The new Colossus

Standing proud at the 'sea-washed, sunset gates', Lady Liberty became a beacon of hope for immigrants and a symbol of freedom under just and democratic law

- Charles Harris

AUTUMN rain fell heavily upon the great parade, as thousands marched along New York's Fifth Avenue to the rousing sound of military bands and the cheers of enthusiastic crowds. It was October 28, 1886: an American icon was about to be born. Frédéric Bartholdi, an artist, sculptor and photographer from Alsace in France, was attracted by large antique statuary when visiting Egypt in the 1850s. He planned a giant female figure that he hoped to set, like a colossus of Rhodes, at the entrance to the Suez Canal. However, the Khedive would not pay. In 1865, he was delighted to accept a proposal from French lawyer, politician and fable-writer Edouard de Laboulaye to create a monument for France to give to the US. It was the ultimate consolation prize.

Laboulaye was inspired by the American War of Independence-won with French assistance --and the recent outcome of its civil war.

However, like many Frenchmen, he also felt strong resentment against England for having ousted France from North America in the 1750s. Mounting a cultural counterstrike, he canvassed individuals (often freemasons), businesses and municipalities and they― largely motivated by hope of trade with the world's fastest-growing nation, whose main business partner was Britain-agreed to commission a statue of Liberty enlightening the world'. In two transatlantic lobbying tours, the persuasive Bartholdi encouraged Americans to fund a plinth.