| Edification value | |
|---|---|
| Entertainment value | |
| Should you go? | |
| Time spent | 123 minutes (not counting time going through security, waiting for the ferry, or on the ferry) |
| Best thing I saw or learned | I’d never given much thought to the Statue of Liberty’s pedestal. So the story of its design — and the near failure of the effort to raise the money to build it — fascinated me. Yes, it’s like choosing frame over the painting, but still. Think how different she’d look if they’d gone with a stepped, Aztec-looking pyramid as her base. Or something Egyptian revival. |
Note: This is my entry about the original Statue of Liberty Museum, dating from May of 2018. Please see my updated review of the new museum on Liberty Island, here.
There aren’t all that many museums built to honor a single work of art. Right? I assert that and now suddenly I’m unsure of myself. In New York, there’s Walter de Maria’s Earth Room. And I think of the Hall of Fame for Great Americans as a single, unified whole, even though many busts of great men (and a few women) comprise it. And the Statue of Liberty Museum makes three.

The Statue of Liberty Museum occupies a substantial space in Liberty’s pedestal. It tells the story of the genesis, engineering, construction, and gifting of the statue, as well as her absolutely iconic role as a symbol of freedom, democracy, New York, and the United States. Among other treasures, it includes the statue’s original torch, glass and lit from inside. Continue reading “Statue of Liberty Museum”

Think how different she’d look if they’d gone with a stepped, Aztec-looking pyramid as her base. Or something Egyptian revival.










That it’s an institution related to September 11 doing the ripping makes it all the more vexing. If you want to learn about 9/11, the large museum at the World Trade Center, the
The 9/11 Tribute Museum occupies the second floor of a nondescript office building just a few blocks south of the World Trade Center complex. While its role is now overshadowed by the massive memorial and museum to the north, it manages to differentiate itself, offering a distinct voice in commemorating the worst day in New York’s history (so far).
Leffert Pieterson, a Dutch farmer, obtained a tract of land in the village of Flatbush in 1687, and built himself a house there. That original Lefferts homestead was burned by the Americans just before the Battle of Brooklyn, to prevent the British from seizing and using it. However, Pieter Lefferts, in the fourth generation of a family that as some point reversed names, rebuilt a fine farmhouse for himself and his family in 1783. 