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House on the Rock
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For the parable of Jesus, see Parable of the Wise and the Foolish Builders.
House on the Rock
Location of the House on the Rock within Wisconsin
General information
Architectural style
Modernism
Town or city
Iowa County, Wisconsin
Country
United States
Coordinates
43°06′00″N 90°08′10″W / 43.10000°N 90.13611°W / 43.10000; -90.13611
Construction started
1945[1]
Completed
1959[2]
Design and construction
Architect
Alex Jordan Jr.
Website
www.thehouseontherock.com
The House on the Rock is a tourist attraction located between the cities of Dodgeville and Spring Green, Wisconsin. Opened in 1959,[2] it is a complex of architecturally distinct rooms, streets, gardens, and shops designed by Alex Jordan Jr.
Contents
1 Background
2 Layout and attractions
3 Authenticity of the collections
4 Timeline
5 References
6 External links
Background[edit]
Both of Jordan's biographers[2][3] relate a story told by Sid Boyum,[4] which places the inspiration for the house in a meeting between Alex Jordan Jr. and Frank Lloyd Wright, at some unspecified time between 1914 and 1923. Jordan Sr. supposedly drove with Boyum to Taliesin to show Wright the plans for a building, the Villa Maria in Madison.[5] Jordan worshipped the famous architect and hoped for his approval. Wright looked at the plans and told Jordan: "I wouldn't hire you to design a cheese crate or a chicken coop. You're not capable." Fuming, on the drive back on Highway 23, Jordan pointed to a spire of rock and told Boyum: "I'm going to put up a Japanese house on one of those pinnacle rocks and advertise it."[6] Balousek says Wright "apparently didn't forget the incident", noting that Wright "complained publicly to Iowa County officials about the house the Jordans were building" and bought a nearby piece of property, "perhaps as a way to get back at Jordan."[7]
The House's "Infinity Room" is visible from an overlook off of Highway 23, almost a mile (1.6 km) away
The House on the Rock's website has posted information questioning the legitimacy of Boyum's story for the following reasons:[8]
The Villa Maria was built in 1923 and designed by well-known architect Frank Riley,[5] not Alex Jordan, Sr.
Both Sid Boyum[9] and Alex Jordan Jr. were born in 1914 and would have been less than nine years old when this story was to have happened. Frank Lloyd Wright (1867–1959) would have been over 50 years old and unlikely to have known the nine-year-old Sid Boyum.
Frank Lloyd Wright was in Japan[10] working on the Imperial Hotel project from 1916–1922 and would not have likely been in Spring Green when this story was to have happened.
The legitimacy of this story is also questioned in the biography of Alex Jordan written by Tom Kupsh.[11] Tom Kupsh's book lists many of the same reasons as The House on the Rock website and also states that "The first agreement (an extended lease) with the Christianson family, who owned Deer Shelter Rock, was made some 30 years later in 1953 and no sign appeared at the road entrance until The House on the Rock opened to the public in 1960."
Layout and attractions[edit]
The "house" itself is atop Deer Shelter Rock, a column of rock approximately 60 feet (18 m), 70 feet (21 m) by 200 feet (61 m) on the top, which stands in a forest nearby.[12] Additions were made to the original structure and other buildings added over the course of several decades. The complex now features "The Streets of Yesterday", a re-creation of an early twentieth century American town; "The Heritage of the Sea", featuring nautical exhibits and a 200-foot model (61 m) of a fanciful sperm whale-like sea creature; "The Music of Yesterday", a huge collection of automatic music machines; and what the management bills as "the world's largest indoor carousel",[13] among other attractions. The carousel at the House on the Rock features 269 carousel animals, 182 chandeliers, over 20,000 lights, and hundreds of mannequin angels hanging from the ceiling. The carousel has no horses.[14][15] During the winter, the attraction features a Christmas theme, with decorations and a large collection of Santa Claus figures. Many of the bathrooms are decorated with strange objects, including mannequins, flowers, and preserved animals.
The earlier structures, namely the House on the Rock itself, the Gate House, and the Mill House, are reminiscent of the work of Frank Lloyd Wright, though much less coherently designed than is characteristic of Wright, given its patchwork of external structures and interior spaces. According to a likely apocryphal story, the building actually began partly to spite the master architect, who ran his Taliesin communal school near Spring Green. These early structures feature exposed stone, low ceilings, dark woodwork, and antiques on display.
Jordan sold the house in 1988 to a friend who continued building on the site, adding to the collections of knick-knacks and exhibits featuring authentic pieces, reproductions, and specially-made examples of everything. The most recent addition is the "Spirit of Aviation", a collection of large model airplanes in a themed room. Another exhibit, the "Transportation Building", is under construction, but visitors can walk through and view the work in progress. In the same year, the Wisconsin State Journal published a four-part series on "The House on the Rock," which reporter Marv Balousek later expanded into a self-published book entitled House of Alex.[2] According to Balousek, Jordan Sr. hired "drunks and bums" from the Madison street to help blast the rock. Balousek says that according to Sid Boyum these workers were sometimes paid with whiskey and sometimes by check, but that Alex Jordan Jr. destroyed the cancelled checks later to further a myth that he had personally built the house himself.
Jane Smiley wrote this about the complex in 1993:
Though most people outside of the Midwest have never heard of it, the House on the Rock is said to draw more visitors every year than any other spot in Wisconsin. Also in the Wyoming Valley, but on top of a huge monolith, the House on the Rock reveals the spirit of its builder, Alex Jordan Jr., to be as single-minded and eccentric as Wright's, but in substance almost absurdly opposed.
... And it is hard not to be overwhelmed by the House on the Rock. The sheer abundance of objects is impressive, and the warmth most of the objects exude, the way that the toys ask to be played with, for example, makes the displays inherently inviting. But almost from the beginning, it is too much. The house itself is dusty. Windowpanes are cracked. Books are water damaged. The collections seem disordered, not curated. In fact, there is no effort to explore the objects as cultural artifacts, or to use them to educate the passing hordes. If there were informative cards, it would be impossible to read them in the dark. Everything is simply massed together, and Alex Jordan comes to seem like the manifestation of pure American acquisitiveness, and acquisitiveness of a strangely boyish kind, as if he had finalized all his desires in childhood and never grown into any others.[12]
Automated musical instruments, operated by inserting tokens. Some instruments play, while others are synthesized.
The Infinity Room juts out 218 feet (66 m) from the House on the Rock, without supports underneath. The room has over 3,000 windows.
The House on the Rock Carousel
The House has inspired several authors and musical groups, the most prominent being author Neil Gaiman, who used it as an important plot point in his 2001 novel American Gods, along with the related 2017 television series.[16][17] The 2017 film American Fable features parts of the house, including the carousel and Infinity Room, in a dream scene.[18]
The 1997 10,000 Maniacs music video for "More Than This" was filmed at the House.[19]
Authenticity of the collections[edit]
Some of the apparent antiques in the House on the Rock are real, but many are not what they seem: depending on one's point of view one could call them fakes, replicas, or original and imaginative creations in the style of antiques. Moe's authorized biography suggests that the question of authenticity is not a problem, presenting it this way:
While the Regina Sublima music box is a real antique, as are many other pieces and exhibits at the House, everyone knows that other pieces are re-creations designed and built on the House property. It's part of the fun—guessing what's real at the House and what is the magic of imagination and re-creation.[20]
Much of the House's contents were built by Jordan and his associates. Balousek quotes Jordan associate Bob Searles as saying
We were creating entertainment. We were not making a historically accurate representation. There was never any need to worry about historical accuracy. We were creating a fun place.[21]
The "Phelps Car" in the Streets of Yesterday, for example, was made by Jordan associate Bob Searles from an old carriage and some motorcycle parts. Balousek quotes Searles as saying "We could fabricate any antiques we wanted to—that was the fun of it. It was just one guy's great big sandbox, where he kept building stuff." Balousek says that Jordan sometimes bought bonafide antiques, but "usually preferred a good copy that cost less," and quotes a supplier as saying "I suspect that Jordan would pay more for a good copy than he would for an original, because he could sit in a corner and laugh about the way he fooled everyone."[22]
In 1978, a disgruntled employee complained to the state Justice Department of consumer fraud, saying that these claims were tall tales. The "Tiffany" lamps, for example, were made by the Illinois firm of Bauer and Coble. The name of the Tusk of Ranchipoor was actually a pun on the name of Richard Rahn, a Mazomanie antiques dealer, who had built many of the fakes: "Rahn is poor." Jordan was enjoined from making false claims, the brochure was rewritten, and misleading signs were removed from the exhibit. However, the exhibits retained their colorful names, allowing visitors to surmise what they wished.[23]
The room-sized assemblages of what appear to be mechanical musical instruments are partly illusion. Some of the instruments actually play, but the strings and woodwinds in particular do not; their sound is actually produced by organ pipes, while the moving instruments fool visitors.[24]
Today, the nature of the exhibits is disclosed, though perhaps not emphasized, by the management; for example, the current website notes, "All the armor featured in this elaborate collection was made for The House on the Rock".[25] This was not always the case. According to Balousek, before 1978 brochures advertised authentic Tiffany lamps, said the Gladiator Calliope dated from 1895, that the Franz Josef music machine had actually belonged to the Austrian emperor, that the Tusk of Ranchipoor was genuine ivory carved by an "unknown Punjab artisan," and so forth.
The official 1993 brochure says that the house "boasts the largest collection of Bauer and Coble lamps in the world. The management considers them finer and expects them to be more valuable than Tiffany's," and boasts that "The 'Four Seasons' panels are thought to be the only exact replica of the original and very popular Tiffany effort."[26]
Timeline[edit]
c. 1920 – Alex Jordan Sr. allegedly vowed to "put up a Japanese house on one of those pinnacle rocks", to spite Frank Lloyd Wright[27]
c. 1945 – Alex Jordan Jr. began blasting to form a level foundation at the top of the pinnacle. He talked to the farmer who owned the rock but did not bother to secure formal rights at the time. The first structure on the rock was a simple "tent" (Moe) or a "picnic place with a tarpaper roof" (Balousek)[1]
1952 – An electric hoist was installed to aid construction.[28]
1959 – Labor Day: Jordan placed a stone marker on Highway 23 and officially opened the house to paying visitors.[2]
1962 – Wisconsin Trails magazine published a long article about the house by Howard Mead. The article marked the status of the house as a serious tourist attraction, and drew regional attention to it. State Industrial Commission gave the house its first formal inspection.[29]
1968 – the "Mill House" opened, containing "one of the world's largest" fireplaces. It is the first room in the house to emphasize collections of curiosities and antiques, including dolls, guns, and mechanical musical instruments.[30]
1971 – "Streets of Yesterday" opened, influenced by techniques devised by Paul Yank for a 1968 "Streets of Old Milwaukee" exhibit at the Milwaukee Public Museum.[31]
1974 – "Music of Yesterday" opened.[24]
1981 – Carousel Building and "World's Largest Carousel" opened, on Easter weekend.[32]
1985 – The "Infinity Room" was constructed.[33]
2008 – Two additional buildings; the Welcome Center and the Alex Jordan Jr. Center (a museum detailing Mr. Jordan's personal life and the construction of the complex's many buildings) were constructed.
References[edit]
Notes
^ Jump up to: a b Balousek 1989, pp. 60–62; Moe 1991, p. 25
^ Jump up to: a b c d e Balousek, Marv (1990). House of Alex: A true story of architecture and art; greed, deception and blackmail. Oregon, Wisconsin: Waubesa Press. ISBN 1-878569-06-6. (Waubesa Press is a subsidy imprint). Balousek describes himself as "a reporter for the Wisconsin State Journal in Madison since 1981", and the book is said to be based on three months of research which led to a four-part series published in the Wisconsin State Journal. According to Balousek: "[My book is] an unauthorized biography, [which has] not been sanctioned by the new owner of The House on the Rock, nor by those closest to Alex Jordan. Jennie Olson, his companion of 50 years, declined to be interviewed; so did Don Martin, who helped build every exhibit." (p. 182)
Jump up ^ Moe 1991; The spine gives "The House on the Rock" as the publisher's imprint. The back cover bears the House on the Rock corporate logo and the legend "The Authorized Biography". The author is described as a "magazine journalist" and "associate editor of Madison Magazine". Moe had access to and quotes Jennie Olson, Don Martin, and others not accessible to Balousek.
Jump up ^ Boyum was "Jordan's closest friend. .. [for] 60 years" Balousek 1990, p. 34. Balousek notes that Boyum "enjoys telling a good tale, whether it's true or not" and says the Burlington Liars' Club declared him World Champion Liar in 1976. According to Moe, Boyum said that he "decided to make a legend out of [Alex]" and wrote the copy for early brochures, which stretched the truth on many matters.
^ Jump up to: a b The building exists today, at 615 Howard Place, Madison, Wisconsin, and is being renovated: Lisa Schuetzin (2006-01-16). "Villa Maria Regains Some Of Its Classic Shine: New Owner Tries To Recapture The Building's Original Beauty In The Single-tenant Units". Wisconsin State Journal. Retrieved 2006-10-17. , which says: "Architect Frank Riley designed the Spanish Colonial revival building for Jordan. ... Its walls are stucco, broken up by irregularly spaced and sized windows. Dormer windows line the top of the structure. A large front terrace is surrounded by iron grillwork and the roof, which was originally covered with red tile as shown in a postcard from about 1950, is now shingled." The stucco was originally pink.
Jump up ^ Balousek 1990, p. 58; Moe 1991, p. 21 gives a virtually identical account, with Wright quoted as saying: "I wouldn't hire you to design a cheese case for me, or a chicken coop," and Jordan Sr. as saying: "I'm going to get even with him. I'm going to build a Japanese house out there."
Jump up ^ Balousek 1990, p. 58
Jump up ^ "Did Alex Jordan Build The House on the Rock to Spite Frank Lloyd Wright?" (PDF) (Press release). The House on the Rock. Retrieved 2014-06-12.
Jump up ^ Rajer, Anton; Host-Jablonski, Lou (Fall 1999). "Sid Boyum's Sculpture". The Journal of the Folk Art Society of America. 12 (4). Retrieved 2014-06-12.
Jump up ^ "Frank Lloyd Wright, The Prairie Style: From Theory to Practice". Retrieved November 7, 2017. "Finally, after years of project delays and several trans-Pacific crossings, Wright took up temporary residence in Tokyo in January 1917. Over the six tumultuous years he lived off and on in Tokyo, Wright poured his prodigious creativity into the Imperial Hotel project. It would remain, as the many decades of his career passed, his largest and most complex design."
Jump up ^ page 29-30 Never Enough The Creative Life of Alex Jordan written by Tom Kupsh
^ Jump up to: a b Jane Smiley (1993-03-19). "Wisconsin: Three Visions Attained". The New York Times. Retrieved 2006-09-13.
Jump up ^ "The Attraction". The House on the Rock. Retrieved 2008-04-25.
Jump up ^ Photo of Fact Sheet from House on the Rock
Jump up ^ The House on the Rock. "Tour 2 - The Carousel". Retrieved 2008-03-02.
Jump up ^ Atzeni, Samantha (18 June 2017). "What's The House On The Rock? The 'American Gods' Roadside Attraction Has It All". Bustle. Retrieved 31 March 2018.
Jump up ^ Craine, Tatiana (18 April 2017). "Why Neil Gaiman toned down House on the Rock in 'American Gods'". City Pages. Retrieved 31 March 2018.
Jump up ^ Hrodey, Matt (2 October 2017). "'American Fable' Finds Great Mystery In a Hole In The Ground". Milwaukee Magazine. Retrieved 31 March 2018.
Jump up ^ "This Is Drivel » House on the Rock". 21 July 2012. Retrieved 31 March 2018.
Jump up ^ Moe 1991, p. 106
Jump up ^ Balousek 1990, p. 91
Jump up ^ Balousek 1990: "Phelps car," "fabricate any antiques," p. 92; "laugh about the way he fooled everyone," p. 93
Jump up ^ Balousek 1990, pp. 103–4: antiques disclosed as fake
^ Jump up to: a b Moe 1991, p. 103
Jump up ^ "House on the Rock: Attraction". The House on the Rock. Archived from the original on 2006-09-01. Retrieved 2006-10-18.
Jump up ^ The House on the Rock, 1993, "Photography and factual data supplied by The House on the Rock executive staff.
Jump up ^ Balousek 1990, p. 58; Moe 1991, p. 21
Jump up ^ Moe 1991, p. 36
Jump up ^ Balousek 1989 p. 76
Jump up ^ Moe 1991, pp. 78–81
Jump up ^ Moe 1991, p. 86
Jump up ^ Moe 1991, p. 112
Jump up ^ Moe 1991, p. 30
Bibliography
Balousek, Marv (1990). House of Alex. Oregon, Wis.: Waubesa Press. ISBN 1878569066.
Moe, Doug (1991). Alex Jordan: architect of his own dream. Spring Green, WI: House of Wyoming Valley. ISBN 0963020706.
External links[edit]
Wikimedia Commons has media related to House on the Rock.
Official website
2004 CBS article (with video)
The House That Alex Jordan Built, Madison Magazine Article, January 2009
Coordinates: 43°06′00″N 90°08′10″W / 43.1°N 90.136°W / 43.1; -90.136
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Seven trumpets
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The seven angels with seven trumpets, and the angel with a censer, from the Bamberg Apocalypse.
Seven trumpets are sounded, one at a time, to cue apocalyptic events that were seen in the vision of the Revelation of Christ Jesus,[1] by John of Patmos,[2] as written in the Book of Revelation of the New Testament. The seven trumpets are sounded by seven angels and the events that follow are described in detail from Revelation Chapters 8 to 11. According to Revelation 8:1-2,[3] the angels sound these trumpets after the breaking of the seventh seal. These seals secured the apocalyptic document, that was in the right hand of Him who sits on the main throne.[4] The trumpets are referred to in Koine Greek as σάλπιγγος (salpingos, salpinx); this was a straight, narrow bronze tube with a mouthpiece of bone and a bell; they do not resemble modern trumpets.
Contents
[hide]
1 Significance
1.1 First trumpet
1.2 Second trumpet
1.3 Third trumpet
1.4 Fourth trumpet
1.5 Fifth trumpet
1.6 Sixth trumpet
1.7 Seventh trumpet
2 Interpretations
3 See also
4 References
Significance[edit]
Before the invention of the brass trumpet, God had Moses make two silver Trumpets (Numbers 10:2), but the traditional sacred horn of the ancient Hebrews was the shofar made from a ram's horn. It has been used since Moses' day (Exodus 19:13)[5] to get the attention of the Israelites, signal, or to prelude an announcement and/or warning from God. Joshua had 7 priests carry 7 horns for 7 days and circle Jericho 7 times, then the priest sounded the horns, the people shouted and the walls came down. (Joshua 6:4).[5] In St. Paul's letter of I Thessalonians 4:16, "the trumpet of God" heralds the Second Coming of Christ.
First trumpet[edit]
Second trumpet: a great burning mountain plunges into the sea. Beatus de Facundus, 1047.
The Fourth Angel sounds his trumpet, Apocalypse 8. Beatus Escorial.
Upon the first trumpet sound, hail and fire, mixed with blood, is thrown to the Earth burning up a third of the trees on the planet, and all green grass. [6]
Second trumpet[edit]
By the second trumpet sounding, it cues something like a great burning mountain that plunges into the sea and wipes out a third of all sea life and ships. A third of the oceans will become blood.[7]
Third trumpet[edit]
By the sound of the third trumpet, a great star called Wormwood falls to the Earth poisoning a third of the planet's freshwater sources, such as rivers and springs. Men will die from drinking its bitter taste.[8]
Fourth trumpet[edit]
Following the sounding of the fourth trumpet, a third of the light that shines from the Sun, moon and stars became dark from these celestial bodies being "struck". This catastrophe caused complete darkness for a third of a day, during the day, even through night hours.[9]
Fifth trumpet[edit]
The fifth trumpet sound is the "first Woe" of three. Before this trumpet sounds, an angel (translated eagle in some versions) appears, flying in mid-heaven, and warns, "Woe, woe, woe, to those who dwell on the earth, because of the remaining blasts of the trumpet of the three angels who are about to sound!"[10]
The fifth trumpet prompts a personified star to fall from heaven. The star is given the key to the bottomless pit. After opening it, the smoke that rises out, darkens the air and blocks the sunlight. Then from out of the smoke, the Locusts were unleashed. They were scorpion tailed warhorses, having a man's face with lion's teeth. Their hair was long like that of a woman's and flew with locust-like wings. They were crowned with golden crowns and protected with iron-like breastplates. They were commanded by their king, Abaddon, to torment any man who does not have the seal of God on their forehead, by using their scorpion-like tails. It was also made clear to them that they must not kill anyone during their five-month mission of torment.[11]
Preterist views
Robert Witham, a Catholic commentator, issued his two-volume Annotations on the New Testament, in 1733. Commenting on Chapter 9, he offers two preterist views for identifying the locusts with scorpion tails.[12]
The locusts may have represented the incursion of the Goths and “those barbarous People” that interrupted the Roman Empire during the time of Decius.[13]
The locusts may have represented the Jewish heretics who denied Christ. Most notably, Theodotus, Praxeas, Noetus, Paul of Samosata, Sabellius, and Arius.[13]
Sixth trumpet[edit]
Seventh Trumpet, Bamberg Apocalypse, circa 1010.
After the fifth trumpet blast, the sixth one sounds.[14] This is the "Second woe", where four angels are released from their binds to the "great river Euphrates". They command a brute force of 200 million mounted troops whose horses dissipate plague from out of their mouths, most notably: fire, smoke, and brimstone. The mounted horsemen wore breastplates with the color of fire, hyacinth, and brimstone. The horses had a lion's head and their tails were like a serpent, even with a snake head. They are responsible for the deaths of a third of mankind who are stricken by the plague that emanated from these armies.[15]
Seventh trumpet[edit]
The sound of the seventh trumpet signals the "Third woe". This is the final trumpet sound and the final woe. Loud voices in heaven proclaim Christ as ruler forever and ever under the "Kingdom of our Lord Jesus under GOD". Thanks is given to God, the Almighty and praise for the wrath that came, the dead who were judged, and the bond-servants rewarded. The temple of God in heaven then opened and the Ark of the covenant appeared in His temple. Then lightning and peals of thunder occurred followed by an earthquake and a great hailstorm.[16]
Christian eschatology
Eschatology views
Contrasting beliefs[show]
Preterism
Idealism
Historicism
Futurism
The Millennium[show]
Amillennialism
Postmillennialism
Premillennialism
Prewrath Rapture
Posttribulation Rapture
Dispensationalism
Biblical texts[show]
Synoptic Gospels
Olivet Discourse
Sheep and Goats
Book of Revelation
Events of Revelation
Book of Daniel
Seventy Weeks
2 Esdras (Apocrypha)
Key terms[show]
Abomination of desolation
Antichrist
Armageddon
The Beast
Four Horsemen of the Apocalypse
New Jerusalem
Katechon
Kingdom of God
Lake of fire
Last Judgment
Man of sin
Rapture
Resurrection of the dead
Second Coming
Seven bowls
Seven seals
Son of perdition
Great Tribulation
Two witnesses
War in Heaven
Whore of Babylon
World to come
Christianity portal
v
t
e
Interpretations[edit]
In Christian Eschatology, the first six trumpets are used to serve as a wake up call to the sinners on Earth and a call to repentance. Each trumpet blast brings with it a plague of a more disastrous nature than the one before it. The trumpet is used to build anticipation and tells the reader that an alert, announcement, or warning is about to take place. The seventh trumpet does not bring a plague with it. Rather, it is sounded so that glory is given to God and His kingdom is announced.[17]
The Preterist understanding is that these blasts are like war trumpets against apostate Israel of the time period and that they correspond to events in the Jewish Wars. For example, the second trumpet is the nation of Rome depicted as a mountain, symbolic for great nations in the Old Testament, and its destruction of Galilee and the Sea of Galilee becoming full of blood and dead bodies.[citation needed]
Concerning the second trumpet blast, Futurist Christian apologists speculate that the "great mountain burning with fire" that plunges into the sea, in Revelation 8:8,[18] is an impact event by a possible Near-Earth object.[19][20]
Christians who follow the Posttribulation rapture doctrine, argue that the seventh trumpet is the last trumpet mentioned in I Corinthians 15:52,[21] and that there is a strong correlation between the events mentioned in Isaiah 27:13,[22] Matthew 24:29-31,[23] and I Thessalonians 4:16.[24] These parallels are used to support the doctrine of the rapture occurring after the tribulation. Therefore, Posttribulationists see the rapture happening during the seventh trumpet. The nature of the 7th trumpet shows that "time is no more, and that the mystery of God is finished, Rev. 10:6,7. At the 7th trumpet, Jesus rules and reigns forevermore,[25] He has taken His great power and reigned,[26] and He rewards the righteous, and judges the wicked.[27] Both Jesus and Paul declare that when Jesus comes, His reward is with Him, and He rewards everyone according to their works, Rev. 22:12,2 Tim 4:1.
There are some scholars who describe a part from the finale from the second symphony by Gustav Mahler, as the seven trumpets, actually played by 4 trumpets, bass drum, cymbals and triangle, which are offstage.[28]
See also[edit]
Christianity portal
Events of Revelation (Chapter 8)
Seven seals
References[edit]
Jump up ^ Revelation 1:1
Jump up ^ Revelation 1:9
Jump up ^ Revelation 8:1-2
Jump up ^ Revelation 5:1
^ Jump up to: a b The Jewish Study Bible, Jewish Publication Society, 2004
Jump up ^ Revelation 8:7
Jump up ^ Revelation 8:8-9
Jump up ^ Revelation 8:10-11
Jump up ^ Revelation 8:12
Jump up ^ Revelation 8:13
Jump up ^ Revelation 9:1-12
Jump up ^ Kenneth G. C. Newport . Apocalypse and millennium: studies in biblical eisegesis, (ISBN 0521773342, ISBN 978-0-521-77334-8), 2000, p. 85
^ Jump up to: a b Witham. Annotations, vol. II, p. 463
Jump up ^ Revelation 9:10-12
Jump up ^ Revelation 9:13-21
Jump up ^ Revelation 11:15-19
Jump up ^ Koester Craig R (2001). Revelation and the End of All Things. Wm. B. Eerdmans Publishing.
Jump up ^ Revelation 8:8
Jump up ^ LaHaye, T. (1999). Revelation Unveiled (p. 167). Grand Rapids, MI: Zonervan. ISBN 0-310-23005-5 (pbk.)
Jump up ^ Chapman, G. W. (1996, August). Comets and Asteroids and Future Cosmological Catastrophes. Compiled from Apocalypse When by Dr. Frank Close.
Jump up ^ 1Corinthians 15:52
Jump up ^ Isaiah 27:13
Jump up ^ Matthew 24:29-31
Jump up ^ 1Thessalonians 4:16
Jump up ^ Revelation 11:15
Jump up ^ Revelation 11:17
Jump up ^ Revelation 11:18
Jump up ^ Floros, C. (1993). Gustav Mahler. The Symphonies (p. 69). Amadeus Press.
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Walking Liberty half dollar
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Walking Liberty half dollar
United States
Value
50 cents (0.50 US dollars)
Mass
12.50 g
Diameter
30.63 mm
Thickness
1.8 mm
Edge
reeded
Composition
90% silver
10% copper
Silver
0.36169 troy oz
Years of minting
1916–1947
Mint marks
D, S. Located for 1916 and some 1917 pieces on obverse to right of Liberty just under the letters "Tr" in "In God We Trust", later issues on reverse at lower left, under the tree. Philadelphia Mint specimens lack mint mark.
Obverse
Design
Lady Liberty walking and holding branches; United States flag over shoulder
Designer
Adolph A. Weinman
Design date
1916–1947
Reverse
Design
A bald eagle rising from a mountaintop perch
Designer
Adolph A. Weinman
Design date
1916–1947
The Walking Liberty half dollar was a silver 50-cent piece or half dollar coin issued by the United States Mint from 1916 to 1947; it was designed by Adolph A. Weinman.
In 1915, the new Mint Director, Robert W. Woolley, came to believe that he was not only allowed but required by law to replace coin designs that had been in use for 25 years. He therefore began the process of replacing the Barber coinage: dimes, quarters and half dollars, all bearing similar designs by long-time Mint Engraver Charles E. Barber, and first struck in 1892. Woolley had the Commission of Fine Arts conduct a competition, as a result of which Weinman was selected to design the dime and half dollar.
Weinman's design of Liberty striding towards the Sun for the half dollar proved difficult to perfect, and Treasury Secretary William G. McAdoo, whose department included the Mint, considered having Barber create his own design. Mint officials were successful in getting Weinman's design into production, although it never struck very well, which may have been a factor in its replacement by the Franklin half dollar beginning in 1948. Nevertheless, art historian Cornelius Vermeule considered the piece to be among the most beautiful US coins. Since 1986, a modification of Weinman's obverse design has been used for the American Silver Eagle, and the half dollar was issued in gold for its centennial in 2016.
Contents
[hide]
1 Inception
2 Design
3 Preparation
4 Modification
5 Reception
6 Production and collecting
7 Replacement and design reuse
8 References
9 External links
Inception[edit]
On September 26, 1890, the United States Congress passed an act providing:
The Director of the Mint shall have power, with the approval of the Secretary of the Treasury, to cause new designs ... to be prepared and adopted ... But no change in the design or die of any coin shall be made oftener than once in twenty-five years from and including the year of the first adoption of the design ... But the Director of the Mint shall nevertheless have power, with the approval of the Secretary of the Treasury, to engage temporarily the services of one or more artists, distinguished in their respective departments of art, who shall be paid for such service from the contingent appropriation for the mint at Philadelphia.[1]
The Barber coinage was introduced in 1892; dimes, quarter dollars, and half dollars with similar designs by Mint Engraver Charles E. Barber.[2] The new pieces[3] attracted considerable public dissatisfaction.[4] Beginning in 1905, successive presidential administrations had attempted to bring modern, beautiful designs to United States coins.[5] Following the redesign of the double eagle, eagle, half eagle and quarter eagle in 1907 and 1908, as well as the cent and nickel redesigns of 1909 and 1913 respectively, advocates of replacing the Barber coins began to push for the change when the coins' minimum term expired in 1916. As early as 1914, Victor David Brenner, designer of the Lincoln cent, submitted unsolicited designs for the silver coins. He was told in response that Secretary of the Treasury William G. McAdoo was completely occupied with other matters.[6]
On January 2, 1915, an interview with Philadelphia Mint Superintendent Adam M. Joyce appeared in the Michigan Manufacturer and Financial Record:
So far as I know ... there is no thought of issuing new coins of the 50-cent, 25-cent, and 10-cent values. If, however, a change is made we all hope that more serviceable and satisfactory coins are produced than the recent Saint-Gaudens double eagle and eagle and the Pratt half and quarter eagle. The buffalo nickel and the Lincoln penny are also faulty from a practical standpoint. All resulted from the desire by the government to mint coins to the satisfaction of artists and not practical coiners.[7]
In January 1915, Assistant Secretary of the Treasury William P. Malburn sent McAdoo a memorandum about the silver subsidiary coinage, noting that "the present silver half dollar, quarter, and dime were changed in 1892, and a new design may, therefore, be adopted in 1916. This can be done any time in the year."[8] In reply, McAdoo wrote "let the mint submit designs before we try anyone else" on the memorandum.[9]
In April 1915, Robert W. Woolley took office as Mint Director. On April 14, he asked Joyce to request Engraver Barber, then in his 36th year in office, to prepare new designs. The same day, Malburn requested the opinion of the Treasury Department's Solicitor concerning the Mint view that it could strike new designs for the three denominations in 1916. On April 17, the Solicitor's Office responded that the Mint could change the designs.[10] At the time, the Mint was intensely busy producing the Panama-Pacific commemorative coin issue, and immediate action was not taken.[9] In October, Barber was summoned to Washington to discuss coin designs with Woolley, although it is uncertain whether or not he had by then prepared sketches for the new coinage.[10]
On December 3, Woolley met with the Commission of Fine Arts. Woolley asked the Commission to view sketches produced by the Mint's engraving department. Barber was present to explain the coinage process to the Commission members. Woolley suggested to the members that if they did not like the Mint's work, they should select sculptors to submit designs for the new pieces. It was Woolley's intent to have distinct designs for the dime, quarter and half dollar—previously, the three pieces had been near-identical.[11] The director informed the Commission that as the existing coinage had been in use for 25 years, it would have to be changed—which numismatic historian David Lange calls a "misinterpretation of the coinage laws".[12]
The Commission disliked the sketches from the Mint (submitted by Barber)[13] and selected sculptors Adolph Weinman, Hermon MacNeil and Albin Polasek to submit proposals for the new coins. The sculptors could submit multiple sketches. Although the Mint could decide to use a design on a denomination not intended by its sculptor, the designs were not fully interchangeable—by statute, an eagle had to appear on the reverse of the quarter and half dollar, but could not appear on the dime. Woolley hoped that each sculptor would be successful with one piece.[14]
The 1916 United States Assay Commission met on February 9 and February 10, 1916 to test coins from the previous year to ensure they met specifications. Among the members and Mint officials shown were Mint Director Robert W. Woolley (standing fourth from left), Engraver to the United States Mint in Philadelphia Charles E. Barber (standing third from left) and Philadelphia Mint Superintendent Adam Joyce (standing at far right).
The three sculptors submitted design sketches in mid-February, and on February 23 met with Woolley in New York City to make presentations of their work and answer his questions. After discussions between Woolley and McAdoo, Weinman was notified on February 28 that five of his sketches had been selected—for the dime and half dollar, and the reverse of the quarter. The same day, Woolley wrote to MacNeil to tell him he would sculpt the quarter's obverse, and to Polasek to inform him of his lack of success.[15] Members of the Commission persuaded Woolley that so much should not be entrusted to a single artist, and MacNeil was allowed to design both sides of the quarter, subject to the sculptor producing a design satisfactory to Woolley.[16]
On March 3, the new coins were publicly announced, with the Treasury noting, "[d]esigns of these coins must be changed by law every 25 years and the present 25-year period ends with 1916."[17] The press release indicated that the Treasury hoped production of the new coins would begin in about two months, once the designs were finalized. The same day, Woolley wrote to Mint Engraver Barber, telling him that his sketches were rejected, and that models from Weinman and MacNeil would arrive at the Philadelphia Mint no later than May 1.[17] According to numismatic historian Walter Breen, Barber became "sullen and totally uncooperative".[18] Lange notes that "numerous delays were encountered as the artists fine-tuned their models while simultaneously avoiding obstacles thrown in their path by Barber. While his observations regarding many aspects of practical coinage were quite accurate, they clearly could have been presented in a more constructive manner."[19] In his book on Mercury dimes, Lange notes that Barber, by then aged 75, had been "compelled over the past ten years to participate in the systematic undoing of a lifetime's achievements"; he had to participate in the process which resulted in coins designed by others replacing ones designed by him.[20]
With the new pieces, all American coins would have had a recent change of design (the Morgan dollar was not then being struck).[21] According to a column in The Art World magazine later in 1916,
Since that day [the 19th century] much artistic progress has taken place in our coinage. Sculptors of reputation have been employed with admirable results ...And now we are to have a new half dollar and a new dime by Weinman and a new quarter by McNeill [sic]. Altogether, in the retrospect, it seems an incredible achievement.[22]
Design[edit]
Roty's "Sower" design for French coins may have inspired Weinman's obverse.
According to Secretary McAdoo in his 1916 annual report,
The design of the half dollar bears a full-length figure of Liberty, the folds of the Stars and Stripes flying to the breeze as a background, progressing in full stride toward the dawn of a new day, carrying branches of laurel and oak, symbolical of civil and military glory. The hand of the figure is outstretched in bestowal of the spirit of liberty. The reverse of the half dollar shows an eagle perched high upon a mountain crag, his wings unfolded, fearless in spirit and conscious of his power. Springing from a rift in the rock is a sapling of mountain pine, symbolical of America.[23]
Weinman's obverse bears a resemblance to Oscar Roty's "Sower" design for French coins; according to numismatic historian Roger Burdette, "Weinman has taken the ideal of a nineteenth century provincial figure and turned it into an American icon."[a] [24] Burdette ties both the appearance of the head of Liberty and of the branches which she carries to Baltimore's Union Soldiers and Sailors Monument, designed by Weinman.[25] The sculptor may also have drawn inspiration from a 1913 bust he did of his tenant, Elsie Stevens, wife of lawyer and poet Wallace Stevens. Elsie Stevens is generally believed to have been a model for Weinman's Mercury dime; her daughter Holly wrote in 1966 that her mother had been the model for both coins.[26] The reverse is similar to Weinman's medal for the American Institute of Architects, although the sculptor replaced the laurel on the medal with a pine sapling. Weinman's work on the medal had been widely admired for the power of the depicted eagle.[25]
Weinman's 1909 Union Soldiers and Sailors' Monument may have given him his head of Liberty (from the head of Victory, on right) and displays similar use of foliage.
Breen, in his comprehensive volume on US coins, said of the half dollar, "Ms. Liberty wears the American flag, anticipating a rebellious counterculture by half a century."[27] Though admiring the piece generally, he noted that Liberty is striding towards the east, that is towards war-torn Europe, and wrote, "she points into the sky at nothing visible (perhaps aiming a warning at German warplanes?)"[27] Breen objects to the use of the mountain pine on the reverse, calling it not particularly American nor especially notable except for an ability to thrive near the tree line.[27]
Art historian Cornelius Vermeule wrote that the Walking Liberty half dollar "really treat[s] the obverse and reverse as a surface sculptural ensemble. The 'Walking Liberty' design particularly gives the true feeling of breath and sculptural services on the scale of a coin."[28] Vermeule noted the resemblance of the half dollar to Roty's "Sower" but states that Weinman's piece "is an original creation, not a slavish copy".[28] On the reverse, Vermeule admired the eagle, which dominates but does not overwhelm the design, and stated that the bird's feathers are "a marvelous tour de force", showing the influence of Augustus Saint-Gaudens, under whom Weinman studied.[28] Vermeule characterized the Walking Liberty half dollar to be "one of the greatest coins of the United States—if not of the world".[28]
Preparation[edit]
For additional detail on the 1916 subsidiary silver coin redesign, see Mercury dime and Standing Liberty quarter.
Sculptor Adolph Weinman
The three sculptors met with Woolley on March 6, 1916 at the New York Assay Office to be formally told of the outcome of the competition, including the change in the outcome for the quarter, and to receive back rejected models and sketches. Polasek, who received his participation fee of $300 on March 10, never again had any connection with the Mint or coinage design.[29] Until a plaster model of one of his submissions was discovered at the Polasek Museum (formerly his house) in 2002, his participation was known only through the Mint's records.[30]
After Weinman's success in the competition, he visited the Mint to discuss conversion of his models to finished dies. On his first visit, he found Barber absent, but had a productive talk with long-time Assistant Engraver George T. Morgan. Other visits followed, and on March 29, Woolley wrote to Superintendent Joyce, "confidentially, the sculptors designing the new coins felt that on their last trip Mr. Morgan was much more cordial and cooperative than Mr. Barber was. I realize I am dealing with artistic temperaments at both ends."[31] Woolley came to New York twice in April to examine MacNeil's evolving reverse design for the quarter, on May 26 he also visited Weinman's studio and viewed progress on the models of his designs.[32] A severe case of tonsillitis delayed Weinman's work, and caused him to request an extension of the May 1 deadline. On May 29, Woolley wrote Weinman that the designs, both for the dime and half dollar, were accepted by the Mint.[20]
During June, the Mint's engraving department, headed by Barber, reduced the models to coin-sized hubs and prepared dies for experimental pattern coins, which were subsequently struck. Woolley hoped to begin production of the new coins of all three denominations by July 1, but the grant of time to Weinman required the Mint to act with greater speed. Burdette suggests the haste with which the dies were prepared caused coins struck with them to appear worn and without sharp detail.[33] By June 22, Weinman had viewed the first patterns, as he wrote to Woolley stating that he did not like the way the word "Liberty" on the obverse had turned out, and asking for the loan of two patterns so he could redo the lettering.[34] On June 24, Woolley wrote to Joyce, informing him of the loan[35] and stating of the new pieces,
The model of the obverse on the half dollar will have to be made over and Mr. Weinman informs me he is now at work on it. The same is true of the quarter dollar. The reverse of both the quarter dollar and the half dollar, as shown on the coins struck from the polished dies, are satisfactory ... Everyone to whom the coins have been shown here thinks they are beautiful.[34]
Pattern coin for the Walking Liberty half dollar, showing Weinman's design with the large figure of Liberty for the obverse and his original reverse
With Woolley's permission to redo the obverse, Weinman decided to remove the word "Liberty" from above the figure and place it above "In God We Trust" to the right of it. This permitted him to extend Liberty's head almost to the top of the coin, maximizing the size of the depiction. The letter "L" was placed in the concavity formed by the flag as it drapes under the figure's left elbow, and the rest of the word extended to the right from there, with the letter T in larger print, actually saving room as the larger size allowed the crossbar of the "T" to extend above the capitalized letters "R" and "Y". This allowed the letters to be squeezed closer together. When Woolley resigned on July 15 to become director of publicity for the Wilson reelection campaign (a function he also fulfilled for Democratic candidates in 1912 and 1920), he mentioned in his resignation letter to Secretary McAdoo, "in working over the model for the obverse side of the half dollar Mr. Weinman is making a slight rearrangement of the word 'Liberty', and will have it ready for your inspection in a few days. I like it and believe you will."[36] Weinman wrote to the former director on July 20 that increasing the size of the figure of Liberty improved its appearance.[36]
McAdoo accepted Weinman's revised design on July 26; at that time Adjuster of the Bureau of the Mint Fred H. Chaffin was serving as Acting Mint Director until President Wilson could nominate a replacement for Woolley and have him confirmed by the Senate.[37] Weinman decided, on his own initiative, to rearrange the legends on the reverse. On the original pattern, "United States of America" is at the top of the reverse, with "Half Dollar" directly below and "E Pluribus Unum" at the bottom of the coin. Weinman's revision has the legends in the places they would occupy on the circulation strikes, and was approved by McAdoo on August 10.[38] On August 18, Wilson nominated Woolley's successor, Friedrich Johannes Hugo von Engelken, who was promptly confirmed by the Senate. Von Engelken was supposed to be sworn in on August 21; his swearing in was delayed until September 1 by President Wilson's failure to sign his commission.[39]
Modification[edit]
When von Engelken took office as Mint Director on September 1, 1916, the half dollar had been approved, and pattern coins had been struck. Actual production of the 50-cent piece was delayed as the Mint struggled to finalize Weinman's Mercury dime.[40] On September 6, production of the dime was halted as companies testing the new 10-cent piece found that the new pieces would not work in vending machines. The defect was found to be a "fin", excess metal at the edge of the coin, making it seem too thick when inserted in machines. The fin could also break off, leaving the silver coins underweight. The problem was found on the pattern half dollars as well. On September 6, von Engelken wrote to Assistant Secretary Malburn, using information that Burdette suggests came from Barber:
I am sending you with this letter ten of the new dimes and one of the new half dollars. If you examine these coins carefully, you will find that they are decidedly imperfect. You will note both on the half dollar and the ten cent piece a sharp projection of the metal on the edge, which is the "fin" to which I have referred. You will note also, particularly on the half dollar on account of its size, a variation in the thickness of the coin, specifically noticeable at the edge. I went to Philadelphia yesterday to ascertain whether or not this could be overcome, and I find that we are faced with certain mechanical restrictions which make it impossible to produce a coin of uniform thickness of edge, and to obviate the fin edge, as long as we maintain the high relief of the coin as it is at present.[41]
Mint Director Friedrich Johannes Hugo von Engelken
Philadelphia Mint Superintendent Adam M. Joyce
Von Engelken's letter caused concern in the Secretary's office—McAdoo feared that if the Mint proved unable to successfully issue new coins, the Republicans might exploit the failure as an issue in the presidential race. The Secretary enquired how long it would take "our Mr. Barber" to produce new designs; after consultation with officials at the Philadelphia Mint, von Engelken replied that it would take six to eight months.[b] The two officials decided that Weinman must be asked to modify his design for the half dollar—it was hoped that if Weinman shrank the figure of Liberty, and lowered the relief, the piece would prove coinable.[b][42]
Weinman arrived at the Mint on September 11. He left with two pattern half dollars and instructions to reduce the size of the figure of Liberty. Barber appealed to Joyce for permission to make major changes to Weinman's design, but this was initially refused. However, when an additional change by Weinman failed to eliminate the fin problem, Joyce gave in and allowed Barber a free hand. Engraver Barber shrank the design, moving the design further from the edge, and creating a wide space between design and rim. Barber insisted that this was the only way to prevent a fin and uneven edge. A beaded border was added within the rim. According to Burdette, patterns struck from the new dies were dull and uninteresting, as the size of the figures had lent them strength.[43]
On October 18, Weinman wrote to Joyce, asking how the Mint was getting on with the dies for the half dollar and dime, and expressing his willingness to come to Philadelphia. Joyce replied two days later, informing him that the design of the half dollar was being reduced in size to prevent recurrence of the edge difficulties, and informing him of the beaded border. Weinman responded hoping that Joyce would prevent the figure of Liberty from being unduly reduced, and rendering his account. As the sculptor and superintendent corresponded, the Mint began the work of converting the Barber-modified designs to working dies from which circulation coins could be struck, but Joyce interceded before coining could begin. The Philadelphia Mint superintendent, who had the support of von Engelken, felt that Barber's modifications were unnecessary. Joyce believed that coins closer to Weinman's concept could be struck by lowering the relief slightly, adjusting the force with which the Mint's presses struck the planchets or blanks, and better preparing the planchets for striking. Joyce's position prevailed, and Barber and his department prepared working dies for striking of circulation pieces, omitting Barber's beaded border and wide space between rim and design. Working dies were at the Denver and San Francisco Mints on November 27, and production began at all three mints soon after.[44]
In late December Weinman, who had received no update from the Mint since being told of the Barber modifications, but who had read in the newspapers that the half dollars were being struck, sent a $10 money order to Joyce with a request for 20 of the new coins. On January 2, 1917, Weinman wrote to Joyce again, telling him the new pieces had been received in time to be given as New Year's gifts, and wishing the superintendent "every good wish to you for every day of the New Year and with thanks to the Almighty and yourself that the beads are not on the border of the Half Dollar".[44]
Reception[edit]
Although the dime's debut on October 30, 1916 had seen considerable publicity, the Mint had little comment on the release of the half dollar and Standing Liberty quarter the following January. There were few newspaper mentions of the new half dollar; the United States was moving towards war with Germany, and the dime release had exhausted much of the public interest in the novelty of new coins. The quarter dominated what public attention there was with argument over whether the eagle on its reverse was portrayed accurately. Despite the minimal publicity, according to a January 1917 report from Mint Adjuster Chaffin, all three mints initially had trouble keeping up with public demand for the new half dollars.[45]
The New York Times noted on January 3 that the new pieces had been received by the Sub-Treasury and would be released two to a customer, starting on January 9. It stated that the Mint was working as hard as possible to keep up with demand, but that initially quantities would be limited.[46] Banking, the journal of the American Bankers Association, stated that "The designs of the new coins have been highly praised by those having expert knowledge of such matters."[47] A Connecticut newspaper predicted readers would like the new half dollar five times as much as the new dime.[48]
The Huntsville (Alabama) Mercury, however, expressed its dislike of the new half dollar. In a piece entitled "New half dollar is sick", it stated:
The new coin is radically different from all other monies produced by the government mints. A suffragette is shown sowing small stars in a western field that hasn’t been plowed very deeply. The sun is setting and the old girl looks rather tired from her day’s labors, in fact perspiration can be seen trickling from her forehead. The lady wears sandals and her feet are rather dusty. She also appears, to have on overalls under her thin dress. She carries a load of firewood in one arm and wears a large napkin around her neck which leads to the belief that she left a small child at the house. The wind is blowing from the north and the sun has a blizzardly appearance. In great letters LIBERTY is spelled, extending more than half way around the entire surface. On the other side appears an eagle, grown to enormous size and marching madly toward Mexico, a cactus bush being shown in the background. The eagle has raised his wing, as if to strike; the old fellow looks like he could put up a good fight if aroused but he has a swell crop of feathers on his legs.[49]
Production and collecting[edit]
A 1916-S half dollar with the mint mark on the obverse.
The mint marks had initially been placed on the obverse, the first time that had been done for a regular issue US half dollar since 1839.[50] On February 14, 1917, von Engelken ordered that the mint mark be moved from the obverse to the reverse, stating that the obverse placement had the appearance of a die defect. At that time, Von Engelken had resigned pending appointment to the post of president of the Federal Land Bank for the Third District; once he left to take that position, he was succeeded by Raymond T. Baker. In April, Joyce asked Baker for written confirmation of von Engelken's order, and after he obliged, the mint mark was duly moved. The majority of the 1917 half dollars struck at Denver (1917-D) and San Francisco (1917-S) bear the mint mark on the reverse.[51][52]
Throughout the time in which the Mint struck the Walking Liberty half dollar, it had difficulty bringing out the design fully. According to Breen,
Mint authorities knew well that the Weinman design, despite its great artistic merit, no matter how thorough Barber's original attempt to reduce relief, was technically unsatisfactory. Areas of highest relief still opposed relief areas on the other side.[27]
The San Francisco Mint especially had difficulty with the coins; many pieces struck there are noticeably weak.[50] In 1918 Morgan, who had succeeded Barber as Engraver after the latter's death the previous year, modified the design, incising some of the details at Liberty's neck. According to Breen, "The attempt was a failure."[53] Morgan's successor, John R. Sinnock, made additional attempts in 1937 and 1938, with little better results. Breen suggested that the difficulties in striking the piece contributed to the willingness to replace it after World War II.[54]
This 1941 proof coin lacks Weinman's monogram, normally placed near the rim of the coin at the lower right.
No Walking Liberty half dollar is especially rare,[55] but many dates are scarce in Mint State condition, particularly the 1921 and 1921-D.[50] The Mint struck proof coins in 1916–1917 and 1936–1942, all at Philadelphia. The 1916 pieces were struck in very small numbers—Breen stated that he had seen only four—and only three 1917 proof coins are confirmed, most likely struck for VIPs at a time when proof coins were not sold to the public. A number of the later proof coins lack Weinman's monogram, apparently lost through overpolishing of dies. This is most common with the 1941 proof pieces—much of the year's production lacks the monogram—but is known for other years.[56] A total of 74,400 proof coins were struck for the series.[50]
There are few varieties in the series, and they are relatively minor. They principally involve the mint mark: several repunchings, one overpunching of a D over an S in 1942, and some changes in size. One oddity is the 1943/1942, which is not a true overdate but was formed by a working die struck once from a 1942-dated master die, and once from one dated 1943.[27] Some 1946 half dollars show a doubled die on the reverse.[50]
Replacement and design reuse[edit]
The American Silver Eagle reproduces Weinman's obverse design.
In 1947, Mint Director Nellie Tayloe Ross asked Engraver Sinnock to produce a design for a half dollar featuring Founding Father Benjamin Franklin. Ross had long been an admirer of Franklin, and wanted to see him on a coin.[57] Mint officials had considered putting Franklin on the dime in 1941, but the project was shelved owing to heavy demands on the Mint for coins as the United States entered World War II.[58] During the war, the Mint contemplated adding one or more new denominations of coinage; Sinnock prepared a Franklin design in anticipation of a new issue, which did not occur.[59] In 1946, the Treasury replaced the Mercury dime with a piece depicting the recently deceased president, Franklin Roosevelt, who had been closely associated with the March of Dimes.[58] With the Lincoln cent popular and politically inexpedient to replace, the half dollar was the only piece being struck which was available for redesign without congressional permission. The Treasury approved the new design. Although Sinnock died before the coin was issued, the Franklin half dollar went into production at the start of 1948, ending the Walking Liberty series.[60] A total of 485,320,340 Walking Liberty half dollars were struck.[50]
Since 1986, Weinman's obverse design has been used as the obverse design for the American Silver Eagle bullion coin.[61] In adapting the design, Mint Sculptor-Engraver John Mercanti and other members of the engraving staff strengthened many of the details. Mercanti noted that Weinman's original plaster was only 6 inches (150 mm) in diameter, and was softly modelled. Mercanti increased the detail so that the design, struck on a larger coin, would be bolder and would have a more even metal flow when struck than Weinman's original coin. Treasury Secretary James Baker chose a heraldic eagle design, by Mercanti, as the reverse of the American Silver Eagle.[62]
In December 2010, President Barack Obama signed legislation authorizing bullion coins made of palladium. The obverse would be taken from the Mercury dime; the reverse would follow Weinman's architectural award medal on which he based the half dollar's reverse.[63] The Mint was directed to obtain an independent study of whether there would be enough market demand to justify the issuance of the piece; it voided its first contract for such a study on learning that the contracted firm had ties to the palladium industry.[64] The contract was re-awarded to New York-based CPM Group, which conducted the necessary research between May and July 2012.[65] On March 1, 2013, the Mint submitted a report to Congress based on the study, finding that demand would most likely not be sufficient to sustain a market in palladium bullion coins.[66]
The United States Mint in 2015 announced plans to restrike for collectors, in gold, the three silver coins first issued in 1916.[67] The gold version of the Walking Liberty half dollar, containing a half ounce of gold and struck at the West Point Mint, went on sale to the public on November 17, 2016.[68]
References[edit]
Explanatory notes
Jump up ^ The Sower still appears on the 10, 20 and 50 euro cent French coins.
^ Jump up to: a b Chief Engraver Barber died in office on February 18, 1917, five and a half months later.
Citations
Jump up ^ Richardson 1891, pp. 806–807, 26 Stat L. 484, amendment to R.S. §3510.
Jump up ^ Breen 1988, pp. 572–573.
Jump up ^ Lange 2006, p. 134.
Jump up ^ Lange 2006, p. 136.
Jump up ^ Burdette 2005, p. 12.
Jump up ^ Burdette 2005, p. 13.
Jump up ^ Michigan Manufacturing and Financial Journal & January 2, 1915.
Jump up ^ Burdette 2005, pp. 13–14.
^ Jump up to: a b Burdette 2005, p. 14.
^ Jump up to: a b Lange, History of the Mercury dimes.
Jump up ^ Burdette 2005, pp. 14–15.
Jump up ^ Lange 1993, p. 3.
Jump up ^ Burdette 2005, p. 16.
Jump up ^ Burdette 2005, pp. 19–20.
Jump up ^ Burdette 2005, pp. 22–23.
Jump up ^ Burdette 2005, pp. 26–27.
^ Jump up to: a b Lange 1993, pp. 4–5.
Jump up ^ Breen 1988, p. 326.
Jump up ^ Lange 2006, p. 150.
^ Jump up to: a b Lange 1993, p. 4.
Jump up ^ Vermeule 1971, p. 139.
Jump up ^ The Art World.
Jump up ^ McAdoo 1917, p. 365.
Jump up ^ Burdette 2005, p. 36.
^ Jump up to: a b Burdette 2005, pp. 36–37.
Jump up ^ Burdette 2005, p. 172.
^ Jump up to: a b c d e Breen 1988, p. 412.
^ Jump up to: a b c d Vermeule 1971, p. 147.
Jump up ^ Burdette 2005, p. 26.
Jump up ^ Burdette 2005, p. 42.
Jump up ^ Taxay 1983, pp. 347–348.
Jump up ^ Burdette 2005, pp. 27.
Jump up ^ Burdette 2005, p. 31.
^ Jump up to: a b Taxay 1983, p. 348.
Jump up ^ Burdette 2005, p. 47.
^ Jump up to: a b Burdette 2005, pp. 51–52.
Jump up ^ Burdette 2005, pp. 52, 294.
Jump up ^ Burdette 2005, pp. 52–53.
Jump up ^ Burdette 2005, pp. 47–51, 178.
Jump up ^ Burdette 2005, p. 59.
Jump up ^ Burdette 2005, pp. 61–62.
Jump up ^ Burdette 2005, pp. 62–63.
Jump up ^ Burdette 2005, pp. 69–70.
^ Jump up to: a b Burdette 2005, pp. 70–72.
Jump up ^ Burdette 2005, pp. 93–96.
Jump up ^ The New York Times & January 3, 1917.
Jump up ^ Banking & December 1916.
Jump up ^ The Meriden Daily Journal & January 4, 1917.
Jump up ^ Fox, History of the Series.
^ Jump up to: a b c d e f Guth & Garrett 2005, p. 95.
Jump up ^ Fox, Major design changes.
Jump up ^ Burdette 2005, pp. 178–179.
Jump up ^ Breen 1988, pp. 412–413.
Jump up ^ Breen 1988, p. 413.
Jump up ^ Fox, Estimating scarcity.
Jump up ^ Fox, Proofs.
Jump up ^ Taxay 1983, p. 376.
^ Jump up to: a b Tomaska 2011, p. 21.
Jump up ^ Tomaska 2011, pp. 4–5.
Jump up ^ Lange 2006, p. 172.
Jump up ^ US Mint, American Eagles.
Jump up ^ Gilkes & November 2011, pp. 4, 14.
Jump up ^ Unser & June 21, 2011.
Jump up ^ Gilkes & February 2012.
Jump up ^ Gilkes & June 28, 2012.
Jump up ^ Gilkes & March 25, 2013.
Jump up ^ Gilkes, Paul (June 17, 2015). "United States Mint releases image mock-ups for 2016 gold dime, quarter dollar, half dollar". Coin World. Archived from the original on June 19, 2015. Retrieved June 18, 2015.
Jump up ^ Gibbs & November 18, 2016.
Bibliography
Breen, Walter (1988). Walter Breen's Complete Encyclopedia of U.S. and Colonial Coins. New York, N.Y.: Doubleday. ISBN 978-0-385-14207-6.
Burdette, Roger W. (2005). Renaissance of American Coinage, 1916–1921. Great Falls, Va.: Seneca Mill Press. ISBN 978-0-9768986-0-3.
Guth, Ron; Garrett, Jeff (2005). United States Coinage: A Study by Type. Atlanta, Ga.: Whitman Publishing. ISBN 978-0-7948-1782-4.
Lange, David W. (1993). A Complete Guide Book to Mercury Dimes. Virginia Beach, Va.: DLRC Press. ISBN 978-1-880731-17-8.
Lange, David W. (2006). History of the United States Mint and its Coinage. Atlanta, Ga.: Whitman Publishing. ISBN 978-0-7948-1972-9.
Richardson, William Allen, ed. (1891). Supplement to the revised statutes of the United States. 1. Washington, D.C.: US Government Printing Office.
Taxay, Don (1983) [1966]. The U.S. Mint and Coinage (reprint ed.). New York, N.Y.: Sanford J. Durst Numismatic Publications. ISBN 978-0-915262-68-7.
Tomaska, Rick (2011). A Guide Book of Franklin & Kennedy Half Dollars. Atlanta: Whitman Publishing. ISBN 978-0-7948-3243-8.
Vermeule, Cornelius (1971). Numismatic Art in America. Cambridge, Mass.: The Belknap Press of Harvard University Press. ISBN 978-0-674-62840-3.
Other sources
"The Administration and its Attitude to Art: The Coinage". The Art World. New York: The Kalon Publishing Company, Inc. 1 (1): 19–20, 74. October 1916. JSTOR 25587646.
Carter, Frank E. (January 2, 1915). "Don't want coin designs changed". Michigan Manufacturing and Financial Journal. Detroit, Mich.: Manufacturers Publishing Company: 16. Retrieved October 20, 2011.
Lange, David. "Mercury dimes. Chapter 1: History of the Mercury dimes". DLRC Press. Archived from the original on August 12, 2012. Retrieved October 14, 2011.
McAdoo, William G. (1917). Report of the Secretary of the Treasury on the State of the Finances, 1916. Washington, DC: U.S. Government Printing Office. Retrieved October 12, 2011.
"New half-dollars here". The New York Times. January 3, 1917. Retrieved October 14, 2011. . Fee for article.
Wagner, H. J; Hall, A. M (December 1916). "New Coinage". Banking. New York, N.Y.: American Bankers Association. 9 (6): 485. Bibcode:1966JOM....18c.300W. doi:10.1007/BF03397492.
"As you like it". The Meriden Daily Journal. January 4, 1917. p. 12. Retrieved October 14, 2011.
Fox, Bruce (January 30, 1993). "History of the Series". The Complete Guide to Walking Liberty Half Dollars. DLRC Press. Archived from the original on 1 August 2014. Retrieved 14 October 2011.
Fox, Bruce (January 30, 1993). "Major design changes". The Complete Guide to Walking Liberty Half Dollars. DLRC Press. Archived from the original on August 1, 2014. Retrieved November 21, 2011.
Fox, Bruce (January 30, 1993). "Estimating scarcity". The Complete Guide to Walking Liberty Half Dollars. DLRC Press. Archived from the original on August 1, 2014. Retrieved October 14, 2011.
Fox, Bruce (January 30, 1993). "Proofs". The Complete Guide to Walking Liberty Half Dollars. DLRC Press. Archived from the original on July 31, 2014. Retrieved October 14, 2011.
"American Eagles". United States Mint. Retrieved October 14, 2011.
Gilkes, Paul (November 2011). "Silver American Eagles". Coin World. Sidney, Oh.: Amos Press.
Gilkes, Paul (February 2012). "In the News: Mint to seek new contract on palladium coin study". Coin World. Sidney, Oh.: Amos Press: 60.
Gilkes, Paul (June 28, 2012). "Mint palladium bullion coin study under way". Coin World. Sidney, Oh.: Amos Press. Retrieved August 12, 2012.
Gilkes, Paul (March 25, 2013). "Mint palladium bullion coin study under way". Coin World. Sidney, Oh.: Amos Press: 1, 10.
Unser, Darrin Lee (June 21, 2011). "American palladium eagle study phase to begin". Coin News. Sidney, Oh.: Amos Press. Retrieved October 14, 2011.
Gibbs, William T. (November 18, 2016). "Mint completes the 2016 Centennial set: Walking Liberty gold half dollar sales begin". Coin News. Sidney, Oh.: Amos Press. Retrieved November 27, 2016.
External links[edit]
Wikimedia Commons has media related to Walking Liberty half dollars.
US Walking Liberty Half Dollar by year and type
NGC Coin Encyclopedia for Walking Liberty Half Dollars
All about Walking Liberty Half Dollars
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