document_title: Statue of Liberty

question_text: when did statue of liberty became a national monument

question_tokens: when did statue of liberty became a national monument

text: Statue of Liberty

text: Design and construction process

text: Origin

text: According to the National Park Service, the idea for the Statue of Liberty was first proposed by Édouard René de Laboulaye the president of the French Anti-Slavery Society and a prominent and important political thinker of his time. The project is traced to a mid-1865 conversation between de Laboulaye, a staunch abolitionist and Frédéric Bartholdi, a sculptor. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, is supposed to have said: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations."[7] The National Park Service, in a 2000 report, however, deemed this a legend traced to an 1885 fundraising pamphlet, and that the statue was most likely conceived in 1870.[8] In another essay on their website, the Park Service suggested that Laboulaye was minded to honor the Union victory and its consequences, "With the abolition of slavery and the Union's victory in the Civil War in 1865, Laboulaye's wishes of freedom and democracy were turning into a reality in the United States. In order to honor these achievements, Laboulaye proposed that a gift be built for the United States on behalf of France. Laboulaye hoped that by calling attention to the recent achievements of the United States, the French people would be inspired to call for their own democracy in the face of a repressive monarchy."[9]

text: According to sculptor Frédéric Auguste Bartholdi, who later recounted the story, Laboulaye's comment was not intended as a proposal, but it inspired Bartholdi.[7] Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Bartholdi was in any event busy with other possible projects; in the late 1860s, he approached Isma'il Pasha, Khedive of Egypt, a plan to build Progress or Egypt Carrying the Light to Asia,[10] a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.[11]

text: Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France.[7] As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans.[12] In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.[13]

text: Arriving at New York Harbor, Bartholdi focused on Bedloe's Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states."[14] As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue.[15] Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project.[13] But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.[16]

text: Bartholdi had made a first model of his concept in 1870.[17] The son of a friend of Bartholdi's, American artist John LaFarge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge's Rhode Island studio. Bartholdi continued to develop the concept following his return to France.[17] He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.[18]

text: Design, style, and symbolism

text: Bartholdi and Laboulaye considered how best to express the idea of American liberty.[19] In early American history, two female figures were frequently used as cultural symbols of the nation.[20] One of these symbols, the personified Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Marianne came to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans.[20] The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time,[19] and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.[19]

text: Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol.[19] A figure of Liberty was also depicted on the Great Seal of France.[19] However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830). In this painting, which commemorates France's Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen.[20] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[20] Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.[21]

text: Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet.[22] Delacroix's figure wears a pileus,[20] and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head.[23] In so doing, he avoided a reference to Marianne, who invariably wears a pileus.[24] The seven rays form a halo or aureole.[25] They evoke the sun, the seven seas, and the seven continents,[26] and represent another means, besides the torch, whereby Liberty enlightens the world.[21]

text: Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother,[27] but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact.[28] He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose.[21] Bartholdi wrote of his technique:

text: The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.[29]

text: Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does rise over a broken chain, half-hidden by her robes and difficult to see from the ground.[23] Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata,[30] used to evoke the concept of law.[31] Though Bartholdi greatly admired the United States Constitution, he chose to inscribe "JULY IV MDCCLXXVI" on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.[30]

text: Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project.[28] As chief engineer,[28] Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored.[32] After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.[28][33] An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy's Sancarlone and the German statue of Arminius, both made with the same method.[34]

text: Announcement and early work

text: By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition in Philadelphia led Laboulaye to decide it was time to seek public support.[35] In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World.[36] The French would finance the statue; Americans would be expected to pay for the pedestal.[37] The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia.[36] French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life.[37] Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.[36]

text: Despite its initial focus on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway,[38] though this has not been conclusively determined after testing samples.[39] According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 90,800 kilos (200,000 pounds) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 58,100 kilos (128,000 pounds) of copper.[40]

text: Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop.[41] In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition,[42] and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities.[43] The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi.[44] Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds.[45] After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.[45]

text: During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union.[46] Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia.[47] The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee".[48] One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States.[46] On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.[49]

text: Construction in France

text: On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered.[50] The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.[51]

text: The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier.[52] The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel.[50] Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars[28] which culminated in a mesh of metal straps, known as "saddles", that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually.[53][54] To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.[55]

text: Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown.[56] Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long.[57] As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure.[58] The components of the pylon tower were built in the Eiffel factory in the nearby Parisian suburb of Levallois-Perret.[59]

text: The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.[60]

text: In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton.[61] The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors.[62] Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban.[63] By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue.[64] Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York.[65] The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.[66]

text: The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete.[67] There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue.[67] There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen.[68] Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once."[69] The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances."[70] Faced with these criticisms, the American committees took little action for several years.[70]

text: Design

text: The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station.[71] The fortifications of the structure were in the shape of an eleven-point star. The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean.[72] In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months.[73] He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).[74]

text: Hunt's pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture.[28] The large mass is fragmented with architectural detail, in order to focus attention on the statue.[74] In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 U.S. states), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises.[75] According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty".[74] The committee hired former army General Charles Pomeroy Stone to oversee the construction work.[76] Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal's cornerstone was laid in 1884.[73] In Hunt's original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks.[77][78] This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut.[79] The concrete mass was the largest poured to that time.[78]

text: Norwegian immigrant civil engineer Joachim Goschen Giæver designed the structural framework for the Statue of Liberty. His work involved design computations, detailed fabrication and construction drawings, and oversight of construction. In completing his engineering for the statue's frame, Giæver worked from drawings and sketches produced by Gustave Eiffel.[80]

text: Fundraising

text: Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events.[81] As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled anti-Semitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue.[82] The resulting sonnet, "The New Colossus", including the iconic lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in its base.[83]

text: Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.[84]

text: Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000—the equivalent of $2.3 million today.[85] Pulitzer pledged to print the name of every contributor, no matter how small the amount given.[86] The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial."[87] One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with."[88] Another dollar was given by a "lonely and very aged woman."[87] Residents of a home for alcoholics in New York's rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons.[89] A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.[87] As the donations flooded in, the committee resumed work on the pedestal.[90]

text: Construction

text: On June 17, 1885, the French steamer Isère, laden with the Statue of Liberty, reached the New York port safely. New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère.[91] [92] After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar.[93]

text: Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel I-beams within the concrete pedestal and assembled.[94] Once this was done, the sections of skin were carefully attached.[95] Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from ropes while installing the skin sections. Nevertheless, no one died during the construction.[96] Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch—which was covered with gold leaf—and placed the lights inside them.[97] A power plant was installed on the island to light the torch and for other electrical needs.[98] After the skin was completed, renowned landscape architect Frederick Law Olmsted, co-designer of New York's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication.[99]

text: Dedication

text: A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event.[100] On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to the Battery at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.[101]

text: A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication.[102] De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. A French flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address.[101] President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world".[103] Bartholdi, observed near the dais, was called upon to speak, but he declined. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.[104]

text: No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote.[103] A scheduled fireworks display was postponed until November 1 because of poor weather.[105]

text: Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":

text: "Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.[106]

text: After dedication

text: Lighthouse Board and War Department (1886–1933)

text: When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon."[98] Bartholdi suggested gilding the statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch's effect; in spite of its efforts, the statue remained virtually invisible at night. When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel's design.[98] In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue's transfer to the War Department, as it had proved useless as a lighthouse.[107] A unit of the Army Signal Corps was stationed on Bedloe's Island until 1923, after which military police remained there while the island was under military jurisdiction.[108]

text: The statue rapidly became a landmark. Many immigrants who entered through New York saw it as a welcoming sight. Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled,

text: I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.[109]

text: Originally, the statue was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue.[110] Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $1,673,969 in 2016) for various repairs, and to paint the statue both inside and out.[111] There was considerable public protest against the proposed exterior painting.[112] The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful."[113] The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.[113]

text: On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated, and seven people were killed. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about US$100,000 (equivalent to $2,200,917 in 2016). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.[104]

text: That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise US$30,000 (equivalent to $660,275 in 2016) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.[114]

text: After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty Bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.[115]

text: In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a National Monument.[107] The only successful suicide in the statue's history occurred five years later, when a man climbed out of one of the windows in the crown and jumped to his death, glancing off the statue's breast and landing on the base.[116]

text: Early National Park Service years (1933–1982)

text: In 1933, President Franklin Roosevelt ordered the statue to be transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe's Island.[107] With the Army's departure, the NPS began to transform the island into a park.[117] The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue's halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete;[118] the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal.[119] The statue was closed to the public from May until December 1938.[118]

text: During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed "dot-dot-dot-dash", the Morse code for V, for victory. New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night.[120] In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.[119]

text: In 1956, an Act of Congress officially renamed Bedloe's Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it.[121] Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965.[107] In 1972, the immigration museum, in the statue's base, was finally opened in a ceremony led by President Richard Nixon. The museum's backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.[94]

text: In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women's New York chapter draped an enormous banner over a railing which read "WOMEN OF THE WORLD UNITE!"[122][123]

text: Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a Federal Court order.[124] The statue was also several times taken over briefly by demonstrators publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada. Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.[125]

text: A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island.[126] The day concluded with a spectacular display of fireworks near the statue.[127]

text: Renovation and rededication (1982–2000)

text: The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986.[128] In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure. In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced.[129] Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.[130]

text: In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work.[131] Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations.[132] The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign. A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.[133]

text: In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world's largest free-standing scaffold,[28] which obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. Blasting with baking soda powder removed the tar without further damaging the copper.[134] The restorers' work was hampered by the asbestos-based substance that Bartholdi had used—ineffectively, as inspections showed—to prevent galvanic corrosion. Workers within the statue had to wear protective gear, dubbed "moon suits", with self-contained breathing circuits.[135] Larger holes in the copper skin were repaired, and new copper was added where necessary.[136] The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue's; in exchange, the laboratory was provided some of the old copper skin for testing.[137] The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi's unaltered torch.[138] Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead.[139] The original torch was removed and replaced in 1986 with the current one, whose flame is covered in 24-carat gold.[31] The torch reflects the sun's rays in daytime and is lighted by floodlights at night.[31]

text: The entire puddled iron armature designed by Gustave Eiffel was replaced. Low-carbon corrosion-resistant stainless steel bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves.[140] To prevent the ray and arm making contact, the ray was realigned by several degrees.[141] The lighting was again replaced—night-time illumination subsequently came from metal-halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details.[142] Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation.[143] A modern elevator was installed, allowing handicapped access to the observation area of the pedestal.[144] An emergency elevator was installed within the statue, reaching up to the level of the shoulder.[145]

text: July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail,[146] and the statue was reopened to the public on July 5.[147] In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."[146]

text: Closures and reopenings (2001–present)

text: Following the September 11 attacks, the statue and Liberty Island were immediately closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004,[147] but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of the Bush administration.[148] New York Congressman Anthony Weiner made the statue's reopening a personal crusade.[149] On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.[148]

text: The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code. The statue was reopened on October 28, 2012,[1][150][151] only to close again a day later due to Hurricane Sandy.[152] Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty Island and Ellis Island, severely damaging the dock used by the ferries bearing visitors to the statue. On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done.[153] Due to lack of electricity on Liberty Island, a generator was installed to power temporary floodlights to illuminate the statue at night. The superintendent of Statue of Liberty National Monument, David Luchsinger, whose home on the island was severely damaged, stated that it would be "optimistically ... months" before the island was reopened to the public.[154] The statue and Liberty Island reopened to the public on July 4, 2013.[155] Ellis Island remained closed for repairs for several more months but reopened in late October 2013.[156] For part of October 2013, Liberty Island was closed to the public due to the United States federal government shutdown of 2013, along with other federally funded museums, parks, monuments, construction projects and buildings.[157]

text: On October 7, 2016, construction started on a new Statue of Liberty museum on Liberty Island. The new $70 million, 26,000-square-foot (2,400 m2) museum will be able to accommodate all of the island's visitors when it opens in 2019, as opposed to the current museum, which only 20% of the island's visitors can visit.[158] The original torch will be relocated here, and in addition to exhibits relating to the statue's construction and history, there will be a theater where visitors can watch an aerial view of the statue.[158][159] The museum, designed by FXFOWLE Architects, will integrate with the parkland around it.[159] It is being funded privately by Diane von Fürstenberg, Michael Bloomberg, Jeff Bezos, Coca-Cola, NBCUniversal, the family of Laurence Tisch and Preston Robert Tisch, Mellody Hobson, and George Lucas.[160] Von Fürstenberg heads the fundraising for the museum, and the project had garnered more than $40 million in fundraising as of groundbreaking.[159]

text: Access and attributes

text: Location and tourism

text: The statue is situated in Upper New York Bay on Liberty Island south of Ellis Island, which together comprise the Statue of Liberty National Monument. Both islands were ceded by New York to the federal government in 1800.[161] As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay's midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Liberty Island is one of the islands that are part of the borough of Manhattan in New York. Land created by reclamation added to the 2.3 acres (0.93 ha) original island at Ellis Island is New Jersey territory.[162]

text: No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953.[163] The ferries, which depart from Liberty State Park in Jersey City and Battery Park in Lower Manhattan, also stop at Ellis Island when it is open to the public, making a combined trip possible.[164] All ferry riders are subject to security screening, similar to airport procedures, prior to boarding.[165] Visitors intending to enter the statue's base and pedestal must obtain a complimentary museum/pedestal ticket along with their ferry ticket.[166] Those wishing to climb the staircase within the statue to the crown purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day are permitted to ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.[167]

text: Inscriptions, plaques, and dedications

text: There are several plaques and dedicatory tablets on or near the Statue of Liberty.

text:
A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.). [168]
A presentation tablet, also bearing Bartholdi's name, declares the statue is a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."[168]
A tablet placed by the New York committee commemorates the fundraising done to build the pedestal.[168]
The cornerstone bears a plaque placed by the Freemasons.[168]
In 1903, a bronze tablet that bears the text of Emma Lazarus's sonnet, "The New Colossus" (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; today it resides in the Statue of Liberty Museum, in the base.[168]
"The New Colossus" tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.[168]

text: A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.[169]

text: UNESCO World Heritage Site

text: In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site. The UNESCO "Statement of Significance" describes the statue as a "masterpiece of the human spirit" that "endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity."[170]

text: Physical characteristics

text:
Feature[72]
U.S.
Metric

Height of copper statue
151 ft 1 in
46 m

Foundation of pedestal (ground level) to tip of torch
305 ft 1 in
93 m

Heel to top of head
111 ft 1 in
34 m

Height of hand
16 ft 5 in
5 m

Index finger
8 ft 1 in
2.44 m

Circumference at second joint
3 ft 6 in
1.07 m

Head from chin to cranium
17 ft 3 in
5.26 m

Head thickness from ear to ear
10 ft 0 in
3.05 m

Distance across the eye
2 ft 6 in
0.76 m

Length of nose
4 ft 6 in
1.48 m

Right arm length
42 ft 0 in
12.8 m

Right arm greatest thickness
12 ft 0 in
3.66 m

Thickness of waist
35 ft 0 in
10.67 m

Width of mouth
3 ft 0 in
0.91 m

Tablet, length
23 ft 7 in
7.19 m

Tablet, width
13 ft 7 in
4.14 m

Tablet, thickness
2 ft 0 in
0.61 m

Height of pedestal
89 ft 0 in
27.13 m

Height of foundation
65 ft 0 in
19.81 m

Weight of copper used in statue
60,000 pounds
27.22 tonnes

Weight of steel used in statue
250,000 pounds
113.4 tonnes

Total weight of statue
450,000 pounds
204.1 tonnes

Thickness of copper sheeting
3/32 of an inch
2.4 mm

text: Depictions

text: Hundreds of replicas of the Statue of Liberty are displayed worldwide.[171] A smaller version of the statue, one-fourth the height of the original, was given by the American community in Paris to that city. It now stands on the Île aux Cygnes, facing west toward her larger sister.[171] A replica 30 feet (9.1 m) tall stood atop the Liberty Warehouse on West 64th Street in Manhattan for many years;[171] it now resides at the Brooklyn Museum.[172] In a patriotic tribute, the Boy Scouts of America, as part of their Strengthen the Arm of Liberty campaign in 1949–1952, donated about two hundred replicas of the statue, made of stamped copper and 100 inches (2,500 mm) in height, to states and municipalities across the United States.[173] Though not a true replica, the statue known as the Goddess of Democracy temporarily erected during the Tiananmen Square protests of 1989 was similarly inspired by French democratic traditions—the sculptors took care to avoid a direct imitation of the Statue of Liberty.[174] Among other recreations of New York City structures, a replica of the statue is part of the exterior of the New York-New York Hotel and Casino in Las Vegas.[175]

text: As an American icon, the Statue of Liberty has been depicted on the country's coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York's 2001 entry in the state quarters series.[176] An image of the statue was chosen for the American Eagle platinum bullion coins in 1997, and it was placed on the reverse, or tails, side of the Presidential Dollar series of circulating coins.[26] Two images of the statue's torch appear on the current ten-dollar bill.[177] The statue's intended photographic depiction on a 2010 forever stamp proved instead to be of the replica at the Las Vegas casino.[178]

text: Depictions of the statue have been used by many regional institutions. Between 1986[179] and 2000,[180] New York State issued license plates with an outline of the statue to either the front or the side of the serial number.[179][180] The Women's National Basketball Association's New York Liberty use both the statue's name and its image in their logo, in which the torch's flame doubles as a basketball.[181] The New York Rangers of the National Hockey League depicted the statue's head on their third jersey, beginning in 1997.[182] The National Collegiate Athletic Association's 1996 Men's Basketball Final Four, played at New Jersey's Meadowlands Sports Complex, featured the statue in its logo.[183] The Libertarian Party of the United States uses the statue in its emblem.[184]

text: The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith's song "Courtesy of the Red, White and Blue (The Angry American)", and in opposition, appearing on the cover of the Dead Kennedys' album Bedtime for Democracy, which protested the Reagan administration.[185] In film, the torch is the setting for the climax of director Alfred Hitchcock's 1942 movie Saboteur.[186] The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand.[185][187] It is knocked over in the science-fiction film Independence Day [188] and in Cloverfield the head is ripped off.[189] In Jack Finney's time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role.[190] Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979,

text: Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted [E]arth—giants have uprooted it, aliens have found it curious ... the symbol of Liberty, of optimism, has become a symbol of science fiction's pessimistic view of the future.[191]


document_title: North and South (miniseries)

question_text: who played george hazards wife in north and south

root

text: North and South (miniseries)

text: Cast[edit]

text: The initial 1985 miniseries cast Patrick Swayze as Orry Main and James Read as George Hazard with Lesley-Anne Down as Orry's love interest Madeline and Wendy Kilbourne as George's future wife Constance.[8] Kirstie Alley played George's outspoken abolitionist sister Virgilia, with Genie Francis as Orry's "good" sister Brett and Terri Garber as his selfish and wicked sister Ashton, as well as Philip Casnoff as Elkanah Bent, George and Orry's nemesis.[8] All of these actors returned for the 1986 sequel, joined by Parker Stevenson as Billy Hazard, George's brother and Brett's husband.[9]

tag: p

text: North and South (1985) also featured many well-known actors as guest stars, including Elizabeth Taylor as bordello proprietor Madam Conti, David Carradine as the sadistic Justin LaMotte, Hal Holbrook as Abraham Lincoln, Gene Kelly as Bent's father Senator Charles Edwards, Robert Mitchum as Colonel Patrick Flynn, M.D., Johnny Cash as abolitionist John Brown, Jean Simmons as Orry's mother Clarissa Main, Mitchell Ryan as Orry's father Tillet Main, John Anderson as George's father William Hazard, Jonathan Frakes as George's older brother Stanley Hazard, Inga Swenson as George's mother Maude Hazard, Robert Guillaume as abolitionist Frederick Douglass, Morgan Fairchild as Burdetta Halloran, David Ogden Stiers as Congressman Sam Greene, and Olivia Cole as Madeline's devoted but doomed servant Maum Sally.[8] John Jakes' wife Rachel also made an appearance in Episode 6 as Lincoln's wife Mary. North and South: Book II (1986) saw the return of Carradine as LaMotte, Holbrook as Lincoln, and Stiers as Congressman Greene, as well as new guests Lloyd Bridges as Jefferson Davis, Anthony Zerbe as Ulysses S. Grant, Nancy Marchand as Dorothea Dix, James Stewart as Miles Colbert, Wayne Newton as Captain Thomas Turner, and William Schallert as Robert E. Lee,[9] with Linda Evans as Rose Sinclair and Olivia de Havilland as Mrs. Neal. 1994's Heaven and Hell featured Peter O'Toole as "louche actor" Sam Trump[10] and Billy Dee Williams as Francis Cardozo.

text: Filming of the miniseries resulted in four marriages among the cast and crew. Read and Kilbourne, who played opposite each other, married in 1988 and now have two children. Frakes and Francis, who had previously played opposite each other on the failed NBC soap Bare Essence, also married in 1988. Lesley-Anne Down married assistant cameraman Don E. FauntLeRoy in 1986. They met during filming of Book I when both were married to other people, and eventually obtained divorces.[11] Garber married screenwriter Chris Hager, whom she met in 1985 when he worked as a grip on the set of North and South: Book II. They had a daughter, Molly, in 1986, and later divorced.[12]

text:
Character
North and South
1985
North and South: Book II
1986
Heaven and Hell:
North and South Book III
1994

Orry Main
Patrick Swayze
Patrick Swayze (archive/uncredited)

George Hazard
James Read

Madeline Fabray
Lesley-Anne Down

Constance Flynn
Wendy Kilbourne

Virgilia Hazard
Kirstie Alley
–

Ashton Main
   Young Ashton
   Young Ashton
Terri Garber
Temi Epstein (Ep. 1)
Stephanie Jolluck (Ep. 2)
Terri Garber
Terri Garber

Brett Main
   Young Brett
   Young Brett
Genie Francis
Nikki Creswell (Ep. 1)
Melissa Manley (Ep. 2)
Genie Francis
Genie Francis

Elkanah Bent
Philip Casnoff

Charles Main
Lewis Smith
Kyle Chandler

Billy Hazard
   Young Billy
John Stockwell
Cary Guffey (Ep. 1)
Parker Stevenson

Stanley Hazard
Jonathan Frakes

Isabel Truscott Hazard
Wendy Fulton
Mary Crosby
Deborah Rush

Justin LaMotte
David Carradine
–

Clarissa Gault Main
Jean Simmons
–

Maude Hazard
Inga Swenson
–

Burdetta Halloran
Morgan Fairchild
–

Congressman Sam Greene
David Ogden Stiers
–

James Huntoon
Jim Metzler
–

Salem Jones
Tony Frank
–

Priam
David Harris
–

Semiramis
Erica Gimpel
–

Cuffey
Forest Whitaker
–

Ned Fisk
Andrew Stahl
–

Maum Sally
Olivia Cole

Madam Conti
Elizabeth Taylor

Garrison Grady
Georg Stanford Brown

Tillet Main
Mitchell Ryan

William Hazard
John Anderson

Ironworker
Ray Spruell

Barman
Ronnie Stutes

Augusta Barclay

Kate McNeil

Rafe Baudeen

Lee Horsley

Miles Colbert

James Stewart

Mrs. Neal

Olivia de Havilland

Rose Sinclair

Linda Evans

Captain Thomas Turner

Wayne Newton

Ezra

Beau Billingslea

Lt. Rudy Bodford

Michael Dudikoff

Lt. Stephen Kent

Whip Hubley

Hope Hazard
uncredited
Jennifer and Michele Steffin
Mary Elizabeth McCae

Sam Trump

Peter O'Toole

Willa Parker

Rya Kihlstedt

Prudence Chaffee

Mariette Hartley

Adolphus

Rip Torn

Cooper Main

Robert Wagner

Judith Stafford Main

Cathy Lee Crosby

Will Fenway

Tom Noonan

Gus Main

uncredited
Cameron Finley

Scar

Gregory Zaragoza

Running Wolf

Ted Thin Elk

Gettys LaMotte

Cliff De Young

Jack Quinlan

Woody Watson

Isaac

Stan Shaw

Jane

Sharon Washington

Historical figures

Person
Book I
1985
Book II
1986
Book III
1994

Abraham Lincoln
Hal Holbrook

Mary Todd Lincoln
Rachel Jakes (uncredited)

Ulysses S. Grant
Mark Moses
Anthony Zerbe
Rutherford Cravens

Frederick Douglass
Robert Guillaume

John Brown
Johnny Cash

George B. McClellan
Chris Douridas

George Pickett
Cody W. Hampton

Thomas "Stonewall" Jackson
William Preston Daly

Hiram Berdan

Kurtwood Smith

Jefferson Davis

Lloyd Bridges

Robert E. Lee

William Schallert

Dorothea Dix

Nancy Marchand

Francis Cardozo

Billy Dee Williams

Major Anderson
James Rebhorn

tag: table

text: Crew[edit]

text: North and South (1985) was directed by Richard T. Heffron, from a script adaptation by Patricia Green, Douglas Heyes, Paul F. Edwards, and Kathleen A. Shelley. It was produced by David L. Wolper, Paul Freeman, Rob Harland, and Chuck McLain, with music by Bill Conti and Stevan Larner as cinematographer. Wolper also produced 1986's North and South: Book II with his son Mark Wolper, as well as Stephanie Austin and Robert Papazian. Conti returned as composer, with Kevin Connor directing, Jacques R. Marquette as cinematographer, and a script by Heyes and Richard Fielder. Heaven and Hell: North and South Book III (1994) was directed by Larry Peerce from a script by Suzanne Clauser. Hal Galli produced the miniseries, with music by David Bell and Don E. FauntLeRoy as cinematographer.

text: Plot[edit]

text: Book I: North and South[edit]

text:
Episode 1 (summer 1842 - summer 1844) - Young Southerner Orry Main, the firstborn son of a wealthy South Carolina plantation owner, decides to go to West Point. On his way to the train station, he rescues and falls in love with the beautiful French-Creole southern belle from New Orleans, Madeline Fabray. In New York City, Orry meets Northerner George Hazard, the second son of a wealthy Pennsylvania steel-factory owner, who is also on his way to West Point. They quickly become close friends. At the Academy, they meet classmates George Pickett, George McClellan, Thomas "Stonewall" Jackson and a senior student named Ulysses Grant. They also meet the amoral egomaniac Elkanah Bent, a fellow cadet from Georgia. Bent is a handsome, smooth-talking man who hides his evil, twisted nature beneath his charm and good looks. He takes an instant dislike to Orry and George and uses his status as their drillmaster to constantly harass them. Orry constantly writes letters to Madeline, although it seems that she has not been responding to him. After two years of training, the men return home for a summer leave. George's sister, Virgilia, is a passionate abolitionist and immediately takes a dislike to Orry when she finds out that his family keeps slaves. While at home, Orry is devastated to learn that Madeline is getting married to his cruel neighbor, plantation owner Justin LaMotte. Orry has an argument with his father over the hiring of the brutal and sadistic Salem Jones as the plantation's overseer. Orry stops Jones from using a bullwhip to "punish" one of the slaves, sparking a tense relationship between the two. After Orry witnesses Madeline's marriage, they privately speak to each other afterwards and find out that Madeline's father has been hiding Orry's letters to ensure that she would marry Justin. That night, Justin hits and rapes Madeline, leaving her broken.
Episode 2 (autumn 1844 - spring 1848) - Bent continues his cruelty towards George, Orry, and their friends. The men, with some help from other cadets, arrange for Bent to be caught with a prostitute and he is forced to leave the Academy. When Bent learns that Orry and George were involved, he vows revenge. George and Orry graduate from West Point. They leave to fight in the Mexican War. During the Battle of Churubusco, Bent, who has blackmailed his father in order to obtain a superior rank, orders George and Orry to lead a suicidal charge against the Mexican forces. Both men survive, but Orry is shot in his left leg and permanently crippled. Meanwhile, George meets Constance Flynn, the Irish Catholic daughter of an Army surgeon, and falls in love. They plan to marry. Orry drowns his sorrows in alcoholism. With the Mexican War over, George quits the army, finds Bent, and beats him, threatening to kill him if he ever tries to harm him or Orry again. Traumatized by his injuries, Orry temporarily becomes a recluse. When Madeline helps Priam, one of Orry's slaves, escape, one of the other slaves gets whipped for helping Priam.
Episode 3 (spring 1848 - summer 1854) George gets married to Constance and Orry is his best man. Orry and Madeline become secret lovers. A terrible fire erupts at Hazard Iron and kills many of the workers due to George's older brother, Stanley, making a greedy decision. All authority over Hazard Iron is handed to George, greatly displeasing Stanley and his wife, Isabel. Orry's father dies, leaving Orry to inherit the family plantation. His first act is to fire the brutal Salem Jones as overseer. Jones vows revenge. Orry's cousin Charles, who does not have good relations with the Main family, is challenged to a pistol duel in a dispute over an engaged woman. Orry, as Charles' second, begrudgingly helps Charles to survive the duel and they become close. The Mains visit the Hazards in Pennsylvania. Billy and Charles plan to attend West Point together, just as Orry and George did. Orry's sister Ashton purposely courts George's younger brother Billy, whom Brett has come to fancy. Orry and George begin a partnership cotton mill at Orry's plantation in South Carolina; they do so on George's condition that Orry not use slave labor in the mill. Virgilia is furious that her family has allowed slave owners into their house and tries to humiliate them, angering the rest of her family.
Episode 4 (summer 1854 - autumn 1856) - The Hazards visit the Mains in South Carolina. Billy discovers how selfish and seductive Ashton can be and falls in love with Ashton's younger and kinder sister, Brett, much to Ashton's jealousy. George's sister Virgilia enters a passionate relationship with Grady, the proud and aggressive coachman of James Huntoon, an ambitious but easily manipulated South Carolina politician, who is also a strong suitor of Ashton, and helps Grady escape from slavery. Ashton, however, becomes aware of Virgilia's involvement and informs James, as well as announcing it in the Hazard family's presence. On his deathbed, Madeline's father tells her that her maternal great-grandmother was black. Billy and Charles graduate from West Point, and both families attend the graduation. Ashton sleeps with many of Billy's friends, still bitter over his rejection and attraction to Brett, which Charles is furious to discover, but keeps secret for the family's sake. Ashton gets pregnant and begs Madeline for help, who takes her to a local midwife to perform a secret abortion. When Madeline lies to Justin about where she was when she was away helping Ashton, he beats Madeline, locks her in a spare bedroom to starve, and kills Maum Sally for trying to help Madeline escape.
Episode 5 (spring 1857 - November 1860) - Madeline is drugged by Justin into becoming robotic and submissive and disappears from society, even forgetting her love for Orry. Ashton marries James Huntoon, though she doesn't plan on being a committed wife. Elkanah Bent befriends James Huntoon, and subtly interrogates him at a brothel about the people in his wedding picture, including Orry, Ashton, and Madeline. Bent recognizes the resemblance between Madeline and the painting of a former popular prostitute that worked there. Orry visits George, but Virgilia's views cause a serious argument to ensue over the issue of slavery. Orry does not want Brett to marry Billy because of the growing tensions between the North and South. Virgilia and Grady both join abolitionist leader John Brown. In 1859, Brown makes his famous raid on Harper's Ferry, Virginia, to arm and free the slaves there. The U.S. Army stops the raid, Virgilia's husband Grady and Priam are killed, and Brown is captured. Virgilia escapes, but is more bitter than ever towards Southerners. Abraham Lincoln is elected President; several Southern states make plans to secede from the U.S. and establish themselves as a separate nation.
Episode 6 (November 6, 1860 - April 1861) - Having argued with Orry, now a bitter drunk, Brett has fled to Ashton's house in Charleston and runs into Billy, who is stationed at Fort Sumter. Ashton, however, still holds a grudge against Billy and conspires with Justin's nephew and her lover, Forbes LaMotte, to harm them both. George visits Orry and the two apologize to each other after years of estrangement. Orry gives Brett his blessing to marry Billy. South Carolina secedes from the Union, infuriating Orry. Ashton schemes to have Billy killed, partly out of jealousy, and partly because Billy is now a "Yankee" enemy in the eyes of the South. She fails, however, due to a drugged Madeline, who overhears Justin and Forbes discussing it. Her memories come back and she runs to inform Orry after fending off Justin. After stopping Billy and Brett on their way to the train station, Forbes provokes Billy into a rigged pistol duel, which turns into a full-fledged fight after Charles and Orry arrive, resulting in Forbes' death. Orry is enraged at Ashton and disowns her, with her vowing revenge. Justin comes looking for Madeline, as she has taken refuge with Orry at Mont Royal, but is forced to leave with a warning. Now off the drugs and with her memories returned, Madeline plans to divorce Justin and marry Orry. Orry visits the Hazard mansion near Philadelphia to give George his part of their cotton mill money. When he arrives, Orry discovers that George and Constance now have a baby girl named Hope. Virgilia finds out that Orry is present and tries to have him killed by forming a lynch mob which threatens the Hazard estate; the mob's leaders demand that George hand Orry over to them, leaving little doubt that their intentions are to kill him. George and Orry face off against the mob with shotguns and Orry boards a train to return to South Carolina. The two friends part, unsure if they will ever see each other again. The Civil War begins.

tag: ul

text: Book II: Love and War[edit]

text:
Episode 1 (June 1861 - July 21, 1861) - Orry and Charles, now officers in the Confederate Army, leave the Main family plantation for the war in Virginia. Orry, despite having been against secession, becomes a general and military aide to Confederate President Jefferson Davis in the Confederate capital of Richmond. Meanwhile, George and Billy are in Washington, D.C., where they are officers in the U.S. Army. Billy joins the U.S. Sharpshooters regiment, while George becomes a military aide to U.S. President Abraham Lincoln. Charles, a Confederate cavalry officer, meets Augusta Barclay, a Virginia belle who smuggles medicine for the southern soldiers. Virgilia wants to work as a nurse at a Washington, D.C. military hospital and asks Congressman Sam Greene, a fellow abolitionist, for help. Orry's cruel and manipulative sister Ashton meets her match in Elkanah Bent, who sees the Civil War as a great way to get rich by smuggling forbidden luxury goods through the U.S. Navy blockade of the South. Bent and Ashton quickly become lovers, while Ashton's politician husband, James Huntoon, is unaware of his wife's adultery. With Orry and Charles gone to war, Justin kidnaps Madeline from the Main family plantation and burns the cotton barn; Orry's mother is injured trying to stop the fire. The First Battle of Bull Run takes place with George and Constance getting caught up in the panicked aftermath as they reluctantly watch from a distance. The South is the winner.
Episode 2 (July 1861 - summer 1862) - Hearing about her mother's injury, Brett and one of the Main household servants, Semiramis, make the dangerous trip from Washington, D.C. to the Main plantation in South Carolina. Along the way, Semiramis is captured by Union soldiers, but rescued by Brett. Orry leaves Richmond and returns to South Carolina as well; he finds Madeline at Justin's plantation and kills Justin in a fight. Orry and Madeline finally get married. Orry discovers Bent's illegal smuggling enterprise and stops it by capturing Bent's blockade runners, arresting his men, and destroying most of his merchandise. Bent and Ashton vow revenge. Meanwhile, in Pennsylvania, George's older brother Stanley takes over the family's steel factories. His greedy wife Isabel talks him into profiteering from the war by using cheap, low-grade iron to make cannons for the U.S. Army; the cannons often explode and kill Northern soldiers. They forge George's name on the documents, in case the cannons are traced back to Hazard Iron.
Episode 3 (September 17, 1862 - spring 1864) - At the bloody battle of Antietam, Charles and Billy nearly kill each other, but each allows the other to escape. Charles's friend Ambrose is killed in the battle by one of the poor-quality cannons made by Hazard Iron. Afterwards, President Abraham Lincoln's Emancipation Proclamation frees the slaves in the rebel Southern states. Most of the slaves leave the Main plantation in South Carolina, but a few remain. Ashton visits her family's plantation, supposedly to see her recovering mother and sister Brett, but in reality to carry out Bent's revenge against Orry. Ashton tells Madeline that she knows that Madeline's mother was a high-priced, part-black prostitute in New Orleans, and that, unless Madeline leaves Orry with no explanation, she will reveal this secret and ruin Orry's public reputation. Madeline flees to Charleston where she is befriended by a suave gambler Rafe Baudeen and begins working for the city's poor and orphans who are suffering from the war. Meanwhile, Bent — who has become increasingly psychotic and unstable — begins planning to assassinate Confederate President Jefferson Davis and become the dictator of the South. Following the Union victory at the Battle of Gettysburg, Billy, sick of not having seen his wife Brett for nearly two years, goes AWOL from the U.S. Army and makes his way to South Carolina, where he and Brett spend some time together. Ashton discovers Billy's presence and goes to tell the local authorities, but Billy is saved when Brett threatens her sister with a pitchfork long enough for Billy to escape.
Episode 4 (May 1864 - late autumn 1864) - When Billy returns to his regiment, his commanding officer threatens to court-martial and execute him if he ever leaves again. Billy is also placed in harm's way by being put in charge of the regiment's skirmishers. George is captured in a raid by Southern forces and taken to the dreaded Libby Prison in Richmond, where he is tortured by Captain Turner, the prison's psychotic commandant. Orry is shot and taken to the hospital where Virgilia works; despite her hatred of Southerners, she helps him recover and looks the other way allowing him to escape. Later, Virgilia is accused of allowing a wounded Southern soldier to die and is fired from the hospital. In a fit of rage, Virgilia pushes the elderly chief nurse Mrs. Neal causing her to lose her balance and tumble to the floor. Believing Mrs. Neal to be dead, Virgilia panics and flees the hospital. Desperate for money and a hiding place, she goes to Congressman Greene for help. He gives her money and protection in exchange for sex. Charles saves Augusta from being raped by Northern soldiers at her farm in Virginia, and the two become lovers.
Episode 5 (December 1864 - February 1865) - The war has turned against the South. Orry and Charles save George from Libby Prison, kill Turner in a fight, and allow George to return to the North. Madeline helps starving people in Charleston. Returning home, George learns of his brother and sister-in-law's illegal business schemes to use cheap iron to build cannon. He forces Stanley and Isabel to admit guilt. Bent tries to kill Madeline in Charleston, but she is rescued by her gambler friend Rafe, who saves Madeline but is fatally shot by Bent. Bent enlists James Huntoon for help in his plot to overthrow the Confederate government. Although he is still oblivious to Bent's and Ashton's affair, Huntoon acts as a double agent gathering intelligence on the planned coup d'état and reporting the activities to Jefferson Davis. The Confederate President orders Orry to squash the planned revolution. In a final fight, Orry and Huntoon attack Bent's hideout near Richmond. Bent is (apparently) killed when the ammunition he was hiding in a barn explodes. Ashton confesses her affair to James, conspiring to have Billy killed, her past abortion, and tells Orry that she helped Bent drive Madeline away. Orry disowns Ashton and tells Huntoon that he never wants to see his sister again. Ashton begs Huntoon's forgiveness, but he tells her that it is too late.
Episode 6 (March 1865 - April 1865) - The fighting ends with a Northern victory. Orry and George lead troops against each other in the last major battle at Petersburg; Orry is wounded. Confederate General Robert E. Lee surrenders his army to U.S. Army General Ulysses Grant. With the war over, Charles goes to Augusta's farm and finds that she has died giving birth to his child, a son. He goes to Charleston and gets his child from Augusta's uncle's wife. Billy also quits the army and reunites with Brett at her family's plantation. Congressman Greene ends his affair with Virgilia, which he thinks detrimental to his political career. Virgilia learns that Greene had been lying to her about the seriousness of the charges and using Virgilia's dependence for his own gratification. She murders the congressman and is sentenced to death by hanging. She and George have a tearful farewell before her execution. George learns that Orry is wounded and searches for him, finally finding him in a Union hospital. Their reunion is spoiled when both learn that President Lincoln has been shot. George helps Orry find Madeline, who reveals that Orry is now the father of their son. Orry, Madeline, their baby, and George all set out for the Main plantation. Salem Jones, the cruel former overseer of the Main plantation, joins with one of the Main's former slaves, Cuffey, in an attack on the Main plantation; they burn the mansion before being killed or driven off by Charles, Billy, and Ezra, a former slave who is engaged to marry Semiramis. Orry, George, and Madeline arrive, with the former two helping to fend off the last of the attackers. Οrry's mother is killed in the attack by Cuffey while trying to prevent Semiramis' rape, but Cuffey is shot dead by Charles, while Salem Jones is shot dead by Brett when he is about to shoot Billy. Orry and George pledge to renew their family's friendship, and George agrees to help Orry rebuild his plantation home by reopening the cotton mill and letting Orry take the profits.

text: Book III: Heaven and Hell[edit]

text:
Episode 1 (summer 1865 - autumn 1865) - Elkanah Bent, having survived the explosion of his hidden ammunition depot near Richmond, becomes obsessed with getting his "final revenge" on Orry and George, whom he blames for his failures in life. He begins his revenge by going to Richmond and murdering Orry Main with a single stab wound. Furious, Ashton tries unsuccessfully to kill Bent; she then moves to the West to start a new life. Heartbroken at Orry's death, Madeline tries to rebuild the Main family mansion at Mont Royal and helps local freed slaves, to the disapproval of most of her white neighbors. After learning of Orry's death, George goes to Mont Royal and helps Madeline. Charles Main, now a corporal in the U.S. Cavalry in the Old West, meets and romances Willa Parker. Ashton begins working as a prostitute in Santa Fe; her goal is to earn enough money to buy Mont Royal. Carrying out the next part of his plan of revenge, Bent goes to the Hazard mansion near Philadelphia and murders George's wife Constance.
Episode 2 (autumn 1865 - spring 1866) - Devastated by news of his wife's murder, George begins searching for Bent to exact justice. Cooper Main, Orry's older brother, becomes a member of the Ku Klux Klan and begins working to undermine his sister-in-law Madeline's efforts to help local blacks. Isabel, George's greedy sister-in-law, wants to buy Mont Royal and evict the Main family. Charles continues to work as a cavalryman in the Old West, and continues to romance Willa. Realizing that she cannot stand against Cooper and Isabel alone, Madeline asks George for help. Charles helps to form a unit of buffalo soldiers. Cavalrymen massacre a Cheyenne village.
Episode 3 (spring 1866 - spring/summer 1866) - George arrives at Mont Royal to help Madeline, and they fall in love. Carrying out the final part of his revenge, Bent kidnaps Charles and Augusta's son Gus. When George learns of this, he goes West and finds Charles. Together the two men rescue Gus, hunt down Bent, and hang him. The hanging ends the personal war between Bent and the Main and Hazard families avenging the deaths of Orry and Constance. When Ashton finally gets home, she weeps when she sees that Mont Royal has been burned. George and Charles return to Mont Royal to help Madeline and the freed slaves defeat the Ku Klux Klan. Cooper takes Madeline during the fight, and George rides after to save her. When Cooper is told by Gettys LaMotte to kill both Madeline and George, he refuses. Gettys LaMotte shoots Cooper and George kills Gettys. Charles says his goodbyes before returning to Willa and Gus, while George and Madeline plan for their future together.

text: Awards and nominations[edit]

text: The North and South miniseries were nominated and/or awarded with many different awards around the world, among which the most significant are :

text:
Year
Award
Result
Category/People

1986
Golden Globe Awards
Nominated
David Carradine for Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for TV (N&S1)

Nominated
Lesley-Anne Down for Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for TV (N&S1)

Primetime Emmy Awards
Won
Costuming team for Outstanding Achievement in Costuming for a Miniseries or a Special (N&S1, ep.4)

Nominated
Virginia Darcy for Outstanding Achievement in Hairstyling for a Miniseries or a Special (N&S1, ep.1)

Nominated
Makeup team for Outstanding Achievement in Makeup for a Miniseries or a Special (N&S1, ep.6)

Nominated
Bill Conti for Outstanding Achievement in Music Composition for a Miniseries or a Special (Dramatic Underscore) (N&S1, ep.1)

Nominated
Stevan Larner for Outstanding Cinematography for a Miniseries or a Special (N&S1, ep.6)

Nominated
Editing team for Outstanding Editing for a Miniseries or a Special - Single Camera Production (N&S1, ep.4)

Nominated
Sound editing team for Outstanding Sound Editing for a Miniseries or a Special (N&S1, ep.2)

Nominated
Hairstyling team for Outstanding Achievement in Hairstyling for a Miniseries or a Special (N&S2, ep.1)

Nominated
Robert Fletcher for Outstanding Costume Design for a Miniseries or a Special (N&S2, ep.1)

Nominated
Sound editing team for Outstanding Sound Editing for a Miniseries or a Special (N&S2, ep.6)

1995
ASC Award
Nominated
Don E. FauntLeRoy for Outstanding Achievement in Cinematography in Mini-Series (N&S3, ep.3)

text: Media[edit]

text: VHS and DVD releases[edit]

text: North and South Books I and II were released on NTSC VHS in the United States. Book III was never released on VHS in the United States. Books I, II and III were released on PAL VHS in Europe.

text: All three Books were released on Region 1 DVD in October 2004. This release also included a bonus featurette with John Jakes and David Wolper talking about the books and the miniseries; James Read, Lesley-Anne Down, and Patrick Swayze discussing their characters; general thoughts of other cast and crew members; plus information about the historical background and trials of its reconstruction for the miniseries.

text: The Region 2 DVD release contained only Books I and II at first, but eventually Book III also became available, with the bonus featurette included. All volumes were sold as separate boxes, but later on they were also available in one box.

text: Soundtrack[edit]

text: A soundtrack CD published by Varèse Sarabande in 1985 (VCD47250) contains tracks from the music scores of two Bill Conti films, North and South and The Right Stuff. It includes the following tracks from North and South:[13]

text:
Main Title 3:45
Southern Life 1:38
Love In The Chapel 4:04
A Close Call 2:00
Returning Home 2:13
Last Embrace 2:57
Final Meeting 2:28

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text: The Varèse Sarabande Soundtrack Club released the entire score to North and South (1985) in a four-CD box set on February 25, 2008.[14] The tracks in this set are the original recordings used in the production of the series, with three discs devoted to Conti's score and a fourth to the source music from the series. The entire score to North and South: Book II (1986) was released on October 3, 2008 and includes three CDs.[15] On December 4, 2015, North and South: Highlights, a 76-minute disc featuring selections from the first miniseries score, was released.[16]