diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-27 19:43:44 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-27 19:43:44 -0800 |
| commit | 572fd18fd208a874b43ecae8b539319d772edbc1 (patch) | |
| tree | edd8a34c43d6bd71ba5702d17b33e330b77ae631 | |
| parent | 409c9c952d91caf666a0e02d6b8940e70310394c (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/61106-0.txt | 1915 | ||||
| -rw-r--r-- | old/61106-0.zip | bin | 39509 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h.zip | bin | 3213667 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/61106-h.htm | 2274 | ||||
| -rw-r--r-- | old/61106-h/images/cover.jpg | bin | 95750 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p01a.jpg | bin | 9224 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p02.jpg | bin | 75546 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p02b.jpg | bin | 11822 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p03.jpg | bin | 108873 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p04.jpg | bin | 140019 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p04a.jpg | bin | 137783 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p05.jpg | bin | 92615 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p05a.jpg | bin | 105391 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p05c.jpg | bin | 97595 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p06.jpg | bin | 107066 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p06a.jpg | bin | 88904 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p06c.jpg | bin | 108773 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p06d.jpg | bin | 110143 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p07.jpg | bin | 98741 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p07a.jpg | bin | 87437 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p07c.jpg | bin | 99192 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p08.jpg | bin | 78161 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p08a.jpg | bin | 103452 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p09.jpg | bin | 117847 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p09a.jpg | bin | 83838 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p10.jpg | bin | 105906 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p10a.jpg | bin | 87338 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p10c.jpg | bin | 101126 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p11.jpg | bin | 161614 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p12.jpg | bin | 191944 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p13.jpg | bin | 170407 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p14.jpg | bin | 172448 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p15.jpg | bin | 125872 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p15a.jpg | bin | 112818 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/p15c.jpg | bin | 44927 -> 0 bytes | |||
| -rw-r--r-- | old/61106-h/images/spine.jpg | bin | 7843 -> 0 bytes |
39 files changed, 17 insertions, 4189 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..cfa5e13 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #61106 (https://www.gutenberg.org/ebooks/61106) diff --git a/old/61106-0.txt b/old/61106-0.txt deleted file mode 100644 index 882e982..0000000 --- a/old/61106-0.txt +++ /dev/null @@ -1,1915 +0,0 @@ -The Project Gutenberg EBook of Mount Rushmore National Memorial, by Anonymous - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Mount Rushmore National Memorial - A monument commemorating the conception, preservation, and - growth of the great American republic - -Author: Anonymous - -Release Date: January 5, 2020 [EBook #61106] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK MOUNT RUSHMORE NATIONAL MEMORIAL *** - - - - -Produced by Stephen Hutcheson, Lisa Corcoran and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - _Mount Rushmore_ - NATIONAL MEMORIAL - - - A MONUMENT COMMEMORATING THE CONCEPTION, PRESERVATION, AND GROWTH OF - THE GREAT AMERICAN REPUBLIC - - [Illustration: Location practically in the Center of the North - American Continent] - - PUBLISHED BY THE - Mount Rushmore National Memorial Society of Black Hills - 1948 - - [Illustration: GUTZON BORGLUM] - - - - - CONTENTS - - - Foreword 1 - The Mighty Works of Borglum 5 - From the Beginning 9 - The Role of the National Park Service 16 - Wind Cave National Park 17 - Badlands National Monument 17 - Jewel Cave National Monument 17 - Devils Tower National Monument 17 - The Antiquity of Mount Rushmore 18 - The Hall of Records and Great Stairway 20 - George Washington 22 - Thomas Jefferson 24 - Abraham Lincoln 26 - Theodore Roosevelt 28 - As Great Men Saw It 30 - Mount Rushmore National Memorial Society of Black Hills 31 - - - - - _FOREWORD_ - - -_A monument’s dimensions should be determined by the importance to -civilization of the events commemorated. We are not here trying to carve -an epic, portray a moonlight scene, or write a sonnet; neither are we -dealing with mystery or tragedy, but rather the constructive and the -dramatic moments or crises in our amazing history. We are cool-headedly, -clear-mindedly setting down a few crucial, epochal facts regarding the -accomplishments of the Old World radicals who shook the shackles of -oppression from their light feet and fled despotism to people a -continent: who built an empire and rewrote the philosophy of freedom and -compelled the world to accept its wiser, happier forms of government._ - -_We believe the dimensions of national heartbeats are greater than -village impulses, greater than city demands, greater than state dreams -or ambitions. Therefore, we believe a nation’s memorial should, like -Washington, Jefferson, Lincoln and Roosevelt, have a serenity, a -nobility, a power that reflects the gods who inspired them and suggests -the gods they have become._ - -_As for sculptured mountains—_ - -_Civilization, even its fine arts, is, most of it, quantity-produced -stuff; education, law, government, wealth—each is enduring only as the -day. Too little of it lasts into tomorrow and tomorrow is strangely the -enemy of today, as today has already begun to forget buried yesterday. -Each succeeding civilization forgets its predecessor, and out of its -body builds its homes, its temples. Civilizations are ghouls. Egypt was -pulled apart by its successor; Greece was divided among the Romans; Rome -was pulled to pieces by bigotry and a bitterness much of which was -engendered in its own empire building._ - -_I want, somewhere in America on or near the Rockies, the backbone of -the Continent, so far removed from succeeding, selfish, coveting -civilizations, a few feet of stone that bears witness, carries the -likenesses, the dates, a word or two of the great things we accomplished -as a Nation, placed so high it won’t pay to pull down for lesser -purposes._ - -_Hence, let us place there, carved high, as close to heaven as we can, -the words of our leaders, their faces, to show posterity what manner of -men they were. Then breathe a prayer that these records will endure -until the wind and the rain alone shall wear them away._ - - [Illustration: _Gutzon Borglum_] - - - - - THE MIGHTY WORKS OF BORGLUM - _By_ RUPERT HUGHES - - -How big is great? How high is up? - -In the wide and numberless fields of creative art, size is a matter of -spirit rather than of material bulk. A sonnet may be a masterpiece, and -an epic rubbish; or an epic may be sublime, a sonnet petty. - -It is only affectation to confine one’s praise to small things. Because -a poet delights in a brook chuckling through a thicket of birches he -need not therefore despise Niagara. The word “colossal” should not be -surrendered entirely to the advertisers. - -The Shakespeare of the sonnets wrote also “Hamlet” and “King Lear.” The -Beethoven who wrote the giggling _Scherzos_ wrote also the titanic Ninth -and added its mighty chorus. Michelangelo did statuettes and sonnets, -but also his “Day of Judgment” and his prodigious horned Moses. - -To the sincere artist it is the idea that is vital. Once that has -inflamed him, he seeks only to give it the shape and the size that its -nature dictates. - -So Gutzon Borglum, being sensitive to all the moods of life, a born -poet, with an innate love of form for its own sake, quick to glow with -inspirations of every kind and determined to give each its unique and -eloquent shape, has painted and carved without fear or favor the -exquisite and the tremendous with equal fidelity. - -His genius shines in the little bas-relief of a nymph; in sardonic -gargoyles; in the tiny yet epic statuette of the dying Nero, a bloated -coward tangled in his toga and drooping to his ignoble death; in the -suave portrait of the seated Ruskin; the pathos of the old Boer warrior; -in the billowy rush of the stampeding “Mares of Diomedes”; in his -colossal head of Lincoln; in his war memorial for Newark, New Jersey, -with its marvellously composed forty-two figures and two horses; his -magnificent plan for the Stone Mountain, whose thwarting is one of the -great tragedies of art; and finally in his supreme achievement, the -Mount Rushmore Memorial, where he brought his art to the mountains and -left there the four great faces for all eternity. - -This unparalleled accomplishment seems to have been not so much the -carving of those vast heads upon the peaks as the beating away of the -veiling, smothering stone and the releasing of the imprisoned statesmen -so that they might look out upon the world and utter their lofty -messages in a silence more pervasive and sonorous than any trumpet-tone. - -The heads stand up there against the clouds like cloud-gods. Yet they -are not offered as gods, but as plain men who glorified the plain man. -Each of them is greater in magnitude than the so-called Egyptian Sphinx. -The Sphinx represented an unanswerable riddle and she cruelly destroyed -all who could not answer it. But these presidents of ours represent -brave, clear thinking towards safety and dignity and happiness for all -mankind. - -The Sphinx was really a portrait, the largest portrait ever made till -Borglum came along. It is the head of King Khafre set on the body of a -crouching lion guarding the king’s tomb, with his pyramid back of it. -Khafre had it built during a reign that ended over four thousand, seven -hundred and fifty years ago. - -Near the Sphinx and Khafre’s pyramid is the greater pyramid of King -Khufu, better known to us as Cheops. He lived from 2898 to 2875 BC. and -his pyramid contains over two million blocks of stone, of an average -weight of two and a half tons. Herodotus was told that it took a hundred -thousand men twenty years to build it. - -Near Karnak there are still standing—or sitting—two portrait statues of -Amenhotep III, who ruled fourteen hundred years B.C.—just about the time -of Moses. These statues are seventy feet high. - -One of the four colossal statues at Abu Simbel represents Rameses II, -who died about two thousand, six hundred years ago. Lying on its side is -a broken statue of Rameses II, once 90 feet high and carved from a -single thousand-ton block. This and another statue of him in granite -ninety feet high were, according to Breasted writing in 1905, “the -greatest monolithic statues ever executed.” - -But Borglum’s bust of Washington is larger than the whole figure of -Rameses, Lincoln’s nose is 21 feet long and the sparkle in his eye is -secured by a block of granite thirty inches long. - -Some of the Egyptian portraits were carved upon their cliffs somewhat as -Borglum’s statues are upon the peaks. At Abu Simbel there are four such -statues of enormous bulk. - -The Assyrians also built huge monuments, and inscribed the texts of -whole histories on the faces of cliffs. Their kings were usually -represented as enormous winged bulls with the heads of bearded men. -These were called, strangely enough, “cherubs.” - -The Greeks created for their greater gods statues of gold and -ivory—whence the epithet “chryselephantine.” Such was the colossal Zeus -that Pheidias made for Olympia. It was about fifty feet high. Pheidias -made also two colossal figures of Athena for Athens, one in bronze that -stood up like a lighthouse and was visible to sailors far out to sea. -The other had ivory flesh and robes of gold, and was seventy feet high. - -The famous bronze Colossus of Rhodes, erected about 274 B.C. by Chares -of Lindus, was 105 feet high. It did not straddle a stream, as tradition -has it. Half a century after it was set up, an earthquake overthrew it; -in 656 A.D. it was sold for junk and carried off by a caravan of 900 -camels. - -In China one still sees enormous Buddhas, and in our own world the Mayan -monstrosities are being brought back from the jungle that swallowed them -like a sea. - -The statue of Liberty—a gift to us from France—is 151 feet high; with -its pedestal it is 305 feet tall. - -But none of the giants ancient or modern has approached the size of the -greater works of Borglum. - -This carver of mountains was himself a mountainy man, born in the -mountainous state of Idaho on March 25, 1871. His full name was John -Gutzon de la Mothe Borglum. His parents had come over from Denmark. His -father, at first a woodcarver, became a physician and surgeon, also a -breeder of horses on a 6000-acre ranch. He had no money to give his -children, but he gave them a love of form and a knowledge of the horse -that not only inspired Gutzon Borglum to some of his most magnificent -work, but also made a splendid career for his younger brother, Solon. -Solon took fire from Gutzon’s fire, worked his way to Paris, won honors -there, and came home to his West where he turned out a stream of -important sculptures that perpetuate many poignant phases of Western -life. His life was suddenly ended in 1922 by an attack of acute -appendicitis. - -Gutzon’s indomitable will carried him from the Idaho ranch to an art -school in San Francisco, thence to Paris. He began as both painter and -sculptor and was accepted as both by the French salons. In England, -critics and royalty heaped honors on him. After painting a series of -murals for a big hotel at Leeds and another series for a concert hall at -Manchester, he began to abandon the brushes for the chisel, and to turn -out statuary in almost every field and almost every imaginable form. - -From the first, his works won the highest honors. The Metropolitan -Museum bought his “Mares of Diomedes” at once and the French Government -promptly purchased a partial replica of it for the Luxembourg Gallery. -Commissions rained on him and there was never any repetition in the -spirit or treatment of his responses. - -There is not space here for even a catalogue of his triumphs. He also -wrote much and well. He was an engineer and an inventor, overcoming by -his own skill supposedly unconquerable problems involved in the -construction of his larger works. He was an orator of eloquence with a -practical skill in politics. At times he was a statesman and the close -associate of Paderewski and Masaryk in their re-creation of their lost -republics. During the first World War he investigated and exposed the -causes for a mysterious and dangerous failure in American aircraft -manufacture. His career has a strange kinship in its versatility with -that of Leonardo da Vinci, and I believe that his name will live as -long. - -In 1909 he married Mary Montgomery, a distinguished scholar in ancient -Oriental languages, and a translator of cuneiform inscriptions. A son -and a daughter blessed this union of two great souls. - -It was in 1907 that I first met Gutzon Borglum while preparing an -article on his work, to which I paid complete homage. This was the -beginning of a lifelong friendship of which I wrote him while he was -glorifying the South Dakota mountains: - -“I have always had an awe and a reverence for you that fought with my -love for the simple, jovial, twinkling-eyed friend you always were.” - -He answered: “You have said your say about me and it is a wet eye that -reads through the letter. You know how vandalism in the name of -Civilization raids the tombs of our ancestors and destroys the records -of History. One of my motives in this work was to carve these records of -our great West-World adventure as high into the heavens as I could find -the stone.” - -As man and as sculptor he was passionately American and he has not only -given to his country monuments of art that equal the greatest of other -nations, but he has given artistic expression to the ideals that make -America America. - -The Sphinx and its temple have only recently been recovered from the -sand that submerged them for thousands of years. Yet even now the worst -tyrannies and cruelties of the Pharaohs have been revived and paralleled -in Europe, just as our gentlest, noblest ideals were to be found -co-existing with savagery in ancient Egypt. - -I hope, I believe that in 7000 A.D. there will be pilgrimages to Mount -Rushmore by Americans still keeping alive the flames of freedom kindled -and rekindled by the four heroes Borglum had immortalized, immortalizing -himself and his and their ideals along with them. - -His Mount Rushmore Memorial presents to posterity four great Americans -who upheld the rights and equalities of all mankind, and who were -themselves the very personifications of Americanism. - -Their noble heads are lofty enough to mingle with the clouds, and the -parading lights of sun and moon and stars, and the processionals of rain -and snow and mist give them a beauty that is always changing yet -everlastingly changeless. - -Only a great soul and a great artist could have conceived or achieved -such a monument to them and to himself. His gifts of spirit and -execution were, I feel, unsurpassed by anything of their kind in the -history of the world. - - [Illustration: The Memorial] - - [Illustration: _The Memorial in winter with a light fall of snow - softening the surrounding landscape._] - - - - - FROM THE BEGINNING - _By_ MRS. GUTZON BORGLUM - - -A nation’s memorials are a record of its civilization and the artist who -builds them is the instrument of his time. He is inspired by the same -forces that influence the nation’s destiny—the greater the period, the -greater the art. The artist cannot escape his destiny. Like the “Hound -of Heaven” it “pursues him down the years,” forces him to leave his -home, to go into exile, to combat mountains even, to accomplish what -must be. - -How else can we explain why a man should abandon a comfortable way of -life, among pleasant surroundings, to hurl himself against a gigantic -rock, to cling like a human fly to a perpendicular peak, to struggle -with hostile human nature, in order to carve against the sky a record of -the great experiment in democracy on this continent—a record which will -live on and be an inspiration to future generations, a shrine to be -visited, even after the thing it commemorated may have passed. - -This is the history of Rushmore told in a few words. The contributing -factors are of interest and should be related but two outstanding facts -are that a few kindred souls, giants in their day, fostered a form of -democratic government and established a great nation and that a hundred -and fifty years later another group of Americans realized the importance -of making a record in the granite for all time of what manner of men -they were and what they achieved. - -The initial step in this great enterprise was taken by Doane Robinson, -state historian of South Dakota, who had heard of the monument being -carved in Georgia by Gutzon Borglum to honor the heroes of the South in -the war between the states and thought it would be a fine idea to have a -similar patriotic shrine in South Dakota to bring that state to the -attention of the nation. - -Mr. Robinson invited Mr. Borglum in 1924 to visit the Black Hills to see -what could be done. The first thought was to carve the likeness of -Washington and perhaps of Lincoln in one of the granite upthrusts known -as the Needles. The stone, however, was not suitable and there was no -special reason for memorializing Washington and Lincoln as individual -presidents in South Dakota. Then Mr. Robinson told the sculptor of a -lead tablet discovered by children playing near old Fort Pierre, which -had been planted there in 1743 by Verendrye, an emissary of Louis of -France, sent to establish French territory behind the English. This -fired his imagination. Here was a subject for the great memorial he -wanted to carve in the Hills. - -South Dakota lies in the heart of the old Louisiana Territory, purchased -by Jefferson in 1803, in order to control the mouth of the Mississippi, -which marked the first step away from the Atlantic seaboard colonies in -the expansion of the little republic. That step led to the establishment -of Texas, the conquest of California, the acquisition of Oregon and -Alaska and the spanning of the continent from ocean to ocean by the -empire nation called the United States. This was a subject worthy of a -mountain—a monument to a nation, to its philosophy of government, its -ideals and aspirations, its great leaders. Here in this remote spot, -protected by its inaccessibility from the vandalism of succeeding -generations, would be carved a Shrine of Democracy, as an imperishable -record of a great people. - - [Illustration: _Here is Mt. Rushmore as it stood for countless ages - before the poetic and patriotic idea of the great national memorial - was born in the mind of Gutzon Borglum._] - -Mr. Borglum paid a second and third visit to the Hills and camped among -them for two weeks, exploring and examining every rock large enough to -suggest a monument, with the result that the huge granite upthrust -called Mount Rushmore was selected as the only stone sound enough to be -suitable for carving. Another reason for choosing Rushmore was the -important consideration of lighting. It was imperative that the cliff on -which the figures were to be carved should face the east in order to get -the maximum amount of sunlight all the day long. Washington’s face is so -placed that it catches the first rays of light in the morning and -reflects the last ruddy glow in the evening. Many beautiful works of art -are made insignificant by poor lighting. - -Senator Peter Norbeck, who had created the park system of South Dakota -and played an important part in the creation of the Rushmore Memorial, -also agreed that, in spite of its remote position with only riding -trails leading to it, there was no other location possible. - - [Illustration: _Ranging downward like spiders swinging on fine - threads, workmen made the strokes on the granite mountainside which - now bears the features of George Washington._] - - [Illustration: _Scaffolding suspended from cables enabled the - workmen to reach down from the brow of the mountain in order to - carry on their courageous and difficult labors._] - -That autumn a group of Rapid City women put on a pageant of flags, -designed by Mr. Borglum, on the top of the cliff to show the different -epochs through which the territory had passed. The French flag was first -hoisted, then the Spanish, then the flag of Napoleon, next the colonial -flag and finally the present flag of the United States. Thus was Mount -Rushmore officially dedicated to the Memorial. Mr Borglum then returned -to his temporary studio in San Antonio, Texas, to make the models and -decide what characters best illustrated the idea to which he was trying -to give form. - -George Washington’s presence in the group was inevitable. He was the -rock on which the republic was founded—the plumb line to establish its -direction. So on Mount Rushmore his head is exactly perpendicular, -facing the east, unaffected by the others in the group, the measuring -rod determining the position of the others. Equally important with -Washington was Thomas Jefferson, the author of the Declaration of -Independence. By the purchase of the Louisiana Territory, as stated -above, he had taken the first step westward in the course of the -nation’s growth. He is represented on the mountain as a young man. He -was only 33 when he wrote the Declaration of Independence. - -Abraham Lincoln, the saviour of the republic, was inevitable in any -record of the country’s history and finally Theodore Roosevelt was -selected because, by cutting the Panama Canal, he had accomplished the -dream of Columbus and opened a Sea-way from Europe to Asia and his name -was closely linked with the territorial expansion following the war with -Spain. He was also the first president to attempt the curbing of big -business interests and the only president who had been familiar with the -west. He had close associations with South Dakota. - - [Illustration: _Models in the studio at the foot of the mountain - which guided construction of the actual figures (seen through - window)._] - -The Mount Harney Memorial Association was authorized in 1925 by the -state legislature to undertake the project on Mount Rushmore. No funds -were voted for the purpose. Contributions were obtained from the three -railroads serving the state, from the Homestake Mine and from private -individuals, among them Mr. Charles Rushmore, a New York lawyer, after -whom, quite accidentally, the cliff had been named. The work went on -slowly, with considerable opposition, until President Coolidge’s visit -to the Black Hills in 1927. He made a splendid speech at a picturesque -ceremony held at Rushmore, immediately following which he took Mr. -Borglum aside, inquired about the financing and urged him to come to -Washington for help. It is doubtful whether, without this impetus given -by President Coolidge, the carving would ever have been accomplished. - -The Mount Rushmore National Memorial Commission came into existence as -the result of a Congressional Bill, passed on Washington’s Birthday in -1929. The act carried an appropriation of $250,000 for the memorial, -which was to be matched on a fifty-fifty basis by private subscriptions; -it designated Gutzon Borglum as the sculptor and designer of the four -figures and provided also for an inscription on the mountain. - -The first ascent of the mountain was made up the canyon where the -present wooden stairway now is. After the initial survey was made, pine -trees with branches cut off and cleats nailed at right angles to the -trees were laid in the crevices to serve as ladders. Heavy ropes were -then carried by hand to the top and a small winch was carried as far as -possible by pack horse and then carried to the top by hand. After this -winch was fastened on the top of the mountain, it in turn was used to -pull up the heavy cable that became the tramway from the ground to the -mountain top. Building material was pulled up and shelters built for the -men. A small studio was also built to house the plaster reproductions of -the master models that were in the studio at the foot of the mountain. -These reproductions were used for measurements to save time required to -go to the studio 1500 feet away and 500 feet below. In some cases these -models were hung over the side of the mountain so that they could be -consulted and compared with the measurements as the actual stone work -progressed. By this method it was possible to save considerable time and -labor. - - [Illustration: _Roughing out the face of Theodore Roosevelt. The - strong chin and the mouth are already visible. The mass of stone at - the top will be carved away to form the mustache._] - -The work of fitting the figures into the cracked granite upthrust called -Mt. Rushmore has been a constant struggle between composition and -finding solid stone for each of the four heads. - - [Illustration: _Close-up of Lincoln. Note the shafts of granite in - the eyes of Lincoln. The light reflected by these shafts gives the - eyes their lifelike glint when seen from a distance._] - -In the first design Jefferson was placed at the right of Washington and -Lincoln on his left, and Theodore Roosevelt occupied the position now -occupied by Lincoln. However serious flaws developed in the stone on -this side of Washington; and it therefore became necessary to change our -design and place Jefferson to Washington’s left. This made it necessary -to place Theodore Roosevelt between Jefferson and Lincoln, and the stone -had to be removed to a depth of approximately 120 feet from the original -surface to get back far enough for the Roosevelt face. The heads were -finally relegated to their approximate position (being moved several -times as new conditions of the stone developed), that is they were -tilted or dropped or made to look more to the right or left as the case -might have been, to meet the composition or avoid flaws in the stone. -This movement being made simply by moving the respective heads on the -model and cutting the stone accordingly. It was not possible to fit the -heads so that they would be entirely free from fissures, but it was -possible to place them so that none of these fissures would be -unsupported from below and that removes the danger of some vital part -dropping off. As each head was started its center was located, and at -this center point on the top of the head a plate was located. This was -graduated in degrees 0 to 360 degrees, and at its center a horizontal -arm was located that traversed this horizontal are. This arm was about -30 feet long, in effect a giant protractor laid on top of the head. The -arm was graduated in feet and inches so that at any point we could drop -a plumb bob from this arm, and by measuring the vertical distance on -this plumb line determine exactly the amount of stone to be removed. -After determining this master center point on the mountain, we set a -smaller arc and arm on our model in the same relative position. With -this small device we would make all our measurements on our model and -then enlarge them twelve times and transfer them to the large measuring -device on the mountain. Thru this system every face had a measurement -made every six inches both vertically and horizontally. These -measurements were then painted on the stone and it was thru this means -that men totally unfamiliar with sculptural form were able to do this -undertaking. In fact all the men employed on the work were local men -trained by the sculptor. - -Pneumatic drills are used for drilling and the compressed air is -provided by large compressors located on the ground and driven by -electricity. The air is forced or conveyed to the top of the mountain by -a 3″ pipe and then by the use of smaller pipes and rubber hoses is -conveyed to the drills. - -Over 400,000 tons of granite have been removed from the mountain in -carving the figures, at a total expense of slightly more than $900,000. -This includes all building, stairways and machinery. - - [Illustration: _Workmen putting the finishing touches on the strong - face of the Rough-rider President._] - -The men are let down over the face of the stone in leather swings -similar to bos’n chairs used on ships. These swings are fastened on to -⅜″ steel cables which are in turn fastened on to winches located on the -top of the heads. These winches are operated by hand. There are about -seven winches on the top of each head. The men are lowered to their -place of work by these winches, taking with them their jackhammers or -pneumatic tools and other necessary equipment. One man is located in a -position where he can see all the men at work, and is “The Callboy,” and -has a microphone with a loud speaker at each of the winches and when any -of the men working in the swings wants to be raised or lowered they -signal this call-boy and he relays the message thru the loud speakers to -the winchman. He also keeps the workmen supplied with new drills as they -need them, by relaying their requests to the steelman who carries the -steel to the men in the swings as it is needed. This steel is used over -and over again; as it is dulled it is taken to the blacksmith shop on -the ground via the cable car, heated, sharpened, re-heated and tempered -and sent back to the mountain again. About 400 of these drills are -dulled each day. They drill on an average about four feet before being -sharpened. In some places the stone is so hard they will only last or -drill about six inches and in other places they will last seven or eight -feet before being re-sharpened. - - [Illustration: _The work in process as it appeared from an odd angle - ... from the road running along the side of the mountain. Not many - have seen the Memorial from this point of view._] - -The problem of finance has always been acute in connection with the work -of the Rushmore Memorial. The economic hardships of the country made it -increasingly difficult to match the Federal appropriation, without which -the carving could not go on. The sculptor made repeated trips through -the state and beyond its borders to arouse interest in the undertaking. -He succeeded in raising some money by publishing a small book about -Rushmore. There were never enough funds for as much power or as many men -as he would have liked to use. There were long months when the work was -stopped altogether. Finally the government took over the whole burden of -financing and the work continued regularly, after 1938, being halted -only by weather conditions. The sculptor was at last able to employ one -or two trained stone carvers to do the finer work of finishing. - -The Washington head was unveiled in 1930, with Mr. Cullinan, first -chairman of the Rushmore Commission presiding. President Franklin D. -Roosevelt came for the unveiling of the Jefferson head in 1936. His -unfailing interest and support have insured the finishing of the -Memorial. At the unveiling of the face of Abraham Lincoln in 1937, a -nation wide radio hookup carried the speeches to all parts of the -country and again in 1939, when Governor Bushfield of South Dakota -conducted ceremonies celebrating the Golden Jubilee of the State of -South Dakota at Mount Rushmore, the radio carried the speeches and music -all over the United States. The upper part of the face of Theodore -Roosevelt was uncovered at that time. - - [Illustration: _The face of Jefferson begins to take form. The nose - and the forehead are already plainly visible, but many tons of stone - must be removed before the picture is complete._] - -Mr. Borglum was always scrupulously careful to protect his men from harm -and it was his boast that in all his years of hazardous mountain carving -no worker was seriously injured. He took no care of himself, however, -and physicians said that undoubtedly the strenuous work of carving at -that altitude weakened his heart and in March, 1941, it stopped beating. -The carving was practically finished; there remained only the finishing -of the hands and hair of the four figures and the Rushmore National -Memorial Commission entrusted that work to the sculptor’s son, Lincoln -Borglum, who had been with his father from the beginning of the work. - - [Illustration: _A blast is set off. The handling of powder and - dynamite was an especially delicate problem, since a single badly - placed charge might easily spoil the work of many months._] - -The faces of the four presidents, as carved on Mount Rushmore, are -approximately 60 feet from chin to forehead; if completed from head to -foot the figures would be 465 feet high. The entire head of the sphinx -in Egypt is not quite as long as Washington’s nose. The entire cost of -the Memorial, including all expenses of carving, buildings and salaries, -is $900,000. This is at the rate of less than two dollars for every ton -of stone removed, which is a cost incredibly low considering the -hardness of the granite and that every piece must be removed in such a -way as not to injure the surface behind. On this investment the Federal -Government has received from tourists from the one cent gas tax on the -increased sale of gas during the years since the work started over two -million dollars and the income to South Dakota is over twenty million -dollars annually. - - [Illustration: _From these beginnings today shine forth the faces of - four of the greatest men of American history, to light the path of - freedom for countless generations yet to come._] - - - - - THE ROLE OF THE NATIONAL PARK SERVICE - - - [Illustration: {uncaptioned}] - -Millions of Americans and liberty-loving people from all over the world -have come to the Black Hills of South Dakota to look upon Gutzon -Borglum’s _Shrine of Democracy_. - -The exact number of visitors to the great granite carvings is not known -but each travel season the pilgrimage increases in size. - -During the period of construction from 1927 to 1941, when work was under -supervision of the Mount Rushmore National Memorial Commission, no -accurate records of visitors were kept. Hundreds came each day, however, -to keep a fascinated watch over the emergence of the likenesses of the -four great presidents from the great stone uplift. - -Consecration ceremonies attended by President Coolidge and the -unveilings of Washington, Jefferson, Theodore Roosevelt, and Lincoln -were attended by thousands of people. Distinguished guests participating -in these ceremonies included the late President Franklin D. Roosevelt. - -Then in 1939, the Memorial was placed under the supervision of the -National Park Service of the Department of Interior. World War II -intervened, but in the peace years since the transfer, the flow of -visitors has been measured at close to a half million persons each -travel season, 419,817 being reported for the 1947 travel year. - -Among the nine great memorials in the National Park Service system, -Mount Rushmore, by 1947, had risen from seventh to fourth place in -attendance. So far as these memorials are concerned, those reporting -larger visitations were the Lincoln Memorial, the Jefferson Memorial, -and the Washington Monument, all in the District of Columbia. - -As with other national parks, monuments, and memorials, Mount Rushmore -was designated for inclusion in the National Park system because it had -become a most inspiring site of historic significance. - -Its present administration is designed to promote and regulate the use -of the memorial area to conserve the scenery and the natural and -historical objects and to provide for the enjoyment of it in such a -manner as to leave it unimpaired for the enjoyment of future -generations. - -A total of nearly 1,800 acres of the Federal Game Sanctuary in the -Harney National Forest now comprises the memorial area. It is under the -administration of Superintendent Harry J. Liek with headquarters at Wind -Cave National Park. The memorial is directly under Acting Custodian J. -Estes Suter. - -A brief description follows for Wind Cave National Park and the three -national monuments—the Badlands, Jewel Cave, and Devils Tower—that are -embraced in the Black Hills and Badlands area of southwestern South -Dakota and northeastern Wyoming. - - - WIND CAVE NATIONAL PARK - -Wind Cave is the most widely known of the many limestone caverns found -near the margin of the Black Hills. Discovered in 1881, it was created a -national park in 1903. The strong currents of wind that blow alternately -in and out of the mouth of the cave suggested its name. - -Boundaries of the park were extended twice and now embrace a total of -28,000 acres of federally-owned land, supporting a large buffalo herd in -its natural habitat and other wildlife, such as elk, antelope, and deer. - -Chief feature of the park is the exceptional limestone cavern, noted for -its unique boxwork rarely found in other sections of the world. Other -crystalline formations in various color shadings line a series of -subterranean passages, known to be at least 10 miles in extent. - - - BADLANDS NATIONAL MONUMENT - -In sharp contrast to the verdant Black Hills country, the White River -Badlands, a barren, treeless region, lies about 50 miles east of the -western foothills. - -Here nature has beautified the earth with all shades of buff, cream, -pale green, gold, and rose. Fantastically carved erosion forms rise -above the valleys, some of them 150 to 300 feet high. - -The constantly shifting color and the weird formations make this a -region of strong imaginative appeal. - - - JEWEL CAVE NATIONAL MONUMENT - -A unique coating of dogtooth calcite crystals which sparkle like jewels -in the light distinguish Jewel Cave from other crystal caverns in the -Black Hills and provided its name. - -One of the finest stands of virgin ponderosa pine remaining in the Black -Hills is found within the monument which was established in 1908. It was -originally part of the present Harney National Forest but was -transferred to the National Park Service, by Executive Order, in 1934. - - - DEVILS TOWER NATIONAL MONUMENT - -Another unusual natural phenomenon of the Black Hills country is the -Devils Tower across the South Dakota state line in Wyoming. This is a -great column of igneous rock towering 1,280 feet above the Belle Fourche -river, whose course is near the base. Devils Tower has the distinction -of being the first national monument created under the Antiquities Act -of 1906. It was established by proclamation of September 24 of that -year, by President Theodore Roosevelt. - - [Illustration: _Devils Tower in Wyoming’s western border of the - Black Hills National Forest._] - - - - - THE ANTIQUITY OF MOUNT RUSHMORE - _By the late_ JOSEPH P. CONNOLLY - _President, South Dakota School of Mines_ - - -At the Battle of the Pyramids, Napoleon is reported to have exhorted his -men by saying, “Soldiers, from these pyramids forty centuries look down -upon you.” From the standpoint of human history four thousand years -represent great antiquity indeed. But as one gazes upon the rugged -slopes of Mount Rushmore, he is face to face with antiquity beside which -the age of the Egyptian pyramids seems but a moment. - -How old is the granite of Rushmore? We have a yardstick by which we can -measure that quite accurately. Not far from the mountain, in a -subsidiary mass of granite, there was found a few years ago a small -piece of coal-black, lustrous mineral known as pitchblende or uraninite, -of which the chief constituent is the heaviest known element, uranium. -We know that uranium continually undergoes atomic disintegration, -changing at a slow, but uniform and measurable rate into lighter -elements. The end product of this change is the metal lead. If we submit -the specimen of pitchblende to chemical analysis, determine how much -lead it contains, how much uranium is still left, it is a comparatively -simple calculation to determine from the known rate of change, the -number of years that have elapsed since the pitchblende came into -existence. That experiment has been performed and the result is one -billion four hundred and sixty-five million (1,465,000,000) years. Bear -in mind that this enormous figure represents the time that has elapsed -since the molten rock came to rest at some depth under the surface of -the earth, and cooled sufficiently to crystallize into granite. It -represents the age of the solid granite. - -But, although the granite of which the mountain is composed dates back -to a period almost inconceivably remote, Mount Rushmore itself is much -younger. We know that all of the granite mountains of the southern Black -Hills were carved out of the rocks by the process of erosion. Field -evidence indicates that fairly early in the Tertiary period, -approximately thirty million years ago, erosion had carved out the -topography of the Black Hills into much the same stage as we see it -today. Perhaps Mount Rushmore was not fully born in that period; its -form may not yet have been completely sculptured under the chisel of -time, but we know that its age must be measured in millions of years and -not in centuries. - -Mount Rushmore is a child of weathering and erosion. They brought the -mountain into being and gave it form. But those relentless parents will -not be content to leave their child as they fashioned it. They will -continue their work of disintegration on the surface of the rock and -along the cracks, until eventually they will completely destroy the -mountain they formed, and long before the mountain will have been -destroyed, the magnificent carvings of man will disappear. “How long,” -we anxiously ask, “will the carvings endure?” Two processes will tend -eventually to destroy the memorial, chemical weathering and physical -disintegration. - - [Illustration: _A typical view from the Needles highway with the - Cathedral Spires in the background._] - - [Illustration: _Fantastic formations in the Badlands. The variegated - coloring is at its best in the early morning or the late evening._] - -Chemical weathering will take place very slowly, so slowly that if it -were the only destructive process we had to consider, we could with some -confidence say that the memorial would endure for hundreds of thousands -of years. And the progress of chemical weathering will probably be -impeded by the sculpturing of the memorial, for on the figures the rock -will be smoother, water will drain off more rapidly instead of -penetrating, lichens and other vegetation will not have as secure a -foothold as on the natural face of the rock, and thus will not -contribute to so great an extent their destructive acids to such waters -as do penetrate. - -Physical disintegration is somewhat more to be feared. This operates in -two ways, by exfoliation due to changes in temperature, and by frost -action. Differential stresses set up by unequal expansion and -contraction, owing to the poor heat conductivity of granite, tend to -spall off or _exfoliate_ the surface layers of rock. - -When water gets into the cracks and pores of the rocks and freezes, it -exerts an enormous pressure, a pressure that will spall off flakes and -blocks of rock. The artist and his associates, fully aware of this -hazard, have guarded against it. All cracks and fissures have been -carefully avoided in the sculpturing so far as is possible. Such as have -been impossible to avoid are being sealed to prevent the ingress of -water, thus inhibiting to a very large extent both frost action and -chemical weathering. - -We have traced in part the geological history of the Mount Rushmore -region, hoping that by learning something of its past we may predict -something of its future. We see the hazards to which the memorial is -exposed. We must frankly recognize them and guard against them so far as -possible, as it would be folly to ignore them. If the science of geology -can do no more in a practical way for mankind than to point out dangers -and sound warnings, it does a worth while service. “How long will the -memorial last?” Geology cannot answer specifically. An eminent geologist -has already given as definite an answer as it is possible to give, and I -can do no better than to close by quoting from the address given by the -late Dr. C. C. O’Harra at the unveiling of the head of Washington. - -“How long will Mount Rushmore last? Many millions of years. The number -nobody knows. How long will endure this monumental, sculptured figure of -the Father of our Country which today we unveil? One hundred years? Yes. -One thousand years? Yes. A hundred thousand years? In all likelihood, -yes. A half million years? Possibly so, nobody knows. The time at any -rate will be long, far longer than we can readily comprehend. And this -doubtless will abundantly suffice.” - - - - - THE HALL OF RECORDS AND GREAT STAIRWAY - _By_ LINCOLN BORGLUM - - -The Hall of Records and Stairway have been part of the Memorial plan -from the beginning and are provided for in the so-called “Rushmore Bill” -of 1938. A good start has been made in the carving of the Hall, which -already has been excavated to the extent of seventy feet. Great care has -to be exercised in the use of dynamite in carving this hall, as in -carving the faces on the mountain, not to injure the stone which is to -remain. Careless explosions of large amounts of powder might crumble the -walls. - -The Hall is located about two thirds of the way up to the mountain: the -entrance to it is in a small gorge or canyon, cut by the ice aeons ago, -to the right of the carved faces as one looks at them from below. The -Hall is on the opposite side of the gorge from the heads and is not -under them. The following is quoted from Mr. Borglum’s plan. - -“The façade to the Hall’s entrance is the mountain wall 140 feet high; -supporting pylons, cut into the mountain, flank the entrance. The -entrance door itself is 12 feet wide and 20 feet high; the walls are -plain, dressed granite and of a fine color. I want to finish the inner -entrance wall in mosaic of blue and gold lapis. The depth to the door -entrance from the outer façade is 20 feet. The door, swung on a six inch -offset of the wall, will be of bronze and glass. Small, carefully -modeled bronze figures of historic importance from Columbus and Raleigh -to the present day will ornament the doors or be modeled into the -supporting frame. The walls of the entrance will carry in gilded bronze -immediately within the entrance ancient Indian symbols; British, French, -Spanish and American seals. - -“The floor of the Hall will be 100 by 80 by 32 feet to an arched -ceiling. At the height of fifteen feet an historic frieze, four feet -wide, will encircle the entire room. Recesses will be cut into these -walls to be filled with bronze and glass cabinets, which will hold the -records stamped on aluminum sheets, rolled separately and placed in -tubes. Busts of our leaders in all human activities will occupy the -recesses between the cabinets. The original thought of a hall of human -records I developed at Stone Mountain in Georgia and my drawings and -full plans are extant; that was never completed. - -“The records of electricity, beginning with Franklin, which has given us -light, heat, music, the radio, the telegraph, the telephone and controls -in power the extent of which we can hardly imagine, must be here, -together with the records of literature, the records of travel, -immigration, religious development and also the record of perhaps the -largest contribution that we have made to humanity, which has been free -controlled peace, a government of the people, by and for the people. -Struggle as we will that great contribution is today the cause for the -real unrest of Europe. Despotism, tyranny of every form is fighting us -wherever it can, to take away from humanity the power freedom gives -it—the power that freedom has given America. - - [Illustration: _Opening of a gorge reached by the Great Stairway is - the massive twenty-foot-high entrance to the Hall of Records._] - -“The Hall will be reached by a monumental flight of steps varying from -15 to 20 feet in width, which will ascend the mountain in front, a -little to one side of the sculpture, rising from a great granite disk or -platform in the canyon below, which may be used as a rostrum from which -speakers may address the public occupying the amphitheater facing the -great group. - - [Illustration: _This picture shows the workmen busy in the early - stages of the work of carving the Hall of Records from the - granite._] - -“These steps of granite and cement will be provided with seats at -intervals of every fifty feet; they will have a five inch rise and an -eighteen inch tread. The ascension from the foot of the steps to the -floor of the great entrance is four hundred feet; the entrance way from -the steps’ landing to the great Hall is 190 feet; the floor of this -Hall, reached by three steps, is two feet above the floor of the -entrance way in the canyon; this to provide for proper drainage.” - -Owing to repeated requests from important organizations of women, the -urging of some senators and congressmen and Mr. Borglum’s own -realization of the part women have played in the development of our -country, plans had been under way for some years to include women in the -great Shrine of Democracy. There was no room in the rock which contains -the heads of the four presidents and the only other place seemed to be -the west wall of the granite cliff, or in the hall of records. To quote -again from Mr. Borglum, from a letter written in January 1940: “If we -decide that the west side of the mountain is suitable, I am for it. We -must work out a design that is fitting and in no sense harmful in the -matter of lighting or location to subjects determined upon and I am -entirely in favor of carving the faces of two or three women. If that is -determined upon, these figures will be near what has been known in the -Rushmore Law as the Inscription and there will be a special paragraph -given to the work and services of women. The original inscription -referred to the framing of the Declaration of Independence; that was -Jefferson’s work and the second was the Constitution. That was -Washington’s greatest service. The third dealt with the purchase of the -Louisiana Territory and the fourth, fifth, and sixth, the progress -towards the south and southwest, involving Florida, Texas and -California, which included Arizona, a portion of Nevada, Utah and a -portion of Idaho. The seventh paragraph brought in the Oregon cession -from England and the purchase of Alaska. There was one paragraph for -Lincoln and one for the finishing of the Panama Canal, which was -achieved by Theodore Roosevelt. - - [Illustration: _The corridor leading from the doorway into the Hall - of Records, showing the marks of the stonecutters’ tools._] - -“So by these suggestions you will see that a splendid paragraph can be -developed for the part women have played in the development of the -nation.” In another part of the letter Mr. Borglum made a place for -women in the Hall of records and even suggested that a special hall -might be carved for them, as there is ample rock for many rooms. - -Calvin Coolidge had been asked to collaborate on the inscription and -wrote the first two paragraphs. Mr. Borglum stood strongly for “Justice” -in the wording, whereas Mr. Coolidge insisted upon “Justice under the -Law.” Newspaper accounts exaggerated the discussion, which unfortunately -was terminated by Mr. Coolidge’s death. - - - - - GEORGE WASHINGTON - - -_In carving the head of George Washington, Mr. Borglum studied all the -known portraits of him and drew heavily on certain famous likenesses -which he preferred because he believed them most faithful to the -character of the man. Borglum was confronted by an extraordinary -problem. He had undertaken to place his sculpture on a mountain peak -over 6000 feet above sea level. His face of Washington, tall as a -five-story building, was to be far up in the sky “where the clouds fold -about it like a great scarf, where the stars blink about its head, and -the moon hides behind a lock of hair.” As Borglum himself pointed out, -it has been the practice of the sculptors of history, immediately they -departed from the normal dimensions of men, to conventionalize and -simplify their faces and to generalize the portraiture, and, in so -doing, lose those qualities which gave distinction. Such methods had no -appeal to Borglum. Vehemently, he brushed aside “the claptrap standards -of Good Enough.” The faces he placed upon the mountain to gaze down upon -hundreds of generations of mankind must be true, great, and noble faces, -and that of Washington would be the gauge of all the rest. Borglum spent -thirteen years digging into every corner of Washington’s life in order -that his portrait might say the last word about the man who is called -the Father of his Country. He made an extensive study of his character -and was deeply impressed by the picture presented by Thomas Jefferson in -the following letter to Dr. Walter Jones, dated at Monticello, January -2, 1814_: - - -I think I knew Gen. Washington intimately and thoroly; and were I called -on to delineate his character, it should be in terms like these. - -His mind was great and powerful, without being of the very first order; -his penetration strong, tho not so acute as that of a Newton, Bacon, or -Locke; and as far as he saw, no judgment was ever sounder. It was slow -in operation, being little aided by invention or imagination, but sure -in conclusion. Hence the common remark of his officers, of the advantage -he derived from councils of war, where hearing all suggestions, he -selected whatever was best; and certainly no general ever planned his -battles more judiciously. But if deranged during the course of the -action, if any member of his plan was dislocated by sudden -circumstances, he was slow in readjustment. The consequence was that he -often failed in the field, and rarely against an enemy in station, as at -Boston and York. - -He was incapable of fear, meeting personal dangers with the calmest -unconcern. Perhaps the strongest feature in his character was prudence, -never acting until every circumstance, every consideration, was maturely -weighed; refraining if he saw a doubt, but when once decided, going thru -with his purpose, whatever obstacles opposed. - -His integrity was most pure, his justice the most inflexible I have ever -known, no motives of interest or consanguinity, of friendship, or -hatred, being able to bias his decision. He was, indeed, in every sense -of the words a wise, a good, and a great man. His temper was naturally -high toned; but reflection and resolution had obtained a firm and -habitual ascendancy over it. If ever, however, it broke its bonds, he -was most tremendous in his wrath. - -In his expenses he was honorable, but exact; liberal in contribution to -whatever promised utility; but frowning and unyielding on all visionary -projects and all unworthy calls on his charity. His heart was not warm -in its affections; but he exactly calculated every man’s value, and gave -him a solid esteem proportioned to it. - -His person, you know, was fine, his stature exactly what one would wish, -his deportment easy, erect and noble; the best horseman of his age, and -the most graceful figure that could be seen on horseback. Altho in the -circle of his friends, where he might be unreserved with safety, he took -a free share in conversation, his colloquial talents were not above -mediocrity, possessing neither copiousness of ideas nor fluency of -words. In public, when called on for a sudden opinion, he was unready, -short, and embarrassed. - -Yet he wrote readily, rather diffusely, in an easy and correct style. -This he had acquired by conversation with the world, for his education -was merely reading, writing, and common arithmetic, to which he added -surveying at a later day. - -His time was employed in action chiefly, reading little, and that only -in agriculture and English history. His correspondence became -necessarily extensive, and, with journalizing his agricultural -proceedings, occupied most of his leisure hours within doors. - -On the whole, his character was, in its mass, perfect, in nothing bad, -in few points indifferent; and it may truly be said that never did -nature and fortune combine more perfectly to make a man great, and to -place him in the same constellation with whatever worthies have merited -from man an everlasting remembrance. For his was the singular destiny -and merit of leading the armies of his country successfully thru an -arduous war, for the establishment of its independence; of conducting -its councils thru the birth of a government, new in its forms and -principles, until it had settled down into a quiet and orderly train; -and of scrupulously obeying the laws thru the whole of his career, civil -and military, of which the history of the world furnishes no other -example.... - - [Illustration: {George Washington}] - - - - - THOMAS JEFFERSON - - -Writing just a century ago, and a few years after Jefferson’s death, one -of his earliest biographers said that it had been that statesman’s fate -“to be at once loved and praised by his friends, and more hated and -reviled by his adversaries than any of his compatriots.” The fact that -much the same could be said of the writing about him today merely shows -that the man is still alive in so far as his influence is both felt and -feared. So is his great antagonist Hamilton. These two exponents of -contrasted philosophies of government, though dead, yet live and are in -the thick of the fight today. The issues for which they fought with all -their strength are not yet settled. Indeed these issues have broadened -and deepened until one in especial has become perhaps the most burning -of all in a bewildered and angry world, the question whether the people -can govern themselves or must be governed. - -Although a political philosopher, Jefferson never set forth his views in -any formal treatise, as did John Adams in his voluminous works or -Hamilton in _The Federalist_. Probably the most widely read man of his -time in America, Jefferson had a broader range of interests—political, -religious, economic, agricultural, aesthetic and scientific—than did any -other of the leaders. His curiosity was insatiable, but in spite of what -has so frequently been asserted, usually by his enemies, although -sometimes by his friends, he was not a mere theorist. He kept his feet -on the ground. It was the practical application of ideas and their -practical effects which appealed most to him and not the ideas in -themselves as viewed by a philosopher. Even when he could not use the -touchstone of experiment in such matters as his belief in the common man -or religious freedom, he was never a doctrinaire. He not only believed -but said over and over that government and institutions had to be suited -to a people of any given time and place and could not be true or good -everywhere and always. - -We do not look to Jefferson for a theory of government or of the state. -To a great extent the things he had to say about government, and the -things for which he strove in his active political life, were based on -the America of his day and the slowly developing agricultural one which -he envisaged in the future, writing as he did, before the machine age. -What gave Jefferson his profound importance in his own day, as it does -now, was his view of human life. He was, and still is, the greatest and -most influential American exponent of both Liberalism and Americanism. - -Liberalism is rather an attitude than a program. It is less a solution -of governmental problems than it is a way of looking at them. It is -based on the doctrine of live and let live. The Liberal is willing to -take risks feared by both Conservatives and Socialists. Not being a -fool, he realizes, as do the others, that society must have a structure; -but he is more concerned with the freedom and fullness of the life of -the citizen within that structure than with the structure itself. - -It may also be noted that even in his native Virginia, Jefferson -antagonized many of the most important interests and families by what -was considered his undermining of a social order. His struggle to break -down entail and primogeniture, to free religion from the fetters of a -State church, and his well-known opposition to slavery, have not even -yet been forgiven by many Virginians who feel that the downfall of the, -in many ways, charming and delightful society of the eighteenth century -was due to one whom they consider a renegade from his own order. As we -shall see later, when Jefferson was involved in financial difficulties -in his old age, the citizens of his own State, unlike many elsewhere, -did not offer him the slightest aid. - -Europe, in the early days of our country, was filled with restraints and -barriers. Jefferson felt that the America of his day offered a unique -opportunity in the annals of mankind to try out the great experiment of -self-government on an unprecedented scale. His Americanism, written in -part into the Declaration of Independence, which he preached throughout -life by word and act, grew out of his personal experience of America -itself. In so far as those qualities of the American people which we -group under the word “Americanism” have been fostered by any one man, in -addition to the natural forces of the American environment, Jefferson is -beyond question that man. - -The struggle going on almost everywhere today, in our own country no -less than in some of those others which have already lost their -liberties, is the struggle between the conception of a strong -centralized state controlling the lives of the citizens for the sake of -economics and national power, and the conception of personal liberty -affording the greatest possible scope for the individual to live his -life as he wills. The old questions which Jefferson and Hamilton fought -over were who is to rule, why are they to rule, what is the object of -their rule? These are now being fought out again, as they always have -been, but with increasing bitterness among vast masses of populations. -That is why both men are living today and why it is worth while to -consider again the life particularly of the one who laid more stress -upon freedom and toleration for the individual than on the strength of -national power. - - JAMES TRUSLOW ADAMS - _from “The Living Jefferson,” 1936_ - - [Illustration: {Thomas Jefferson}] - - - - - ABRAHAM LINCOLN - - -Carlyle once said to Holman Hunt: “I’m only a poor man, but I would give -one third of what I possess for a veritable, contemporaneous -representation of Jesus Christ. Had those carvers of marble chiseled a -faithful statue of the Son of Man, as he called himself, and shown us -what manner of man he was like, what his height, what his build, and -what the features of his sorrow-marked face were, I for one would have -thanked the sculptor with all the gratitude of my heart for that -portrait as one of the most precious heirlooms of the ages.” - -Remarkable as it may seem, were it not for photography and one life -mask, this, with equal truth, might be said of a man who, as the ages -run, has hardly gone from among us. - -Lincoln, one of the greatest of observers, was himself the least truly -observed. God had built him in the backyard of the nation and there, -wrapped in homely guise, had preserved and matured his pure humanity. He -was heard, but seems rarely, if ever, to have been truly seen. The -reports we have of him do not satisfy, do not justify, are inconsistent. -The eastern, old-world eye could not read beyond the queer hat, bad -tailoring, and boots you could not now give away—and he was so long he -fairly had to stoop to look the little world in the face. Never has bad -tailoring, homely, deferential manner, so completely hidden seer, -jester, master of men, as did these simple accoutrements this first -great gift of the West. But it is surprising that professional -observers, artists and writers alike, have drawn and redrawn the untrue -picture. - -A great portrait is always full of compelling presence, more even than -is seen in the original at all times, for a great portrait depicts great -moments and carries the record of the whole man. It is, therefore, not -enough to draw a mask. - -Lincoln is a comfort and a reality, an example, a living inspiration to -every mother and every son in America. No mask will satisfy _us_; we -want to see what we care for; we want to feel the private conscience -that became public conduct. We love this man, because he was all in all -one of us and made all the world peers. Now we begin to see him truly. -Within his coming the West has steadily rolled back the East, and of his -ways the world has many. The silk hat, the tall figure, the swing, the -language and manner have become American, and we all understand. - -Official Washington was shocked by his address. Men, who could have -given us master pictures of a master man, remained unconvinced until he -had passed away. The great portrait was never drawn, and now it is too -late; we must wade through mountains of material and by some strange -divination find in fragments the real man, and, patiently, lovingly, yet -justly, piece them all together. - -It was speculation of this kind that gradually led me to a careful -analysis of Lincoln the man. The _accepted_ portraits of him do not -justify his record. His life, his labors, his writings, made me feel -some gross injustice had been done him in the blind, careless use of -such phrases as _ungainly_, _uncouth_, _vulgar_, _rude_, which were -commonly applied to him by his contemporaries. These popular -descriptions do not fit the master of polished Douglas—nor the man, -whose intellectual arrogance academic Sumner resented. - -I believed the healthy, powerful youth and frontiersman, the lover, -lawyer of spotless record, legislator, the thrice candidate for -President, had been falsely drawn. I believed if properly seen and truly -read, the compelling and enduring greatness of the man would be found -written in his actions, in his figure, in his deportment, in his face, -and that some of this compelling greatness might be gotten into the -stone. To do this, I read all or nearly all he had written, his own -description of himself, the few immediate records of his coming and -going. I then took the life mask, learned it by heart, measured it in -every possible way—for it is infallible—then returned to the habits of -his mind, which his writings gave me, and I recognized that _five_ or -_six_ of the photographs indicated the man. - -Whether Lincoln sat or stood, his was the ease of movement of a figure -controlled by direct and natural development, without a hint of -consciousness. Chairs were low for him and so Lincoln seemed when he sat -down to go farther than was quite easy or graceful. His walk was free -and he moved with a long but rather slow swinging stride. His arms hung -free, and he walked with an open hand. He was erect; he did not stoop at -the shoulders. He bent forward, but from the waistline. His face was -large in its simple masses. His head was normal in size; his forehead -high, regular and ideal in shape. His brow bushed and projected like a -cliff. His eyebrows were very strong. His mouth was not coarse or heavy. -His right side was determined, developed, ancient. The left side was -immature, plain—and physically not impressive. - -You will find written in his face literally all the complexness of his -nature. We see a dual nature struggling with a dual problem, delivering -a single result—to the whole. He was more deeply rooted in the home -principles that are keeping us together than any man who was ever asked -to make his heart-beat national—too great to become president, except by -some extraordinary combination of circumstances. - - GUTZON BORGLUM - - [Illustration: {Abraham Lincoln}] - - - - - THEODORE ROOSEVELT - - -Fromentin said of Peter Paul Rubens, one of the greatest masters who -ever used brush and paint to interpret human character: “He is -systematic, methodical and stern in the discipline of his private life, -in the ordering of his work, in the regulating of his intelligence, in a -kind of strong and sane wholesomeness of his genius. He is simple, -sincere, a model of loyalty to his friends, in sympathy with every one -of talent, (and) untiring and resourceful in his encouragement of -beginners * * *.” The same might have been said with equal truth and -propriety of Theodore Roosevelt. - -Of all the great leaders of this country, he was the most typically -American. The grief and melancholy that seized him following the death -of his first wife drove him into Dakota. Here upon the range he found -surcease from sorrow and sufficient time off from his duties as manager -of his ranch to write about the West. This work won instant recognition -and not only established his place among the literary men of his day but -made him the idol of the Great West. The cowboys with whom he rode the -night herd liked and admired him, and even the roughnecks soon learned -to respect his cool courage and resourcefulness. One encounter with him -did not give encouragement to a second. - -But he was more than a frontiersman and writer. He represented all that -was best in the home, in business and in government. He was energetic, -intelligent and purposeful. He had an aim in life and drove hard and -steadily toward his goal. His enemies seldom outmaneuvered him and he -knew how to strike when a bold stroke was required to accomplish a -desired end. His association with men of all types and his keen -observation gave him an insight into men that enabled him to distinguish -quickly and accurately the spurious from the real. Surface indications -or social position had for him little meaning. He would rather associate -with an uneducated but quick-witted cowpuncher than with the dull and -unimaginative. This accounts for his friendship with men and women in -all walks of life. Talent and ability, usefully employed, always had for -him a special appeal but he was bored and annoyed by the pretentious -commonplace. - -He was by instinct and inclination a reformer and sought to improve all -that was best in public morals, both spiritually and politically. No man -struggling as mightily as he could escape making mistakes, but he was -great enough to recognize them and fair enough to seek to rectify any -injustice that had resulted. His enthusiasm, zeal and sureness of -himself sometimes led him to pursue hopeless and occasionally -ill-considered causes that he later had reason to regret, but by the -large he was a most useful and inspiring personality. - -Two outstanding achievements stand to his credit. One of these was the -building of the Panama Canal, an accomplishment of transcendent -importance to the American people. It is the link that binds the East to -the West by water and has helped to make this country one of the great -commercial and industrial nations of the world. The canal is also of -first importance from the standpoint of national defense and has added -greatly to the mobility and usefulness of our Navy, which has always -been our first line of defense against any possible foreign foe. - -The second was the injection of morals into our politics and the -insistence upon the square deal for every American, be he small or -great. It was this characteristic more than any other that endeared him -to the ordinary man and made him one of the most powerful political -figures and one of the greatest moral forces that has taken possession -of the hearts and minds of men in any age. It was not that he was always -right, but men and women clung to him because they felt that he was -right most of the time and was trying to be right all of the time. - -As a lone fighter he was without a peer in his day and generation, and -had the impetuosity and zeal required to arouse a mighty following in -any cause which he espoused and upon which he had deep convictions. -Every word that he spoke and every manifestation of his personality left -a profound impression upon all those who came into contact with him -either personally or upon the hustings. Everywhere he was impressive, -persuasive and compelling. While he may never be loved as Lincoln was -loved, or rise to the stature of Washington, his example, fortitude in -adversity, and fight for the betterment of his fellow men will ever be -like a beacon going before to inspire men and women everywhere who are -seeking to make the world a better place in which to live. - -It was President Calvin Coolidge who said to Sculptor Gutzon Borglum -that among the immortals to be carved upon Mount Rushmore a place must -be found for Theodore Roosevelt, “because he was the first president to -say to Big Business, ‘thus far you shall go and no farther.’” Washington -is there because he was the trusted leader that made these United States -possible, and was great and strong enough to refuse a crown and lay down -the scepter when his work was done. Jefferson stands at his side because -of his contribution to the rights of man as set forth in the bill of -rights; Abraham Lincoln because he saved the Union from division by his -own martyrdom and his infinite compassion for those who suffered, and -Theodore Roosevelt because he was the greatest moral force for clean -government and the square deal of modern times. - - WILLIAM WILLIAMSON - - [Illustration: {Theodore Roosevelt}] - - - - - AS GREAT MEN SAW IT - - - [Illustration: {Calvin Coolidge}] - -Excerpts from speeches at dedicatory and unveiling ceremonies or -comments made during personal visits to the Memorial. - - -President Calvin Coolidge (Consecration Ceremony, August 10, 1927) - -“We have come here to dedicate a corner stone that was laid by the hand -of the Almighty.... This memorial will be another national shrine to -which future generations will repair to declare their continuing -allegiance to independence, to self government, to freedom and to -economic justice....” - - -President Franklin D. Roosevelt (Jefferson Unveiling) - -“An inspiration for the continuance of the democratic republican form of -government, not only in our own beloved country, but, we hope, -throughout the world.” - - -Lord Halifax (Visiting the Black Hills, March 29, 1946) - -“The most remarkable confluence of the wonder of nature and the art of -man I have ever witnessed.” - - -Judge Albert R. Denu (Borglum Banquet, December 28, 1938) - -“The historian of the future ... will record America’s enduring -achievements and include in his history the name of a Master Sculptor, -whom the earth’s inhabitants of the twentieth century knew as Gutzon -Borglum.” - - [Illustration: {Franklin D. Roosevelt}] - - -_Photograph Credits: Bell Studios, Lincoln Borglum, Charles d’Emery, -Verne’s Photo Shop, Publishers’ Photo Service, Inc., Wyoming Department -of Commerce & Industry, and Rise Studio._ - - - - - MOUNT RUSHMORE NATIONAL MEMORIAL SOCIETY OF BLACK HILLS - - - [Illustration: John A. Boland, Sr. - _President of Mount Rushmore National Memorial Society of Black - Hills_] - -The state of South Dakota and the community of the Black Hills have -logically and with undiminished zeal accepted a considerable financial -and moral responsibility in the evolution of this magnificent Shrine of -Democracy. - -Through the successive stages of locating, planning, sculptoring, -improving and publicizing Mount Rushmore, a liaison with Sculptor Gutzon -Borglum and his son, Lincoln, the President, the Congress and the -Department of Interior has been maintained through the instrumentalities -of three nonprofit organizations. - -The Mount Harney Memorial Association was first authorized to “carve a -memorial in heroic figures” under an act of Congress, approved by -President Coolidge on March 4, 1925. Brought into being through a bill -passed by the South Dakota Legislature, the Association entered into a -formal contract with Gutzon Borglum and work was commenced in 1927. - -Subsequently in 1929, when Federal funds were appropriated for matching -purposes, the Mount Rushmore National Memorial Commission was created, -consisting of twelve members to be named by the President. - -Appointed by President Coolidge to serve on the commission were John A. -Boland, Rapid City, S. D.; Charles R. Crane, New York, N. Y.; Joseph S. -Cullinan, Houston, Texas; C. M. Day, Sioux Falls, S. D.; D. B. Gurney, -Yankton, S. D.; Hale Holden, Chicago; Frank O. Lowden, Oregon, Ill.; -Julius Rosenwald, Chicago; Fred W. Sargent, Evanston, Ill. and Mrs. -Lorine Jones Spoonts, Corpus Christi, Texas. - -Mr. Cullinan became the Commission’s first president and Mr. Boland was -named chairman of the executive committee at a session in the White -House, where it met upon invitation of the President on June 6, 1929. - -It was the Mount Rushmore National Memorial Commission which assumed -financial responsibility for the Memorial, taking over all property and -contracts from the Mount Harney Association, employing the services of a -staff for the sculptor and disbursing federal and privately-solicited -funds during the course of construction. - -It was also the parent organization for the present Mount Rushmore -National Memorial Society of Black Hills, incorporated under the laws of -the District of Columbia in 1930. And while the Society’s objectives -were identical with those of the Commission, it had additional -authority, including the sale of memberships, management of concessions -and the use of available funds for advertising and publicity. - -A long list of “Who’s Who” in America and South Dakota have been -recorded in the annals and on the membership roll of the Mount Rushmore -Society. Membership certificate No. 1 is held by John Hays Hammond, -world famed mining engineer, lecturer, consultant of Cecil Rhodes and -active in the development of hydro-electric and irrigation projects. -Number two belongs to Newton D. Baker, Secretary of War under President -Wilson and a one-time member of the Permanent Court of International -Justice at The Hague. - -Other original members, some of whose heirs hold the certificates, are -John N. Garner, vice president of the United States; Julius Rosenwald, -American merchant and philanthropist; Sewell L. Avery, chain store -magnate; Mary Garden, American operatic soprano; Walter Dill Scot, -author and president of Northwestern University; Nicholas Murray Butler, -president of Columbia University and Nobel Peace Prize winner in 1931, -and Vilhjalmur Stefanson, Arctic Explorer, to mention a few. - -The Society’s Board of Trustees presently is composed of Paul E. -Bellamy, John A. Boland, Mrs. Gutzon Borglum, Lincoln Borglum, Francis -Case, Fred C. Christopherson, Miss Nina Cullinan, George E. Flavin, Mrs. -William Fowden, Mrs. Peter Norbeck, Robert E. Driscoll, Sr., Eugene C. -Eppley, Mrs. Frank M. Lewis and William Williamson. Walter H. Johnson is -treasurer and K. F. Olsen secretary. The Commission is not active at -this time. - -Originally a portion of the Federal Game Sanctuary in the Harney -National Forest, the 1,686-acre tract that comprises the Mount Rushmore -National Memorial was established in 1929 but did not come under the -National Park Service jurisdiction until 1939. - -During the interim, the South Dakota State Highway Commission -constructed the present Memorial Highway from its junction with U. S. -Highway 16. It also built the Iron Mountain Drive with the three tunnels -that frame the Shrine of Democracy. The planning and intricate -engineering skill that went into building the Iron Mountain Highway was -extremely ingenious in itself. - - - - - Transcriber’s Notes - - -—Silently corrected a few typos. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - - - - - -End of Project Gutenberg's Mount Rushmore National Memorial, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK MOUNT RUSHMORE NATIONAL MEMORIAL *** - -***** This file should be named 61106-0.txt or 61106-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/1/0/61106/ - -Produced by Stephen Hutcheson, Lisa Corcoran and the Online -Distributed Proofreading Team at http://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/61106-0.zip b/old/61106-0.zip Binary files differdeleted file mode 100644 index 8c875c0..0000000 --- a/old/61106-0.zip +++ /dev/null diff --git a/old/61106-h.zip b/old/61106-h.zip Binary files differdeleted file mode 100644 index 40ce722..0000000 --- a/old/61106-h.zip +++ /dev/null diff --git a/old/61106-h/61106-h.htm b/old/61106-h/61106-h.htm deleted file mode 100644 index 5a67c0c..0000000 --- a/old/61106-h/61106-h.htm +++ /dev/null @@ -1,2274 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<meta http-equiv="Content-Style-Type" content="text/css" /> -<meta name="viewport" content="width=device-width, initial-scale=1.0" /> -<title>Mount Rushmore National Memorial, by Mount Rushmore National Memorial Society of Black Hills—a Project Gutenberg eBook</title> -<meta name="author" content="Mount Rushmore National Memorial Society of Black Hills" /> -<meta name="pss.pubdate" content="1948" /> -<link rel="coverpage" href="images/cover.jpg" /> -<link rel="spine" href="images/spine.jpg" /> -<link rel="schema.DC" href="http://dublincore.org/documents/1998/09/dces/" /> -<meta name="DC.Title" content="Mount Rushmore National Memorial" /> -<meta name="DC.Language" content="en" /> -<meta name="DC.Format" content="text/html" /> -<meta name="DC.Created" content="1948" /> -<meta name="DC.Creator" content="Mount Rushmore National Memorial Society of Black Hills" /> -<style type="text/css"> -/* == GLOBAL MARKUP == */ -body, table.twocol tr td { margin-left:2em; margin-right:2em; } /* BODY */ -.box { border-style:double; margin-bottom:2em; max-width:30em; margin-right:auto; margin-left:auto; margin-top:2em; clear:both; } -.box div.box { border-style:solid; margin-right:auto; margin-left:auto; max-width:26em; } -.box p { margin-right:1em; margin-left:1em; } -.box dl { margin-right:1em; margin-left:1em; } -h1, h2, h5, h6, .titlepg p { text-align:center; clear:both; text-indent:0; } /* HEADINGS */ -h2 { margin-top:1.5em; margin-bottom:1em; font-size:100%; text-align:center; } -h2 .small { font-size:150%; } -h1 { margin-top:3em; } -h1 .likep { font-weight:normal; font-size:50%; } -div.box h1 { margin-top:1em; margin-left:.5em; margin-right:.5em; } -h3 { font-size:100%; margin-top:2.5em; text-align:center; clear:both; } -h4, h5 { font-size:100%; text-align:right; clear:right; } -h6 { font-size:100%; } -h6.var { font-size:80%; font-style:normal; } -.titlepg { margin-left:auto; margin-right:auto; border-style:double; clear:both; } -span.chaptertitle { font-style:normal; display:block; text-align:center; font-size:150%; text-indent:0; } -.tblttl { text-align:center; text-indent:0;} -.tblsttl { text-align:center; font-variant:small-caps; text-indent:0; } - -pre sub.ms { width:4em; letter-spacing:1em; } -table.fmla { text-align:center; margin-top:0em; margin-bottom:0em; margin-left:0em; margin-right:0em; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } -td.cola { text-align:left; vertical-align:100%; } -td.colb { text-align:justify; } - -p, blockquote, div.p, div.bq { text-align:justify; } /* PARAGRAPHS */ -div.p, div.bq { margin-top:1em; margin-bottom:1em; } -blockquote, .bq { margin-left:1em; margin-right:0em; } -.verse { font-size:100%; } -p.indent {text-indent:2em; text-align:left; } -p.tb, p.tbcenter, verse.tb, blockquote.tb { margin-top:2em; } - -span.pb, div.pb, dt.pb, p.pb /* PAGE BREAKS */ -{ text-align:right; float:right; margin-right:0em; clear:right; } -div.pb { display:inline; } -.pb, dt.pb, dl.toc dt.pb, dl.tocl dt.pb, dl.undent dt.pb, dl.index dt.pb { text-align:right; float:right; margin-left: 1.5em; - margin-top:.5em; margin-bottom:.5em; display:inline; text-indent:0; - font-size:80%; font-style:normal; font-weight:bold; - color:gray; border:1px solid gray;padding:1px 3px; } -div.index .pb { display:block; } -.bq div.pb, .bq span.pb { font-size:90%; margin-right:2em; } - -div.img, body a img {text-align:center; margin-left:auto; margin-right:auto; margin-top:2em; margin-bottom:2em; clear:right; } - -sup, a.fn { font-size:75%; vertical-align:100%; line-height:50%; font-weight:normal; } -h3 a.fn { font-size:65%; } -sub { font-size:75%; } -.center, .tbcenter { text-align:center; clear:both; text-indent:0; } /* TEXTUAL MARKUP */ -span.center { display:block; } -table.center { clear:both; margin-right:auto; margin-left:auto; } -table.center tr td.l {text-align:left; margin-left:0em; } -table.center tr td.j {text-align:justify; } -table.center tr td.ltab { text-align:left; width:1.5em; } -table.center tr td.t {text-align:left; text-indent:1em; } -table.center tr td.t2 {text-align:left; text-indent:2em; } -table.center tr td.r, table.center tr th.r {text-align:right; } -table.center tr th.rx { width:4.5em; text-align:right; } -table.center tr th {vertical-align:bottom; } -table.center tr td {vertical-align:top; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } - -p { clear:left; } -.small, .lsmall { font-size:90%; } -.smaller { font-size:80%; } -.smallest { font-size:67%; } -.larger { font-size:150%; } -.large { font-size:125%; } -.xlarge { font-size:200%; line-height:60%; } -.xxlarge { font-size:200%; line-height:60%; } -.gs { letter-spacing:1em; } -.gs3 { letter-spacing:2em; } -.gslarge { letter-spacing:.3em; font-size:110%; } -.sc { font-variant:small-caps; font-style:normal; } -.unbold { font-weight:normal; } -.xo { position:relative; left:-.3em; } -.over { text-decoration: overline; display:inline; } -hr { width:20%; margin-left:40%; } -hr.dwide { margin-top:0; margin-bottom:0; width:90%; margin-left:5%; } -hr.double { margin-top:0; margin-bottom:0; width:100%; margin-left:0; margin-right:0; } -hr.f { margin-top:0; margin-bottom:0; width:100%; margin-left:0; } -.jl { text-align:left; } -.jr, .jri { text-align:right; min-width:2em; display:inline-block; float:right; } -.pcap .jri { font-size:80%; } -.jr1 { text-align:right; margin-right:2em; } -h1 .jr { margin-right:.5em; } -.ind1 { text-align:left; margin-left:2em; } -.u { text-decoration:underline; } -.hst { margin-left:2em; } -.hst { margin-left:4em; } -.rubric { color:red; } -.blue { color:blue; background-color:white; } -.green { color:green; background-color:white; } -.yellow { color:orange; background-color:white; } -.cnwhite { color:white; background-color:black; min-width:2em; display:inline-block; - text-align:center; font-weight:bold; font-family:sans-serif; } -.cwhite { color:white; background-color:black; text-align:center; font-weight:bold; - font-family:sans-serif; } -ul li { text-align:justify; } -u.dbl { text-decoration:underline; } -.ss { font-family:sans-serif; font-weight:bold; } -.ssn { font-family:sans-serif; font-weight:normal; } -p.revint { margin-left:2em; text-indent:-2em; } -i .f { font-style:normal; } -.b { font-weight:bold; } -.i { font-style:italic; } -.f { font-style:italic; font-weight:bold; } - -dd.t { text-align:left; margin-left: 5.5em; } -dl.toc { clear:both; margin-top:1em; } /* CONTENTS (.TOC) */ -.toc dt.center { text-align:center; clear:both; margin-top:3em; margin-bottom:1em; text-indent:0;} -.toc dt { text-align:right; clear:left; } -.toc dd { text-align:right; clear:both; } -.toc dd.ddt { text-align:right; clear:both; margin-left:4em; } -.toc dd.ddt2 { text-align:right; clear:both; margin-left:5em; } -.toc dd.ddt3 { text-align:right; clear:both; margin-left:6em; } -.toc dd.ddt4 { text-align:right; clear:both; margin-left:7em; } -.toc dd.ddt5 { text-align:right; clear:both; margin-left:8em; } -.toc dd.note { text-align:justify; clear:both; margin-left:5em; text-indent:-1em; margin-right:3em; } -.toc dt .xxxtest {width:17em; display:block; position:relative; left:4em; } -.toc dt a, -.toc dd a, -.toc dt span.left, -.toc dt span.lsmall, -.toc dd span.left { text-align:left; clear:right; float:left; } -.toc dt a span.cn { width:4em; text-align:right; margin-right:.7em; float:left; } -.toc dt.sc { text-align:right; clear:both; } -.toc dt.scl { text-align:left; clear:both; font-variant:small-caps; } -.toc dt.sct { text-align:right; clear:both; font-variant:small-caps; margin-left:1em; } -.toc dt.jl { text-align:left; clear:both; font-variant:normal; } -.toc dt.scc { text-align:center; clear:both; font-variant:small-caps; text-indent:0; } -.toc dt span.lj, span.lj { text-align:left; display:block; float:left; } -.toc dd.center { text-align:center; text-indent:0; } -dd.tocsummary {text-align:justify; margin-right:2em; margin-left:2em; } -dd.center .sc {display:block; text-align:center; text-indent:0; } -/* BOX CELL */ -td.top { border-top:1px solid; width:.5em; height:.8em; } -td.bot { border-bottom:1px solid; width:.5em; height:.8em; } -td.rb { border:1px solid; border-left:none; width:.5em; height:.8em; } -td.lb { border:1px solid; border-right:none; width:.5em; height:.8em; } -td span.cellt { text-indent:1em; } -td span.cellt2 { text-indent:2em; } -td span.cellt3 { text-indent:3em; } -td span.cellt4 { text-indent:4em; } - -/* INDEX (.INDEX) */ -dl.index { clear:both; } -.index dt { margin-left:2em; text-indent:-2em; text-align:left; } -.index dd { margin-left:4em; text-indent:-2em; text-align:left; } -.index dd.t { margin-left:6em; text-indent:-2em; text-align:left; } -.index dt.center {text-align:center; text-indent:0; } - dl.indexlr { clear:both; margin-left:auto; margin-right:auto; max-width:20em; } - dl.indexlr dt { clear:both; text-align:right; } - dl.indexlr dt span { text-align:left; display:block; float:left; } - dl.indexlr dt.center {text-align:center; text-indent:0; } -.ab, .ab1, .ab2 { -font-weight:bold; text-decoration:none; -border-style:solid; border-color:gray; border-width:1px; -margin-right:0px; margin-top:5px; display:inline-block; text-align:center; text-indent:0; } -.ab { width:1em; } -.ab2 { width:1.5em; } -a.gloss { background-color:#f2f2f2; border-bottom-style:dotted; text-decoration:none; border-color:#c0c0c0; color:inherit; } - /* FOOTNOTE BLOCKS */ -div.notes p { margin-left:1em; text-indent:-1em; text-align:justify; } - -dl.undent dd { margin-left:3em; text-indent:-2em; text-align:justify; } -dl.undent dt { margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.undent dd.t { margin-left:4em; text-indent:-2em; text-align:justify; } - /* POETRY LINE NUMBER */ -.lnum { text-align:right; float:right; margin-left:.5em; display:inline; } - -.hymn { text-align:left; } /* HYMN AND VERSE: HTML */ -.verse { text-align:left; margin-top:1em; margin-bottom:1em; margin-left:0em; } -.versetb { text-align:left; margin-top:2em; margin-bottom:1em; margin-left:0em; } -.originc { text-align:center; text-indent:0; } -.subttl { text-align:center; font-size:80%; text-indent:0; } -.srcttl { text-align:center; font-size:80%; text-indent:0; font-weight:bold; } -p.lc { text-indent:0; text-align:center; margin-top:0; margin-bottom:0; } -p.t0, p.l { margin-left:4em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lb { margin-left:4em; text-indent:-3em; margin-top:2em; margin-bottom:0; text-align:left; } -p.tw, div.tw, .tw { margin-left:1em; text-indent:-1em; margin-top:0; margin-bottom:0; text-align:left; } -p.t, div.t, .t { margin-left:5em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t2, div.t2, .t2 { margin-left:6em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t3, div.t3, .t3 { margin-left:7em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t4, div.t4, .t4 { margin-left:8em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t5, div.t5, .t5 { margin-left:9em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t6, div.t6, .t6 { margin-left:10em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t7, div.t7, .t7 { margin-left:11em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t8, div.t8, .t8 { margin-left:12em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t9, div.t9, .t9 { margin-left:13em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t10, div.t10,.t10 { margin-left:14em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t11, div.t11,.t11 { margin-left:15em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t12, div.t12,.t12 { margin-left:16em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t13, div.t13,.t13 { margin-left:17em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t14, div.t14,.t14 { margin-left:18em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t15, div.t15,.t15 { margin-left:19em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lr, div.lr, span.lr { display:block; margin-left:0em; margin-right:1em; margin-top:0; margin-bottom:0; text-align:right; } -dt.lr { width:100%; margin-left:0em; margin-right:0em; margin-top:0; margin-bottom:0; margin-top:1em; text-align:right; } -dl dt.lr a { text-align:left; clear:left; float:left; } - -.fnblock { margin-top:2em; margin-bottom:2em; } -.fndef, p.fn { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; } -.fndef p.fncont, .fndef dl { margin-left:0em; text-indent:0em; } -.fnblock div.fncont { margin-left:1.5em; text-indent:0em; margin-top:1em; } -.fnblock dl { margin-top:0; margin-left:4em; text-indent:-2em; } -.fnblock dt { text-align:justify; } -dl.catalog dd { font-style:italic; } -dl.catalog dt { margin-top:1em; } -.author { text-align:right; margin-top:0em; margin-bottom:0em; display:block; } - -dl.biblio dt { margin-top:.6em; margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.biblio dt div { display:block; float:left; margin-left:-6em; width:6em; clear:both; } -dl.biblio dt.center { margin-left:0em; text-align:center; text-indent:0; } -dl.biblio dd { margin-top:.3em; margin-left:3em; text-align:justify; font-size:90%; } -p.biblio { margin-left:2em; text-indent:-2em; } -.clear { clear:both; } -p.book { margin-left:2em; text-indent:-2em; } -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.pcap { margin-left:0em; text-indent:0; text-align:center; margin-top:0; } -p.pcapc { margin-left:4.7em; text-indent:0em; text-align:justify; } -span.attr { font-size:80%; font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; }</style> -</head> -<body> - - -<pre> - -The Project Gutenberg EBook of Mount Rushmore National Memorial, by Anonymous - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Mount Rushmore National Memorial - A monument commemorating the conception, preservation, and - growth of the great American republic - -Author: Anonymous - -Release Date: January 5, 2020 [EBook #61106] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK MOUNT RUSHMORE NATIONAL MEMORIAL *** - - - - -Produced by Stephen Hutcheson, Lisa Corcoran and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="Mount Rushmore National Memorial" width="500" height="647" /> -</div> -<div class="box"> -<h1><span class="large"><i>Mount Rushmore</i></span> -<br /><span class="small">NATIONAL MEMORIAL</span></h1> -<p class="center">A MONUMENT COMMEMORATING THE CONCEPTION, PRESERVATION, AND GROWTH OF THE GREAT AMERICAN REPUBLIC</p> -<div class="img"> -<img src="images/p01a.jpg" alt="Location practically in the Center of the North American Continent" width="300" height="306" /> -</div> -<p class="center"><span class="small">PUBLISHED BY THE</span> -<br />Mount Rushmore National Memorial Society of Black Hills -<br />1948</p> -</div> -<div class="img" id="fig1"> -<img src="images/p02.jpg" alt="" width="627" height="800" /> -<p class="pcap">GUTZON BORGLUM</p> -</div> -<h2 id="toc" class="center"><span class="small">CONTENTS</span></h2> -<dl class="toc"> -<dt><a href="#c1">Foreword</a> 1</dt> -<dt><a href="#c2">The Mighty Works of Borglum</a> 5</dt> -<dt><a href="#c3">From the Beginning</a> 9</dt> -<dt><a href="#c4">The Role of the National Park Service</a> 16</dt> -<dd><a href="#c5">Wind Cave National Park</a> 17</dd> -<dd><a href="#c6">Badlands National Monument</a> 17</dd> -<dd><a href="#c7">Jewel Cave National Monument</a> 17</dd> -<dd><a href="#c8">Devils Tower National Monument</a> 17</dd> -<dt><a href="#c9">The Antiquity of Mount Rushmore</a> 18</dt> -<dt><a href="#c10">The Hall of Records and Great Stairway</a> 20</dt> -<dt><a href="#c11">George Washington</a> 22</dt> -<dt><a href="#c12">Thomas Jefferson</a> 24</dt> -<dt><a href="#c13">Abraham Lincoln</a> 26</dt> -<dt><a href="#c14">Theodore Roosevelt</a> 28</dt> -<dt><a href="#c15">As Great Men Saw It</a> 30</dt> -<dt><a href="#c16">Mount Rushmore National Memorial Society of Black Hills</a> 31</dt> -</dl> -<div class="pb" id="Page_1">1</div> -<h2 id="c1"><span class="small"><i>FOREWORD</i></span></h2> -<p><i>A monument’s dimensions should be determined by the importance to civilization of -the events commemorated. We are not here trying to carve an epic, portray a moonlight -scene, or write a sonnet; neither are we dealing with mystery or tragedy, but rather the -constructive and the dramatic moments or crises in our amazing history. We are cool-headedly, -clear-mindedly setting down a few crucial, epochal facts regarding the -accomplishments of the Old World radicals who shook the shackles of oppression from -their light feet and fled despotism to people a continent: who built an empire and -rewrote the philosophy of freedom and compelled the world to accept its wiser, happier -forms of government.</i></p> -<p><i>We believe the dimensions of national heartbeats are greater than village impulses, -greater than city demands, greater than state dreams or ambitions. Therefore, we -believe a nation’s memorial should, like Washington, Jefferson, Lincoln and Roosevelt, -have a serenity, a nobility, a power that reflects the gods who inspired them and suggests -the gods they have become.</i></p> -<p><i>As for sculptured mountains—</i></p> -<p><i>Civilization, even its fine arts, is, most of it, quantity-produced stuff; education, -law, government, wealth—each is enduring only as the day. Too little of it lasts into -tomorrow and tomorrow is strangely the enemy of today, as today has already begun to -forget buried yesterday. Each succeeding civilization forgets its predecessor, and out of -its body builds its homes, its temples. Civilizations are ghouls. Egypt was pulled apart -by its successor; Greece was divided among the Romans; Rome was pulled to pieces by -bigotry and a bitterness much of which was engendered in its own empire building.</i></p> -<p><i>I want, somewhere in America on or near the Rockies, the backbone of the Continent, -so far removed from succeeding, selfish, coveting civilizations, a few feet of stone -that bears witness, carries the likenesses, the dates, a word or two of the great things we -accomplished as a Nation, placed so high it won’t pay to pull down for lesser purposes.</i></p> -<p><i>Hence, let us place there, carved high, as close to heaven as we can, the words of our -leaders, their faces, to show posterity what manner of men they were. Then breathe a -prayer that these records will endure until the wind and the rain alone shall wear -them away.</i></p> -<div class="img" id="fig2"> -<img src="images/p02b.jpg" alt="" width="300" height="88" /> -<p class="pcap"><i>Gutzon Borglum</i></p> -</div> -<div class="pb" id="Page_5">5</div> -<h2 id="c2"><span class="small">THE MIGHTY WORKS OF BORGLUM</span> -<br /><i>By</i> RUPERT HUGHES</h2> -<p>How big is great? How high is up?</p> -<p>In the wide and numberless fields of creative -art, size is a matter of spirit rather than of material -bulk. A sonnet may be a masterpiece, and an epic -rubbish; or an epic may be sublime, a sonnet petty.</p> -<p>It is only affectation to confine one’s praise to small -things. Because a poet delights in a brook chuckling -through a thicket of birches he need not therefore despise -Niagara. The word “colossal” should not be surrendered -entirely to the advertisers.</p> -<p>The Shakespeare of the sonnets wrote also “Hamlet” -and “King Lear.” The Beethoven who wrote the giggling -<i>Scherzos</i> wrote also the titanic Ninth and added its mighty -chorus. Michelangelo did statuettes and sonnets, but also -his “Day of Judgment” and his prodigious horned Moses.</p> -<p>To the sincere artist it is the idea that is vital. Once -that has inflamed him, he seeks only to give it the shape -and the size that its nature dictates.</p> -<p>So Gutzon Borglum, being sensitive to all the moods of -life, a born poet, with an innate love of form for its own -sake, quick to glow with inspirations of every kind and -determined to give each its unique and eloquent shape, -has painted and carved without fear or favor the exquisite -and the tremendous with equal fidelity.</p> -<p>His genius shines in the little bas-relief of a nymph; in -sardonic gargoyles; in the tiny yet epic statuette of the -dying Nero, a bloated coward tangled in his toga and -drooping to his ignoble death; in the suave portrait of the -seated Ruskin; the pathos of the old Boer warrior; in the -billowy rush of the stampeding “Mares of Diomedes”; in -his colossal head of Lincoln; in his war memorial for -Newark, New Jersey, with its marvellously composed -forty-two figures and two horses; his magnificent plan for -the Stone Mountain, whose thwarting is one of the great -tragedies of art; and finally in his supreme achievement, -the Mount Rushmore Memorial, where he brought his -art to the mountains and left there the four great faces -for all eternity.</p> -<p>This unparalleled accomplishment seems to have been -not so much the carving of those vast heads upon the -peaks as the beating away of the veiling, smothering -stone and the releasing of the imprisoned statesmen so -that they might look out upon the world and utter their -lofty messages in a silence more pervasive and sonorous -than any trumpet-tone.</p> -<p>The heads stand up there against the clouds like cloud-gods. -Yet they are not offered as gods, but as plain men -who glorified the plain man. Each of them is greater in -magnitude than the so-called Egyptian Sphinx. The -Sphinx represented an unanswerable riddle and she -cruelly destroyed all who could not answer it. But these -presidents of ours represent brave, clear thinking towards -safety and dignity and happiness for all mankind.</p> -<p>The Sphinx was really a portrait, the largest portrait -ever made till Borglum came along. It is the head of King -Khafre set on the body of a crouching lion guarding the -king’s tomb, with his pyramid back of it. Khafre had it -built during a reign that ended over four thousand, seven -hundred and fifty years ago.</p> -<p>Near the Sphinx and Khafre’s pyramid is the greater -pyramid of King Khufu, better known to us as Cheops. -He lived from 2898 to 2875 BC. and his pyramid contains -over two million blocks of stone, of an average -weight of two and a half tons. Herodotus was told that it -took a hundred thousand men twenty years to build it.</p> -<p>Near Karnak there are still standing—or sitting—two -portrait statues of Amenhotep III, who ruled fourteen -hundred years B.C.—just about the time of Moses. These -statues are seventy feet high.</p> -<p>One of the four colossal statues at Abu Simbel represents -Rameses II, who died about two thousand, six hundred -years ago. Lying on its side is a broken statue of -Rameses II, once 90 feet high and carved from a single -thousand-ton block. This and another statue of him in -granite ninety feet high were, according to Breasted -writing in 1905, “the greatest monolithic statues ever -executed.”</p> -<p>But Borglum’s bust of Washington is larger than the -whole figure of Rameses, Lincoln’s nose is 21 feet long -and the sparkle in his eye is secured by a block of granite -thirty inches long.</p> -<p>Some of the Egyptian portraits were carved upon their -cliffs somewhat as Borglum’s statues are upon the peaks. -At Abu Simbel there are four such statues of enormous -bulk.</p> -<p>The Assyrians also built huge monuments, and inscribed -the texts of whole histories on the faces of cliffs. -Their kings were usually represented as enormous winged -bulls with the heads of bearded men. These were called, -strangely enough, “cherubs.”</p> -<p>The Greeks created for their greater gods statues of -gold and ivory—whence the epithet “chryselephantine.” -Such was the colossal Zeus that Pheidias made for Olympia. -It was about fifty feet high. Pheidias made also two -colossal figures of Athena for Athens, one in bronze that -stood up like a lighthouse and was visible to sailors far -<span class="pb" id="Page_6">6</span> -out to sea. The other had ivory flesh and robes of gold, -and was seventy feet high.</p> -<p>The famous bronze Colossus of Rhodes, erected about -274 B.C. by Chares of Lindus, was 105 feet high. It did -not straddle a stream, as tradition has it. Half a century -after it was set up, an earthquake overthrew it; in 656 -A.D. it was sold for junk and carried off by a caravan of -900 camels.</p> -<p>In China one still sees enormous Buddhas, and in our -own world the Mayan monstrosities are being brought -back from the jungle that swallowed them like a sea.</p> -<p>The statue of Liberty—a gift to us from France—is 151 -feet high; with its pedestal it is 305 feet tall.</p> -<p>But none of the giants ancient or modern has approached -the size of the greater works of Borglum.</p> -<p>This carver of mountains was himself a mountainy -man, born in the mountainous state of Idaho on March -25, 1871. His full name was John Gutzon de la Mothe -Borglum. His parents had come over from Denmark. His -father, at first a woodcarver, became a physician and surgeon, -also a breeder of horses on a 6000-acre ranch. He -had no money to give his children, but he gave them a -love of form and a knowledge of the horse that not only -inspired Gutzon Borglum to some of his most magnificent -work, but also made a splendid career for his younger -brother, Solon. Solon took fire from Gutzon’s fire, -worked his way to Paris, won honors there, and came -home to his West where he turned out a stream of important -sculptures that perpetuate many poignant phases of -Western life. His life was suddenly ended in 1922 by an -attack of acute appendicitis.</p> -<p>Gutzon’s indomitable will carried him from the Idaho -ranch to an art school in San Francisco, thence to Paris. -He began as both painter and sculptor and was accepted -as both by the French salons. In England, critics and -royalty heaped honors on him. After painting a series of -murals for a big hotel at Leeds and another series for a -concert hall at Manchester, he began to abandon the -brushes for the chisel, and to turn out statuary in almost -every field and almost every imaginable form.</p> -<p>From the first, his works won the highest honors. The -Metropolitan Museum bought his “Mares of Diomedes” -at once and the French Government promptly purchased -a partial replica of it for the Luxembourg Gallery. Commissions -rained on him and there was never any repetition -in the spirit or treatment of his responses.</p> -<p>There is not space here for even a catalogue of his -triumphs. He also wrote much and well. He was an engineer -and an inventor, overcoming by his own skill supposedly -unconquerable problems involved in the construction -of his larger works. He was an orator of eloquence -with a practical skill in politics. At times he was -a statesman and the close associate of Paderewski and -Masaryk in their re-creation of their lost republics. -During the first World War he investigated and exposed -the causes for a mysterious and dangerous failure in -American aircraft manufacture. His career has a strange -kinship in its versatility with that of Leonardo da Vinci, -and I believe that his name will live as long.</p> -<p>In 1909 he married Mary Montgomery, a distinguished -scholar in ancient Oriental languages, and a translator of -cuneiform inscriptions. A son and a daughter blessed this -union of two great souls.</p> -<p>It was in 1907 that I first met Gutzon Borglum while -preparing an article on his work, to which I paid complete -homage. This was the beginning of a lifelong friendship -of which I wrote him while he was glorifying the -South Dakota mountains:</p> -<p>“I have always had an awe and a reverence for you -that fought with my love for the simple, jovial, twinkling-eyed -friend you always were.”</p> -<p>He answered: “You have said your say about me and -it is a wet eye that reads through the letter. You know -how vandalism in the name of Civilization raids the -tombs of our ancestors and destroys the records of History. -One of my motives in this work was to carve these -records of our great West-World adventure as high into -the heavens as I could find the stone.”</p> -<p>As man and as sculptor he was passionately American -and he has not only given to his country monuments of -art that equal the greatest of other nations, but he has -given artistic expression to the ideals that make America -America.</p> -<p>The Sphinx and its temple have only recently been -recovered from the sand that submerged them for -thousands of years. Yet even now the worst tyrannies and -cruelties of the Pharaohs have been revived and paralleled -in Europe, just as our gentlest, noblest ideals were -to be found co-existing with savagery in ancient Egypt.</p> -<p>I hope, I believe that in 7000 A.D. there will be pilgrimages -to Mount Rushmore by Americans still keeping -alive the flames of freedom kindled and rekindled by the -four heroes Borglum had immortalized, immortalizing -himself and his and their ideals along with them.</p> -<p>His Mount Rushmore Memorial presents to posterity -four great Americans who upheld the rights and equalities -of all mankind, and who were themselves the very -personifications of Americanism.</p> -<p>Their noble heads are lofty enough to mingle with the -clouds, and the parading lights of sun and moon and -stars, and the processionals of rain and snow and mist -give them a beauty that is always changing yet everlastingly -changeless.</p> -<p>Only a great soul and a great artist could have conceived -or achieved such a monument to them and to -himself. His gifts of spirit and execution were, I feel, unsurpassed -by anything of their kind in the history of the -world.</p> -<div class="pb" id="Page_7">7</div> -<div class="img"> -<img src="images/p03.jpg" alt="The Memorial" width="800" height="610" /> -</div> -<div class="pb" id="Page_8">8</div> -<div class="img" id="fig3"> -<img src="images/p04.jpg" alt="" width="800" height="608" /> -<p class="pcap"><i>The Memorial in winter with a light fall of snow softening the -surrounding landscape.</i></p> -</div> -<div class="pb" id="Page_9">9</div> -<h2 id="c3"><span class="small">FROM THE BEGINNING</span> -<br /><i>By</i> MRS. GUTZON BORGLUM</h2> -<p>A nation’s memorials are a record of its civilization -and the artist who builds them is the instrument -of his time. He is inspired by the same forces that -influence the nation’s destiny—the greater the period, -the greater the art. The artist cannot escape his destiny. -Like the “Hound of Heaven” it “pursues him down the -years,” forces him to leave his home, to go into exile, to -combat mountains even, to accomplish what must be.</p> -<p>How else can we explain why a man should abandon -a comfortable way of life, among pleasant surroundings, -to hurl himself against a gigantic rock, to cling like a -human fly to a perpendicular peak, to struggle with -hostile human nature, in order to carve against the sky -a record of the great experiment in democracy on this -continent—a record which will live on and be an inspiration -to future generations, a shrine to be visited, even -after the thing it commemorated may have passed.</p> -<p>This is the history of Rushmore told in a few words. -The contributing factors are of interest and should be -related but two outstanding facts are that a few kindred -souls, giants in their day, fostered a form of democratic -government and established a great nation and that a -hundred and fifty years later another group of Americans -realized the importance of making a record in the granite -for all time of what manner of men they were and what -they achieved.</p> -<p>The initial step in this great enterprise was taken by -Doane Robinson, state historian of South Dakota, who -had heard of the monument being carved in Georgia by -Gutzon Borglum to honor the heroes of the South in the -war between the states and thought it would be a fine -idea to have a similar patriotic shrine in South Dakota to -bring that state to the attention of the nation.</p> -<p>Mr. Robinson invited Mr. Borglum in 1924 to visit the -Black Hills to see what could be done. The first thought -was to carve the likeness of Washington and perhaps of -Lincoln in one of the granite upthrusts known as the -Needles. The stone, however, was not suitable and there -was no special reason for memorializing Washington and -Lincoln as individual presidents in South Dakota. Then -Mr. Robinson told the sculptor of a lead tablet discovered -by children playing near old Fort Pierre, which had been -planted there in 1743 by Verendrye, an emissary of Louis -of France, sent to establish French territory behind the -English. This fired his imagination. Here was a subject -for the great memorial he wanted to carve in the Hills.</p> -<p>South Dakota lies in the heart of the old Louisiana -Territory, purchased by Jefferson in 1803, in order to -control the mouth of the Mississippi, which marked the -first step away from the Atlantic seaboard colonies in the -expansion of the little republic. That step led to the establishment -of Texas, the conquest of California, the -acquisition of Oregon and Alaska and the spanning of the -continent from ocean to ocean by the empire nation -called the United States. This was a subject worthy of a -mountain—a monument to a nation, to its philosophy of -government, its ideals and aspirations, its great leaders. -Here in this remote spot, protected by its inaccessibility -from the vandalism of succeeding generations, would be -carved a Shrine of Democracy, as an imperishable record -of a great people.</p> -<div class="img" id="fig4"> -<img src="images/p04a.jpg" alt="" width="628" height="799" /> -<p class="pcap"><i>Here is Mt. Rushmore as it stood for countless ages before the -poetic and patriotic idea of the great national memorial was -born in the mind of Gutzon Borglum.</i></p> -</div> -<p>Mr. Borglum paid a second and third visit to the Hills -<span class="pb" id="Page_10">10</span> -and camped among them for two weeks, exploring and -examining every rock large enough to suggest a monument, -with the result that the huge granite upthrust -called Mount Rushmore was selected as the only stone -sound enough to be suitable for carving. Another reason -for choosing Rushmore was the important consideration -of lighting. It was imperative that the cliff on which the -figures were to be carved should face the east in order to -get the maximum amount of sunlight all the day long. -Washington’s face is so placed that it catches the first rays -of light in the morning and reflects the last ruddy glow -in the evening. Many beautiful works of art are made -insignificant by poor lighting.</p> -<p>Senator Peter Norbeck, who had created the park system -of South Dakota and played an important part in the -creation of the Rushmore Memorial, also agreed that, in -spite of its remote position with only riding trails leading -to it, there was no other location possible.</p> -<div class="img" id="fig5"> -<img src="images/p05.jpg" alt="" width="569" height="799" /> -<p class="pcap"><i>Ranging downward like spiders swinging on fine threads, workmen -made the strokes on the granite mountainside which now -bears the features of George Washington.</i></p> -</div> -<div class="img" id="fig6"> -<img src="images/p05a.jpg" alt="" width="611" height="800" /> -<p class="pcap"><i>Scaffolding suspended from cables enabled the workmen to reach -down from the brow of the mountain in order to carry on their -courageous and difficult labors.</i></p> -</div> -<p>That autumn a group of Rapid City women put on a -pageant of flags, designed by Mr. Borglum, on the top of -the cliff to show the different epochs through which the -territory had passed. The French flag was first hoisted, -then the Spanish, then the flag of Napoleon, next the -colonial flag and finally the present flag of the United -States. Thus was Mount Rushmore officially dedicated -to the Memorial. Mr Borglum then returned to his temporary -studio in San Antonio, Texas, to make the models -and decide what characters best illustrated the idea to -which he was trying to give form.</p> -<p>George Washington’s presence in the group was inevitable. -He was the rock on which the republic was founded—the -plumb line to establish its direction. So on Mount -Rushmore his head is exactly perpendicular, facing the -east, unaffected by the others in the group, the measuring -rod determining the position of the others. Equally important -with Washington was Thomas Jefferson, the -author of the Declaration of Independence. By the purchase -of the Louisiana Territory, as stated above, he had -taken the first step westward in the course of the nation’s -growth. He is represented on the mountain as a young -man. He was only 33 when he wrote the Declaration of -Independence.</p> -<p>Abraham Lincoln, the saviour of the republic, was -inevitable in any record of the country’s history and finally -<span class="pb" id="Page_11">11</span> -Theodore Roosevelt was selected because, by cutting -the Panama Canal, he had accomplished the dream -of Columbus and opened a Sea-way from Europe to -Asia and his name was closely linked with the territorial -expansion following the war with Spain. He was also the -first president to attempt the curbing of big business -interests and the only president who had been familiar -with the west. He had close associations with South -Dakota.</p> -<div class="img" id="fig7"> -<img src="images/p05c.jpg" alt="" width="800" height="568" /> -<p class="pcap"><i>Models in the studio at the foot of the mountain which guided construction of the actual figures (seen through window).</i></p> -</div> -<p>The Mount Harney Memorial Association was authorized -in 1925 by the state legislature to undertake the project -on Mount Rushmore. No funds were voted for the -purpose. Contributions were obtained from the three -railroads serving the state, from the Homestake Mine and -from private individuals, among them Mr. Charles -Rushmore, a New York lawyer, after whom, quite accidentally, -the cliff had been named. The work went on -slowly, with considerable opposition, until President -Coolidge’s visit to the Black Hills in 1927. He made a -splendid speech at a picturesque ceremony held at Rushmore, -immediately following which he took Mr. Borglum -aside, inquired about the financing and urged him to -come to Washington for help. It is doubtful whether, -without this impetus given by President Coolidge, the -carving would ever have been accomplished.</p> -<p>The Mount Rushmore National Memorial Commission -came into existence as the result of a Congressional -Bill, passed on Washington’s Birthday in 1929. The act -carried an appropriation of $250,000 for the memorial, -which was to be matched on a fifty-fifty basis by private -subscriptions; it designated Gutzon Borglum as the sculptor -and designer of the four figures and provided also for -an inscription on the mountain.</p> -<p>The first ascent of the mountain was made up the -canyon where the present wooden stairway now is. After -the initial survey was made, pine trees with branches cut -off and cleats nailed at right angles to the trees were laid -in the crevices to serve as ladders. Heavy ropes were -then carried by hand to the top and a small winch was -carried as far as possible by pack horse and then carried -to the top by hand. After this winch was fastened on the -top of the mountain, it in turn was used to pull up the -<span class="pb" id="Page_12">12</span> -heavy cable that became the tramway from the ground -to the mountain top. Building material was pulled up -and shelters built for the men. A small studio was also -built to house the plaster reproductions of the master -models that were in the studio at the foot of the mountain. -These reproductions were used for measurements to -save time required to go to the studio 1500 feet away and -500 feet below. In some cases these models were hung -over the side of the mountain so that they could be consulted -and compared with the measurements as the -actual stone work progressed. By this method it was -possible to save considerable time and labor.</p> -<div class="img" id="fig8"> -<img src="images/p06.jpg" alt="" width="700" height="644" /> -<p class="pcap"><i>Roughing out the face of Theodore Roosevelt. The strong chin -and the mouth are already visible. The mass of stone at the top -will be carved away to form the mustache.</i></p> -</div> -<p>The work of fitting the figures into the cracked granite -upthrust called Mt. Rushmore has been a constant -struggle between composition and finding solid stone -for each of the four heads.</p> -<div class="img" id="fig9"> -<img src="images/p06a.jpg" alt="" width="495" height="800" /> -<p class="pcap"><i>Close-up of Lincoln. Note the shafts of granite in the eyes of -Lincoln. The light reflected by these shafts gives the eyes their -lifelike glint when seen from a distance.</i></p> -</div> -<p>In the first design Jefferson was placed at the right of -Washington and Lincoln on his left, and Theodore -Roosevelt occupied the position now occupied by Lincoln. -However serious flaws developed in the stone on -this side of Washington; and it therefore became necessary -to change our design and place Jefferson to Washington’s -left. This made it necessary to place Theodore -Roosevelt between Jefferson and Lincoln, and the -stone had to be removed to a depth of approximately 120 -feet from the original surface to get back far enough for -the Roosevelt face. The heads were finally relegated to -their approximate position (being moved several times -as new conditions of the stone developed), that is they -were tilted or dropped or made to look more to the right -or left as the case might have been, to meet the composition -or avoid flaws in the stone. This movement being -made simply by moving the respective heads on the -model and cutting the stone accordingly. It was not -possible to fit the heads so that they would be entirely -free from fissures, but it was possible to place them so -that none of these fissures would be unsupported from -below and that removes the danger of some vital part -dropping off. As each head was started its center was -located, and at this center point on the top of the head a -plate was located. This was graduated in degrees 0 to 360 -degrees, and at its center a horizontal arm was located -that traversed this horizontal are. This arm was about -30 feet long, in effect a giant protractor laid on top of -the head. The arm was graduated in feet and inches so -that at any point we could drop a plumb bob from this -arm, and by measuring the vertical distance on this -plumb line determine exactly the amount of stone to be -removed. After determining this master center point -on the mountain, we set a smaller arc and arm on our -model in the same relative position. With this small -device we would make all our measurements on our -model and then enlarge them twelve times and transfer -them to the large measuring device on the mountain. -Thru this system every face had a measurement made -every six inches both vertically and horizontally. These -<span class="pb" id="Page_13">13</span> -measurements were then painted on the stone and it was -thru this means that men totally unfamiliar with sculptural -form were able to do this undertaking. In fact all -the men employed on the work were local men trained -by the sculptor.</p> -<p>Pneumatic drills are used for drilling and the compressed -air is provided by large compressors located on -the ground and driven by electricity. The air is forced -or conveyed to the top of the mountain by a 3″ pipe and -then by the use of smaller pipes and rubber hoses is conveyed -to the drills.</p> -<p>Over 400,000 tons of granite have been removed from -the mountain in carving the figures, at a total expense -of slightly more than $900,000. This includes all building, -stairways and machinery.</p> -<div class="img" id="fig10"> -<img src="images/p06c.jpg" alt="" width="571" height="799" /> -<p class="pcap"><i>Workmen putting the finishing touches on the strong face of the -Rough-rider President.</i></p> -</div> -<p>The men are let down over the face of the stone in -leather swings similar to bos’n chairs used on ships. -These swings are fastened on to ⅜″ steel cables which -are in turn fastened on to winches located on the top of -the heads. These winches are operated by hand. There -are about seven winches on the top of each head. The -men are lowered to their place of work by these winches, -taking with them their jackhammers or pneumatic tools -and other necessary equipment. One man is located in a -position where he can see all the men at work, and is -“The Callboy,” and has a microphone with a loud -speaker at each of the winches and when any of the -men working in the swings wants to be raised or lowered -they signal this call-boy and he relays the message thru -the loud speakers to the winchman. He also keeps the -workmen supplied with new drills as they need them, by -relaying their requests to the steelman who carries the -steel to the men in the swings as it is needed. This steel -is used over and over again; as it is dulled it is taken to -the blacksmith shop on the ground via the cable car, -heated, sharpened, re-heated and tempered and sent -back to the mountain again. About 400 of these drills -are dulled each day. They drill on an average about four -feet before being sharpened. In some places the stone is -so hard they will only last or drill about six inches and -in other places they will last seven or eight feet before -being re-sharpened.</p> -<div class="img" id="fig11"> -<img src="images/p06d.jpg" alt="" width="700" height="636" /> -<p class="pcap"><i>The work in process as it appeared from an odd angle ... from -the road running along the side of the mountain. Not many have -seen the Memorial from this point of view.</i></p> -</div> -<p>The problem of finance has always been acute in connection -with the work of the Rushmore Memorial. The -economic hardships of the country made it increasingly -difficult to match the Federal appropriation, without -which the carving could not go on. The sculptor made -repeated trips through the state and beyond its borders -to arouse interest in the undertaking. He succeeded in -raising some money by publishing a small book about -Rushmore. There were never enough funds for as much -power or as many men as he would have liked to use. -There were long months when the work was stopped -altogether. Finally the government took over the whole -burden of financing and the work continued regularly, -after 1938, being halted only by weather conditions. -<span class="pb" id="Page_14">14</span> -The sculptor was at last able to employ one or two trained -stone carvers to do the finer work of finishing.</p> -<p>The Washington head was unveiled in 1930, with Mr. -Cullinan, first chairman of the Rushmore Commission -presiding. President Franklin D. Roosevelt came for the -unveiling of the Jefferson head in 1936. His unfailing -interest and support have insured the finishing of the -Memorial. At the unveiling of the face of Abraham Lincoln -in 1937, a nation wide radio hookup carried the -speeches to all parts of the country and again in 1939, -when Governor Bushfield of South Dakota conducted -ceremonies celebrating the Golden Jubilee of the State -of South Dakota at Mount Rushmore, the radio carried -the speeches and music all over the United States. The -upper part of the face of Theodore Roosevelt was uncovered -at that time.</p> -<div class="img" id="fig12"> -<img src="images/p07.jpg" alt="" width="652" height="800" /> -<p class="pcap"><i>The face of Jefferson begins to take form. The nose and the -forehead are already plainly visible, but many tons of stone -must be removed before the picture is complete.</i></p> -</div> -<p>Mr. Borglum was always scrupulously careful to protect -his men from harm and it was his boast that in all -his years of hazardous mountain carving no worker was -seriously injured. He took no care of himself, however, -and physicians said that undoubtedly the strenuous work -of carving at that altitude weakened his heart and in -March, 1941, it stopped beating. The carving was practically -finished; there remained only the finishing of the -hands and hair of the four figures and the Rushmore -National Memorial Commission entrusted that work to -the sculptor’s son, Lincoln Borglum, who had been with -his father from the beginning of the work.</p> -<div class="img" id="fig13"> -<img src="images/p07a.jpg" alt="" width="515" height="800" /> -<p class="pcap"><i>A blast is set off. The handling of powder and dynamite was an -especially delicate problem, since a single badly placed charge -might easily spoil the work of many months.</i></p> -</div> -<p>The faces of the four presidents, as carved on Mount -Rushmore, are approximately 60 feet from chin to forehead; -if completed from head to foot the figures would -be 465 feet high. The entire head of the sphinx in Egypt -is not quite as long as Washington’s nose. The entire cost -of the Memorial, including all expenses of carving, buildings -and salaries, is $900,000. This is at the rate of less -than two dollars for every ton of stone removed, which -is a cost incredibly low considering the hardness of the -granite and that every piece must be removed in such a -way as not to injure the surface behind. On this investment -the Federal Government has received from tourists -from the one cent gas tax on the increased sale of gas -during the years since the work started over two million -dollars and the income to South Dakota is over twenty -million dollars annually.</p> -<div class="pb" id="Page_15">15</div> -<div class="img" id="fig14"> -<img src="images/p07c.jpg" alt="" width="800" height="604" /> -<p class="pcap"><i>From these beginnings today shine forth the faces of four of the -greatest men of American history, to light the path of freedom for -countless generations yet to come.</i></p> -</div> -<div class="pb" id="Page_16">16</div> -<h2 id="c4"><span class="small">THE ROLE OF THE NATIONAL PARK SERVICE</span></h2> -<div class="img"> -<img src="images/p08.jpg" alt="{uncaptioned}" width="800" height="522" /> -</div> -<p>Millions of Americans and liberty-loving people -from all over the world have come to the Black -Hills of South Dakota to look upon Gutzon -Borglum’s <i>Shrine of Democracy</i>.</p> -<p>The exact number of visitors to the great granite carvings -is not known but each travel season the pilgrimage -increases in size.</p> -<p>During the period of construction from 1927 to 1941, -when work was under supervision of the Mount Rushmore -National Memorial Commission, no accurate records -of visitors were kept. Hundreds came each day, -however, to keep a fascinated watch over the emergence -of the likenesses of the four great presidents from the -great stone uplift.</p> -<p>Consecration ceremonies attended by President Coolidge -and the unveilings of Washington, Jefferson, Theodore -Roosevelt, and Lincoln were attended by thousands -of people. Distinguished guests participating in these -ceremonies included the late President Franklin D. -Roosevelt.</p> -<p>Then in 1939, the Memorial was placed under the -supervision of the National Park Service of the Department -of Interior. World War II intervened, but in the -peace years since the transfer, the flow of visitors has -been measured at close to a half million persons each -travel season, 419,817 being reported for the 1947 travel -year.</p> -<p>Among the nine great memorials in the National Park -Service system, Mount Rushmore, by 1947, had risen -from seventh to fourth place in attendance. So far as -these memorials are concerned, those reporting larger -visitations were the Lincoln Memorial, the Jefferson -Memorial, and the Washington Monument, all in the -District of Columbia.</p> -<div class="pb" id="Page_17">17</div> -<p>As with other national parks, monuments, and memorials, -Mount Rushmore was designated for inclusion in -the National Park system because it had become a most -inspiring site of historic significance.</p> -<p>Its present administration is designed to promote and -regulate the use of the memorial area to conserve the -scenery and the natural and historical objects and to provide -for the enjoyment of it in such a manner as to leave -it unimpaired for the enjoyment of future generations.</p> -<p>A total of nearly 1,800 acres of the Federal Game Sanctuary -in the Harney National Forest now comprises the -memorial area. It is under the administration of Superintendent -Harry J. Liek with headquarters at Wind Cave -National Park. The memorial is directly under Acting -Custodian J. Estes Suter.</p> -<p>A brief description follows for Wind Cave National -Park and the three national monuments—the Badlands, -Jewel Cave, and Devils Tower—that are embraced in -the Black Hills and Badlands area of southwestern South -Dakota and northeastern Wyoming.</p> -<h3 id="c5">WIND CAVE NATIONAL PARK</h3> -<p>Wind Cave is the most widely known of the many -limestone caverns found near the margin of the Black -Hills. Discovered in 1881, it was created a national park -in 1903. The strong currents of wind that blow alternately -in and out of the mouth of the cave suggested its -name.</p> -<p>Boundaries of the park were extended twice and now -embrace a total of 28,000 acres of federally-owned land, -supporting a large buffalo herd in its natural habitat and -other wildlife, such as elk, antelope, and deer.</p> -<p>Chief feature of the park is the exceptional limestone -cavern, noted for its unique boxwork rarely found in -other sections of the world. Other crystalline formations -in various color shadings line a series of subterranean -passages, known to be at least 10 miles in extent.</p> -<h3 id="c6">BADLANDS NATIONAL MONUMENT</h3> -<p>In sharp contrast to the verdant Black Hills country, -the White River Badlands, a barren, treeless region, lies -about 50 miles east of the western foothills.</p> -<p>Here nature has beautified the earth with all shades -of buff, cream, pale green, gold, and rose. Fantastically -carved erosion forms rise above the valleys, some of them -150 to 300 feet high.</p> -<p>The constantly shifting color and the weird formations -make this a region of strong imaginative appeal.</p> -<h3 id="c7">JEWEL CAVE NATIONAL MONUMENT</h3> -<p>A unique coating of dogtooth calcite crystals which -sparkle like jewels in the light distinguish Jewel Cave -from other crystal caverns in the Black Hills and provided -its name.</p> -<p>One of the finest stands of virgin ponderosa pine remaining -in the Black Hills is found within the monument -which was established in 1908. It was originally part of -the present Harney National Forest but was transferred -to the National Park Service, by Executive Order, in -1934.</p> -<h3 id="c8">DEVILS TOWER NATIONAL MONUMENT</h3> -<p>Another unusual natural phenomenon of the Black -Hills country is the Devils Tower across the South Dakota -state line in Wyoming. This is a great column of -igneous rock towering 1,280 feet above the Belle Fourche -river, whose course is near the base. Devils Tower has -the distinction of being the first national monument created -under the Antiquities Act of 1906. It was established -by proclamation of September 24 of that year, by -President Theodore Roosevelt.</p> -<div class="img" id="fig15"> -<img src="images/p08a.jpg" alt="" width="499" height="800" /> -<p class="pcap"><i>Devils Tower in Wyoming’s western border of the Black Hills -National Forest.</i></p> -</div> -<div class="pb" id="Page_18">18</div> -<h2 id="c9"><span class="small">THE ANTIQUITY OF MOUNT RUSHMORE</span> -<br /><i>By the late</i> JOSEPH P. CONNOLLY -<br /><i>President, South Dakota School of Mines</i></h2> -<p>At the Battle of the Pyramids, Napoleon is reported -to have exhorted his men by saying, “Soldiers, -from these pyramids forty centuries look down -upon you.” From the standpoint of human history four -thousand years represent great antiquity indeed. But as -one gazes upon the rugged slopes of Mount Rushmore, -he is face to face with antiquity beside which the age of -the Egyptian pyramids seems but a moment.</p> -<p>How old is the granite of Rushmore? We have a yardstick -by which we can measure that quite accurately. Not -far from the mountain, in a subsidiary mass of granite, -there was found a few years ago a small piece of coal-black, -lustrous mineral known as pitchblende or uraninite, -of which the chief constituent is the heaviest known -element, uranium. We know that uranium continually -undergoes atomic disintegration, changing at a slow, but -uniform and measurable rate into lighter elements. The -end product of this change is the metal lead. If we submit -the specimen of pitchblende to chemical analysis, determine -how much lead it contains, how much uranium is -still left, it is a comparatively simple calculation to determine -from the known rate of change, the number of years -that have elapsed since the pitchblende came into existence. -That experiment has been performed and the result -is one billion four hundred and sixty-five million -(1,465,000,000) years. Bear in mind that this enormous -figure represents the time that has elapsed since the -molten rock came to rest at some depth under the surface -of the earth, and cooled sufficiently to crystallize into -granite. It represents the age of the solid granite.</p> -<p>But, although the granite of which the mountain is -composed dates back to a period almost inconceivably -remote, Mount Rushmore itself is much younger. We -know that all of the granite mountains of the southern -Black Hills were carved out of the rocks by the process of -erosion. Field evidence indicates that fairly early in the -Tertiary period, approximately thirty million years ago, -erosion had carved out the topography of the Black Hills -into much the same stage as we see it today. Perhaps -Mount Rushmore was not fully born in that period; its -form may not yet have been completely sculptured under -the chisel of time, but we know that its age must be measured -in millions of years and not in centuries.</p> -<p>Mount Rushmore is a child of weathering and erosion. -They brought the mountain into being and gave it form. -But those relentless parents will not be content to leave -their child as they fashioned it. They will continue their -work of disintegration on the surface of the rock and along -the cracks, until eventually they will completely destroy -the mountain they formed, and long before the mountain -will have been destroyed, the magnificent carvings of -man will disappear. “How long,” we anxiously ask, “will -the carvings endure?” Two processes will tend eventually -to destroy the memorial, chemical weathering and physical -disintegration.</p> -<div class="img" id="fig16"> -<img src="images/p09.jpg" alt="" width="580" height="801" /> -<p class="pcap"><i>A typical view from the Needles highway with the Cathedral -Spires in the background.</i></p> -</div> -<div class="pb" id="Page_19">19</div> -<div class="img" id="fig17"> -<img src="images/p09a.jpg" alt="" width="800" height="500" /> -<p class="pcap"><i>Fantastic formations in the Badlands. The variegated coloring is at its best in the early morning or the late evening.</i></p> -</div> -<p>Chemical weathering will take place very slowly, so -slowly that if it were the only destructive process we had -to consider, we could with some confidence say that the -memorial would endure for hundreds of thousands of -years. And the progress of chemical weathering will -probably be impeded by the sculpturing of the memorial, -for on the figures the rock will be smoother, water will -drain off more rapidly instead of penetrating, lichens and -other vegetation will not have as secure a foothold as on -the natural face of the rock, and thus will not contribute -to so great an extent their destructive acids to such waters -as do penetrate.</p> -<p>Physical disintegration is somewhat more to be feared. -This operates in two ways, by exfoliation due to changes -in temperature, and by frost action. Differential stresses -set up by unequal expansion and contraction, owing to -the poor heat conductivity of granite, tend to spall off or -<i>exfoliate</i> the surface layers of rock.</p> -<p>When water gets into the cracks and pores of the rocks -and freezes, it exerts an enormous pressure, a pressure -that will spall off flakes and blocks of rock. The artist -and his associates, fully aware of this hazard, have -guarded against it. All cracks and fissures have been carefully -avoided in the sculpturing so far as is possible. Such -as have been impossible to avoid are being sealed to prevent -the ingress of water, thus inhibiting to a very large -extent both frost action and chemical weathering.</p> -<p>We have traced in part the geological history of the -Mount Rushmore region, hoping that by learning something -of its past we may predict something of its future. -We see the hazards to which the memorial is exposed. -We must frankly recognize them and guard against them -so far as possible, as it would be folly to ignore them. If -the science of geology can do no more in a practical way -for mankind than to point out dangers and sound warnings, -it does a worth while service. “How long will the -memorial last?” Geology cannot answer specifically. An -eminent geologist has already given as definite an answer -as it is possible to give, and I can do no better than to -close by quoting from the address given by the late Dr. C. -C. O’Harra at the unveiling of the head of Washington.</p> -<p>“How long will Mount Rushmore last? Many millions -of years. The number nobody knows. How long will endure -this monumental, sculptured figure of the Father of -our Country which today we unveil? One hundred years? -Yes. One thousand years? Yes. A hundred thousand -years? In all likelihood, yes. A half million years? Possibly -so, nobody knows. The time at any rate will be long, far -longer than we can readily comprehend. And this doubtless -will abundantly suffice.”</p> -<div class="pb" id="Page_20">20</div> -<h2 id="c10"><span class="small">THE HALL OF RECORDS AND GREAT STAIRWAY</span> -<br /><i>By</i> LINCOLN BORGLUM</h2> -<p>The Hall of Records and Stairway have been part -of the Memorial plan from the beginning and are -provided for in the so-called “Rushmore Bill” of -1938. A good start has been made in the carving of the -Hall, which already has been excavated to the extent of -seventy feet. Great care has to be exercised in the use of -dynamite in carving this hall, as in carving the faces on -the mountain, not to injure the stone which is to remain. -Careless explosions of large amounts of powder might -crumble the walls.</p> -<p>The Hall is located about two thirds of the way up to -the mountain: the entrance to it is in a small gorge or -canyon, cut by the ice aeons ago, to the right of the carved -faces as one looks at them from below. The Hall is on the -opposite side of the gorge from the heads and is not -under them. The following is quoted from Mr. Borglum’s -plan.</p> -<p>“The façade to the Hall’s entrance is the mountain -wall 140 feet high; supporting pylons, cut into the mountain, -flank the entrance. The entrance door itself is 12 -feet wide and 20 feet high; the walls are plain, dressed -granite and of a fine color. I want to finish the inner -entrance wall in mosaic of blue and gold lapis. The depth -to the door entrance from the outer façade is 20 feet. The -door, swung on a six inch offset of the wall, will be of -bronze and glass. Small, carefully modeled bronze figures -of historic importance from Columbus and Raleigh to the -present day will ornament the doors or be modeled into -the supporting frame. The walls of the entrance will -carry in gilded bronze immediately within the entrance -ancient Indian symbols; British, French, Spanish and -American seals.</p> -<p>“The floor of the Hall will be 100 by 80 by 32 feet to an -arched ceiling. At the height of fifteen feet an historic -frieze, four feet wide, will encircle the entire room. Recesses -will be cut into these walls to be filled with bronze -and glass cabinets, which will hold the records stamped -on aluminum sheets, rolled separately and placed in -tubes. Busts of our leaders in all human activities will -occupy the recesses between the cabinets. The original -thought of a hall of human records I developed at Stone -Mountain in Georgia and my drawings and full plans -are extant; that was never completed.</p> -<p>“The records of electricity, beginning with Franklin, -which has given us light, heat, music, the radio, the telegraph, -the telephone and controls in power the extent of -which we can hardly imagine, must be here, together -with the records of literature, the records of travel, immigration, -religious development and also the record of -perhaps the largest contribution that we have made to -humanity, which has been free controlled peace, a government -of the people, by and for the people. Struggle as -we will that great contribution is today the cause for the -real unrest of Europe. Despotism, tyranny of every form -is fighting us wherever it can, to take away from humanity -the power freedom gives it—the power that freedom -has given America.</p> -<div class="img" id="fig18"> -<img src="images/p10.jpg" alt="" width="560" height="800" /> -<p class="pcap"><i>Opening of a gorge reached by the Great Stairway is the massive -twenty-foot-high entrance to the Hall of Records.</i></p> -</div> -<p>“The Hall will be reached by a monumental flight of -steps varying from 15 to 20 feet in width, which will -ascend the mountain in front, a little to one side of the -<span class="pb" id="Page_21">21</span> -sculpture, rising from a great granite disk or platform in -the canyon below, which may be used as a rostrum from -which speakers may address the public occupying the -amphitheater facing the great group.</p> -<div class="img" id="fig19"> -<img src="images/p10a.jpg" alt="" width="695" height="600" /> -<p class="pcap"><i>This picture shows the workmen busy in the early stages of the -work of carving the Hall of Records from the granite.</i></p> -</div> -<p>“These steps of granite and cement will be provided -with seats at intervals of every fifty feet; they will have a -five inch rise and an eighteen inch tread. The ascension -from the foot of the steps to the floor of the great entrance -is four hundred feet; the entrance way from the steps’ -landing to the great Hall is 190 feet; the floor of this -Hall, reached by three steps, is two feet above the floor of -the entrance way in the canyon; this to provide for proper -drainage.”</p> -<p>Owing to repeated requests from important organizations -of women, the urging of some senators and congressmen -and Mr. Borglum’s own realization of the part -women have played in the development of our country, -plans had been under way for some years to include -women in the great Shrine of Democracy. There was no -room in the rock which contains the heads of the four -presidents and the only other place seemed to be the -west wall of the granite cliff, or in the hall of records. -To quote again from Mr. Borglum, from a letter written -in January 1940: “If we decide that the west side of the -mountain is suitable, I am for it. We must work out a -design that is fitting and in no sense harmful in the -matter of lighting or location to subjects determined -upon and I am entirely in favor of carving the faces of -two or three women. If that is determined upon, these -figures will be near what has been known in the Rushmore -Law as the Inscription and there will be a special -paragraph given to the work and services of women. The -original inscription referred to the framing of the Declaration -of Independence; that was Jefferson’s work and the -second was the Constitution. That was Washington’s -greatest service. The third dealt with the purchase of the -Louisiana Territory and the fourth, fifth, and sixth, the -progress towards the south and southwest, involving -Florida, Texas and California, which included Arizona, -a portion of Nevada, Utah and a portion of Idaho. The -seventh paragraph brought in the Oregon cession from -England and the purchase of Alaska. There was one paragraph -for Lincoln and one for the finishing of the Panama -Canal, which was achieved by Theodore Roosevelt.</p> -<div class="img" id="fig20"> -<img src="images/p10c.jpg" alt="" width="587" height="800" /> -<p class="pcap"><i>The corridor leading from the doorway into the Hall of Records, -showing the marks of the stonecutters’ tools.</i></p> -</div> -<p>“So by these suggestions you will see that a splendid -paragraph can be developed for the part women have -played in the development of the nation.” In another -part of the letter Mr. Borglum made a place for women -in the Hall of records and even suggested that a special -hall might be carved for them, as there is ample rock for -many rooms.</p> -<p>Calvin Coolidge had been asked to collaborate on the -inscription and wrote the first two paragraphs. Mr. -Borglum stood strongly for “Justice” in the wording, -whereas Mr. Coolidge insisted upon “Justice under the -Law.” Newspaper accounts exaggerated the discussion, -which unfortunately was terminated by Mr. Coolidge’s -death.</p> -<div class="pb" id="Page_22">22</div> -<h2 id="c11"><span class="small">GEORGE WASHINGTON</span></h2> -<p><i>In carving the head of George Washington, Mr. Borglum -studied all the known portraits of him and drew heavily on -certain famous likenesses which he preferred because he -believed them most faithful to the character of the man. -Borglum was confronted by an extraordinary problem. He -had undertaken to place his sculpture on a mountain peak -over 6000 feet above sea level. His face of Washington, tall -as a five-story building, was to be far up in the sky “where -the clouds fold about it like a great scarf, where the stars -blink about its head, and the moon hides behind a lock of -hair.” As Borglum himself pointed out, it has been the -practice of the sculptors of history, immediately they departed -from the normal dimensions of men, to conventionalize -and simplify their faces and to generalize the portraiture, -and, in so doing, lose those qualities which gave distinction. -Such methods had no appeal to Borglum. Vehemently, he -brushed aside “the claptrap standards of Good Enough.” -The faces he placed upon the mountain to gaze down upon -hundreds of generations of mankind must be true, great, and -noble faces, and that of Washington would be the gauge of -all the rest. Borglum spent thirteen years digging into every -corner of Washington’s life in order that his portrait might -say the last word about the man who is called the Father of -his Country. He made an extensive study of his character and -was deeply impressed by the picture presented by Thomas -Jefferson in the following letter to Dr. Walter Jones, dated -at Monticello, January 2, 1814</i>:</p> -<p class="tb">I think I knew Gen. Washington intimately and -thoroly; and were I called on to delineate his character, -it should be in terms like these.</p> -<p>His mind was great and powerful, without being of the -very first order; his penetration strong, tho not so acute -as that of a Newton, Bacon, or Locke; and as far as he -saw, no judgment was ever sounder. It was slow in operation, -being little aided by invention or imagination, but -sure in conclusion. Hence the common remark of his -officers, of the advantage he derived from councils of war, -where hearing all suggestions, he selected whatever was -best; and certainly no general ever planned his battles -more judiciously. But if deranged during the course of -the action, if any member of his plan was dislocated by -sudden circumstances, he was slow in readjustment. The -consequence was that he often failed in the field, and -rarely against an enemy in station, as at Boston and York.</p> -<p>He was incapable of fear, meeting personal dangers -with the calmest unconcern. Perhaps the strongest feature -in his character was prudence, never acting until -every circumstance, every consideration, was maturely -weighed; refraining if he saw a doubt, but when once -decided, going thru with his purpose, whatever obstacles -opposed.</p> -<p>His integrity was most pure, his justice the most inflexible -I have ever known, no motives of interest or consanguinity, -of friendship, or hatred, being able to bias his -decision. He was, indeed, in every sense of the words a -wise, a good, and a great man. His temper was naturally -high toned; but reflection and resolution had obtained a -firm and habitual ascendancy over it. If ever, however, -it broke its bonds, he was most tremendous in his wrath.</p> -<p>In his expenses he was honorable, but exact; liberal in -contribution to whatever promised utility; but frowning -and unyielding on all visionary projects and all unworthy -calls on his charity. His heart was not warm in its affections; -but he exactly calculated every man’s value, and -gave him a solid esteem proportioned to it.</p> -<p>His person, you know, was fine, his stature exactly -what one would wish, his deportment easy, erect and -noble; the best horseman of his age, and the most graceful -figure that could be seen on horseback. Altho in the -circle of his friends, where he might be unreserved with -safety, he took a free share in conversation, his colloquial -talents were not above mediocrity, possessing neither -copiousness of ideas nor fluency of words. In public, -when called on for a sudden opinion, he was unready, -short, and embarrassed.</p> -<p>Yet he wrote readily, rather diffusely, in an easy and -correct style. This he had acquired by conversation with -the world, for his education was merely reading, writing, -and common arithmetic, to which he added surveying at -a later day.</p> -<p>His time was employed in action chiefly, reading little, -and that only in agriculture and English history. His correspondence -became necessarily extensive, and, with -journalizing his agricultural proceedings, occupied most -of his leisure hours within doors.</p> -<p>On the whole, his character was, in its mass, perfect, -in nothing bad, in few points indifferent; and it may truly -be said that never did nature and fortune combine more -perfectly to make a man great, and to place him in the -same constellation with whatever worthies have merited -from man an everlasting remembrance. For his was the -singular destiny and merit of leading the armies of his -country successfully thru an arduous war, for the establishment -of its independence; of conducting its councils -thru the birth of a government, new in its forms and -principles, until it had settled down into a quiet and -orderly train; and of scrupulously obeying the laws thru -the whole of his career, civil and military, of which the -history of the world furnishes no other example....</p> -<div class="pb" id="Page_23">23</div> -<div class="img"> -<img src="images/p11.jpg" alt="{George Washington}" width="792" height="1047" /> -</div> -<div class="pb" id="Page_24">24</div> -<h2 id="c12"><span class="small">THOMAS JEFFERSON</span></h2> -<p>Writing just a century ago, and a few years -after Jefferson’s death, one of his earliest biographers -said that it had been that statesman’s -fate “to be at once loved and praised by his friends, and -more hated and reviled by his adversaries than any of his -compatriots.” The fact that much the same could be said -of the writing about him today merely shows that the -man is still alive in so far as his influence is both felt and -feared. So is his great antagonist Hamilton. These two -exponents of contrasted philosophies of government, -though dead, yet live and are in the thick of the fight -today. The issues for which they fought with all their -strength are not yet settled. Indeed these issues have -broadened and deepened until one in especial has become -perhaps the most burning of all in a bewildered -and angry world, the question whether the people can -govern themselves or must be governed.</p> -<p>Although a political philosopher, Jefferson never set -forth his views in any formal treatise, as did John Adams -in his voluminous works or Hamilton in <i>The Federalist</i>. -Probably the most widely read man of his time in America, -Jefferson had a broader range of interests—political, religious, -economic, agricultural, aesthetic and scientific—than -did any other of the leaders. His curiosity was insatiable, -but in spite of what has so frequently been asserted, -usually by his enemies, although sometimes by his -friends, he was not a mere theorist. He kept his feet on the -ground. It was the practical application of ideas and their -practical effects which appealed most to him and not the -ideas in themselves as viewed by a philosopher. Even -when he could not use the touchstone of experiment in -such matters as his belief in the common man or religious -freedom, he was never a doctrinaire. He not only believed -but said over and over that government and institutions -had to be suited to a people of any given time and place -and could not be true or good everywhere and always.</p> -<p>We do not look to Jefferson for a theory of government -or of the state. To a great extent the things he had to say -about government, and the things for which he strove in -his active political life, were based on the America of his -day and the slowly developing agricultural one which he -envisaged in the future, writing as he did, before the -machine age. What gave Jefferson his profound importance -in his own day, as it does now, was his view of -human life. He was, and still is, the greatest and most -influential American exponent of both Liberalism and -Americanism.</p> -<p>Liberalism is rather an attitude than a program. It is -less a solution of governmental problems than it is a way -of looking at them. It is based on the doctrine of live and -let live. The Liberal is willing to take risks feared by both -Conservatives and Socialists. Not being a fool, he realizes, -as do the others, that society must have a structure; but -he is more concerned with the freedom and fullness of the -life of the citizen within that structure than with the -structure itself.</p> -<p>It may also be noted that even in his native Virginia, -Jefferson antagonized many of the most important interests -and families by what was considered his undermining -of a social order. His struggle to break down entail -and primogeniture, to free religion from the fetters -of a State church, and his well-known opposition to -slavery, have not even yet been forgiven by many Virginians -who feel that the downfall of the, in many ways, -charming and delightful society of the eighteenth century -was due to one whom they consider a renegade from his -own order. As we shall see later, when Jefferson was involved -in financial difficulties in his old age, the citizens -of his own State, unlike many elsewhere, did not offer -him the slightest aid.</p> -<p>Europe, in the early days of our country, was filled -with restraints and barriers. Jefferson felt that the America -of his day offered a unique opportunity in the annals -of mankind to try out the great experiment of self-government -on an unprecedented scale. His Americanism, -written in part into the Declaration of Independence, -which he preached throughout life by word and act, grew -out of his personal experience of America itself. In so far -as those qualities of the American people which we group -under the word “Americanism” have been fostered by -any one man, in addition to the natural forces of the -American environment, Jefferson is beyond question that -man.</p> -<p>The struggle going on almost everywhere today, in our -own country no less than in some of those others which -have already lost their liberties, is the struggle between -the conception of a strong centralized state controlling -the lives of the citizens for the sake of economics and -national power, and the conception of personal liberty -affording the greatest possible scope for the individual -to live his life as he wills. The old questions which -Jefferson and Hamilton fought over were who is to rule, -why are they to rule, what is the object of their rule? -These are now being fought out again, as they always -have been, but with increasing bitterness among vast -masses of populations. That is why both men are living -today and why it is worth while to consider again the life -particularly of the one who laid more stress upon freedom -and toleration for the individual than on the strength of -national power.</p> -<p><span class="lr">JAMES TRUSLOW ADAMS</span> -<span class="lr"><i>from “The Living Jefferson,” 1936</i></span></p> -<div class="pb" id="Page_25">25</div> -<div class="img"> -<img src="images/p12.jpg" alt="{Thomas Jefferson}" width="797" height="1051" /> -</div> -<div class="pb" id="Page_26">26</div> -<h2 id="c13"><span class="small">ABRAHAM LINCOLN</span></h2> -<p>Carlyle once said to Holman Hunt: “I’m only a -poor man, but I would give one third of what I -possess for a veritable, contemporaneous representation -of Jesus Christ. Had those carvers of marble -chiseled a faithful statue of the Son of Man, as he called -himself, and shown us what manner of man he was like, -what his height, what his build, and what the features -of his sorrow-marked face were, I for one would have -thanked the sculptor with all the gratitude of my heart -for that portrait as one of the most precious heirlooms of -the ages.”</p> -<p>Remarkable as it may seem, were it not for photography -and one life mask, this, with equal truth, might be -said of a man who, as the ages run, has hardly gone from -among us.</p> -<p>Lincoln, one of the greatest of observers, was himself -the least truly observed. God had built him in the backyard -of the nation and there, wrapped in homely guise, -had preserved and matured his pure humanity. He was -heard, but seems rarely, if ever, to have been truly seen. -The reports we have of him do not satisfy, do not justify, -are inconsistent. The eastern, old-world eye could not -read beyond the queer hat, bad tailoring, and boots you -could not now give away—and he was so long he fairly -had to stoop to look the little world in the face. Never has -bad tailoring, homely, deferential manner, so completely -hidden seer, jester, master of men, as did these simple -accoutrements this first great gift of the West. But it is -surprising that professional observers, artists and writers -alike, have drawn and redrawn the untrue picture.</p> -<p>A great portrait is always full of compelling presence, -more even than is seen in the original at all times, for a -great portrait depicts great moments and carries the -record of the whole man. It is, therefore, not enough to -draw a mask.</p> -<p>Lincoln is a comfort and a reality, an example, a living -inspiration to every mother and every son in America. -No mask will satisfy <i>us</i>; we want to see what we care for; -we want to feel the private conscience that became public -conduct. We love this man, because he was all in all -one of us and made all the world peers. Now we begin to -see him truly. Within his coming the West has steadily -rolled back the East, and of his ways the world has many. -The silk hat, the tall figure, the swing, the language and -manner have become American, and we all understand.</p> -<p>Official Washington was shocked by his address. Men, -who could have given us master pictures of a master man, -remained unconvinced until he had passed away. The -great portrait was never drawn, and now it is too late; we -must wade through mountains of material and by some -strange divination find in fragments the real man, and, -patiently, lovingly, yet justly, piece them all together.</p> -<p>It was speculation of this kind that gradually led me to -a careful analysis of Lincoln the man. The <i>accepted</i> portraits -of him do not justify his record. His life, his labors, -his writings, made me feel some gross injustice had been -done him in the blind, careless use of such phrases as -<i>ungainly</i>, <i>uncouth</i>, <i>vulgar</i>, <i>rude</i>, which were commonly applied -to him by his contemporaries. These popular -descriptions do not fit the master of polished Douglas—nor -the man, whose intellectual arrogance academic -Sumner resented.</p> -<p>I believed the healthy, powerful youth and frontiersman, -the lover, lawyer of spotless record, legislator, the -thrice candidate for President, had been falsely drawn. I -believed if properly seen and truly read, the compelling -and enduring greatness of the man would be found -written in his actions, in his figure, in his deportment, in -his face, and that some of this compelling greatness might -be gotten into the stone. To do this, I read all or nearly -all he had written, his own description of himself, the few -immediate records of his coming and going. I then took -the life mask, learned it by heart, measured it in every -possible way—for it is infallible—then returned to the -habits of his mind, which his writings gave me, and I -recognized that <i>five</i> or <i>six</i> of the photographs indicated -the man.</p> -<p>Whether Lincoln sat or stood, his was the ease of movement -of a figure controlled by direct and natural development, -without a hint of consciousness. Chairs were low -for him and so Lincoln seemed when he sat down to go -farther than was quite easy or graceful. His walk was free -and he moved with a long but rather slow swinging -stride. His arms hung free, and he walked with an open -hand. He was erect; he did not stoop at the shoulders. -He bent forward, but from the waistline. His face was -large in its simple masses. His head was normal in size; -his forehead high, regular and ideal in shape. His brow -bushed and projected like a cliff. His eyebrows were very -strong. His mouth was not coarse or heavy. His right side -was determined, developed, ancient. The left side was -immature, plain—and physically not impressive.</p> -<p>You will find written in his face literally all the complexness -of his nature. We see a dual nature struggling -with a dual problem, delivering a single result—to the -whole. He was more deeply rooted in the home principles -that are keeping us together than any man who -was ever asked to make his heart-beat national—too -great to become president, except by some extraordinary -combination of circumstances.</p> -<p><span class="lr">GUTZON BORGLUM</span></p> -<div class="pb" id="Page_27">27</div> -<div class="img"> -<img src="images/p13.jpg" alt="{Abraham Lincoln}" width="800" height="1057" /> -</div> -<div class="pb" id="Page_28">28</div> -<h2 id="c14"><span class="small">THEODORE ROOSEVELT</span></h2> -<p>Fromentin said of Peter Paul Rubens, one of the -greatest masters who ever used brush and paint to -interpret human character: “He is systematic, methodical -and stern in the discipline of his private life, in -the ordering of his work, in the regulating of his intelligence, -in a kind of strong and sane wholesomeness of his -genius. He is simple, sincere, a model of loyalty to his -friends, in sympathy with every one of talent, (and) -untiring and resourceful in his encouragement of beginners -* * *.” The same might have been said with equal -truth and propriety of Theodore Roosevelt.</p> -<p>Of all the great leaders of this country, he was the most -typically American. The grief and melancholy that -seized him following the death of his first wife drove him -into Dakota. Here upon the range he found surcease -from sorrow and sufficient time off from his duties as -manager of his ranch to write about the West. This work -won instant recognition and not only established his -place among the literary men of his day but made him -the idol of the Great West. The cowboys with whom he -rode the night herd liked and admired him, and even the -roughnecks soon learned to respect his cool courage and -resourcefulness. One encounter with him did not give -encouragement to a second.</p> -<p>But he was more than a frontiersman and writer. He -represented all that was best in the home, in business and -in government. He was energetic, intelligent and purposeful. -He had an aim in life and drove hard and steadily -toward his goal. His enemies seldom outmaneuvered -him and he knew how to strike when a bold stroke was -required to accomplish a desired end. His association -with men of all types and his keen observation gave him -an insight into men that enabled him to distinguish -quickly and accurately the spurious from the real. Surface -indications or social position had for him little -meaning. He would rather associate with an uneducated -but quick-witted cowpuncher than with the dull and unimaginative. -This accounts for his friendship with men -and women in all walks of life. Talent and ability, usefully -employed, always had for him a special appeal but he was -bored and annoyed by the pretentious commonplace.</p> -<p>He was by instinct and inclination a reformer and -sought to improve all that was best in public morals, both -spiritually and politically. No man struggling as mightily -as he could escape making mistakes, but he was great -enough to recognize them and fair enough to seek to -rectify any injustice that had resulted. His enthusiasm, -zeal and sureness of himself sometimes led him to pursue -hopeless and occasionally ill-considered causes that he -later had reason to regret, but by the large he was a most -useful and inspiring personality.</p> -<p>Two outstanding achievements stand to his credit. One -of these was the building of the Panama Canal, an accomplishment -of transcendent importance to the American -people. It is the link that binds the East to the West by -water and has helped to make this country one of the -great commercial and industrial nations of the world. -The canal is also of first importance from the standpoint -of national defense and has added greatly to the mobility -and usefulness of our Navy, which has always been our -first line of defense against any possible foreign foe.</p> -<p>The second was the injection of morals into our politics -and the insistence upon the square deal for every American, -be he small or great. It was this characteristic more -than any other that endeared him to the ordinary man -and made him one of the most powerful political figures -and one of the greatest moral forces that has taken -possession of the hearts and minds of men in any age. It -was not that he was always right, but men and women -clung to him because they felt that he was right most of -the time and was trying to be right all of the time.</p> -<p>As a lone fighter he was without a peer in his day and -generation, and had the impetuosity and zeal required to -arouse a mighty following in any cause which he espoused -and upon which he had deep convictions. Every word -that he spoke and every manifestation of his personality -left a profound impression upon all those who came into -contact with him either personally or upon the hustings. -Everywhere he was impressive, persuasive and compelling. -While he may never be loved as Lincoln was loved, -or rise to the stature of Washington, his example, fortitude -in adversity, and fight for the betterment of his -fellow men will ever be like a beacon going before to -inspire men and women everywhere who are seeking to -make the world a better place in which to live.</p> -<p>It was President Calvin Coolidge who said to Sculptor -Gutzon Borglum that among the immortals to be carved -upon Mount Rushmore a place must be found for -Theodore Roosevelt, “because he was the first president -to say to Big Business, ‘thus far you shall go and no -farther.’” Washington is there because he was the -trusted leader that made these United States possible, -and was great and strong enough to refuse a crown and -lay down the scepter when his work was done. Jefferson -stands at his side because of his contribution to the rights -of man as set forth in the bill of rights; Abraham Lincoln -because he saved the Union from division by his own -martyrdom and his infinite compassion for those who -suffered, and Theodore Roosevelt because he was the -greatest moral force for clean government and the square -deal of modern times.</p> -<p><span class="lr">WILLIAM WILLIAMSON</span></p> -<div class="pb" id="Page_29">29</div> -<div class="img"> -<img src="images/p14.jpg" alt="{Theodore Roosevelt}" width="800" height="1056" /> -</div> -<div class="pb" id="Page_30">30</div> -<h2 id="c15"><span class="small">AS GREAT MEN SAW IT</span></h2> -<div class="img"> -<img src="images/p15.jpg" alt="{Calvin Coolidge}" width="693" height="786" /> -</div> -<p>Excerpts from speeches at dedicatory and unveiling -ceremonies or comments made during personal -visits to the Memorial.</p> -<p class="tb">President Calvin Coolidge (Consecration Ceremony, -August 10, 1927)</p> -<p>“We have come here to dedicate a corner stone that -was laid by the hand of the Almighty.... This memorial -will be another national shrine to which future generations -will repair to declare their continuing allegiance to -independence, to self government, to freedom and to -economic justice....”</p> -<p class="tb">President Franklin D. Roosevelt (Jefferson Unveiling)</p> -<p>“An inspiration for the continuance of the democratic -republican form of government, not only in our own beloved -country, but, we hope, throughout the world.”</p> -<p class="tb">Lord Halifax (Visiting the Black Hills, March 29, -1946)</p> -<p>“The most remarkable confluence of the wonder of -nature and the art of man I have ever witnessed.”</p> -<p class="tb">Judge Albert R. Denu (Borglum Banquet, December -28, 1938)</p> -<p>“The historian of the future ... will record America’s -enduring achievements and include in his history the -name of a Master Sculptor, whom the earth’s inhabitants -of the twentieth century knew as Gutzon Borglum.”</p> -<div class="img"> -<img src="images/p15a.jpg" alt="{Franklin D. Roosevelt}" width="673" height="800" /> -</div> -<p class="tb"><i>Photograph Credits: Bell Studios, Lincoln Borglum, Charles -d’Emery, Verne’s Photo Shop, Publishers’ Photo Service, Inc., -Wyoming Department of Commerce & Industry, and Rise Studio.</i></p> -<div class="pb" id="Page_31">31</div> -<h2 id="c16"><span class="small">MOUNT RUSHMORE NATIONAL MEMORIAL SOCIETY OF BLACK HILLS</span></h2> -<div class="img" id="fig21"> -<img src="images/p15c.jpg" alt="" width="400" height="464" /> -<p class="pcap">John A. Boland, Sr. -<br /><i>President of Mount Rushmore National Memorial Society of Black Hills</i></p> -</div> -<p>The state of South -Dakota and the community -of the Black -Hills have logically and with -undiminished zeal accepted -a considerable financial and -moral responsibility in the -evolution of this magnificent -Shrine of Democracy.</p> -<p>Through the successive -stages of locating, planning, -sculptoring, improving and -publicizing Mount Rushmore, -a liaison with Sculptor -Gutzon Borglum and his -son, Lincoln, the President, -the Congress and the Department of Interior has been -maintained through the instrumentalities of three nonprofit -organizations.</p> -<p>The Mount Harney Memorial Association was first -authorized to “carve a memorial in heroic figures” under -an act of Congress, approved by President Coolidge on -March 4, 1925. Brought into being through a bill passed -by the South Dakota Legislature, the Association entered -into a formal contract with Gutzon Borglum and work -was commenced in 1927.</p> -<p>Subsequently in 1929, when Federal funds were appropriated -for matching purposes, the Mount Rushmore -National Memorial Commission was created, consisting -of twelve members to be named by the President.</p> -<p>Appointed by President Coolidge to serve on the commission -were John A. Boland, Rapid City, S. D.; Charles -R. Crane, New York, N. Y.; Joseph S. Cullinan, Houston, -Texas; C. M. Day, Sioux Falls, S. D.; D. B. Gurney, -Yankton, S. D.; Hale Holden, Chicago; Frank O. Lowden, -Oregon, Ill.; Julius Rosenwald, Chicago; Fred W. -Sargent, Evanston, Ill. and Mrs. Lorine Jones Spoonts, -Corpus Christi, Texas.</p> -<p>Mr. Cullinan became the Commission’s first president -and Mr. Boland was named chairman of the executive -committee at a session in the White House, where it met -upon invitation of the President on June 6, 1929.</p> -<p>It was the Mount Rushmore National Memorial Commission -which assumed financial responsibility for the -Memorial, taking over all property and contracts from -the Mount Harney Association, employing the services -of a staff for the sculptor and disbursing federal and privately-solicited -funds during the course of construction.</p> -<p>It was also the parent organization for the present -Mount Rushmore National Memorial Society of Black -Hills, incorporated under the laws of the District of -Columbia in 1930. And while the Society’s objectives -were identical with those of the Commission, it had -additional authority, including the sale of memberships, -management of concessions and the use of available funds -for advertising and publicity.</p> -<p>A long list of “Who’s Who” in America and South -Dakota have been recorded in the annals and on the -membership roll of the Mount Rushmore Society. Membership -certificate No. 1 is held by John Hays Hammond, -world famed mining engineer, lecturer, consultant of -Cecil Rhodes and active in the development of hydro-electric -and irrigation projects. Number two belongs to -Newton D. Baker, Secretary of War under President -Wilson and a one-time member of the Permanent Court -of International Justice at The Hague.</p> -<p>Other original members, some of whose heirs hold the -certificates, are John N. Garner, vice president of the -United States; Julius Rosenwald, American merchant -and philanthropist; Sewell L. Avery, chain store magnate; -Mary Garden, American operatic soprano; Walter -Dill Scot, author and president of Northwestern University; -Nicholas Murray Butler, president of Columbia -University and Nobel Peace Prize winner in 1931, and -Vilhjalmur Stefanson, Arctic Explorer, to mention a few.</p> -<p>The Society’s Board of Trustees presently is composed -of Paul E. Bellamy, John A. Boland, Mrs. Gutzon -Borglum, Lincoln Borglum, Francis Case, Fred C. -Christopherson, Miss Nina Cullinan, George E. Flavin, -Mrs. William Fowden, Mrs. Peter Norbeck, Robert -E. Driscoll, Sr., Eugene C. Eppley, Mrs. Frank M. -Lewis and William Williamson. Walter H. Johnson is -treasurer and K. F. Olsen secretary. The Commission -is not active at this time.</p> -<p>Originally a portion of the Federal Game Sanctuary in -the Harney National Forest, the 1,686-acre tract that -comprises the Mount Rushmore National Memorial was -established in 1929 but did not come under the National -Park Service jurisdiction until 1939.</p> -<p>During the interim, the South Dakota State Highway -Commission constructed the present Memorial Highway -from its junction with U. S. Highway 16. It also built the -Iron Mountain Drive with the three tunnels that frame -the Shrine of Democracy. The planning and intricate -engineering skill that went into building the Iron Mountain -Highway was extremely ingenious in itself.</p> -<h2>Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Mount Rushmore National Memorial, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK MOUNT RUSHMORE NATIONAL MEMORIAL *** - -***** This file should be named 61106-h.htm or 61106-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/1/0/61106/ - -Produced by Stephen Hutcheson, Lisa Corcoran and the Online -Distributed Proofreading Team at http://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - -</body> -</html> diff --git a/old/61106-h/images/cover.jpg b/old/61106-h/images/cover.jpg Binary files differdeleted file mode 100644 index cd1fb0b..0000000 --- a/old/61106-h/images/cover.jpg +++ /dev/null diff --git a/old/61106-h/images/p01a.jpg b/old/61106-h/images/p01a.jpg Binary files differdeleted file mode 100644 index 1be35f8..0000000 --- a/old/61106-h/images/p01a.jpg +++ /dev/null diff --git a/old/61106-h/images/p02.jpg b/old/61106-h/images/p02.jpg Binary files differdeleted file mode 100644 index 6dcb308..0000000 --- a/old/61106-h/images/p02.jpg +++ /dev/null diff --git a/old/61106-h/images/p02b.jpg b/old/61106-h/images/p02b.jpg Binary files differdeleted file mode 100644 index e831253..0000000 --- a/old/61106-h/images/p02b.jpg +++ /dev/null diff --git a/old/61106-h/images/p03.jpg b/old/61106-h/images/p03.jpg Binary files differdeleted file mode 100644 index b39a5f2..0000000 --- a/old/61106-h/images/p03.jpg +++ /dev/null diff --git a/old/61106-h/images/p04.jpg b/old/61106-h/images/p04.jpg Binary files differdeleted file mode 100644 index 14c1f60..0000000 --- a/old/61106-h/images/p04.jpg +++ /dev/null diff --git a/old/61106-h/images/p04a.jpg b/old/61106-h/images/p04a.jpg Binary files differdeleted file mode 100644 index 6c208e4..0000000 --- a/old/61106-h/images/p04a.jpg +++ /dev/null diff --git a/old/61106-h/images/p05.jpg b/old/61106-h/images/p05.jpg Binary files differdeleted file mode 100644 index 9ac7981..0000000 --- a/old/61106-h/images/p05.jpg +++ /dev/null diff --git a/old/61106-h/images/p05a.jpg b/old/61106-h/images/p05a.jpg Binary files differdeleted file mode 100644 index a371925..0000000 --- a/old/61106-h/images/p05a.jpg +++ /dev/null diff --git a/old/61106-h/images/p05c.jpg b/old/61106-h/images/p05c.jpg Binary files differdeleted file mode 100644 index 10ef46b..0000000 --- a/old/61106-h/images/p05c.jpg +++ /dev/null diff --git a/old/61106-h/images/p06.jpg b/old/61106-h/images/p06.jpg Binary files differdeleted file mode 100644 index c392aaf..0000000 --- a/old/61106-h/images/p06.jpg +++ /dev/null diff --git a/old/61106-h/images/p06a.jpg b/old/61106-h/images/p06a.jpg Binary files differdeleted file mode 100644 index c9feac5..0000000 --- a/old/61106-h/images/p06a.jpg +++ /dev/null diff --git a/old/61106-h/images/p06c.jpg b/old/61106-h/images/p06c.jpg Binary files differdeleted file mode 100644 index 7e69a88..0000000 --- a/old/61106-h/images/p06c.jpg +++ /dev/null diff --git a/old/61106-h/images/p06d.jpg b/old/61106-h/images/p06d.jpg Binary files differdeleted file mode 100644 index 29876ac..0000000 --- a/old/61106-h/images/p06d.jpg +++ /dev/null diff --git a/old/61106-h/images/p07.jpg b/old/61106-h/images/p07.jpg Binary files differdeleted file mode 100644 index 5ce59c4..0000000 --- a/old/61106-h/images/p07.jpg +++ /dev/null diff --git a/old/61106-h/images/p07a.jpg b/old/61106-h/images/p07a.jpg Binary files differdeleted file mode 100644 index a1f178e..0000000 --- a/old/61106-h/images/p07a.jpg +++ /dev/null diff --git a/old/61106-h/images/p07c.jpg b/old/61106-h/images/p07c.jpg Binary files differdeleted file mode 100644 index 9be111d..0000000 --- a/old/61106-h/images/p07c.jpg +++ /dev/null diff --git a/old/61106-h/images/p08.jpg b/old/61106-h/images/p08.jpg Binary files differdeleted file mode 100644 index 81c340e..0000000 --- a/old/61106-h/images/p08.jpg +++ /dev/null diff --git a/old/61106-h/images/p08a.jpg b/old/61106-h/images/p08a.jpg Binary files differdeleted file mode 100644 index 94342f8..0000000 --- a/old/61106-h/images/p08a.jpg +++ /dev/null diff --git a/old/61106-h/images/p09.jpg b/old/61106-h/images/p09.jpg Binary files differdeleted file mode 100644 index f30725e..0000000 --- a/old/61106-h/images/p09.jpg +++ /dev/null diff --git a/old/61106-h/images/p09a.jpg b/old/61106-h/images/p09a.jpg Binary files differdeleted file mode 100644 index ef810ec..0000000 --- a/old/61106-h/images/p09a.jpg +++ /dev/null diff --git a/old/61106-h/images/p10.jpg b/old/61106-h/images/p10.jpg Binary files differdeleted file mode 100644 index c7687f7..0000000 --- a/old/61106-h/images/p10.jpg +++ /dev/null diff --git a/old/61106-h/images/p10a.jpg b/old/61106-h/images/p10a.jpg Binary files differdeleted file mode 100644 index 86224f1..0000000 --- a/old/61106-h/images/p10a.jpg +++ /dev/null diff --git a/old/61106-h/images/p10c.jpg b/old/61106-h/images/p10c.jpg Binary files differdeleted file mode 100644 index 3adae46..0000000 --- a/old/61106-h/images/p10c.jpg +++ /dev/null diff --git a/old/61106-h/images/p11.jpg b/old/61106-h/images/p11.jpg Binary files differdeleted file mode 100644 index 47e10ec..0000000 --- a/old/61106-h/images/p11.jpg +++ /dev/null diff --git a/old/61106-h/images/p12.jpg b/old/61106-h/images/p12.jpg Binary files differdeleted file mode 100644 index 164892d..0000000 --- a/old/61106-h/images/p12.jpg +++ /dev/null diff --git a/old/61106-h/images/p13.jpg b/old/61106-h/images/p13.jpg Binary files differdeleted file mode 100644 index bd5f056..0000000 --- a/old/61106-h/images/p13.jpg +++ /dev/null diff --git a/old/61106-h/images/p14.jpg b/old/61106-h/images/p14.jpg Binary files differdeleted file mode 100644 index f9aa949..0000000 --- a/old/61106-h/images/p14.jpg +++ /dev/null diff --git a/old/61106-h/images/p15.jpg b/old/61106-h/images/p15.jpg Binary files differdeleted file mode 100644 index cf0a674..0000000 --- a/old/61106-h/images/p15.jpg +++ /dev/null diff --git a/old/61106-h/images/p15a.jpg b/old/61106-h/images/p15a.jpg Binary files differdeleted file mode 100644 index 8ce83c1..0000000 --- a/old/61106-h/images/p15a.jpg +++ /dev/null diff --git a/old/61106-h/images/p15c.jpg b/old/61106-h/images/p15c.jpg Binary files differdeleted file mode 100644 index 6819008..0000000 --- a/old/61106-h/images/p15c.jpg +++ /dev/null diff --git a/old/61106-h/images/spine.jpg b/old/61106-h/images/spine.jpg Binary files differdeleted file mode 100644 index f00c230..0000000 --- a/old/61106-h/images/spine.jpg +++ /dev/null |
