable places from which to view the event. Some had set up small stands, offering to sell seats for a dollar. Fifth Avenue in that era was a stronghold of what the contemporary sociologist Thorstein Veblen would soon describe as the "leisure class." But on this exceptional day it was the poorer citizens, from tenements on the Lower East Side, who were out in force, perching on the grand entrances of the imposing houses. Bands of youths were milling about outside the French Renaissance-style chateau that the railroad magnate William K. Vanderbilt had built to advance his beautiful wife's social ambitions; others were clambering up the walls that connected the adjoining villas of John Jacob Astor and his brother William. With the exception of tobacco magnate Pierre Lorillard, none of the New York barons would emerge from their mansions to expose themselves to public scrutiny or to salute Stone and the marchers. It was their servants who would join the procession in honor of the Statue of Liberty.
There is often a tension implicit in such public events. Historians and anthropologists have argued that ceremonies are in essence a type of transgression. Ancient Rome would open its avenues to the triumphant troops of a victorious emperor, who would stage a "peaceful invasion" of the city in ritual violation of its demilitarized status. 7 The civic advantages are clear: not only do the sanctioned crossings of social boundaries during festivals help secure good conduct in normal times; they also enact the risks that communities must take in order to construct collective memories and form a "body politic." 8 Carnivalesque "revolts" enable a civic entity to underscore its unity and reaffirm its political structures.
The 1880s were turbulent years in America. The threat of social revolution had become palpable.
One might still wonder why the citizens of New York would bring troops into their streets and let the poor so near the lustrous doors of the wealthy and thus risk social unrest for the mere inauguration of a foreign monument. One might wonder what kinds of collective memory they hoped to create; what made this monument so important. Certainly there were good reasons why Stone and the parade marched past the grand houses of Fifth Avenue. The statue's principal sponsors were in fact wealthy families in France and America, with the French paying for the statue and the Americans for the pedestal. And yet other groups — immigrants, feminists, the poor and working classes— had made their offerings as well, many in response to a fundraising campaign organized by the Hungarian-born Joseph Pulitzer, publisher of the New York World, that attracted more than 100,000 donations, including some of less than one dollar. By the time of the parade, the colossal lady had inspired a wide following; as the New York Tribune put it, many who joined the festivities felt "a kind of proprietary interest in the celebration." 9 Did they regard the statue as a symbol of their own struggles for rights, for equality, for dignity?
The pedestal of the Statue of Liberty, designed by Richard Morris Hunt, under construction on Bedloe's Island; with a portrait of sculptor Frédéric Auguste Bartholdi, inset. Drawing by W.P. Snyder, from Harper's Weekly, June 6, 1885. [Wikimedia]
Left: Statue of Liberty under construction in Paris, ca. 1884. [Wikimedia] Right: Frederic Auguste Bartholdi's U.S. Patent. [Wikimedia]
Left: Statue of Liberty prototype on display at the 1878 Exposition Universelle, Paris; photograph by Albert Ferique, ca. 1883. [Wikimedia] Right: Model of the torch of the Statue of Liberty on display at the 1876 Centennial Exhibition, Philadelphia. [Wikimedia]
The statue is indeed an enigmatic monument, speaking at once to rich and poor, established and marginal, men and women. To a great degree these contradictions characterized the contemporary scene. The 1880s were turbulent years in America. The threat of social revolution had become palpable. Just five months before the parade in New York, a rally of workers in Chicago who were striking for the eight-hour work day had become a scene of death and violence when a homemade bomb was thrown into the crowd at Haymarket Square. The subsequent trial and conviction of eight anarchists, five of whom were immigrants from Germany, served to deepen the widespread sentiment that foreign-born radicals were provoking public disorder. Discrimination on the basis of race, gender, and ethnicity had long run deep in the American grain; now prejudice against foreign workers was joining those other bigotries. In 1865 the Thirteenth Amendment to the Constitution abolished slavery, yet African Americans were still profoundly marginalized. Although women had won civil constitutional rights, they were banned from voting in most states and all federal elections. The bloody Indian Wars were forcing Native Americans onto reservations. In 1882 Congress passed the Chinese Exclusion Act, imposing a ten-year moratorium on the immigration of Chinese laborers, the very first law forbidding a particular group from entering the United States. 10
The specter of rebellious freedom thus loomed over the festooned streets of New York on that day in October. As the New York Tribune reported:
Among the thousands who looked on the big demonstration there were many whose acquaintance with the American style of liberty was a matter of a few weeks or months. Here were a few Bulgarians on their way back to their country to fight, if necessary, for their freedom. How their bosoms must have swelled with patriotic pride when they thought of the day when they too might have a Liberty! Yonder were a dozen Russians who no longer feared the wrath of Alexander, the great white Czar. There stood a group of Anarchists and Socialists glad that they could stand up as men [and] say what they pleased … without putting their necks in danger. Irishmen cheered for Parnell and Erin in their hearts while their tongues shouted for American freedom. 11
The reporter's account may have been saccharine, but it was spot on. The Russian expatriate Emma Goldman, who had arrived in America as a political exile in December 1885, captured the mood in her memoir. "Ah, there she was, the symbol of hope, of freedom, of opportunity!" Goldman exclaimed upon first seeing the statue. "She held her torch high to light the way to the free country, the asylum for the oppressed of all lands." 12
That a statue sponsored by wealthy New Yorkers should inspire so much popular affection among expatriates and immigrants is perhaps its chief mystery. For the statue is not necessarily a benign figure. As the cultural critic Robert Harbison has argued, "An extended arm is surprisingly frequent in statues trying to impress us, and it is usually threatening. … Liberty's gesture is not so inevitably consoling. A warning it might be — 'Go back!' or a plea 'We can't see here. Bring light.'" 13 Perhaps one source of the statue's appeal was its own status as a foreigner, an exile; perhaps another was its imposing combination of femininity and power. And it seems also likely that immigrants and other marginalized people were attracted to the monument because it did not feature any of the iconic symbols of American patriotism, such as the flag or the bald eagle. Notably, the tablet in Liberty's left hand is not the U.S. Constitution or any document symbolizing law and justice; instead it is engraved "JULY IV MDCCLXXVI." Lady Liberty holds the Declaration of Independence, the radical statement of individual and national liberty signed by American revolutionaries on July 4, 1776, as they prepared for war against England. Half a century after that fateful day, Thomas Jefferson, the author of the Declaration, described it as "an instrument, pregnant with our own and the fate of the world … may it be to the world, what I believe it will be, (to some parts sooner, to others later, but finally to all), the signal of arousing men to burst the chains, under which monkish ignorance and superstition had persuaded them to bind themselves, and to assume the blessings and security of self-government." 14
The monument features no iconic symbols of American order, no flag or eagle. The tablet in Liberty's left hand is not the Constitution but the Declaration of Independence.
Jefferson did not anticipate that the Declaration would be used to legitimize internal wars. And yet, according to historian David Armitage in his book on the famous document, "Beginning in the late 1820s, various groups across the United States imitated the Declaration as they pressed their own particular claims against a range of domestic — and occasionally foreign — tyrants and oppressors." 15 Surely this was inevitable, and by 1852, in his famous speech "What to the Slave is the Fourth of July?," the reformer Frederick Douglass would argue that the Declaration asserted radical principles of freedom and equality not yet recognized by American laws; that it was therefore "the very ring-bolt in the chain of your yet undeveloped destiny … The principles contained in that instrument are saving principles. Stand by those principles, be true to them on all occasions, in all places, against all foes, and at whatever cost." 16
Statue of Liberty, photograph by Jack E. Boucher, ca. 2006. [Library of Congress]
Associating the Statue of Liberty with the Declaration was thus one way of arming the colossus, much as the Greeks had armed their Trojan horse. The document championed radical ideals being embraced globally by oppressed people seeking independence from colonial powers and autocratic leaders but which had not yet been truly assimilated by the U.S. political or legal system. It is hardly surprising that American suffragists would criticize the statue as an expression of hypocrisy. At a meeting of the New York State Woman Suffrage Association, the day before the inauguration, the group agreed that the monument "points afresh to the cruelty of woman's present position, since it is proposed to represent Freedom as a majestic female form in a State where not one woman is free." 17 Nor is it surprising that the Chinese would be similarly affronted. In 1885, the writer and exile Saum Song Bo wrote a letter of protest, expressing dismay that the Chinese were being asked to contribute to the "Pedestal Fund of the Bartholdi Statue of Liberty," given that Chinese immigrants did not enjoy the full rights of citizenship.
That statue represents Liberty holding a torch which lights the passage of those of all nations who come into this country. But are the Chinese allowed to come? As for the Chinese who are here, are they allowed to enjoy liberty as men of all other nationalities enjoy it? Are they allowed to go about everywhere free from the insults, abuse, assaults, wrongs and injuries from which men of other nationalities are free? 18
Almost two decades after the statue was inaugurated, no less a figure than Henry James would write in his anthology The American Scene that there was an evident "margin" between what Americans had accomplished and what they could accomplish in the future. To James, who had spent so much of his life abroad, this margin was the very essence of the United States, a "vaster lake of the materially possible," awaiting to be illuminated.
Once that torch is at all vividly lighted it flares, for any pair of open eyes, over every scene … Not by any means that the Margin always affects him as standing for the vision of a possible greater good than what he sees in the given case any more than as standing for a possible greater evil; these differences are submerged in the immense fluidity; they lurk confused, disengaged, in the mere looming mass of the more, the more and more to come. 19
After marching down Fifth Avenue, Stone's parade turned left to reach Madison Square, where a wooden viewing stand had been erected for the U.S. president and various high federal and municipal authorities as well as French dignitaries. "Do not look for anything resembling something one could find in Europe on a similar occasion," advised one member of the French delegation. "Everything in the States is made simply, cheaply, summarily." The square was thronged when, around eleven o'clock, Grover Cleveland made a solemn entrance. French commentators described the American president as "a bit fat … with a placid and serene figure." 20 Local reporters described him as seeming "bored but resigned … regarding with a stone stare his surroundings and showing apparently little interest in the proceedings about to begin." 21 Yet all around there was excitement. When the military band struck its first notes, and the measured beats of La Marseillaise were intermingling with the more fluid rhythm of Yankee Doodle, there arose happy cries from the crowds of onlookers, who waved handkerchiefs and threw their hats in the air. Ladies, forgetful of hairstyles, put their umbrellas aside and stood on tiptoe to get a better view.
Inaugural festivities for the Statue of Liberty in New York Harbor, including a military and naval salute, October 28, 1886. [Library of Congress]
After the military show on Madison Square, the procession continued along Fifth Avenue and on to Park Row, taking a turn to stop outside the offices of the New York World, the newspaper owned by Joseph Pulitzer, who had played such a crucial role in raising money for the pedestal. Finally the parade proceeded to Broadway and crossed to the Battery. By now the heavy rain had soaked the uniforms, the flags hanging from balconies, the colorful festoons. It all made for a rather depressing sight, with banners and elegant decorations everywhere ruined by water. At Battery Park, a crowd had been waiting for hours — spectators anxious to find a spot from which to watch the fireworks and light shows scheduled for four o'clock, or families waiting to board a ferry for Bedloe's Island or Governor's Island to see the ceremony up close. Boats bobbed around the docks, half shrouded in the mist. The clock had just struck one when the crack of cannon fire pierced the fog; after a moment of silence the shot was echoed by a volley of twenty or more shots. It was the salute, the feu de joie coming from the USS Gedney to signal the beginning of the naval parade on the Hudson River. The mist, however, was so thick that the ship was unable to lead the parade and fell back at least twice before something resembling a procession formed in its wake.
Around two o'clock, the fog lifted briefly and the magnificent statue was visible at last; the eyes were still covered by a French flag hanging from her crown. At Bedloe's Island, workers had been busy since seven in the morning. Over the speakers' stand there hung an enormous shield bearing the French Tricolor on its right and the American Stars and Stripes on its left; on the shield were inscribed the word "liberty" and an olive branch. Between the flags there was the fasces-and-axe, a symbol of magisterial power dating back to classical Rome. Thus was marked the end of the carnivalesque celebration during which the poor had been allowed to venture near the homes of the rich to affirm their sense of ownership of the statue, and women had been suffered to protest against patriarchal privileges. Now came the moment for dignitaries and diplomats to dispel the idea that the statue was a beacon of future progress and to replace this with the rival conviction that the monument was a symbol of the rule of law, of order and establishment.
Invitation to the inauguration of the Statue of Liberty, designed by Tiffany & Co.
A gunshot signaled the beginning of the ceremony on Bedloe's Island. The Reverend Richard S. Storrs, pastor of the Congregational Church of the Pilgrims in Brooklyn, took the stand to invoke a solemn prayer for the statue. "We pray that the Liberty which it represents may continue to enlighten with beneficent instruction," he said, "and to bless with majestic and wide benediction, the nations which have part in this work of renown; that it may stand as a symbol of perpetual concord." 22 After the reverend came a Frenchman familiar to American audiences, but not because of the statue. Elegant in appearance, with bright white hair and a thick mustache, Count Ferdinand de Lesseps was France's most famous businessman. He was then 81 but looked many years younger; his beautiful and much younger wife had borne him nine children. In 1857 de Lesseps had created a joint stock company to finance the digging of the Suez Canal and succeeded in selling all the shares before the project was even completed. More recently he was attempting to repeat his canal-building success in the isthmus of Panama.
The same international bankers who had financed the Statue were also underwriting the Panama Canal.
De Lesseps had the Panama affair in mind while addressing the audience in front of the statue. In fact the ties between the statue and the isthmus ran deep; the same international bankers and businessmen who had financed the monument were also involved in underwriting the Panama Canal. But while the statue was now finished, work on the canal had languished for years. In Central America, the company's directors and workers were dying of yellow fever by the day even as the mountains and the rain forest seemed to thwart every effort of human industry to construct the passage from the Atlantic to the Pacific. With his flair for publicity, de Lesseps had no doubt calculated the impact of his appearance at a ceremony celebrating the friendship between France and America; his participation was intended to boost the spirits of French investors and restore the value of their shares. Some magazines and newspapers even insinuated that de Lesseps agreed to join in the celebration only because he was already on his way to Panama. Nonetheless de Lesseps well understood how tenaciously the Americans protected their economy from external threats; that day he thought he could overcome their patriotism by promising that "the flag of the United States, with its thirty-eight stars, will float beside the banner of the Independent States of South America, and will form in the New World, for the benefit of mankind, the prolific and pacific alliance of the Franco-Latin and Anglo-Saxon races." 23
After the commercial emphasis of de Lesseps's speech, the task of reintroducing historical gravitas fell to Senator William Maxwell Evarts, a descendant of Roger Sherman, one of the most illustrious signers of the Declaration of Independence. Known for his shabby attire, Evarts was the founder of one of New York's most prestigious law firms. He was also a politician who in the 1850s had joined the newly founded Republican Party and put his talents in the service of the abolitionist cause. As Secretary of State in the administration of Rutherford B. Hayes, Evarts helped pursue plans for America's commercial expansion in South America and Asia; he also urged the president not to allow "any European power" to control any canal across Panama and argued that "an interoceanic canal … will be … virtually a part of the coast line of the United States." 24 But in his speech on Bedloe's Island, Evarts refrained from controversy; that day he was content to applaud the political affinities between France and America and their shared love of liberty.
Stereograph of "Bartholdi's colossal Statue of Liberty presented to Americans by the French people, Bedloe's Island, New York Harbor." [Library of Congress]
Evarts had barely time to finish before an official standing by the stage waved a white handkerchief to signal the end of his speech and the unveiling of the monument. A rope was pulled — Bartholdi, the sculptor, was one of the pullers —and the "banner folded itself like a curtain drawn aside and disappeared through the crown adorning the brow of the Goddess." 25 Guns on ramparts along the shore and on warships in the harbor shot thunderous blanks. With the gusty wind, the smoke from steamships, and the smell of gunpowder, the whole scene had an undeniably bellicose atmosphere which evoked the American victory in the Revolutionary War. As the Tribune recorded:
From the guns on the ramparts on shore bright flashes of flame … rent the gray blue of the atmosphere with scarlet tongues. Great columns of smoke rose from the war vessels and floating upward made a halo half circling the island and completing with the mist the obscurity in which was hid the immense flotilla that thickened the waters of the bay. But if the civic boats that lent their presence to the occasion were unseen in the fog that accompanied the thunders of the artillery, they were not unheard, for every steam whistle seemed to be striving to burst its throat in tumult. 26
It was at this apocalyptic moment, amidst the roar of cannon fire, that a small vessel carrying a group of enterprising suffragists reached Bedloe's Island. As it happened, although municipal authorities had denied the women an official vessel, they had managed to rent a private boat. Amid the general confusion, the women gathered on deck to declare loudly that "in erecting a statue of Liberty embodied as a woman in a land where no woman has political liberty, men have shown a delightful inconsistency which excites the wonder and admiration of the opposite sex." 27 Thus in a moment of jubilation, as Americans were glorifying their historic triumph over despotism, these women claimed the statue as a symbol of their own crusade, transforming an icon of the struggle for national independence into a symbol of the struggle for human rights. Born on the field of battle, the statue seemed to call for war even in times of peace — a war of women against men who would deny them equal rights, a war of competing mercantile interests for control of a great canal, a war of immigrants and exiles against those who would close down borders.
Immigrants on deck of the steamer Germanic; wood engraving that appeared in Frank Leslie's Illustrated Newspaper, ca. 1887. [Library of Congress]
At this point the friendly face of the next speaker provided some light relief. Known as "Uncle Jumbo" to his nephews and the "Big One" to his political allies in the Democratic party, Grover Cleveland had begun his career as the mayor of Buffalo, New York. When elected to the presidency, he knew almost nothing of foreign policy. Apparently unconcerned that his Republican predecessors had laid the groundwork for expanding America's global presence, Cleveland sought a return to the pacifism and disengagement of the Monroe Doctrine. With this goal in sight, he fought against tariffs on foreign imports and in favor of free trade; he held that the Panama Canal should be neutral and open to all nations. 28 As governor of New York, Cleveland had vetoed the state legislature's financing of the Statue of Liberty in 1884, when the monument's backers had run out of funds to complete the pedestal. Which perhaps helps to explain the brevity of his speech that day.
The president saw the Statue of Liberty as symbolic of the preservation of national identity and the protection of national borders.
Cleveland was at heart an old-fashioned conservative who had little use for worker strikes or suffragette protests. In his view, a good wife was "a woman who loves her husband and her country with no desire to run either." 29 He protected American Indians as he would a species threatened with extinction; he regarded the Chinese, practically banished from the United States by the Exclusion Act, as impossible to assimilate into American society. Such views were then common, particularly the idea that every nation-state had the right to determine its own racial composition in order to "preserve itself." 30 It was apt, then, that in accepting the gift from France on behalf of the United States, Cleveland characterized Liberty as a deity, a sentinel-goddess "keeping watch and ward before the gates of America." 31 Thus did the American president convert the Statue of Liberty into a symbol of the preservation of national identity and the protection of national borders.
But the inaugural celebrations were not quite over. That evening, the prominent and powerful would reconvene for a private gathering in one of New York's most fashionable restaurants, Delmonico's, where a last, crucial reading of the statue would be offered.
In those years New York high society was engaged in fervent debate about the intrinsic merits of European cuisine. Some swore by a good roast beef, a rack of lamb, and pudding; others put their faith in Italian or French gastronomy. Both factions happily dined together at Delmonico's, established in 1827, in Lower Manhattan, as a small shop filled with the aroma of Cuban cigars and the pungent vapors of wine and spirits. Later the Delmonico brothers opened a larger restaurant and bought a farm on Long Island, where they grew their own produce — a first in the history of American restaurants. It was at Delmonico's that Americans learned to eat tomatoes instead of watering them as decorative plants, and to blend Italian, French, Russian, and German cuisines. Soon the family had opened branches in the richest neighborhoods of the city; their restaurant-café on East 14th Street was the first in New York to admit women (providing they were chaperoned). 32
Left: Delmonico's, 26th Street, New York, ca. 1888. [Wikimedia] Right: Invitation to a banquet at Delmonico's honoring the officers of the Isère, the ship that transported the Statue of Liberty from Paris to New York. [via The American Menu]
That night in October 1886 it was at the Delmonico's on 26th Street, in a private banquet room on an upper floor, that the dignitaries assembled to enjoy the culinary talents of the most famous chef of the day, Charles Ranhofer, who, like Bartholdi, hailed from Alsace. It was said that when Ranhofer prepared oysters — on chopped ice, two or three per plate, with lemon on the side and very thin crackers lightly spread with butter and smothered in hot vinegar and onion cream — their hearts were still beating when they reached the table. 33 It is likely that raw oysters were served that evening, followed by soups, one clear and one thick. Dishes reserved for grand occasions appeared in abundance: hors d'oeuvres, including timbales created in honor of de Lesseps, followed by the fish course, then a series of sorbets to refresh the palate in preparation for an English roast beef. (As the New York Tribune explained, without "the roast beef of old England, French liberty and American patriotism cannot exist." 34) Finally there came the desserts, and the speeches.
Coudert compared the lesson embodied by the Statue of Liberty to the lesson taught by the Sermon on the Mount.
That night 210 places were laid out on five long tables decorated with a series of food sculptures. At around eleven o'clock, a distinguished lawyer stood up to speak on behalf of the American government. Frédéric Coudert was born in New York City of French origin, the son of an officer of Napoléon who had plotted against the Bourbons along with the Marquis de Lafayette. Fluent in several languages, Coudert specialized in international cases, often advising the U.S. government and sometimes acting as a proxy for the French government. International law was then little known in America, but Coudert had made a true profession of it. The cosmopolitan and idealistic profile of a Democrat like Cleveland suited him well, and he had worked often for the president; at the same time his Catholicism and his feminist sympathies raised suspicion in the administration. In his speech that night, he was careful not to betray his heterodoxy to the men and (very few) women assembled in the private room at Delmonico's. But those who knew Coudert well understood the progressive political inclinations that underlay his remark about the statue's femininity: "Today the statue of Liberty has become American," he said, "It therefore enjoys all the rights of a citizen — or, rather, a female citizen … Owing to her sex, however, she can hardly vote without provoking criticism unworthy of her dignity." 35
Statue of Liberty, via EarthCam.
Coudert could do little to counter the paternalistic chauvinism of the party; but he did bring to the gathering a touch of religious ethics when he compared the lesson embodied by the statue to the lesson taught by the Sermon on the Mount. "I will say that this statue, with no sword, but the torch raised on high, so that all can see it, typifies all that is most striking in moral and religious instruction," he said. "It is a poem which anyone can understand without being a poet." 36
The sermon that Jesus preached to the multitudes was indeed revolutionary in spirit — a promise that the meek shall inherit the earth, that the poor are the "light of the world," and that "a city that is set on a hill cannot be hid." Coudert's reference was in fact a touchstone, a coded message. For all those present knew that Jesus's famous teachings had inspired one of the most influential sermons in American history: the lesson preached by the Puritan John Winthrop in 1630 as he and his fellow colonists set sail from England to America in pursuit of religious liberty.
We must entertain each other in brotherly affection. We must be willing to abridge ourselves of our superfluities, for the supply of other's necessities. We must uphold a familiar commerce together in all meekness, gentleness, patience and liberality. … For we must consider that we shall be as a city upon a hill. The eyes of all people are upon us.
In this way Coudert connected the great new monument with the struggles and ideals of the earliest European immigrants to the American continent and with their ardent wish to create a better and more just society. Coudert did not explicitly say that the statue's torch would light the way to the city upon a hill. Yet for more than a century the Statue of Liberty has remained a potent icon of change and revolution — the revolution that liberated America from the control of a distant monarch, and the revolution that is always forming wherever people are oppressed.
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This essay is adapted from the opening chapter of Sentinel: The Unlikely Origins of the Statue of Liberty, published this month by Harvard University Press. Copyright © 2018 by the President and Fellows of Harvard College. All rights reserved. It appears here with the permission of the publisher and the author.
The statue of San Carlo Borromeo, known as the Sancarlone, was built in 1698 after a design by Giovan Battista Crespi. It stands 23.4 meters high on a pedestal of nearly 12 meters. The Vendôme column, also known as the Column of the Grande Armée, is 53 meters high.
"A Franco-American Banquet," The Times, November 8, 1875. Bavaria, sculpted by Ludwig Michael von Schwanthaler, is 60 feet high (with a pedestal of 28 feet) and weighs 87.36 tons.
Franz Kafka, Amerika (Munich: K. Wolff, 1927), 3.
"World-Lighting Liberty. The Statue Unveiled," New York Tribune, October 29, 1886.
"France's Gift Accepted: Liberty's Statue Unveiled on Bedloe's Island," New York Times, October 29, 1886.
"Unveiled: Bartholdi's Colossal Statue of Liberty," Brooklyn's Eagle, October 28, 1886; "France's Gift Accepted," New York Times, October 29, 1886.
Mary Beard, The Roman Triumph (Cambridge: Harvard University Press, 2007), 244–245.
Mikhail Bakhtin, Rabelais and His World (Cambridge: MIT Press, 1968); Victor Turner, The Ritual Process: Structure and Anti-Structure (Chicago: Aldine, 1969); David I. Kertzer, Ritual, Politics, and Power (New Haven: Yale University Press, 1988); Clifford Geertz, "Centers, Kings, and Charisma: Reflections on the Symbolic of Power," in Culture and Its Creators: Essays in Honor of Edward Shils, ed. Joseph Ben-David and Terry Nichols Clark (Chicago: University of Chicago Press, 1977); Natalie Zemon Davis, "The Rites of Violence: Religious Riot in Sixteenth-Century France," Past & Present 59 (1973): 72; Edward Muir, Ritual in Early Modern Europe (Cambridge: Cambridge University Press, 2005).
"World-Lighting Liberty."
Eric Foner, The Story of American Freedom (New York: Norton, 1998), 132–133; Glenn Altschuler, Rude Republic: Americans and Their Politics in the Nineteenth Century (Princeton: Princeton University Press, 2000), 257–258; Rudolph J. Vecoli, "The Lady and the Huddled Masses: The Statue of Liberty as a Symbol of Immigration," in The Statue of Liberty Revisited, ed. Wilton S. Dillon and Neil G. Kotler (Washington: Smithsonian Institution Press, 1994), 47; J. Green, Death in the Haymarket: A Story of Chicago, the First Labor Movement, and the Bombing That Divided Gilded Age America (New York: Pantheon, 2006).
Emma Goldman, Living My Life (New York: Cosimo, 2008), 1: 11.
Robert Harbison, The Built, the Unbuilt, and the Unbuildable: In Pursuit of Architectural Meaning (Cambridge: MIT Press, 1991), 54–55.
Thomas Jefferson to Roger C. Weightman, June 24, 1826, in The Writings of Thomas Jefferson, ed. Andrew A. Lipscomb and Albert Ellery Bergh (Washington: n.p., 1903–1904), 16: 181–182, quoted in David Armitage, The Declaration of Independence: A Global History (Cambridge: Harvard University Press, 2009), 1–2.
Armitage, The Declaration of Independence, 94.
Frederick Douglass, "The Meaning of July 4th for the Negro, speech at Rochester, New York, July 5, 1852," in Frederick Douglass: Selected Speeches and Writings, ed. Philip Sheldon Foner and Yuval Taylor (Chicago: Chicago Review Press, 1999), 191. For more, see William S. McFeely, Frederick Douglass (New York: Norton, 1991); and John Stauffer, Giants: The Parallel Lives of Frederick Douglass and Abraham Lincoln (New York: Hachette, 2008), 131–241.
Quoted in Polly Welts Kaufman, National Parks and the Woman's Voice: A History (Albuquerque: University of New Mexico Press, 2006), 54.
Saum Song Bo, "The Chinese: A Chinese View of the Statue of Liberty," The American Missionary 39, no. 10 (1885): 290.
Henry James, The American Scene (London: Chapman and Hall, 1907), 401.
Charles Bigot, De Paris au Niagara: Journal de voyage d'une delegation (Paris: Dupret, 1887), 94–95.
"World-Lighting Liberty"; "France's Gift Accepted," New York Times, October 29, 1886.
Senate Executive Documents and Reports, no. 112, 46 Cong., 3 Sess., quoted in C.L. Barrows, William M. Evarts, Lawyer, Diplomat, Statesman (Chapel Hill: University of North Carolina Press, 1941), 364.
"They Enter a Protest. Woman Suffragists Think the Ceremonies an Empty Farce," New York Times, October 29, 1886.
Cleveland would modify his policies early in his presidency when, in March 1885, uprisings in Colombia enabled rebels to seize American ships. To restore order, Cleveland sent more than 1,200 troops to the coasts of the isthmus — the largest naval operation since the Mexican War of 1846. Alyn Brodosky, Grover Cleveland: A Study in Character (London: Macmillan, 2000), 18; Daniel. H. Wicks, "Dress Rehearsal: United States Intervention on the Isthmus of Panama, 1885," Pacific Historical Review 49, no. 4 (1980): 581.
Grover Cleveland, "Woman's Mission and Woman's Clubs," Ladies Home Journal 22, no. 3 (1905): 3. See also Cleveland, "Would Woman Suffrage Be Unwise?" Ladies Home Journal 22, no. 11 (1905): 7.
For a discussion of the history of immigration debates, see M. N. Ngai, Impossible Subjects: Illegal Aliens and the Making of Modern America (Princeton: Princeton University Press, 2005), 11.
Judith Choate and James Canora, Dining at Delmonico's: The Story of America's Oldest Restaurant (New York: Stewart, Tabori & Chang, 2008), 11–19.
Mark Kurlansky, The Big Oyster: New York on the Half Shell (New York: Ballantine Books, 2006), 220.
"Guests of the Merchants. The French Delegation at Dinner," New York Tribune, October 29, 1886.
"French Visitors Dined. Some Eloquent Responses to the Toasts," New York Times, October 29, 1886.
"French Visitors Dined. Some Eloquent Responses to the Toasts."
Francesca Lidia Viano, "Sentinel," Places Journal, October 2018. Accessed 19 Jul 2019. https://doi.org/10.22269/181023
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text:
Type - Theatre
2KY Radio Theatre
AMP Theatrette
Alhambra Music Hall
Arcadia cinema
Australian Olympic Theatre
Balgowlah Theatre
Barnett Levey's Theatre Royal
Belmore Paragon No 1
Belvoir Street Theatre
Broadway picture theatre
Burland Hall
Campbelltown Arts Centre
Cell Block Theatre
Chauvel cinema
City Theatre
Coliseum Picture Theatre
Colonial Theatre No 1.
Cremorne Orpheum
Crystal Palace Theatre
Duke of York Theatre, Eastwood
Embassy Cinema
Empire theatre
Empire theatre Botany
Emu Plains Theatre
Enmore Theatre
Fig Tree Theatre
Gaiety Theatre
Genesian Theatre
Harry Rickards's Tivoli
Haymarket Theatre
Her Majesty's Theatre Haymarket
Her Majesty's Theatre Pitt Street
Independent Theatre
Jane Street Theatre
Joan Sutherland Performing Arts Centre
Khartoum Theatre
Lanfranchi's cinema
Little Theatre
Mandolin theatre
Marian Street Theatre
Mayfair Theatre
Music Hall Theatre Restaurant
NIDA Parade Theatres
National Amphitheatre
New South Wales Olympic Theatre
New Tivoli Theatre
Odeon Theatre Manly
Odeon Theatre site Randwick
Olympic Circus
Opera House King Street
PACT Theatre
Paris Theatre
Playbox Theatre
Queen's Theatre
Railway Institute Building Penrith
Randwick Ritz cinema
Riverside Theatres
Roseville Cinemas
Roxy Theatre Parramatta
Royal Australian Equestrian Circus arena
Royal Standard Theatre
Royal Victoria Theatre
SBW Stables Theatre
Seymour Centre
Sidaway's Theatre
St James Hall (1903-1961)
St James Theatre
Sydney Theatre
The Metro Kings Cross
The New Group Theatre
The Wharf
The Wintergarden
Valhalla cinema
Wharf Theatre
Theatrette sponsored by radio station 2KY in the Dymock's Building in George Street.
Theatre venue containing 250 seats at Circular Quay, Sydney. Repurposed in the 1980s.
Originally built as a bazaar or auction room on the corner of George and Campbell streets in Haymarket, it was converted to a concert hall. Seating up to 800 it was Sydney's first true music hall. After it closed it operated as a market or store until 1908 when it was revived again until 1914. It was briefly used as a cinema and then a store room by Mick Simmons before it was finally demolished.
Local cinema in Lidcombe.
Amphitheatre built in 1842 in Hunter Street by Signor Luigi Dalle Case as a venue for his circus performances. An elaborate decoarted tent, it was to last only 6 months as it was sold off to pay Dalle Case's debts.
Cinema at 318 Sydney Road, Balgowlah that was originally built as a meeting hall built for the Balgowlah Progress Association in 1922 and converted to a cinema in 1927. The cinema closed in 1985 and the building was demolished.
First permanent theatre in Australia, operated by Barnett Levey. Built in George Street behind the Royal Hotel in 1829 and officially licensed in 1832, the theatre closed in 1838 and the building was destroyed by fire in 1840.
Cinema which operated in Belmore from 1923.
Cinema seating over 1000 patrons which operated between 1928 and 1958.
Theatre venue founded in 1984 in what was previously a salt factory. The building was purchased by a syndicate when demolition was threatened and currently has 600 owners including actors, writers and playwrights.
Cinema at the corner of Broadway and Mountain Street, Ultimo. Later became the Phoenician Club of Australia.
Ice skating rink and grand pleasure palace on King Street, Newtown which lasted less than a decade before conversion to a department store as Marcus Clark & Co, and later a cinema. From 1986 to 1995 it housed the Newtown public library before it was converted again to office and retail space. The Art Deco facade was constructed during the 1930s.
Local cultural centre in Campbelltown.
Market, circus, picture palace and now theatre, the Capitol has an interesting and varied history.
Theatre established in 1958 within the National Art School in the old Darlinghurst gaol.
Art house cinema operating in Paddington Town Hall since 1977. Named for Australian filmmaker Charles Edward Chauvel, OBE (1897-1959).
Theatre operating in Market Street 1843-1850, approximately opposite the present State Theatre, and used for lectures and public performances.
Cinema constructed in 1911 in a former tram depot in Miller Street, North Sydney next to the Coliseum Picture Hall (which later became the Independent Theatre).
The Colonial Theatre on George Street was a cinema that billed itself as Australia's first continuous moving picture show. Opened about 1909 and rebuilt in 1910 as a lavish modern cinema, it was operated by American entrepreneur JD Williams until about 1916 when it was taken over and remodelled again by Hoyts. The building was demolished and rebuilt as the Plaza Cinema in 1930.
Art deco cinema in Military Road, Cremorne, built in 1935 and classified by the National Trust. In 1986 it was purchased by TV personality Mike Walsh who restored the interior and reopened as the Hayden Orpheum Picture Palace.
Theatre behind the Criterion Family Hotel on the corner of Park and Pitt streets, built in the grand Victorian style which was demolished for road widening.
Lavish theatre at 586 George Street, Haymarket, with soda fountain, air conditioning, cafe and gymnasium whose heyday was the 1920s.
Grand cinema which, in its heyday of the 1920s and 1930s, boasted the latest technology as well as an orchestra and organ.
Castlereagh street theatre in Art Deco style constructed on the former site of Harry Rickard's Tivoli. It was demolished for the Centrepoint shopping complex in the mid 1980s.
Theatre in Quay Street Haymarket which showed live theatre for only two years before converting to a cinema. In 1948 demand saw it reopen for variety and musical shows which continued until it was destroyed by fire in 1970. The map shows the former site......
Theatre constructed in Botany Road in 1920.
The second theatre in Australia and the first outside Sydney. Located at the Emu Plains agricultural prison farm. Performances took place at the theatre from 1822 until Governor Ralph Darling ordered its closure.
Longest running theatre and entertainment venue in Sydney on Enmore Road, Enmore. It has a distinctive Art Deco facade.
Tin shed on the campus of the University of New South Wales converted from a migrant recreation hall to a basic performance space.
Sydney's Catholic Guild built the Victorian Free Gothic style hall on Castlereagh Street. It was then converted into the Academy of Music in 1879 before it was renovated in 1880 and re-opened as the Gaiety Theatre. It closed in about 1893 before it was re-opened again in 1895. It closed again and was operated as an athletic club until 1912 when it was sold to the Catholic Club, Land, and Building Company for 10,000 pounds and then demolished.
Small rectangular church in Kent Street designed in a simplified Victorian Free Gothic style. It has served as church, school, hostel and now theatre and houses three rare, early Australian stained glass windows by John Falconer dating from 1868.
Vaudeville theatre in Castlereagh Street.
Theatre in George Street, Haymarket, which hosted live performances and vaudeville as well as films. Converted to a cinema as the Civic, then the Palladium, then the Barclay.
Theatre in Quay Street Haymarket. Originally known as the Empire Theatre its name was changed to Her Majesty's in 1960 after renovations. It burned down in 1970 and was replaced in 1973 by a smaller theatre with the same name. This was subsequently demolished and replaced by an apartment building.
Largest and best-equipped theatre in Sydney when it opened in 1887, Her Majesty's was rebuilt after a fire destroyed the theatre in 1902. Closed as a theatre in the 1930s, the building survived until the redevelopment of the site for Centrepoint in the 1970s.
Performance venue constructed in 1913 by Sydney City Council on behalf of Wirth Bros circus.
Theatre at Darling Harbour which screens large format 2D and 3D. Demolished in 2016 to be rebuilt.
Tram shed, boxing venue, cinema and now theatre at 269 Miller St, North Sydney.
Originally built as a chapel of St Jude's Anglican Church in Jane Street, Randwick in 1887, the building was converted for theatre use.
Theatre and performing arts complex at Penrith.
Open-air theatre in Ryde at the corner of Khartoum and Waterloo Roads which operated from 1938 to 1966.
Independent arthouse cinema and performance space in a former chocolate factory in Chippendale which closed in 2007. It was named for underworld figure Warren Lanfranchi who was shot in a laneway behind the building in 1981.
Theatre at 5 Phillip Street used by many small acting companies who often renamed it.
Theatre for live performance on Pitt Street which opened in 1892. In 1928 it was venue for talking pictures before further modifications altered the structure even further.
Theatre in Newtown built in 1917 by the Fuller family for melodramas and variety shows. In 1955 it became home of Australia's first national theatre company, the Australian Elizabethan Theatre Trust. The building was destroyed by fire in 1980.
Art house movie theatre now demolished.
Community hall in Marian Street Killara which was modified for use as a theatre.
Cinema with 1320 seats which specialised in screening the films that would have long runs like that of The Sound of Music which ran from 1965 to 1967.
Theatre-restaurant in Neutral Bay Junction. In its heyday it had stalls and a gallery which could seat 500 people at tables. It initially operated as a cinema and then for a short time in the late 1950s as a skating rink, before it opened as a music hall and restaurant.
Theatre complex built on the site of a previous small university theatre which houses the headquarters for the National Institute of Dramatic Arts.
Circus venue in 73-75 Castlereagh Street which began life as the National Sporting Club.
First silent picture theatre to open in Bondi Junction on the Woollahra side of Oxford Street. It had been replaced by one of the same name on the corner of Oxford and Waverley streets by 1921.
Theatre at the Haymarket end of Castlereagh Street which was one of Sydney's longest lived vaudeville venues, until it closed in 1966. One newspaper reported its construction was to cost 40,000 pounds and its stage was to be the largest in the Southern Hemisphere at 85 feet by 100 feet. It was named in honour of Harry Rickard's Tivoli Theatre.
Cinema on The Corso which provided affordable community entertainment during the Depression.
Built on the site of a Victorian mansion, tenders were accepted in 1919 and it opened as the Randwick Theatre in 1921 The entire proceeds of the opening night were donated to the Eastern Suburbs District Ambulance Service. Kismet Theatre sold the property after the company dissolved in 1946 and the cinema was taken over by Greater Union Theatres. It was closed in 1980 and then demolished.
Circus venue in Castlereagh St.
Nineteenth-century theatre at King and York streets in central Sydney.
200 seat theatre in a converted warehouse in Erskineville that houses the PACT Centre for Emerging Artists.
Variety theatre, later used as a cinema, in Pitt Street that was built for George Adams in 1896 as part of the Tattersall's Hotel complex. The building had Sydney's first electric power station installed in the basement to provide light for the theatre.
Cinema, later theatre, on Liverpool Street, that hosted movies, vaudeville, cabaret and drama.
Theatre in Phillip Street, Sydney which was initially fitted out by Radio 2GB as the Macquarie Auditorium.
Cinema which opened in 1924 with the silent version of Cecil B DeMille's 'The Ten Commandments'. It had marble staircases, a fountain, and a 16-foot crystal chandelier in the dome in the auditorium.
Theatre on Castlereagh Street that opened in 1855, and burnt down in 1860 and again in 1872. The Theatre Royal was later built on the same site.
Theatre on the western side of York Street between King and Market Streets on the site of Malcolm's Circus Amphitheatre behind the Adelphi Hotel. Originally known as Our Lyceum, it was converted into the Queen's in October 1873 by actor WB Gill. Samuel Lazar leased it in 1875 and refurbished it to accommodate JC Williamson in the first Sydney season of 'Struck Oil'. Finally condemned as unsafe in 1882.
A former New South Wales railway facility which was converted to a 126-seat theatre venue in 1976.
Art Deco cinema threatened with demolition in 1984 which resulted a campaign to save the building. This receiving a major boost when local resident and international film star Mel Gibson gave his support. It is currently family owned, independent and the only commercial cinema in the suburb.
Theatre at 487-503 George Street which operated as a cinema, live music venue and opera theatre.
Entertainment venue of three theatres which can accomodate Shakespeare, comedy, drama, ballet, contemporary dance and musicals.
Picture palace opened in 1919 in a hall on the Pacific Highway which remains one of the few suburban independent cinemas in Sydney.
Spanish-mission style cinema that opened in 1930. It was placed on the New South Wales Heritage Register in 1999.
Original circus arena built behind the Adelphi Hotel in York St in 1850 for the circus company of the same name.
Small vaudeville theatre on Castlereagh Street between Bathurst and Liverpool streets which was reinvented as a drama theatre in an attempt to remain viable during World War I.
Theatre on the western side of Pitt Street between King and Market streets opened by Joseph Wyatt in 1838. It was not rebuilt after its destruction by fire in 1880.
Theatre at 10 Nimrod Street Kings Cross converted from an old stable into an intimate and provocative performance space.
Theatre located in Bligh Street which was built as a concert hall before conversion for film and small scale plays.
Performing arts centre on the corner of City Road and Cleveland Street. It was erected using a bequest from businessman and philanthropist Everest Reginald York Seymour. The Centre is operated under the auspices of the University of Sydney.
Convict theatre that opened in Sydney in 16 January 1796, thought to have been either at Windmill Row (Prince Street), Bells Row (Bligh Street), or High (George) Street near Jamieson or Hunter Streets.It was built by 'some of the more decent class of prisoner' and 'fitted up the house with more theatrical propriety than could have been expected'. The building was probably a primitive timber slab-sided small hall or shed, possibly with a stepped floor, the pit would be the 'front box' over or behind, and a gallery. Convict Robert Sidaway was either the prime mover in it establishment, its owner or manager. Occasional performances were held until the arrival in 1800 of Governor King.
Hall at 169-171 Phillip Street that was associated with St James Anglican Church, Queens Square. The three-storey brick building consisted of church offices in the basement with a concert hall above and then on the top level, a school. The church let the hall, which was noted for its good acoustics and lack of noise from the trams. It was renamed the Phillip Street Theatre in 1954 and became known for its fast and topical revues until the building was redeveloped In 1961. The new building included a venue which was also leased to the Phillip Street Theatre group. The new building was also known as St James' Hall and St James Playhouse.
Theatre at 107-111 Elizabeth Street demolished in the 1970s for the construction of the St James Centre office building.
From the Gothic skyscraper style exterior to the Baroque drama of the Rotunda and the grandeur of the auditorium, the theatre and Art Deco shopfronts form a lavish and significant entertainment venue. Built as a cinema and multi storey retail arcade with a ballroom and theatrette, it remains a popular venue though many of the uses ceased in the late twentieth century.
One of Sydney's biggest 'beat' music venues in the 1960s, located in the former Kings Cross Theatre and demolished to make way for the underground railway station and the Crest Hotel.
Jorn Utzon's Sydney landmark.
Medium sized drama and dance venue constructed at 22 Hickson Road within two adjoining bond stores which preserves some elements of the maritime heritage of the area. In 2015 it was renamed the Roslyn Packer Theatre.
Luxurious Art Deco style theatre and offices originally built in 1939 as a live entertainment complex called the Minerva. It was bought in 1948 by Metro-Goldwyn-Mayer and converted into a cinema, renaming it the Metro Kings Cross in 1952. After MGM was bought out by Greater Union Organisation in 1969, Harry M Miller staged the musical Hair at the theatre and it returned to live theatre use until 1976. It was converted to a short-lived shopping centre in 1981 before shopping market before being acquired in 1982 for use as a film studio by Kennedy Miller Mitchell.
Theatre established briefly at the All Nations Club.
Pier 4/5 at Walsh Bay which was converted to an entertainment precinct in the early 1980s.
Cinema at Rose Bay designed for talking pictures which was replaced with an apartment block of the same name.
Theatre in Castlereagh Street that hosted drama, vaudeville and cinema from 1875 until it was demolished in 1972.
Art Deco cinema on Glebe Point Road in Glebe which was part of the boom of cinema construction of the 1930s after the worst of the Depression had eased. An integral part of the community for over four decades it was reinvented as a venue for art movies and stage productions from the 1960s. It was converted to office space in 2005.
Two performance spaces on the Wharf in Walsh Bay that are occupied by the Sydney Theatre Company.


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'Oh Boy' German Oscar Winner Shines At Hamptons Film Festival 10 11 2013
Jayson Blair, manic-depressive, as our unfortunate wunderkind openly confesses, and much more, helps this journalistically revealing documentary 'A Fragile Truth' portray the events and the people in this troubling story about what goes in the backrooms and bylines of 'The Greatest Newspaper In The World.'
Author's Corner, Movies, Music and Art
'The Rocket' Could Be Best Film in 2013 Hamptons International Film Festival Oct 2013
The 21st Hamptons International Film Festival started off with a big literal bang for my wife and me as we were lucky enough to see the wonderful movie, set in Laos of all places, entitled 'The Rocket.' The Laotian cast is magnificent, from Ahlo, the little boy, who is the star of the show, his beautiful mother, his grandmother (with just black stumps for teeth, who is tough as nails, spiritual, superstitious), his father, the little girl he meets and her uncle, played by Thep Phongam, into the music and aura of James Brown, who is different and accustomed to being rejected by the drones of local society. The Laos of the story is under communist rule, and when a dammed area is to be extended to flood Ahlo's family's village, not much can be done but be relocated. The survival story is that of creative adaptable people, doing what they can against severe forces of man and nature. There is much joy and terrible tragedy. But the hope of the movie goes to a rocket festival, the winner of which will win a large sum of money. The panoramic landscape cinematography of this beautiful wartorn country, strewn with rockets and old bombs like the massive 'Sleeping Tiger,' is magnificent and frightening. A classic fantastic movie not to be missed! It won the Audience Award for Best Narrative film this year at the Tribeca Film Festival in NYC, NY.
(Now it is Saturday Oct 19, 2013 and in retrospect, yes, 'The Rocket' has to be my favorite movie of the entire festival. Good start this year, to see it as the first movie for us, this past Thursday 10 -10 – 13. A movie so good you might want to buy it and have it around your house to watch every year or two, maybe on Independence Day July 4 in America. Fireworks. Rockets….)
The next movie we saw was the documentary 'Chimeras,' another Asian film, about two Chinese artists, shot in mostly Beijing and Shanghai. The artists are Wang Guangyi and Liu Gang, real life artists struggling with their artistic creativity in an oppressive totalitarian China. Guangyi is very successful, middle-aged, doing massive works, with very interesting industrial techniques, much in appreciation of communism's struggle, honoring Mao Tse Dung, including one gigantic portrait of him, with small bars over the image of his face. When viewing this work several times during the film, I couldn't tell if he was behind the bars, or more likely the viewer was. The magnificence and grandeur of scale of today's Beijing is gigantically surprising to me. All I had ever seen of it was smog and dark huge monolithic ugly buildings, but this is not what we see in Mika Mattila's cinema depiction.
The huge scale of China's capital city fits the massiveness of our planet's largest country. The beauty and the architecture, the traffic, the tall needle structure like that of the building in Seattle, the colors, the intricacy of design is worth the price of admission to this interesting film. During which, Wang Guangyi is not hesitant to voice his disgust for authorities, critics, always comparing his and other seminal modern Chinese art to western art, as if western art is the basis for all fine art. We see him do this at meetings, and in discussions with other artists. His work 'The Other Shore' of a valley and finely depicted trees and vegetation in light yellow, green and white, as on a slightly cloudy day, starts the movie off and finishes it, but again, behind bars, as with Mao's face, as the movie ends. Liu Gang is a young fortunate photographer who has garnered sudden success with his works in a 'Paper Dreams' theme that has travelled around the world. He takes shots of advertisements and other images and crumples them up sometimes to uniquify them. The portrait ends of him getting married, with very creative wedding photos being presented in his 'paused' career, as he now is working in a Dutch Museum in Beijing to earn money to support his three person family. He had wanted to do a next presentation about China's 'One Child Policy,' but had met much opposition to this project. We also learn about children being murdered during the operation of this policy, and pregnant women being targeted, gangs of men attacking and kidnapping them at night. This is an intriguing, sometimes disturbing, intellectually rewarding film by a Finnish director that I would have to give a high A+
Good quote about art, shared in this movie: "If you fail, art is suffering. If you succeed, art is still suffering."
'Two Autumns, Three Winters,' is a romantic French film shot in cinema verite, with the actor acting, then talking to the camera, then seamlessly continuing along in the context of the scene. There are basically two couples in this tale, that mostly takes place in Paris. Tragedies occur to the two male leads in separate incidents, framing the film and its romantic interludes. Maud Wyler is the lovely Amelie, and Vincent Macaigne plays the main character, another artist, who has abandoned art and a relationship that brought him to Paris in the first place, from Bordeaux.
There are series of shorts, collected as themed shows, scattered throughout the festival. Often these include the jewels of the festival, but this was not overwhelmingly true for 'The Edge Of The World' shorts. Mostly bleh and not very inspiring, yet interesting enough to sit through – – what deserves the only high mention is the animated 'Oh, Willy." Chunky small-eyed Willy returns to his mother on her death bed all sad and lonely. She is living in a lovely environment, that turns out to be a nudist colony in summer with beautiful vegetation and buzzing flying insects and birds all about. This short is delightful, and the redeeming one of 'Edge' – – plus it has won eighty awards internationally.
More later from day 2.
Conrad Miller M.D. HIFF 2013 October 10
Conrad's Corner, Movies, Music and Art
Chernobyl Nuclear Disaster Anniversary #27 While Fukushima Keeps Leaking 10 MILLION Becquerels Per HOUR
April 26 2013 marks the 27th anniversary of the Chernobyl nuclear disaster. It has been estimated by Dr. Alexei Yablokov et. al., that, so far, about one million people have died premature deaths due to the steam explosion and ten day graphite fire that occurred at nuclear reactor Number Four in Ukraine, when that nation used to be part of the USSR back in 1986. Meanwhile, Fukushima still leaks millions Bqrls/hour of radiation...
Joe Walsh Cosmic Guitar Singing WHB, NY Aug 4 2012
Joe Walsh served us some of the greatest guitar ever heard in the Hamptons last night (Aug 4 2012). Life's Been Good, Analog Man (In A Digital World) - new album, first solo one in 20 years. Those great guitar solos, subtle, brilliant, incisive, inspiring, soaring, biting, ringing, lovely, harsh, embellishing the songs perfectly, from the mind, and nimble, still strong fingers of the master. His singing is still great, in his unique voice. No one on Earth sings like Joe Walsh!
Humility In The Path Of Ambition and Greed, Fukushima & Krakatoa
'Humility is the solid foundation of all the virtues.' - Confucius - Mankind has the power to create and destroy everything on Earth; Krakatoa 1883 explosion loudest unamplified sound ever heard on Earth; Depleted Uranium killing our soldiers, damaging genes, malformed babies USA & Iraq, Afghanistan; Trans Pacific Partnership corporate wedge to subvert national laws & regulation
Restraint In The Paint, We Do Have Limits On This GMO'ed Earth As The Fukushima Rivers Forever Radioactively Flow Into The Once Fair Pacific
As we watch the ocean and the blue sky, planning for the future, full of faith that it will be there for us, we have to be a little wary today. "Before the specialization of the disciplines that accompanied the Industrial Revolution, one of the dominant strains of Western culture was a concern for the limits of responsible action. And these limits were defined primarily by the human place, below the angels and above the animals, in the hierarchy of created things. To act in violation of these limits is to invite consequences that cannot be controlled, and may not be survived.' – Wendell Berry
Conrad's Corner, Fukushima Nuclear Spew News
26th Anniversary Chernobyl Nuclear Disaster – Fukushima Leaking Massive Amounts Radiation Poisoning Pacific Ocean Basin
April 26 2012 marks the 26th anniversary of the Chernobyl nuclear disaster. It has been estimated by Dr. Alexei Yablokov et. al., that, so far, about one million people have died premature deaths due to the steam explosion and ten day graphite fire that occurred at nuclear reactor Number Four in Ukraine, when that nation used to be part of the USSR back in 1986. These deaths have occurred, and many more will follow, not from just the explosion itself ('only 31 died' many media forums continue to say), but from the long-lived radioactive contamination of the soil, air and water that will continue killing and mutating life forms for centuries.
Agent Orange Corn? 'Fresh' Orange Juice, BPA Bottles
Here are 4 subjects from our latest Feb 25 2012 newsletter: 1) Is My Orange Juice 'Fresh' and Untainted? 2) Fukushima Groundwaters Massively Contaminated, Running Out Into Pacific Ocean 3) Agent Orange Corn For YOU & YOUR FAMILY! 4) BPA in Your Plastic Bottles, But Surprisingly High Concentrations From Your CANS & Canned Food!
'Passione' New Movie by John Turtuffo re Napoli and its Music
'Passione' is a new movie by John Turtuffo, one of our great actors, who also has a great passion for Naples or Napoli in southern Italy on the Mediterranean, and its music. We see everybody singing, lots of beat up walls, some classic art and unique architecture, very expressive enactments of songs, plenty of history, people digging out of a 1944 eruption of Mt. Vesuvius, but mostly all sorts of music. And some fantastic dancing, especially one piece framed in a four story building with a central archway and a dancer per balcony, 3 to each floor. I think
all beautiful women – can't recall any man on one of those balconies.
The title connects to the jazz song 'Passione' played by James Senese's band, Mr. Senese on saxophone. He speaks about being black in Italy, and the prejudice he had to go through, as there weren't too many black folks in Italy until after the USA invaded the land of Mussolini and overthrew the Fascists at the end of World war 2. You can see how happy a lot of Italians were to see the Americans rid them of Mussolini. Remember, they hung the mug-chinned dictator by a lightpost in the streets when the people had the opportunity to do so.
Mr. Senese explains that his father was a black soldier from North Carolina, and his mother was a Neopolitan (which means she came from Napoli or Naples).
Five men from the band Avion Travel perform in a building-framed square, then are asked who the best singer was from Napoli. Three of the five say Sergio Bruni. Then the middle person of the five sings one of his most famous songs, to the joy of the others. Then Turtuffo provides us with some footage of
the man himself on black and white film, dressed in suit and tie, with a lovely voice and a big Italian schnozzola, with a unique flute soloist interacting with Mr. Bruni on the tune provided.
Riaz, of mixed descent, does a great reggae tune, very MTV, shot in the poor streets of Napoli, with beautiful women walking
throughout the filming, including going thru this one tiny door cut out of a temporary steel wall in a building that is being renovated – which is so typical for Italy and most of Europe.
If you love music and Italy, go see this one. It's playing one more night in Westhampton at the Performing Arts Theatre, Thursday August 11, 2011, where Wynonna Judd arrives and plays on August 13. The fantastic 'Incendies' will be in the Theater midweek, next week. French, terrific plot/story, but yes
quite heavy. I highly recommend that one too.
Chernobyl Disaster 25th Anniversary In Fukushima's Radioactive Shadow
Nearly one million dead so far from Chernobyl nuclear accident April 26,1986. Covered by a sarcophagus that is now leaking. And then March 11, 2011 comes Fukushima disaster, which will prove many many times worse than Chernobyl... but the story of that April morning in the Ukraine as they were testing the reactor...
next posts 1 2 3 4 5 … 18 previous posts


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Q: H2 in-memory database and custom @GenericGenerator strategy I've tried to use custom id-generator as in Bypass GeneratedValue in Hibernate (merge data not in db?) and it works fine while working with Postgres DB. My code is equals to the code in example.
But while running test with H2 in-memory database I faced the problem, that id is not generated automaticaly.
Without custom generator
@Column(name = "id", nullable = false)
@Id
@GeneratedValue(strategy = GenerationType.IDENTITY)
private Long id;

Generated create table script
create table db.schema.entity (id  bigserial not null...

With custom generator
@Column(name = "id", nullable = false)
@Id
@GeneratedValue(generator = "idGenerator", strategy = GenerationType.IDENTITY)
@GenericGenerator(name="idGenerator", strategy = "...UseIdOrGenerate")
private Long id;

Generated create table script
create table db.schema.entity (id int8 not null...

As a result tests don't work.

A: Solved by changing @Column
@Column(name = "id", nullable = false, columnDefinition = "bigserial")

redpajama_set_name: RedPajamaStackExchange


text:
How Do Gold Bond Mattresses Stack Up Against Other Mattresses
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A History and Personal Remembrance of the Yosemite Firefall. I saw the Firefall for 7 nights in July, 1963 while on a trip to Yosemite between my Junior and Senior years in high school.
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I was 3 days old on election day 1944, when FDR won his fourth term. I was born when the Rosies were still riveting, turning out bombers and tanks and ships by the thousands; the songs on the radio were about men going off to war and women working hard in defense plants so they could come home soon.
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He stashed gold in a PVC pipe disguised to look like part of the plumbing in a cabinet beneath the bathroom sink. The gold, friends say, was his hedge against a societal upheaval. Under the.
Does Anyvbody Know How To Restore No Change A Fabric Off A Sofa We hope you love the products we recommend! Just so you know, BuzzFeed may collect a share of sales or other compensation from the links on this page. Oh, and FYI — prices are accurate and items in. But not just any pillow will do the job. to redecorate or change your pillows by the
One day, Michael Sanzone was able to get out of his hospital bed and stand beside it. who remembered Michael getting up early to take care of various tasks. Michael Sanzone (17) during a game.
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History of Parliament Online
Home Research > Members > 1715-1754 > HARDINGE, Nicholas (1699-1758)
HARDINGE, Nicholas (1699-1758), of Kingston-upon-Thames, Surr.
Published in The History of Parliament: the House of Commons 1715-1754, ed. R. Sedgwick, 1970
Available from Boydell and Brewer
Biography Detail
Offices Held
1715-1754 Members
1715-1754 Constituencies
1715-1754 Parliaments
1715-1754 Surveys
15 Feb. 1748 - 9 Apr. 1758
Family and Education
b. 7 Feb. 1699, 1st s. of Rev. Gideon Hardinge, vicar of Kingston-upon-Thames, by his w. Mary Westbrooke. educ. Eton c.1711-18; King's, Camb. 1718, fellow 1722; M. Temple 1721, called 1725. m. 19 Dec. 1738, Jane, da. of Sir John Pratt, l.c.j. of the King's bench 1718-25, sis. of Charles, 1st Earl Camden, 9s. 3da. suc. fa. 1712.
Clerk of the House of Commons 1731-48, law reader to the Duke of Cumberland 1732; attorney-gen. to the Duke 1733-51; auditor to Princess Emily 1751; jt. sec. to Treasury 1752-d.
Hardinge probably owed his appointment as clerk of the House of Commons to Walpole, like himself an Eton and King's man, who is referred to as his patron in the well-known story of Hardinge's deciding against him on a bet with Pulteney as to the correctness of a Latin quotation. The first clerk of the House to receive a regular salary from the civil list in addition to his fees and to £10 a year granted by his letters patent, he was the author of a report in 1742 on the condition of the journals of the House, which led to their being printed under his direction. 'Though well and promptly paid himself' for the work, 'he was extremely dilatory in paying his debts to Samuel Richardson, the printer and novelist, putting him off with repeated promises to pay and, on the last occasion, only brought to discharge his debt by the firm intervention of Arthur Onslow, the Speaker'.1 He was said to have persuaded the universities to agree to limit the number of livings held by the colleges to half the number of fellows in return for being excepted from the Mortmain Act of 1736.2 After 17 years as clerk he was returned by Lord Cornwallis for Eye, selling his office to Jeremiah Dyson, who did not follow this example when he himself resigned the office to enter the House.3 He is described by Horace Walpole as 'a sensible knowing man, who' as a former clerk of the House was 'not well received as a speaker'. In 1751 he spoke on the Westminster election petition, citing precedents showing that the House had committed offenders to Newgate and made them receive their sentence on their knees; opposed receiving a petition against a Member, as out of order; and supported the restrictions placed on the regent by the regency bill, adding 'that in his opinion even the Duke [of Cumberland] might be removed from the council' of regency, which was 'the more honest as he was actually the Duke's attorney'.4 Next year he was appointed joint secretary to the Treasury on condition that he paid £800 a year out of his salary to John Jeffreys. He died after a short illness 9 Apr. 1758.
Ref Volumes: 1715-1754
Author: Romney R. Sedgwick
1. O.C. Williams, Clerical Organization of the House of Commons, 62-64.
2. Harley Diary, 15 Apr. 1736.
3. Williams, loc. cit.
4. Mems. Geo. II, i. 29, 30, 58, 134.
© Crown copyright and The History of Parliament Trust 1964-2020