The Book So Big It Needed Its Own Furniture

BEN STANSALL, AFP/Getty Images
BEN STANSALL, AFP/Getty Images

John James Audubon dreamed of creating life-sized portraits of every species of bird in North America. The portraits, when bound, became some of the biggest books ever made—and to read them, his customers would need to hire a carpenter.

 

After years of painting portraits, giving drawing lessons, and relying on his wife’s teaching salary to get by, John James Audubon boarded a ship bound for England on his 41st birthday, carrying letters of introduction and 250 “watter coloured drawings” of birds, with a singular goal. “The purpose of this voyage,” he wrote in his journal midway through the journey, “is to Visit not only England but all Europe with the intention of Publishing my work of the Birds of America.”

Audubon had departed for the journey six years after he had first decided that he would illustrate all of the birds in North America and publish the images. In 1824, he had visited Philadelphia and New York with his illustrations, looking for a publisher, but found no interest. Undeterred, he kept working, and by 1826, he believed he had enough material to search for a publisher abroad, where he hoped interest would be keener.

Though other naturalists had created books of North America’s birds before him—Alexander Wilson, for example, had already published volumes in his American Ornithology; or, The Natural History of the Birds of the United States, in 1808—Audubon had set out to outdo them all. His work would be published on the biggest paper available: a 39.5-inch by 26.5-inch sheet called the “double-elephant” folio.

Audubon needed every inch of space he could get—he planned to print full-color, life-size representations of every bird in North America. If bound together, the pages would create a book that rivaled the wingspan of a soaring mountain hawk.

 
 

Audubon had been obsessed with birds and nature since his childhood in France. Born to his father’s mistress in Saint-Domingue (now Haiti) in 1785, he moved to Nantes as a young boy, where he spent long hours in the wilderness. “To examine either the eggs, nest, young, or parents of any species,” he wrote, “constituted my delight.”

He was often joined by his father, who encouraged his son’s interest in birds—not just in observing them, but in drawing them. “I was very far from possessing any knowledge of their nature,” Audubon wrote. “The first Collection of Drawings I made of this Sort were from European specimens, procured by my Father or myself … they were all represented strictly ornithologically, which means neither more or less than in Stiff unmeaning profiles, such as are found in all works published since the beginning of the present century.” His father gifted his son with a book of ornithological drawings and critiqued his early work, and Audubon remembered him noting that “nothing in the world possessing Life and animation was easy to imitate, and that as I grew older he hoped that I would become more & more assured of this.”

Plate 1 of Alexander Wilson's American Ornithology, featuring a blue jay, a goldfinch, and a Baltimore bird.
Plate 1 of Alexander Wilson's American Ornithology, which features a blue jay, a goldfinch, and a Baltimore bird, all in profile. "The easiest form for the human perception to seize on is the profile," says Roberta Olson, curator of drawings at the New-York Historical Society. "That’s what most bird ornithological treatises used ... It begins to change and get richer with Selby and people like that, but really, Audubon is the one who began putting in settings or things that he thought would be appropriate for the bird."
Alamy

In 1803, when he was 18, Audubon ducked conscription in Napoleon’s army by moving to the United States; he settled outside of Philadelphia at an estate called Mill Grove. He was there to manage the estate for his father, but he made time to observe, hunt, stuff, and paint birds. He also met and fell in love with Lucy Bakewell, the daughter of a neighbor; Audubon returned to France in 1805 to ask his father for permission to marry Lucy, but the elder Audubon insisted that he be able to support himself before marriage.

And so Audubon returned to the U.S. in 1806 and attempted to make it in the mercantile business. He settled in New York, where he served as a clerk for Lucy’s uncle; in 1807, he moved to Kentucky, where he opened a general store with his business partner, Ferdinand Rozier. The next year, he and Lucy were finally married. The store, he wrote, “went on prosperously when I attended to it.” The problem was, he couldn’t stop thinking about birds: “My thoughts were ever and anon turning toward them as the objects of my greatest delight … I seldom passed a day without drawing a bird, or noting something about its habits.” He often left Rozier to tend the shop so he could go out birding.

But Audubon happened to be in the shop on the day in March 1810 when Alexander Wilson wandered in seeking subscriptions for his book, American Ornithology. Audubon had never heard of Wilson, but when he heard the ornithologist explain what he was up to, he pulled out his pen to sign up. It was then that Rozier said to him, in French, “My dear Audubon, what induces you to subscribe to this work? Your drawings are certainly far better, and again you must know as much of the habits of American birds as this gentleman.”

Audubon put down his pen and showed Wilson his own work. “He asked me if it was my intention to publish,” Audubon recalled, “and when I answered in the negative, his surprise seemed to increase. And, truly, such was not my intention.” Audubon lent Wilson a few of his drawings, and the pair even hunted together, but Audubon never subscribed to American Ornithology, “for, even at that time, my collection was greater than his.”

The encounter may have been what gave Audubon the idea to publish his illustrations, but it wasn’t something he was prepared to do just yet. Audubon and Lucy started a family; he tried his hand at various commercial careers, “but they all proved unprofitable,” he wrote, “doubtless because my whole mind was ever filled with my passion for rambling and admiring those objects of nature from which alone I received my purest gratification.”

In 1819, Audubon spent time in jail after going bankrupt. The next year, fed up with trying to make it in business, he fully committed to illustrating all of the birds of North America.

The artist roamed the forests of Mississippi, Alabama, Florida, and Louisiana with an assistant, while Lucy raised their sons and worked as a tutor for wealthy families to support him. Unlike previous artists, who propped stuffed birds into rigid unnatural poses and sketched them in profile, Audubon wanted to portray the animals as he saw them in the wild. So he shot specimens and manipulated them into position using wires against a grid background that would allow him to correctly determine proportions—a technique he had pioneered in his time at Mill Grove. It sometimes took 60 hours to string up a specimen and draw it. (As one person who observed Audubon drawing one bird recalled, “Audubon ... spent several days sketching it ... till it rotted and stunk.”)

The technique was a success, but you would never have known it from the reception Audubon got in Philadelphia, at the time the publishing capital of the United States. “[Naturalist] George Ord was so afraid that Audubon would totally bury the great, respected Alexander Wilson,” says Roberta Olson, curator of drawings at the New-York Historical Society, which houses the world’s largest collection of Auduboniana, including the watercolors for Birds of America (currently, a different watercolor and its corresponding plate are on display each month in the museum's Audubon Focus Gallery). Ord, who was finishing Wilson’s American Ornithology after the ornithologist’s death in 1813, “arranged for Philadelphia to basically close down [to Audubon], so he could not publish there. In a sense, it was a blessing in disguise because it forced him to go to Edinburgh and then London,” where printing technology was much more advanced—and the audience much more receptive.

When Audubon landed in Liverpool on July 21, his watercolor illustrations drew widespread praise. His detailed portraits of wild turkeys, purple martins, and Kentucky warblers from the “New World” charmed Europeans, who still viewed the United States as an exotic far-away land.

A painting of John James Audubon in 1826.
John James Audubon in 1826.
Wikimedia Commons // Public Domain

Audubon, with his fur cap, buckskin clothes, and backwoods demeanor, likewise enthralled them—but his dream of making life-size illustrations on the world’s largest paper was not met with the same enthusiasm. Though other authors were creating big books around this time, most had used the relatively manageable elephant folio, which measured up to 23 inches. The paper Audubon wanted to use, which had been invented by papermaker J. Whatman in the 18th century, was much bigger, much more expensive, and much more difficult to print on.

Henry Bohn, a London bookseller, told the ornithologist that anything too big would distract from the other books on the table, warning, “it will not be purchased by the set of people who now are the very life of the trade.” Create a book that size, Bohn said, and Audubon could expect to sell only 100 copies to institutions and noblemen.

It was only when Bohn saw the illustrations firsthand that he came around to Audubon’s big idea. Audubon wrote, “[H]e is of opinion now that the work ought (if at all) to come forward, The Size of Life? — He said more, for he offered to publish it himself if no one else would undertake it.”

William Lizars, an engraver based in Edinburgh, Scotland, felt just as inspired when he set eyes on Audubon’s watercolors. “My God,” he said. “I never saw anything like this before.”

Lizars was convinced that the book had to be made, and he started right away. First on his list was a male turkey, which, according to Audubon’s notes, was more than 4 feet long, “extent of wings 5 feet 8 inches; beak 1 ½ inches along the ridge … a fine specimen.”

A composite photo of John James Audubon's watercolor of a turkey, Lizar's copper engraving of the turkey, and Lizar's hand-colored print.
Left: John James Audubon (1785–1851), Wild Turkey (Meleagris gallopavo), Study for Havell pl. 1, ca. 1825. Watercolor, black ink, graphite, pastel, collage, and gouache with touches of metallic pigment and selective glazing on paper, laid on card. Purchased for the New-York Historical Society by public subscription from Mrs. John J. Audubon, 1863.17.1. Middle: William H. Lizars (1788–1859), retouched by Robert Havell Jr. (1793–1878), after John James Audubon (1785–1851). Engraved copper plate for plate 1 of The Birds of America. American Museum of Natural History Library, New York, Gift of Cleveland E. Dodge. Right: William H. Lizars (1788–1859) after John James Audubon (1785–1851). Hand-colored etching with aquatint and engraving. New-York Historical Society, Gift of Mrs. [Patricia] Harvey Breit and Mrs. Gratia R. Laiser in memory of their mother, Gratia Houghton Rinehart, 1954.
Courtesy of the New-York Historical Society

The printer created the first 10 copper engravings of Audubon’s illustrations, printed them on the huge paper, and, with help from his employees, hand-colored them. When Audubon saw the first five of his illustrations realized in life-size, he began to have second thoughts on the scale of the project. “Some of my good friends, particularly Dr. [Traill], is much against it being the size of life,” he wrote. “I must acknowledge it renders [the work] rather bulky, but my heart was always bent on it, and I cannot refrain from attempting it.”

But as big as the double-elephant folio pages were, they still weren’t big enough for some birds: Audubon had to draw the great blue heron, for example, with its head down—a strange pose for a bird that normally stands erect.

A great blue heron as drawn by John James Audubon.
Alamy

In June 1827, Lizars’s colorists went on strike, and Audubon contracted the engraver Robert Havell and Son of London to publish the rest of Birds of America. Havell Jr. was a particularly lucky find. “Havell was not just a printmaker, not just an engraver. He was a watercolorist and a painter,” Olson says. “They were like two oxen or two horses pulling a carriage. They were both in the same step.”

Coloring the plates required up to 50 people—mostly poorly paid women—at a time, and Audubon, a perfectionist, remained very conscious of the needs of his clientele. After he received a letter from a subscriber complaining that the color on her plates was not as wonderful as the color on the plates of another subscriber, he created a system: He would mark up the colored prints and send them back to be reworked until he was satisfied; Havell’s colorists would use the resulting pattern print—which often had instructions written all over it—as a guide for their work.

Meanwhile, Audubon had to drum up financial support for the book. Like many men creating plate books in that era, he decided on a subscription model: Investors would pay for the book and receive installments over a period of time. (Samuel Johnson used the same method to pay for his dictionary.) To woo subscribers, Audubon took his watercolors out on the road. “Their plumages sparkle with nature’s own tints; you see them in motion or at rest,” one critic who attended a show wrote, “in their play and in their combats, in their anger fits and their caresses, singing, running, asleep, just awakened, beating the air, skimming the waves or rending one another in their battles … a vision of the New World.”

From 1827 to 1838, Audubon sent out 87 sets of plates in tin cases. Subscribers received five plates every month or so, consisting of one large bird, a medium-sized bird, and three small birds. “It was actually brilliant marketing,” Olsen says. “Rather than having 40 sparrows and 60 seagulls in taxonomic order like everybody else did, he decided he wanted it to be like nature, where everything was a surprise. That’s why [the plates] weren’t just shunted away and put in drawers and maybe never opened in boxes—everyone wanted to see what was he releasing.”

Audubon continued drawing as new species were being discovered and ended up creating a total of 435 plates for The Birds of America, depicting a total of 489 species (and 1065 individuals). No one is sure how much the project cost, but it was no small amount. The book wasn’t cheap for buyers, either: A complete set likely cost around $1000 ($22,400 in 2015 dollars). Many subscribers bound the plates into four massive volumes of around 100 illustrations apiece, each standing over 3 feet tall and 2 feet wide and weighing around 50 pounds. Opening one of the volumes required at least two people.

The finished book was so large that owners couldn’t just put it on their laps or on a shelf. In fact, some readers had to change their living conditions to accommodate it. A 1921 issue of the British magazine Country Life tells the story of a collector who, after being given a copy of The Birds of America, was forced to search for a new, much larger, apartment. “If you have such big books in your collection you must be prepared to stand the inconvenience of keeping them in these days of congested quarters and restricted living,” the magazine scolded.

But most owners of Audubon’s book didn’t need to move to a new home; rather, they had to construct special furniture to protect and facilitate the display of their investment—one of the most famous examples of which can be found at the Field Museum of Natural History in Chicago.

 
 

It might look like a typical Victorian-era ottoman, but the brocaded piece that sits in a glass case in the Mary W. Runnells Rare Book Room at the Field Museum is not the kind of furniture you’d want to prop your feet on.

Measuring nearly 2 feet high, 2.5 feet wide, and 4 feet long, the ottoman houses a copy of the Birds of America once owned by British zoologist and physician Benjamin Phillips. The piece has four drawers, each of which slides out and opens into a table supported by four legs to better view the volume within.

Audubon ottoman, an object in Field Museum Library collections, with one of its drawers extended and a copy of The Birds of America opened on it.
Courtesy of the Field Museum

Though not the chicest piece of furniture by today’s standards, the ottoman was terrific at protecting Audubon’s great book: It shielded Phillips’s copy of The Birds of America from dust and light, allowing it to be viewed with minimal handling and keeping the set in incredible condition even as it changed hands over the years. (In 1985, the Chicago Tribune called the condition of the prints “delicious.”)

But just because it houses Phillips’s Birds of America doesn’t mean it’s as old as his set. According to Diana Duncan, Technical Services Librarian in the Gantz Family Collections Center at the Field Museum, the exact age and provenance of the ottoman is unclear. In 2007, conservator Tatsumi Brown cleaned and restored the ottoman, creating a new, historically accurate brocade cover for the piece; the restoration process took 346 hours. Prior to its conservation, the ottoman was assessed by an expert at the Art Institute of Chicago. “She concluded that it was a 20th century construction,” Duncan told Mental Floss in an email. “Certain elements definitely are 20th century but could have been added during prior conservation work on the cabinet such as screws/hardware in drawers, zippers on original cover, etc. One of the pieces of newspaper on the inside can be dated to the period 1919-1924.”

The Audubon Ottoman wasn’t the only ottoman built to hold the book; Audubon’s ledger notes that Euphemia Gifford, Lucy’s cousin, received an ottoman along with her plates. (Its whereabouts are unknown.) Nor is the ottoman the only piece of furniture built to hold Birds of America. “The furniture expert at the Art Institute mentioned that she had seen a couple other cabinets like this,” Duncan says. “Because of the size of the work, it would be less likely to fit into an off-the-shelf cabinet, which may be why there would be custom pieces of furniture made for it.”

Take the cabinet owned by subscriber No. 11, paleobotanist Henry Witham—the first Englishman to analyze the internal structure of fossilized plants—and one of Audubon’s friends from England. Witham had each of his volumes of Birds of America gilded and hinged with two locks, according to Sotheby’s, “the whole housed in a Victorian mahogany folio cabinet, second quarter of the nineteenth century, 5 sliding trays, the moroccan tooled leather inset top with cross banding, mounted on a plinth and recessed casters.” In 2010, Witham’s copy of Birds of America—complete with cabinet—sold for $11.54 million, the most paid for a printed book at auction at the time. (It unseated another copy of The Birds of America.)

The most elaborate cabinet used to house The Birds of America resembles an Egyptian temple in miniature, measuring more than 3 feet high, 9 feet wide, and nearly 5.5 feet deep. Originally conceived to hold the multi-volume elephant folio Description de l’Egypte, the massive cabinet—preserved at the Providence Athenæum—was also home to a copy of The Birds of America from around 1840 to 1895. The Athenæum ultimately sold its copy of Birds of America for $5 million in 2005.

At the Cleveland Museum of Natural History, there’s a copy of The Birds of America that once belonged to the Reverend Patrick Brontë—the father of authors Charlotte, Emily, and Anne. When the book was donated in 1947, a cabinet was constructed to showcase the volumes. The pages were turned every two months; it took two people to lift off the glass, and another two to delicately turn the page. (Recently, the books were moved to a glass-and-metal display case.)

The New-York Historical Society Regency-style cabinet that holds its copy of Audubon's Birds of America.
The provenance of the New-York Historical Society's cabinet only goes back to 1937. "The question is, was it built after something else?" Olson says. "It’s very tantalizing. We don’t know. We don’t know whether it was English, or whether [the dealer] had it made for his client in 1937. To me, it looks older, and it certainly was custom made for a copy of The Birds of America."
Gift of Mrs. [Patricia] Harvey Breit and Mrs. Gratia R. Laiser in memory of their mother, Gratia Houghton Rinehart, 1954. Courtesy of the New-York Historical Society.

Another copy of Birds of America, this one leather-bound and from the library of the Duke of Newcastle, was donated to the New-York Historical Society in 1954. It came with a custom-built Regency-style cabinet—the provenance for which only goes back to 1937—that flaunted a most appropriate design: When the four drawers open and convert into tables, with one table open on each side, the furniture resembles a bird with its wings extended. “It’s beautiful, and I think it captures the ceremony [of showing Birds of America],” Olsen says.

 
 

The big book trend, which began in England and Continental Europe in the 18th century, was mostly about showing off. “It was essentially conspicuous consumption,” says Rebecca Romney, a rare book dealer at Honey and Wax Booksellers (and writer for Mental Floss). “Paper was very expensive, and [the attitude] was, ‘Look how much paper we can waste and look at these amazing works of art that we can print.’”

Making big books was risky business: The creators bore the entire expense of creating the book, from having the copper plates engraved to coloration to shipment. Along the way, subscribers might die, or the author might go bankrupt trying to get the book made. Though Audubon had a practical reason for wanting to make a huge book, the others, Romney says, “are usually a case of ego in some way.”

The key was to hook the rich, who understood that owning a book of this size showed that they were both cultured and extremely wealthy. And once they had their big books in hand, they needed a way to display the evidence of their culture and money. “Someone who could afford such a book wouldn’t blink over making some kind of shelving/furniture for it,” Romney says. “It was a status symbol. You can’t have this thing that you’re essentially using to say ‘look how rich and cultured I am,’ but it’s in this crappy piece of furniture. It had to be nice.”

For both monetary and technological reasons—the U.S. didn’t have the printers able to create books the size of Birds of America—this trend of elaborate book collecting was mostly confined to Europe. It wasn’t until the late 19th century that Americans had enough money to indulge in serious bibliophilia. After the Civil War, Romney says, “you start getting people [in the U.S.] who could compete with centuries-old [European] royalty.” Men like J. Pierpont Morgan and Henry Huntington were snapping up rare books and manuscripts; book collecting clubs such as the Grolier Club were formed; and the libraries of late collectors like George Brinley (who died in 1875) were being sold. This appetite for books turned elaborate and rare tomes like the Gutenberg Bible and Birds of America into highly-sought collectibles that remain valuable.

An employee at Christie's lifts a page of Audubon's Birds of America depicting snowy owls.
An employee at Christie's lifts a page of Audubon's Birds of America depicting snowy owls.
BEN STANSALL, AFP/Getty Images

Today, the sky-high prices commanded by folios of Birds have less to do with their size than Audubon’s legendary reputation—and the fact that there just aren’t that many Birds of America folios out there. “You have a very small amount printed [to begin with], and then half or more of [the bound versions] end up being broken up because of print dealers,” Romney says. “The number that stay intact over the years becomes smaller and smaller, and that’s one of the reasons you get big prices, because there are so few that survive complete.”

And it’s not just the bound plates that fetch big bucks: According to Romney, single plates from Birds can sell for up to six figures. In January 2016, an 1836 plate from Birds of America featuring an American White Pelican sold for nearly $119,000.

 
 

Were he still alive, Audubon would probably feel faint to hear about the sums of money The Birds of America and its furniture fetches today. During his lifetime, he sold fewer than 200 copies of the elephant-folio, 120 of which still exist today. (Though it seems like a paltry amount, it was, for Audubon and that time, a complete success.) In the 1840s, he revisited the tome, publishing a manageable octavo edition that measured approximately 6 inches by 9 inches, featuring 65 additional plates. It had 1100 subscribers and earned Audubon a tidy $36,000.

Though his octavo was more profitable, it was Audubon’s big book that cemented his reputation as America’s foremost ornithologist. His work attracted the attention and support of King George IV of Britain and King Charles X of France; it even helped him get elected to London’s Royal Society—the second American to earn the honor (the first was Benjamin Franklin). And Audubon’s second book, Ornithological Biography, which was intended to be a companion to The Birds of America, would inspire the founding of the National Audubon Society, one of the world’s first conservation societies. (One of the society’s founders, George Bird Grinnell, had been tutored by Lucy Audubon as a boy.)

“Most people set goals, and they fall short,” Olson says. “Certainly he made compromises along the way, but he succeeded through great adversity and lots of people telling him he was crazy … and of course, he couldn’t have done it if not for Lucy. He made a lot of personal sacrifices and probably worked himself into an early grave, but he was passionate about this. He had a vision.”

And there are few experiences more incredible than having the opportunity to admire Audubon’s double elephant folio version of The Birds of America—today widely regarded as “the most famous and most magnificent of all the great hand-colored bird books”—for yourself.

“It’s like the Pantheon,” Romney says. “You see pictures of it and you’re like, ‘That’s beautiful.’ But the impact in person hits you physically. It’s the same thing with the Audubon Birds of America. When you see pictures, it’s, ‘Yeah, I see how that’s great.’ But when you’re seeing it in person, it’s ‘Holy cow, this is way more than I expected.’ It really is very emotive.”

How Joseph Pulitzer Saved the Statue of Liberty

Fox Photos/Getty Images
Fox Photos/Getty Images

It’s hard to imagine what New York City would look like without the Statue of Liberty. Yet there was a time in American history, over a century ago, when Lady Liberty nearly wound up in Philadelphia or San Francisco. The fact that she still holds her torch aloft on Liberty Island in New York Harbor is a testament to the will of the American people—though the call to action came from Joseph Pulitzer, a Hungarian immigrant who came to this country penniless and remade himself into a successful newspaper publisher.

Pulitzer’s name is associated with many things: the sensationalized style of reporting his newspaper sometimes employed, called yellow journalism; the bitter rivalry he had with William Randolph Hearst, another newspaper mogul; and of course the Pulitzer Prize, which Pulitzer established via an endowment in his will.

He was also a galvanizer who believed print media could be used to influence people for the betterment of society. Perhaps the best example of this "journalism of action," as his rival Hearst called it, is how Pulitzer handled the news that the Statue of Liberty was in jeopardy.

In 1885, the dismantled statue was shipped to America as a gift from France. It was intended to be a symbol of American liberty and democracy, as well as a token of the bond forged between the two allies during the American Revolution. France had paid for the statue in its entirety; all it needed was a pedestal to stand on. America was on the hook for designing and constructing the pedestal at an expense of about $250,000 (about $6.55 million in 2019 dollars).

The American Committee for the Statue of Liberty, which was tasked with raising funds for the construction of the monument, raised a little over half of the funds. Both the state of New York and U.S. Congress refused to cover the remainder. The pieces of Lady Liberty ended up sitting in a warehouse, and at one point, the fundraising committee threatened to send the statue back to France if it didn't get the necessary funds.

Joseph Pulitzer
Hulton Archive/Getty Images

This was before the advent of American philanthropy, which began around the time that Andrew Carnegie published his 1889 "The Gospel of Wealth"—an article urging other Gilded Age millionaires to give away a portion of their wealth for the common good. So if the committee was going to get the money for its pedestal, they were going to have to get it from average Americans. The committee made public appeals across the country for donations of "any amount, however large and however small." In exchange for their subscription to the statue fund, donors were promised an illustrated certificate.

But it proved difficult to convince Americans outside of New York to open their pocketbooks. As one Indianan put it, the monument was seen as a “New York affair,” rather than “a national matter.” Another person questioned why the fundraising committee was trying to get “the people of Chicago and Connecticut … to pay the expense that those of New York would like to avoid," according to newspaper accounts.

Several cities offered to pay for the pedestal in exchange for the exclusive rights to erect the statue on their territory. An article published by the Philadelphia Press said the city would welcome the statue to its Fairmount Park. San Francisco said Lady Liberty would look lovely standing in front of the Golden Gate strait (the bridge that would bear the strait's name had not yet been built). Boston and Baltimore also made bids for the statue.

That’s when Pulitzer stepped in. He sponsored small fundraisers, which included boxing matches, theater productions, art shows, and the sale of mini Statues of Liberty, and published multiple editorials in his newspaper, The New York World (later shortened to The World), in an attempt to garner sympathy for the plight of the statue.

In his most famous editorial, Pulitzer wrote, “We must raise the money! The World is the people's paper, and now it appeals to the people to come forward and raise the money.”

He went on to add:

“The $250,000 that the making of the Statue cost was paid in by the masses of the French people—by the working men, the tradesmen, the shop girls, the artisans—by all, irrespective of class or condition. Let us respond in like manner. Let us not wait for the millionaires to give us this money. It is not a gift from the millionaires of France to the millionaires of America, but a gift of the whole people of France to the whole people of America.”

Remarkably, it worked. Pulitzer received small donations from 125,000 people, which amounted to a sum of $102,000 (or roughly $2.7 million in today’s dollars). The money was sent to the Statue of Liberty’s fundraising committee, and the monument’s future in New York was secured.

Construction of the pedestal
Construction of the Statue of Liberty's pedestal
StatueLibrtyNPS, Flickr // CC BY 2.0

As a way of thanking the donors, Pulitzer printed their names in his newspaper, regardless of whether they had contributed a dime or a dollar. This early experiment in pre-internet crowdfunding proved to be a pioneering example of what average Americans could accomplish without the backing of the rich.

Pulitzer’s paper continued to print news of the statue’s development, and did so in a most peculiar way. “In one editorial after another, the publisher spoke of the statue as if it were a human being and, at the time of her inauguration, went so far as to ‘interview’ her about the New York mayoral campaign of 1886,” Edward Berenson writes in The Statue of Liberty: A Transatlantic Story (she picked eventual winner Abram Hewitt over future U.S. president Theodore Roosevelt).

The Statue of Liberty ultimately became a symbol of America and American values, which extend far beyond the New York Harbor. And for that, we can thank Pulitzer and his powers of persuasion.

11 Fascinating Facts About the War of the Roses

The Battle of Towton (1461) during the War of the Roses.
The Battle of Towton (1461) during the War of the Roses.
Hulton Archive/Getty Images

It's no secret that George R. R. Martin looked to history for inspiration for A Song of Ice and Fire, his epic, still-in-process series of fantasy novels that serves as the basis for HBO's Game of Thrones, which will end its eight-season run in May. (The Black Dinner of 1440 and the Massacre of Glencoe, for example, served as inspiration for the series' infamous Red Wedding.) One of Martin's main influences was the War of the Roses—three decades of bloodshed and animosity between the House of Lancaster and the House of York, two rival branches of the English royal family. So before the fight for the Iron Throne subsides—at least on TV—let's take a look at its real-life historical counterpart.

1. The War of the Roses started in 1455 and lasted until approximately 1485.

The War of the Roses wasn't one long, continuous conflict; it was a series of minor wars and civil skirmishes interrupted by long periods that were mostly peaceful, if politically tense (which is why it's frequently referred to as the Wars of the Roses, rather than the singular War). After the opening battle—the First Battle of St. Albans—broke out on May 22, 1455, there wasn't another major showdown until the Battle of Blore Heath erupted four years later. And the years between 1471 and 1483 were a time of relative peace in England. Things did heat back up in 1483, as the Yorkist ruler Richard III began clashing with Henry Tudor, an exiled Lancaster nobleman. Tudor prevailed over his foe at the Battle of Bosworth Field in 1485 and then took the crown as King Henry VII. Two years later, in 1487, the Battle of Stoke Field essentially ended the Yorkist cause, which some consider to be the true end of the War of the Roses.

2. The War of the Roses was initially known as "The Cousins' War."

The conflicts didn't come to be called the "Wars of the Roses" until long after the actual fighting stopped. Throughout the 15th century, the House of York used white roses as an emblem, and by 1485, the House of Lancaster had become associated with red roses. In the 1560s, a British diplomat discussed "the striving of the two roses." William Shakespeare baked the convenient symbolism into his play, Henry VI, Part I, (which was most likely written in the 1590s). Later, a 1646 pamphlet called the medieval York/Lancaster struggle "The Quarrel of the Warring Roses." Then David Hume's 1762 History of England popularized the term "Wars Between the Two Roses." From labels like these, the now-ubiquitous "War of the Roses" phrase evolved.

3. The War of the Roses was caused by a struggle between a deposed King Henry VI and his cousin Richard, the Duke of York.

King Henry VI of England.
King Henry VI of England.
Hulton Archive/Getty Images

After England lost virtually all of its French holdings in 1453, King Henry VI suffered a mental breakdown. The Lancastrian monarch seemingly lost his ability to speak, walk unassisted, or even hold up his own head. (What happened is unclear; some suggest that he was stricken by a depressive stupor or catatonic schizophrenia.)

Henry VI clearly wasn't fit to rule, so his cousin Richard, the Duke of York, was appointed Lord Protector and Defender of England in his stead. York's political muscle unraveled when Henry VI recovered on Christmas Day 1454; his desire to regain power set the stage for the First Battle of St. Albans a few months later.

4. After being killed during one battle in the War of the Roses, the Duke of York had a fake crown placed upon his severed head.

During the May 1455 battle at St. Albans, York met and defeated Henry VI's Royal Army with a superior force of 3000 men. In the aftermath, the king was forced to restore York as England's Lord Protector—but York didn't hold the job for long. After some violent clashes against the supporters of Henry VI's biological son (with whom the Duke was a rival for the throne), York died at the Battle of Wakefield in 1460. As a final insult, his disembodied head was mounted on Micklegate Bar in the city of York—and decorated with a phony crown made of paper (or possibly reeds).

5. Pope Pius II tried—and failed—to ease political tensions during the War of the Roses.

The Pope wanted to enlist King Henry VI as an ally in a potential crusade against the Ottomans. Unfortunately for His Holiness, the War of the Roses was keeping Henry plenty busy at the time. So in 1459, Pius II sent clergyman Francesco Coppini to England with instructions to ask for the king's support—and if possible, negotiate peace between Houses York and Lancaster. Instead, Coppini became a Yorkist sympathizer who vocally denounced the Lancastrian cause.

6. Early guns were used in some battles of the War of the Roses.

Swords and arrows weren't the only weapons deployed during the War of the Roses. At archaeological sites dating back to the 1461 Battle of Towton (a Yorkist victory), broken pieces of early handheld guns have been recovered. It's suspected that the devices would have blown themselves apart when fired, making them dangerous to wield. Regardless, primitive guns also saw use at the 1485 Battle of Bosworth.

7. After defeating Henry VI, King Edward IV was betrayed by a former ally—and his own sibling.

King Edward IV
King Edward IV.
Hulton Archive/Getty Images

Edward, one of the sons of the slain Duke of York, deposed Henry VI in 1461 to become King Edward IV. One of the men who helped him do so was Richard Neville, the Earl of Warwick. But the earl soon had a falling out with the new king and, in 1470, Warwick helped put Henry VI back on the throne after teaming up with Queen Margaret of Anjou and George, the Duke of Clarence (who was also Edward IV's brother). The Yorkist king went into exile, but he returned with a vengeance in 1471.

Despite their rocky past, the two brothers reconciled and worked together to overcome the Warwick-led Lancastrian forces at the Battle of Barnet. This victory, and a later triumph over Queen Margaret's men, enabled King Edward IV to regain the crown. (Sadly, in the end things didn't work out for the Duke of Clarence—he was executed for treason in 1478.)

8. Edward IV's wife, Elizabeth Woodville, took sanctuary in Westminster Abbey twice to escape enemies during the War of the Roses.

One reason why Warwick soured on King Edward IV was because he didn't approve of the young ruler's chosen spouse. In 1464, Edward IV married Elizabeth Woodville, a widowed mother of two who was five years his senior (and whose first marriage had been to a Lancastrian knight). From October 1, 1470 to April 11, 1471, during Edward's exile, Elizabeth and her daughters holed themselves up in Westminster Abbey, where they declared sanctuary. During her stay, she gave birth to a son, Edward V. Elizabeth would return to the Abbey for another prolonged stay that began in 1483. Edward IV had died earlier that year, and by taking sanctuary in the Abbey once again, Elizabeth was now looking to protect herself and her children from a man she deeply mistrusted: The late king's younger brother, Richard, the Duke of Gloucester.

9. Two young princes disappeared during the War of the Roses.

In the wake of King Edward IV's death, the Duke of Gloucester—who'd been a high-ranking Yorkist commander at the Battle of Tewkesbury—was named Protector of England. Then on July 6, 1483, he was crowned as King Richard III. His claim to the throne was not uncontested: Edward IV had two sons, aged 12 and 9, who were staying in the Tower of London at the time. No one knows what happened to the boys; they were last seen alive in the summer of 1483. King Richard III is frequently accused of having the boys murdered, though some suspect that they were killed by another ambitious royal, Henry Tudor. It's also possible that the boys fled.

10. Henry Tudor ended the War of the Roses through marriage.

The York Rose, the Lancaster Rose, and the Tudor Rose.
iStock.com/Rixipix

After his forces defeated Richard III's at the Battle of Bosworth in 1485, Henry Tudor was crowned Henry VII—some say at the exact spot where Richard III was killed. After he was officially crowned, Henry VII wed Elizabeth of York, King Edward IV's daughter, in 1486.

This marriage is part of the reason Houses Lancaster and York are synonymous with roses today, though both used many non-floral emblems (loyalists of Queen Margaret of Anjou, wife of King Henry VI, identified themselves by wearing swan badges, for example, and Yorkist Richard III made a white boar his personal logo). After his marriage to Elizabeth of York, Henry VII was able to portray himself as the grand unifier of two enemy houses. To symbolize this, he introduced a new emblem: A white flower with red trim called the “Tudor Rose.”

11. Richard III's body was found under a parking lot in 2012.

 King Richard III.
King Richard III.
Hulton Archive/Getty Images

Richard III was not destined to rest in peace. In the centuries following the Battle of Bosworth, the dead king's body went missing. In 2012, an archaeological team rediscovered the former king's remains beneath a parking lot in Leicester, England. DNA testing helped confirm their identity. Richard III's well-documented scoliosis was clearly visible in the spinal column, and it was concluded that he had died of a blow to the skull. The much-maligned ruler was given a ceremonious reburial at Leicester Cathedral in 2015.

SECTIONS

arrow
LIVE SMARTER