our memories as to these historic facts. The symbolism of the colossus
would therefore be very fine; it would have a meaning which every one
could understand. It would signify not only the amity of France and the
United States, and the republican idea of brotherhood and freedom, as I
have said; but it would also stand for American hospitality to the
European emigrant, and Emma Lazarus has thus imagined the colossus
endowed with speech:

"Keep, ancient lands, your storied pomp!" cries she.
With silent lips. "Give me your tired, your poor,
Your huddled masses, yearning to breathe free;
The wretched refuse of your teeming shore--
Send these, the homeless, temptest-tost to me--
I lift my lamp beside the golden door!"

Now, there can be no two ways of thinking among patriotic Americans as
to this aspect of the Bartholdi colossus question. It must be agreed
that the motive of the work is extremely grand, and that its
significance would be glorious. The sculptor's project was a generous
inspiration, for which he must be cordially remembered. To be sure, it
may be said he is getting well advertised; that is very true, but it
would be mean in us to begrudge him what personal fame he may derive
from the work. To assume that the whole affair is a "job," or that it is
entirely the outcome of one man's scheming egotism and desire for
notoriety, is to take a deplorably low view of it; to draw unwarranted
conclusions and to wrong ourselves. The money to pay for the
statue--about $250,000--was raised by popular subscription in France,
under the auspices of the Franco-American Union, an association of
gentlemen whose membership includes such names as Laboulaye, de
Lafayette, de Rochambeau, de Noailles, de Toqueville, de Witt, Martin,