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1/26/75 - St. Matthews Cathedral and Kennedy Center
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1489378
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1/26/75 - St. Matthews Cathedral and Kennedy Center
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Sheila R. Weidenfeld Files (Ford Administration)
Sheila Weidenfeld's Daily Events Files
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The original documents are located in Box 4, folder "1/26/75 - St. Matthews Cathedral
and Kennedy Center" of the Sheila Weidenfeld Files at the Gerald R. Ford
Presidential Library.
Copyright Notice
The copyright law of the United States (Title 17, United States Code) governs the making of
photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United
States of America his copyrights in all of his unpublished writings in National Archives collections.
Works prepared by U.S. Government employees as part of their official duties are in the public
domain. The copyrights to materials written by other individuals or organizations are presumed to
remain with them. If you think any of the information displayed in the PDF is subject to a valid
copyright claim, please contact the Gerald R. Ford Presidential Library.
Some items in this folder were not digitized because it contains copyrighted
materials. Please contact the Gerald R. Ford Presidential Library for access to
these materials.
Digitized from Box 4 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library
THE UNITED STATES CAPITOL
HISTORICAL SOCIETY
Kennedy Center
January 26, 1975
This evening has been made possible by the thoughtful
and generous contributions of:
The Morris and Gwendolyn
Cafritz Foundation
Films Incorporated
Mr. Milton S. Kronheim
Riggs National Bank
Y
National Capital Parks
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
The United States Capitol Historical Society is a private, non-profit
organization. Since 1962 it has encouraged an understanding and
PRESENTS
appreciation of the founding, growth, and significance of the Capitol
Building of the United States as the tangible symbol of our representa-
THE INTERNATIONAL PREMIERE
tive form of government. In its thirteen-year history, the Society has
undertaken research into the history of the Congress and the Capitol,
OF
and promoted discussion, publication, and dissemination of the results
CITY OUT OF WILDERNESS: WASHINGTON
of that research. From private donations and sales the Society has
contributed to date over $300,000 towards artwork, artifacts, publi-
cations and furniture for the building. Through these contributions
the Society has fostered an informed patriotism through studying the
PROGRAM
Capitol as a living memorial to the founders of our nation and as a
promise to generations of Americans to come.
RECEPTION
The responsibilities assumed by USCHS to educate and inform the
FILM SCREENING
public of their history may seem quite ambitious in a world in which
confusion of identity and lack of credibility in established systems
AMERICAN REVOLUTION BICENTENNIAL ADMINISTRATION
have held sway. But, in thirteen years USCHS has made deep inroads
PRESENTATION CEREMONY
toward the fulfillment of those responsibilities. The film, City Out of
Wilderness: Washington is one such contribution.
City Out of Wilderness: Washington was produced by Francis
Thompson, an internationally known filmmaker whose many films
6:00 P.M.
have won prizes at Cannes, London, Edinburgh and American film
January 26, 1975
festivals. He has created for the United States Capitol Historical Soci-
Eisenhower Theatre, Kennedy Center
ety a definitive film, and in so doing, has highlighted the history of our
Washington, D.C.
nation. Centuries-old documents and prints, re-enactment of histori-
cal events, and much more have been blended into this timely portrait
of city and nation. Great care was taken to make the film historically
exact and to convey the magnificence, the vitality and extensive influ-
ence of our nation's Capitol. It has the distinction of being the first
film officially recognized by the American Revolution Bicentennial
Administration and will be shown to millions in the new Capitol Vis-
itors' Center and throughout the world via the distributorship of
Films, Inc., Wilmette, Illinois.
The Society's other bicentennial project, Our Capitol: Freedom
Speaks, a Sound and Light Show at the East front of the nation's
Capitol, will be a most significant contribution to our nation's 200th
Our special appreciation is extended to the bi-partisan leadership in the Congress,
birthday. This project, like the film, is being funded from private
the many committees who have labored so faithfully on our behalf, and most
donations from individuals, foundations, and corporations. You will
especially, to the Office of the Architect of the Capitol without whose assistance
be hearing more about this project which has the endorsement of both
our dreams could never have reached reality.
houses of Congress in the very near future.
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
HONORARY BOARD OF TRUSTEES
President Gerald R. Ford, Chief Justice Warren E. Burger, Speaker Carl Albert, Senator Mike Mansfield,
Senator Hugh Scott, Senator Howard W. Cannon, Representative John J. Rhodes, Representative
Wayne L. Hays, James B. Rhoads, S. Dillon Ripley II, Honorable George M. White, L. Quincy Mumford,
Homer Rosenberger, Helen Duprey Bullock, Gordon Gray, Richard G. Frank, Ronald Walker, and
Presidents of American Historical Association, American Political Science Association, Society of
Architectural Historians, Society of American Historians, American Association for State and
Local History.
ACTIVE BOARD OF TRUSTEES
Lonnelle Aikman, Mrs. Robert Low Bacon, Ammon Barness, Ralph E. Becker, James Biddle, Herbert
Blunck, John Boles, Honorable Frances P. Bolton, Senator Robert C. Byrd, Mario E. Campioli, Leslie
Dunlap, Robert G. Dunphy, Arthur S. Fleming, Dr. Constance McLaughlin Green, Arthur B. Hanson,
Senator Mark 0. Hatfield, Honorable Brooks Hays, Oliver Jensen, Honorable Walter Judd, James
Ketchum, Senator Charles McC. Mathias, Jr., Gene McGreevy, Honorable F. Bradford Morse, Ralph G.
Newman, Representative Jerry L. Pettis, Representative J. J. Pickle, Harold T. Pinkett, Dorothy W. S.
Ragan, Representative Robert G. Stephens, Jr., Mrs. Adlai E. Stevenson III, Clement M. Silvestro,
Frank van der Linden, Honorable George M. White, Honorable Ralph Yarborough.
OUR CAPITOL: FREEDOM SPEAKS CAMPAIGN
NATIONAL ADVISORY BOARD
Co-Chairpersons: Betty Ford, William M. Batten, Douglas Fairbanks, Jr.
Members: Joe Allbritton, L. Berkley Davis, Felix DeWeldon, Ernest A. Hayes, Senator Daniel K. Inouye,
Austin Kiplinger, Goddard Lieberson, Clare Boothe Luce, Jane Marilley, Honorable George Romney.
BOARD OF CONSULTANTS
Honorable George White, Russell Dickenson, Paul Perrot, Letitia Brown, Representative Henry Reuss,
Senator Mark 0. Hatfield, John Stokes, William Maury.
TASK FORCE ON HISTORY
Walter Rundell, Jr., Letitia Brown, Constance M. Green, David C. Mearns, William Maury.
OFFICERS OF THE SOCIETY
Honorable Fred Schwengel, President; Honorable Marguerite Stitt Church, Carl Haverlin, Senator
Hubert H. Humphrey, Melvin M. Payne, Walter Rundell, Jr., Vice Presidents; Victor M. Birely, Treas-
urer; Florian Thayn, Recording Secretary; Lillian R. Kessel, Recording Secretary Emeritus.
STAFF
Oliver B. Patton, BGen., U.S.A., Ret., Executive Secretary; William M. Maury, Editor and Historian;
Maier B. Fox, Assistant Editor; Florence C. Miller, Administrative Assistant.
For further information on Society programs and the OUR CAPITOL: FREEDOM SPEAKS Campaign,
please contact: The Honorable Fred Schwengel, President, The United States Capitol Historical Society,
200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919.
AMERICAN REVOLUTION WEENTENNING
1776-1976
RECOGNIZED BY
AMERICAN REVOLUTION
BICENTENNIAL
COMMISSION
THE UNITED STATES CAPITOL
HISTORICAL SOCIETY
Kennedy Center
January 26, 1975
This evening has been made possible by the thoughtful
and generous contributions of:
The Morris and Gwendolyn
Cafritz Foundation
Films Incorporated
Mr. Milton S. Kronheim
Riggs National Bank
THE
DEBALD
KORD
National Capital Parks
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
The United States Capitol Historical Society is a private, non-profit
organization. Since 1962 it has encouraged an understanding and
PRESENTS
appreciation of the founding, growth, and significance of the Capitol
Building of the United States as the tangible symbol of our representa-
THE INTERNATIONAL PREMIERE
tive form of government. In its thirteen-year history, the Society has
undertaken research into the history of the Congress and the Capitol,
OF
and promoted discussion, publication, and dissemination of the results
CITY OUT OF WILDERNESS: WASHINGTON
of that research. From private donations and sales the Society has
contributed to date over $300,000 towards artwork, artifacts, publi-
cations and furniture for the building. Through these contributions
the Society has fostered an informed patriotism through studying the
PROGRAM
Capitol as a living memorial to the founders of our nation and as a
promise to generations of Americans to come.
RECEPTION
The responsibilities assumed by USCHS to educate and inform the
FILM SCREENING
public of their history may seem quite ambitious in a world in which
confusion of identity and lack of credibility in established systems
AMERICAN REVOLUTION BICENTENNIAL ADMINISTRATION
have held sway. But, in thirteen years USCHS has made deep inroads
PRESENTATION CEREMONY
toward the fulfillment of those responsibilities. The film, City Out of
Wilderness: Washington is one such contribution.
City Out of Wilderness: Washington was produced by Francis
Thompson, an internationally known filmmaker whose many films
6:00 P.M.
have won prizes at Cannes, London, Edinburgh and American film
January 26, 1975
festivals. He has created for the United States Capitol Historical Soci-
Eisenhower Theatre, Kennedy Center
ety a definitive film, and in so doing, has highlighted the history of our
Washington, D.C.
nation. Centuries-old documents and prints, re-enactment of histori-
cal events, and much more have been blended into this timely portrait
of city and nation. Great care was taken to make the film historically
exact and to convey the magnificence, the vitality and extensive influ-
ence of our nation's Capitol. It has the distinction of being the first
film officially recognized by the American Revolution Bicentennial
Administration and will be shown to millions in the new Capitol Vis-
itors' Center and throughout the world via the distributorship of
Films, Inc., Wilmette, Illinois.
The Society's other bicentennial project, Our Capitol: Freedom
Speaks, a Sound and Light Show at the East front of the nation's
Capitol, will be a most significant contribution to our nation's 200th
Our special appreciation is extended to the bi-partisan leadership in the Congress,
birthday. This project, like the film, is being funded from private
the many committees who have labored so faithfully on our behalf, and most
donations from individuals, foundations, and corporations. You will
especially, to the Office of the Architect of the Capitol without whose assistance
be hearing more about this project which has the endorsement of both
our dreams could never have reached reality.
houses of Congress in the very near future.
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
HONORARY BOARD OF TRUSTEES
President Gerald R. Ford, Chief Justice Warren E. Burger, Speaker Carl Albert, Senator Mike Mansfield,
Senator Hugh Scott, Senator Howard W. Cannon, Representative John J. Rhodes, Representative
Wayne L. Hays, James B. Rhoads, S. Dillon Ripley II, Honorable George M. White, L. Quincy Mumford,
Homer Rosenberger, Helen Duprey Bullock, Gordon Gray, Richard G. Frank, Ronald Walker, and
Presidents of American Historical Association, American Political Science Association, Society of
Architectural Historians, Society of American Historians, American Association for State and
Local History.
ACTIVE BOARD OF TRUSTEES
Lonnelle Aikman, Mrs. Robert Low Bacon, Ammon Barness, Ralph E. Becker, James Biddle, Herbert
Blunck, John Boles, Honorable Frances P. Bolton, Senator Robert C. Byrd, Mario E. Campioli, Leslie
Dunlap, Robert G. Dunphy, Arthur S. Fleming, Dr. Constance McLaughlin Green, Arthur B. Hanson,
Senator Mark 0. Hatfield, Honorable Brooks Hays, Oliver Jensen, Honorable Walter Judd, James
Ketchum, Senator Charles McC. Mathias, Jr., Gene McGreevy, Honorable F. Bradford Morse, Ralph G.
Newman, Representative Jerry L. Pettis, Representative J. J. Pickle, Harold T. Pinkett, Dorothy W.S.
Ragan, Representative Robert G. Stephens, Jr., Mrs. Adlai E. Stevenson III, Clement M. Silvestro,
Frank van der Linden, Honorable George M. White, Honorable Ralph Yarborough.
OUR CAPITOL: FREEDOM SPEAKS CAMPAIGN
NATIONAL ADVISORY BOARD
Co-Chairpersons: Betty Ford, William M. Batten, Douglas Fairbanks, Jr.
Members: Joe Allbritton, L. Berkley Davis, Felix DeWeldon, Ernest A. Hayes, Senator Daniel K. Inouye,
Austin Kiplinger, Goddard Lieberson, Clare Boothe Luce, Jane Marilley, Honorable George Romney.
BOARD OF CONSULTANTS
Honorable George White, Russell Dickenson, Paul Perrot, Letitia Brown, Representative Henry Reuss,
Senator Mark 0. Hatfield, John Stokes, William Maury.
TASK FORCE ON HISTORY
Walter Rundell, Jr., Letitia Brown, Constance M. Green, David C. Mearns, William Maury.
OFFICERS OF THE SOCIETY
Honorable Fred Schwengel, President; Honorable Marguerite Stitt Church, Carl Haverlin, Senator
Hubert H. Humphrey, Melvin M. Payne, Walter Rundell, Jr., Vice Presidents; Victor M. Birely, Treas-
urer; Florian Thayn, Recording Secretary; Lillian R. Kessel, Recording Secretary Emeritus.
STAFF
Oliver B. Patton, BGen., U.S.A., Ret., Executive Secretary; William M. Maury, Editor and Historian;
Maier B. Fox, Assistant Editor; Florence C. Miller, Administrative Assistant.
For further information on Society programs and the OUR CAPITOL: FREEDOM SPEAKS Campaign,
please contact: The Honorable Fred Schwengel, President, The United States Capitol Historical Society,
200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919.
AMERICAN REVOLUTION BEENTENNIAL
1776-1976
RECOGNIZED BY
AMERICAN REVOLUTION
BICENTENNIAL
COMMISSION
THE UNITED STATES CAPITOL
HISTORICAL SOCIETY
Kennedy Center
January 26, 1975
This evening has been made possible by the thoughtful
and generous contributions of:
The Morris and Gwendolyn
Cafritz Foundation
Films Incorporated
Mr. Milton S. Kronheim
Riggs National Bank
X
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
The United States Capitol Historical Society is a private, non-profit
organization. Since 1962 it has encouraged an understanding and
PRESENTS
appreciation of the founding, growth, and significance of the Capitol
Building of the United States as the tangible symbol of our representa-
THE INTERNATIONAL PREMIERE
tive form of government. In its thirteen-year history, the Society has
undertaken research into the history of the Congress and the Capitol,
OF
and promoted discussion, publication, and dissemination of the results
CITY OUT OF WILDERNESS: WASHINGTON
of that research. From private donations and sales the Society has
contributed to date over $300,000 towards artwork, artifacts, publi-
cations and furniture for the building. Through these contributions
the Society has fostered an informed patriotism through studying the
PROGRAM
Capitol as a living memorial to the founders of our nation and as a
promise to generations of Americans to come.
RECEPTION
The responsibilities assumed by USCHS to educate and inform the
FILM SCREENING
public of their history may seem quite ambitious in a world in which
confusion of identity and lack of credibility in established systems
AMERICAN REVOLUTION BICENTENNIAL ADMINISTRATION
have held sway. But, in thirteen years USCHS has made deep inroads
PRESENTATION CEREMONY
toward the fulfillment of those responsibilities. The film, City Out of
Wilderness: Washington is one such contribution.
City Out of Wilderness: Washington was produced by Francis
Thompson, an internationally known filmmaker whose many films
6:00 P.M.
have won prizes at Cannes, London, Edinburgh and American film
January 26, 1975
festivals. He has created for the United States Capitol Historical Soci-
Eisenhower Theatre, Kennedy Center
ety a definitive film, and in so doing, has highlighted the history of our
Washington, D.C.
nation. Centuries-old documents and prints, re-enactment of histori-
cal events, and much more have been blended into this timely portrait
of city and nation. Great care was taken to make the film historically
exact and to convey the magnificence, the vitality and extensive influ-
ence of our nation's Capitol. It has the distinction of being the first
film officially recognized by the American Revolution Bicentennial
Administration and will be shown to millions in the new Capitol Vis-
itors' Center and throughout the world via the distributorship of
Films, Inc., Wilmette, Illinois.
The Society's other bicentennial project, Our Capitol: Freedom
Speaks, a Sound and Light Show at the East front of the nation's
Capitol, will be a most significant contribution to our nation's 200th
Our special appreciation is extended to the bi-partisan leadership in the Congréss,
birthday. This project, like the film, is being funded from private
the many committees who have labored so faithfully on our behalf, and most
donations from individuals, foundations, and corporations. You will
especially, to the Office of the Architect of the Capitol without whose assistance
be hearing more about this project which has the endorsement of both
our dreams could never have reached reality.
houses of Congress in the very near future.
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
HONORARY BOARD OF TRUSTEES
President Gerald R. Ford, Chief Justice Warren E. Burger, Speaker Carl Albert, Senator Mike Mansfield,
Senator Hugh Scott, Senator Howard W. Cannon, Representative John J. Rhodes, Representative
Wayne L. Hays, James B. Rhoads, S. Dillon Ripley II, Honorable George M. White, L. Quincy Mumford,
Homer Rosenberger, Helen Duprey Bullock, Gordon Gray, Richard G. Frank, Ronald Walker, and
Presidents of American Historical Association, American Political Science Association, Society of
Architectural Historians, Society of American Historians, American Association for State and
Local History.
ACTIVE BOARD OF TRUSTEES
Lonnelle Aikman, Mrs. Robert Low Bacon, Ammon Barness, Ralph E. Becker, James Biddle, Herbert
Blunck, John Boles, Honorable Frances P. Bolton, Senator Robert C. Byrd, Mario E. Campioli, Leslie
Dunlap, Robert G. Dunphy, Arthur S. Fleming, Dr. Constance McLaughlin Green, Arthur B. Hanson,
Senator Mark 0. Hatfield, Honorable Brooks Hays, Oliver Jensen, Honorable Walter Judd, James
Ketchum, Senator Charles McC. Mathias, Jr., Gene McGreevy, Honorable F. Bradford Morse, Ralph G.
Newman, Representative Jerry L. Pettis, Representative J. J. Pickle, Harold T. Pinkett, Dorothy W. S.
Ragan, Representative Robert G. Stephens, Jr., Mrs. Adlai E. Stevenson III, Clement M. Silvestro,
Frank van der Linden, Honorable George M. White, Honorable Ralph Yarborough.
OUR CAPITOL: FREEDOM SPEAKS CAMPAIGN
NATIONAL ADVISORY BOARD
Co-Chairpersons: Betty Ford, William M. Batten, Douglas Fairbanks, Jr.
Members: Joe Allbritton, L. Berkley Davis, Felix DeWeldon, Ernest A. Hayes, Senator Daniel K. Inouye,
Austin Kiplinger, Goddard Lieberson, Clare Boothe Luce, Jane Marilley, Honorable George Romney.
BOARD OF CONSULTANTS
Honorable George White, Russell Dickenson, Paul Perrot, Letitia Brown, Representative Henry Reuss,
Senator Mark 0. Hatfield, John Stokes, William Maury.
TASK FORCE ON HISTORY
Walter Rundell, Jr., Letitia Brown, Constance M. Green, David C. Mearns, William Maury.
OFFICERS OF THE SOCIETY
Honorable Fred Schwengel, President; Honorable Marguerite Stitt Church, Carl Haverlin, Senator
Hubert H. Humphrey, Melvin M. Payne, Walter Rundell, Jr., Vice Presidents; Victor M. Birely, Treas-
urer; Florian Thayn, Recording Secretary; Lillian R. Kessel, Recording Secretary Emeritus.
STAFF
Oliver B. Patton, BGen., U.S.A., Ret., Executive Secretary; William M. Maury, Editor and Historian;
Maier B. Fox, Assistant Editor; Florence C. Miller, Administrative Assistant.
For further information on Society programs and the OUR CAPITOL: FREEDOM SPEAKS Campaign,
please contact: The Honorable Fred Schwengel, President, The United States Capitol Historical Society,
200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919.
AMERICAN REVOLUTION INCENTENNAL
1776-1976
RECOGNIZED BY
AMERICAN REVOLUTION
BICENTENNIAL
COMMISSION
Sheila W.
THE WHITE HOUSE
WASHINGTON
MEMORANDUM FOR:
PETER SORUM
FROM:
SUSAN PORTER
SUBJECT:
Action Memo
Mrs. Ford will attend the following out-of-house working
meeting:
EVENT: National Advisory Board Meeting
GROUP: United States Capitol Historical Society
DATE: Sunday, January 26, 1975
TIME: 6:30 - 7:00 p.m.
PLACE: Kennedy Center (room to be determined)
CONTACT: Mrs. Lynette Lawson
544-4274 or 659-4225
COMMENTS: On Sunday, January 26th, the President and Mrs. Ford are
hoping to attend a preview of a 30-minute film put together
by the Capitol Historical Society covering the life of
the Capitol Building. Because Mrs. Ford is an\honorary
co-chairperson of the Sound and Light project which the
Capitol Historical Society will be undertaking as a
Bicentennial project, she will attend a working meeting
of the Advisory Board from 6:30 - 7:00 p.m. prior to the
film preview. This means the President and Mrs. Ford will
go separately but Mrs. Ford will join the President after
her meeting for the preview. The file is attached.
Thank you.
c: BF Staff
Red Cavaney
Warren Rustand
Bill Nicholson
Staircase
Rex Scouten
January 9, 1975
OUR CADITOL: FREEDOM SPEAKS
United 200 Maryland Avenue States N.E., Washington, Capitol D.C. 20515, 202-543-8919 Historical Society
December 23, 1974
Mrs. Betty Ford
VICCEPTED BY
The White House
PHONE TO
Washington, D.C. 20500
LYNETTE LAWSON
PER BE
Dear Mrs. Ford:
Thank you again for your willingness to serve on our National Advisory
Board. I truly believe that you will be gratified by the experience of making
this project a reality.
On January 26, 1975 we will announce the National Campaign for the Sound
and Light project at our nations' Capitol. The occasion will be the premiere
showing of our film, Washington: City Out of Wilderness, which is planned
for use in the new Visitors' Center at Union Station and which will be distri-
buted nationwide to educational establishments. There will be a very brief
reception at 6: 00pm followed by a showing of the film in the Eisenhower
Theater at the Kennedy Center. We are most pleased that President and Mrs.
Ford will be with us for the evening. The Congress will be invited along
with other dignitaries. We will use this occasion to introduce our National
Advisory Board, so please mark this date on your calendar.
There will be a brief meeting of the Advisory Board prior to the 6: 00pm
reception on the 26th. You will be notified shortly of the exact time and
SEALS
place in the Kennedy Center for this meeting.
parry
We will be announcing all contributions to date for the Sound and Light
project. While there are quite a few funding sources considering the project,
the one definite at this time is General Electric who has agreed to supply
the initial installation of lamps and also to supply an engineering consultant
for the project. There is a good deal of other information regarding special
activities and fund raising that we will share with you on the 26th.
You will be receiving a formal invitation to the Kennedy Center event, but
of course, that will not mention the National Advisory Board meeting. It
is my sincere wish that you will be able to join us on January 26th when we
announce this magnificent project.
Sincerely Fred Schurgl Schwengel
National Advisory Board
BICENTE
Members Joe Allbritton L. Berkley Davis Felix DeWeldon
United States Capitol Historical Society
200 MARYLAND AVENUE, N.E.
WASHINGTON, D.C. 20515
(202) 543-8919
"Our Capitol: Freedom Speaks"
The Sound and Light Program for the United States
Capitol, Bicentennial, 1976.
Mr. Fred Schwengel
President
United States Capitol
Historical Society
TABLE OF CONTENTS
The United States Capitol Historical Society.
"Our Capitol: Freedom Speaks"
The Project Study
Appendix
Board of Consultants
Historical Consultants
Officers of the Society
National Advisory Board
The History of Sound and Light
Budget
***
The United States Capitol Historical Society.
The United States Capitol Historical Society is a private non profit
organization. Since 1962 it has encouraged an understanding and appreciation
of the founding, growth and significance of the Capitol Building of the United
States as a tangible symbol of our representative form of government. In
its twelve-year history, the Society has undertaken research into the
history of the Congress and the Capitol, and promoted discussion, publication
and dissemination of the results of that research. The Society has provided
several pieces of artwork and furniture for the building. USCHS has fostered
an informed patriotism through studying the Capitol as a living memorial to the
founders of our nation and as a promise to generations of Americans to come.
The responsibilities assumed by USCHS to educate and inform the public of
their history may seem quite ambitious in a world in which confusion of identity
and lack of credibility in established systems holds sway. But, in twelve years,
USCHS has made deep inroads towards the fulfillment of those responsibilities. It
has become unique among historical societies, both in its operation and in its
efforts to serve the amateur historian, the professional scholar and the general
public. The USCHS is a dynamic organization with an impressive record of
accomplishments and a vigorous program for future development. Presenting
history in a way that will appeal to all the people of our great nation has long
been a goal of the Society. It treats the entire spectrum of American history made
in the Capitol by the Congress from 1800 to today.
As another contribution to America's Bicentennial Celebration in 1976, the U.S.
Capitol Historical Society has commissioned Francis W. Thompson to make a
feature length color film on the history of Washington D.C. This film will be shown
at the National Visitors Center in the reconstructed Union Station. The
film will have a strong impact in helping people comprehend the meaning,
the values and the achievements of our country.
The film chronicles the history of the city beginning with the concept of
Pierre L'Enfant; the Capital's emergence to its present grandeur; historical
events associated with the Capital; Washington as a place to live. The film
utilizes old prints, daguerreotypes, prints of Matthew Brady and others,
as well as current filming including spectacular footage of the Mall area
of Washington obtained by helicopter.
What Is Son et Lumiere? A statement by Douglas Fairbanks, Jr. captures
the esence of Sound and Light and most specifically Sound and Light at
our nation's Capitol.
The most spectacular and impressive of new theatrical art forms is
undoubtedly what the French -- who invented it call "Son et Lumiere,"
but which we translate as "Sound and Light. "
The tremendous popularity which "Sound and Light" productions have for
years enjoyed in France, Great Britain, Italy, Greece, Egypt and many
other countries abroad, testifies to the unique attraction of this
fantastic medium. Audiences by the tens of thousands, summer after
summer, see, hear and are captivated by "Sound and Light" productions
at such famous places as the Palace of Versailles, at Les Invalides
(Napoleon's tomb) the Chateaux of the Loire and elsewhere in France;
or at the Tower of London, at Hampton Court Palace or St. Paul's
Cathedral in Great Britain; or at the Forum in Rome, the Acropolis in
Athens or at the Pyramids in Egypt, and so on.
By ingeniously combining the recorded voices of actors, symphonic music
and sound effects with especially cued lights, playing on the whole or a
part of the subject and alternating in intensity and location in accordance
with the demands of the scenes being enacted, "Sound and Light" drama-
tizations recreate the great events of history on the actual sites where
they took place, with the night sky as a magic backdrop.
When the program begins for the U.S. Capitol 11 Sound and Light" production,
audiences will be seated at least 100 yards from the building's steps.
Electronically sophisticated high-fidelity stereophonic loudspeakers and
great numbers of lighting equipment will move into place, some rising
from the gound by discreetly hidden hydraulic systems, and some that
have been previously installed behind the windows of the building
itself. Then from silence into stirring sound, from darkness into
brilliantly designed lights, the dramatized story of the Capitol itself
will start being told. "Sound and Light" productions stimulate the
imagination in somewhat the same way as radio does but with the added
visual element of ever-changing lighting effects on a real structural
object, all of which heightens and emphasizes this extraordinary spectacle.
In short, this remarkable medium, coordinating the talents of playwrights,
actors and musicians with those of lighting designers and electronic
specialists tells the dramatic highlights of great historic buildings or
monuments with a unique and incomparable impact on audiences.
Why "Sound and Light" at the Capitol?
It is one of our most famous and historic buildings. It is ideally
located with adequate space for people to see and hear. It is a fascinating
and awesome building and is the first large structural "Trade Mark" of
the great free people of the New World. It is a place where "We, the People"
send our representatives to legislate for us. No other structure in the
United States, on anything like such a big scale, has a more history-filled
potential for a "Sound and Light" dramatization of the birth and growth
of the United States.
"Sound and Light" is an exciting experience: an elaborate, novel and
artistic presentation which combines lights, music, sound effects and
spoken historical narrative, and which will welcome audiences under
summer stars and, in this production, against the background of the
majestic Capitol Building. It will not only stimulate the viewer's
imagination and awareness of our nation's fascinating past, but will
encourage him to learn more. United States history remains vital and
alive at the Capitol. As it is a major part of our legacy, it deserves our
recognition -- and our pride. The "Sound and Light" program of the
United States Capitol Historical Society will be a stirring, fascinating and
shining homage to our heritage for all the world to witness and delight in
for years to come.
The Project Study.
To plan in detail the construction of this Bicentennial program, the United
States Capitol Historical Society retained Andre Weil and Pierre Arnaud
to conduct a project study, now completed, at a cost of $70,000. Since
the U.S. Capitol Historical Society is a non-profit, educational organization -
utilizing no government funds whatsoever - and because it wants to serve
history at its best, the cost of this project study was underwritten entirely
from private sources.
"Our Capitol: Freedom Speaks" received the endorsement of Congress in
a House Joint Resolution introduced by House Majority Leader Thomas P.
O'Neill for himself, Mr. Gerald R. Ford, Mr. McFall, Mr. Anderson of
Illinois, Mr. Pickle, Mr. Stephens, and Mr. Pettis, to provide for the
project study and to accept a gift from the United States Capitol Historical
Society. The resolution was unanimously approved by joint session of
Congress on November 13, 1973 and passed into law on January 1, 1974.
The Project Study was presented under form of a rather voluminous printed
document which included drawings, plans, pictures, etc. It involved,
mainly:
*
the full technical study which determined the potentials
of expression.
*
the full artistic study which is a synthesis of the given
elements of the show as imposed on us by the monument
itself, by history and by the message emanating from the
country.
#
the full operational study, promotion and economical aspects.
(These three phases are detailed hereunder.)
The study implied a certain time being spent gathering all of the information
and elements required to do the work, meeting with persons concerned locally
with the realization of the show and creating the necessary "state of mind"
and psychological climate which leads to successful team-work.
The dual purpose was to guide in a very precise and demanding way the
development of the scenes - letting, at the same time, the country and
its representatives express themselves.
Three main areas are covered by the Project Study:
Technical Study: This is where everything started. It was the
determination selection, materially, and at the same time the adaptation to a given
site of fluctuating elements. It did not only include selection of sound and light
sources, their location, their function, location of the control room and wiring
constraints, but also brought solution to all subordinate problems such as
accommodation of the public and access to the site, etc. This took into account
that, by all means, the site and its environment should be preserved and respected.
Artistic Study: This was chiefly the technical story outline of the show
which determined in advance its definition. Such a story outline is a synthesis
of the three factors which generate the "message" necessary to create the form
of expression. These three factors are:
*
The natural environment of the site. Analysis of this environment
is the first step in the creation work - as is the contemplation by the
painter of what he will transpose on the canvas.
* Study of the possibilities of evocation and stage effects as can
afford jointly the technical installation and the site. It is a similar
adaptation to that which a stage director has to face when he takes
over a new theater. He has to work with the possibilities of what
he is given and extract the gist of it.
* History, or the events which occurred there; how they are
imbricated with the history of the country, history of people who
have lived there, i.e. characteristics and features of a
particular country, its qualities and weaknesses, all that should
be tactfully mingled in the whole picture.
Such a method, obviously linked principally to the site, excluded the classical
adaptation of a given script, as would be the case for cinema or the theater.
The three phases of this artistic study performed by the stage director always
developed in full cooperation of the local personalities involved. There was
close involvement with historians and memorialists and other specialists who
could give at the outset a synopsis of the events in question or a summary of their
own feelings and knowledge and what could be retained therefrom.
The story outline determined what the sound and light effects would be, how
long each sequence would last, where music should interfere and what sound
documents would be used. It also proposed the general style of presentation
of the show. It was the most important part of the staging and, therefore,
could only be conceived by a specialists.
This outline was then passed on to the Board of Consultants (see Appendix)
created for this purpose. This Board is not too numerous but is well representative
of the various authorities or sections concerned. The technical story outline
was then modified and developed as per their reactions and suggestions and
this led to the final test and staging.
The Board of Consultants had a triple purpose:
*
To secure the cooperation of cultural representatives, historical and
archeological personalities, political figures and sometimes religious
authorities, so that the show can be a collective expression of the whole
country (notion of consensus);
#
To correct errors or omissions in time, as once the realization starts,
it is too late to make corrections (for obvious reasons of recording,
programming, etc.)
*
To avoid future eventual objections by including in the Board of
Consultants all notabilities involved who might, subsequently,
with reason or not, react against such or such detail and thus
compromise the desirable unanimity of such a venture.
The purpose of the Board was exclusively to give advice and express remarks.
Though in the course of the study the final script of the show was not given,
the exact contents of the show were mentioned without any risk of misinterpretation.
Also stated was by whom the final scrip would be made. As this point was of
great importance to insure the best possible script quality, the stage director
proceeded with the story outline only after consulting the various personalities
and the basic sources of information.
Operational study:
Two elements were seriously considered:
*
Promotion, the elements of which are not being reviewed here
but the importance of which can be im agined easily;
* Side sales and subordinate services, which may help amortize
operational and promotional expenses.
Since the Project Study has now been completed, the show virtually exists.
Everyone can imagine its means and limits and, when proceeding with the
actual realization of the show, the important point will be to follow each data.
of the project study, which is a synthesis of the efforts and cooperation of all
concerned.
Thus, the Project Study for "We, the People
Son et Lumiere" concerned
itself specifically with the following areas:
a. Selection of the most suitable spot to place the public.
b. Description of the general meaning of the show, its basical mood beginning from
the building itself and its evident symbolism.
c. The complete technical study and its implications; exact implementation, location
and type of all the list and sound circuits, drawings and planning of the realization
based on the imperatives of the architecture.
d. Definition and description of the electronic control equipment, outlining electrical
installations, together with the specifications, quantities and functions of sound
and light sources, electronic equipment, with all drawings and draft specifications
necessary for the local contractor.
e. Costs of the control equipment and installation.
f. All the costs of the artistic production.
g. A first text including the proposed sequences, special effects and sound
and light, and the duration of each sequence, thus giving a precise idea of
what the show will be.
h. Location of central control room for equipment.
i. Definition of the complete "product", with its various elements such as
access, frequency of performance, side-sales and necessary promotion and estimates
of operating expenses.
APPENDIX
BOARD OF CONSULTANTS FOR "Our Capitol: Freedom Speaks. "
The United States Capitol Sound and Light Program - Bicentennial, 1976.
George White
Architect of the Capitol
Russell Dickenson
Director, Regional National Park Service
Paul Perrot, Assistant Secretary for Museum Programs
The Smithsonian Institution
Dr. Letitia Brown, Professor of History
George Washington University
The Honorable Henry Ruess, Member of Congress
Fifth District, Wisconsin
The Honorable Mark O. Hatfield, United States Senator
Oregon
John Stokes, President
Stokes Construction Company
San Marcos, Texas
William Maury, Historian
United States Capitol Historical Society
HISTORICAL CONSULTANTS FOR "Our Capitol: Freedom Speaks "
Dr. Walter Rundell, Jr.
Professor of History
University of Maryland
Dr. Letitia Brown
Professor of History
George Washington University
Constance M. Green
Author, Pulitzer Prize for Washington: Village and Capital
Also author of Washington: The Capital City
David C. Mearnes
Retired Chief of Manuscript Division
Library of Congress
United States Capitol Historical Society Officers:
PRESIDENT
The Honorable Fred Schwengel
VICE PRESIDENTS
The Honorable Marguerite Stitt Church
Carl Haverlin
Senator Hubert H. Humphrey
Melvin M. Payne
Walter Rundell, Jr.
TREASURER
Victor M. Birely
SECRETARY
Mrs. Florian Thayn
ACTIVE TRUSTEES
Mrs. Lonnelle Aikman, Mrs. Robert Low Bacon, Amnon Barness, Ralph E.
Becker, James Biddle, Herbert Blunck, John Boles, Honorable Frances
P. Bolton, Honorable Robert C. Byrd, Mario Campioli, Dr. Leslie W.
Dunlap, Robert G. Dunphy, Honorable Arthur Flemming, Dr. Constance
McLaughlin Green, Arthur B. Hanson, Honorable Mark O. Hatfield,
Honorable Brook Hays, Oliver Jensen, Honorable Walter H. Judd,
James Ketchum, Honorable Charles McC. Mathias, Jr., Gene McGreevy,
Honorable F. Bradford Morse, Ralph G. Newman, Honorable Jerry
Pettis, Honorable J.J. Pickle, Dr. Harold T. Pinkett, Mrs. Dorothy
W.S. Ragan, Clement Silvestro, Honorable Robert Stephens, Jr.,
Mrs. Adlai Stevenson, III, Frank van der Linden, Honorable George
M. White, Honorable Ralph Yarborough.
The History of Sound and Light
The concept of "Son et Lumiere" was begun at a castle in France called Chambord
in 1952. This presentation was the result of the collaboration between the Superin-
tendent of the castle who wanted to find a new way to animate the chateau at night,
and several innovative members of the research team of French Broadcast. It is a
little by chance that the different elements of a "Son et Lumiere" added up to one
another; there was a recorded text - why not put it into dialogues and make a kind
of radio program to which stereophonic effects would add to their deepness; and
why not also modulate the light (dim lights when the mood is sad, more light when
the scene is gay).
No one realized at that time that one was witnessing the birth of the new means of
expression and which would bring the historical narratives of the great physical
structures of the world to life.
By 1953 the Chateaux of Chenanceau and Grosbois had begun sound and light
programs. They met with great success with the public. There was a sound of a
quality in these productions which nobody could hope for at the time (this was long
before Hi-Fi became well known) The synchronized light effects and this new sounc
coming from the right or the left, front or back astonished the European audiences.
Unfortunately, at the same time some amateurs were often improvising some "Son
et Lumiere", which rapidly failed, bringing a definite prejudice to the image. This
lasted until the second wave of professional "Son et Lumiere" finally began in France
and in other countries to reach first Athens, then Rhodes and the Pyramids. In
France, there were the great shows at the Invalides and at Notre-Dame Cathedral in
Paris. (The latter was limited to two years because its tremendous success caused
such traffic jams in the heart of Paris that the police requested its suspension). Sho
were also developed at the Chateau of Azay-le-Rideau, in the Loire Valley, at the
Cathedral of Vezelay, at Cannes, at the Castle of Compiegne; all of these drew
large crowds. The "Son et Lumiere" at the Chateau of Chenanceau is now in its
twenty first year of continuous running, and has played for over 3,000,000 spectators
Initially, the "Son et Lumiere" was produced through manual equipment, but today
is fully automatic. First there was the electromechanic installation. Now, special
electronic equipment brings a total fiability through its recordings of light and
sound effects in frequency modulation giving tremendous possibilities which could
not be obtained by hand operators.
Spain, Italy, Tunisia, Algeria, Switzerland, Belgium, Holland, and Israel, rejoined
France in presenting nightly "Son et Lumiere" productions. With the multiplication
of the shows, the number of specialists making the shows have dwindled because
THE WHITE HOUSE
WASHINGTON
January 22, 1975
MEMORANDUM FOR:
NANCY HOWE
VIA:
RED CAVANEY
FROM:
PETER SORUM
P.A.
SUBJECT:
THE FIRST LADY'S ATTENDANCE
AT THE NATIONAL ADVISORY BOARD
MEETING AND FILM PREVIEW OF THE
UNITED STATES CAPITOL HISTORICAL
SOCIETY
John F. Kennedy Center for the
Performing Arts
Sunday, January 26, 1975
Attached at TAB A is the proposed schedule for the First Lady's
attendance at the National Advisory Board Meeting and Film
Preview of the U.S. Capitol Historical Society.
APPROVE
DISAPPROVE
BACKGROUND
The U.S. Historical Society has just completed a major film
project "Washington - A City out of the Wilderness, 11 which
will be previewed on Sunday, January 26, 1975. The film will
be distributed nationwide and featured at the National Visitors
Center as a part of the Capitol Bicentennial Program.
The next project of this organization will be a sound and light
show at the U.S. Capitol entitled "Our Capitol: Freedom Speaks" with
which it hopes to raise the amount of ten million dollars. This
- 2 -
project will be announced following the "Capitol" film preview.
Mrs. Ford has accepted the position of honorary co-chairperson
for this project and will attend a National Advisory Board
meeting prior to the preview.
At the same time the President will be at the Press Club and will
meet Mrs. Ford in the Presidential Box for the film. The President
and Mrs. Ford will leave during the film to be in position for
the President's remarks during the brief program which follows.
Mrs. Ford will be introduced at the conclusion of the program
as a co-chairperson of the National Advisory Board and will depart
with the President and join him to return to the White House.
January 22, 1975
PROPOSED SCHEDULE
THE FIRST LADY'S ATTENDANCE AT THE
NATIONAL ADVISORY BOARD MEETING AND
FILM PREVIEW OF THE UNITED STATES CAPITOL
HISTORICAL SOCIETY
John F. Kennedy Center for the Performing Arts
Sunday, January 26, 1975
6:20 pm
Mrs. Ford boards motorcade on South Grounds.
MOTORCADE DEPARTS South Grounds en route
Kennedy Center.
[Driving time: 5 minutes]
6:25 pm
MOTORCADE ARRIVES Kennedy Center.
The First Lady will be met by:
Roger L. Stevens, Chairman of the Board,
John F. Kennedy Center, and
Mrs. Stevens
The First Lady, escorted by Mr. and Mrs. Stevens,
proceeds to the North Eisenhower Lounge for the
National Advisory Board meeting.
6:29 pm
The First Lady arrives North Eisenhower Lounge,
greets members, and is seated.
6:30 pm
National Advisory Board Meeting begins
conducted by Mrs. Lynette Lawson.
NOTE: Cocktail service provided.
7:00 pm
National Advisory Board Meeting concludes.
- 2 -
7:05 pm
The First Lady, escorted by Mrs. Fred (Ethel)
Schwengel, departs North Eisenhower Lounge
en route Presidential Box to await the President.
7:10 pm
The President arrives Kennedy Center.
7:12 pm
The President arrives Presidential Box.
7:14 pm
Announcement.
ATTENDANCE: 850
7:14 pm
The President and Mrs. Ford enter Presidential
Box and take their seats.
7:15 pm
The film, "Washington: A City out of the
Wilderness" begins.
7:38 pm
The President and Mrs. Ford, escorted by John
Warner and Fred Schwengel, Chairman, United
States Historical Society, depart Presidential
Box en route off-stage area.
NOTE: This movement will occur approxi-
mately 5 minutes prior to the completion
of the actual film review.
7:39 pm
The members of the National Advisory Board
depart their box and proceed to off-stage
holding area.
7:43 pm
Film concludes.
7:43 pm
The President and Mrs. Ford, escorted by John
Warner and Fred Schwengel, proceed onto stage
and are seated.
NOTE: The members of the National Advisory
Board proceed onto stage and are seated.
7:44 pm
Mrs. Ford is introduced by John Warner as co-
chairperson of the National Advisory Board.
7:46 pm
John Warner introduces Douglas Fairbanks,
Jr. who responds on behalf of the National
Advisory Board.
- 3 -
7:48 pm
Remarks by Douglas Fairbaks, Jr.
7:50 pm
Remarks by John Warner and presentation
of Bicentennial Flag and Certificate of
Recognition to Fred Schwengel.
7:52 pm
Acceptance remarks by Fred Schwengel.
7:54 pm
Introduction of the President by John Warner.
7:55 pm
Presidential remarks.
PRESS POOL COVERAGE
8:00 pm
Remarks conclude and the President returns
to his seat.
8:01 pm
John Warner concludes the program by
thanking the President and Mrs. Ford for
attending.
8:04 pm
The President and Mrs. Ford, escorted by John
Warner and Fred Schwengel, depart stage and
proceed to motorcade for boarding.
8:09 pm
MOTORCADE DEPARTS John F. Kennedy Center
en route South Grounds.
[Driving time: 6 minutes]
8:15 pm
MOTORCADE ARRIVES South Grounds.
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THE WHITE HOUSE
WASHINGTON
SWEARING-IN CEREMONY, NATIONAL PRESS
CLUB AND UNITED STATES CAPITOL HISTORICAL
SOCIETY FILM PREVIEW - THE KENNEDY CENTER
SUNDAY - JANUARY 26, 1975
DEPARTURE: 6:20 P.M.
Attire:
Business Suit
From:
Terry O'Donnell
BACKGROUND:
The National Press Club reception, buffet and program honors its newly
elected President, William Broom. Traditionally, satire and humor play
a major role in all of the evening's activities. In attendance will be 250
members, spouses and guests.
A 45-minute roast of "Hard Times", including "jabs" at the WIN program
and current economic conditions, will take place prior to your arrival.
Among those participating will be Frank Haleman (past President of the
National Press Club), Liz Carpenter (former press secretary to Mrs.
Johnson), Representative James Symington (D-Mo), Bill Ruckelshaus
(former Deputy Attorney General), and former Senator Eugene McCarthy.
After meeting briefly with Mr. and Mrs. Bill Broom and his two sons in the
holding room, you will then swear in Bill Broom, mingle informally with
the guests for approximately fifteen minutes and then depart for the Kennedy
Center.
The United States Capitol Historical Society, of which you serve on the Honorary
Board of Trustees, will premier its film entitled "City Out of Wilderness" at
the Kennedy Center this evening. "City Out of Wilderness" was made to be
shown in the new National Visitor's Center and will also be made available
to the media and educational groups. The film is 28-minutes' duration, and
2.
depicts the building of the Capitol and the city. Production of the film was
underwritten by a combination of federal and private funding including the
National Endowment for the Humanities, the National Park Service, the
Ford Foundation, the Washington, D.C. business community, and individual
donations.
After the premier, Mr. Schwengel will also introduce the National Advisory
Board and the Society's second Bicentennial project, "Our Capitol: Freedom
Speaks", a sound and light production. You supported this project in a House
Joint Resolution in November 1973 and Mrs. Ford serves as Co-Chairman
of this National Advisory Board, along with Mr. William M. Batten and
Douglas Fairbanks.
Mrs. Ford will arrive at the Kennedy Center independently to attend the
National Advisory Board meeting of the National Capitol Historical Society,
then join you to preview the film and take part in the on-stage program
following the preview. You will be called upon for brief remarks on stage.
A list of the box seating and the stage seating is attached at TAB A.
SEQUENCE
6:20 p.m.
You board motorcade on South Grounds and depart
en route National Press Club.
6:23 p.m.
Arrive National Press Club (14th Street entrance)
and proceed to 12th floor where you will be met by
William M. Blair, former President of the National
Press Club.
Escorted by Bill Blair, proceed to the VIP holding area
on the 13th floor to join Bill Broom, President of the
National Press Club, Mrs. Birdsall Broom and their
two sons, Scott (13) and Timothy (10).
OFFICIAL PHOTO COVERAGE
6:28 p.m.
Escorted by Mr. and Mrs. Broom, proceed to off-stage
announcement area and pause for announcement.
Announcement.
3.
6:31 p.m.
Escorted by Mr. and Mrs. Broom, proceed onto stage
and remain standing.
OPEN PRESS COVERAGE
ATTENDANCE: 500
6:32 p.m.
You administer Oath of Office to Bill Broom.
NOTE:
Mrs. Broom will stand between the
President and Bill Broom and she will hold
the First Amendment on which Bill Broom
places his hand for the actual Swearing-in. There
will not be a podium available for your notes.
FULL PRESS COVERAGE
6:36 p.m.
You take your seat as Bill Broom offers remarks.
6:38 p.m.
Escorted by Mr. and Mrs. Broom, proceed down onto
the floor level to attend the informal reception.
OPEN PRESS COVERAGE
6:55 p.m.
Escorted by Bill Broom, depart reception en route
motorcade for boarding.
NOTE:
Bill Broom will bid farewell at the elevator.
7:00 p.m.
Board motorcade and depart National Press Club en
route John F. Kennedy Center.
#####
7:10 p.m.
Arrive John F. Kennedy Center where you will be
met by Roger L. Stevens, Chairman, Board of
Trustees, John F. Kennedy Center for the Performing
Arts.
Escorted by Roger Stevens, proceed to the lounge area
of the Presidential Box of the Eisenhower Theater where
you will join Mrs. Ford, and you pause for announcement.
4.
Announcement.
Enter the Presidential Box and take your seat.
PRESS POOL PHOTO COVERAGE
ATTENDANCE: 800
7:15 p.m.
The film, "Washington: A City Out of the Wilderness"
begins.
7:38 p.m.
Approximately five minutes prior to the completion of
the actual film preview, escorted by JOHN WARNER and
FRED SCHWENGEL, Chairman, United States Historical
Society, you and Mrs. Ford depart Presidential Box en
route off-stage holding area.
7:43 p.m.
Escorted by John Warner and Fred Schwengel, you and
Mrs. Ford proceed onto stage and take your seats.
NOTE:
The members of the National Advisory
Board proceed onto stage and are seated.
John Warner introduces the members of the
National Advisory Board.
John Warner introduces Douglas Fairbanks, Jr.
who responds on behalf of the National Advisory
Board.
Remarks by Douglas Fairbanks, Jr.
Remarks by John Warner and presentation of
Bicentennial Flag and Certificate of Recognition
to Fred Schwengel.
Acceptance remarks by Fred Schwengel.
Introduction of you by John Warner.
5.
7:55 p.m.
PRESIDENTIAL REMARKS.
PRESS POOL COVERAGE
8:00 p.m.
Remarks conclude and you return to your seat.
John Warner concludes the program by
thanking you and Mrs. Ford for attending.
8:04 p.m.
Escorted by John Warner and Fred Schwengel, depart
stage and proceed to motorcade for boarding.
Depart John F. Kennedy Center en route South
Grounds.
8:15 p.m.
Arrive South Grounds.
######
FILM PREVIEW OF THE CAPITOL HISTORICAL SOCIETY
January 25, 1975
Sunday, January 26, 1975
12:20 pm
DIAGRAM 1
PRESIDENTIAL BOX EISENHOWER THEATER KENNEDY CENTER
Mr. Ernest
Mr. John
Mr. Fred
Mrs. Ethel
Hayes
Warner
Schwengel
Schwengel
Mr. Douglas
Mrs.
The
Mrs. Clare
Fairbanks, Jr.
Ford
President
Boothe Luce
AUDIENCE
DIAGRAM 2
EISENHOWER THEATER STAGE
CAPITOL HISTORICAL SOCIETY
Jane Marilley
Clare Boothe Luce
Knight Kiplinger
Senator Inouye
Ernest Hayes
Felix DeWeldon
Douglas Fairbanks, Jr.
Mrs. Ford
The President
Fred Schwengel
John Warner
PODIUM
AUDIENCE
"Son et Lumiere" involves a very advanced technique both for the artistic
conception, and for the electronic programming.
Two of the most well known and well respected producers of "Son et Lumiere" in the
world are Pierre Arnaud and Andre Weil. Their productions have included:
*
Two shows at the Invalides in Paris, which have been in operation
for 17 years.
*
The Acropolis in Athens, which in the 14 years of its operation has
drawn over 8,000,000 spectators. In its last season, this sound and
light production attracted 80% of the visitors who passed through Athens
*
The spectacular presentation at the Pyramids in Egypt which has
been seen by over 2,000,000 men and women.
#
The Persepolis "Son et Lumiere" in Iran was inaugurated in
October, 1971 in the presence of fifty-seven soverigns and heads
of state from all over the world.
*
Other sound and light productions by Arnaud and Weil are
attached as an appendix to this memorandum.
"Son et Lumiere, 11 having reached its maturity, is now approaching new horizons
in technique and production style. All those who have witnessed sound and light
performances at one historical site, usually seek out more of them, because they
know that the memory of their visit will remain more lively and more meaningful
with the remembrance of "Son et Lumiere.' "
Budget.
Technical Costs.
1. Control equipment: central control room and
four satellite spaces; purchase and delivery
of both hard and soft ware, installation, travel
expenses
$ 540,000.00
2. Multiplexing system inside Capitol building to
accommodate interior lighting and control circuits
84,000.00
3. Spotlights, fictures, stands, wiring, bunkers,
concealment: estimated from current price lists for
equipment. (Subject to bids)
520,000.00
4. Installation; excavation, labor, engineering and
supervision (a rough estimate to be refined by final
report)
2,500,000.00
SUB TOTAL TECHNICAL EXPENSES
$ 3,644,000.00
Artistic Creation Costs.
Conception, supervision, management, production,
artists fees including: writers, historians, composers,
musicians, narrators
$ 890,000.00
SUB TOTAL OF SHOW LESS SEATING
INSTALLATION
$ 4,534,000.00
Seating Installation
$ 2,000,000.00
Endowment and Contingencies: Yearly operations, upkeep,
and inflationary costs
$ 3,466,000.00
GRAND TOTAL
$ 10,000,000.00
OUR CADITOL: FREEDOM SPEAKS
United Atates Capitol Mistorical Society
200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919
"OUR CAPITOL: FREEDOM SPEAKS" CAMPAIGN
Financial Development Plan
The United States Capitol Historical Society, a non-profit, tax
exempt organization, will raise from the private sector the $10
million necessary to construct and endow the Sound and Light
production "Our Capitol: Freedom Speaks," to be opened officially
in the summer of 1976. The Society has already successfully funded
($450,000) a film which will be permanently shown in the new
Visitors' Center at Union Station. The film's premiere was held
on January 26, 1975 at the John F. Kennedy Center for the Performing
Arts.
From private donations and sales the Society has contributed over
$300,000 towards artwork, artifacts, and furniture for the Capitol
building. With these contributions the Society fosters an informed
patriotism through the study of the Capitol as a living memorial
to the founders of our nation and as a promise to generations of
Americans to come. Building on this success the Society has embarked
on this "Our Capitol: Freedom Speaks" $10 million drive.
A Project Study was funded ($70,000) by the Society from the private
sector and completed in October 1974. The budget, based on this
study, calls for $5 million in construction monies and $2 million
for permanent retractable bleachers. The remaining $3 million will
serve as an endowment to maintain and operate the production, so
that it will remain forever free.
The time schedule for raising funds is dictated by the need to start
construction in early Spring 1975. This specifically means that
major pledges must be in hand during February and March 1975. The
names of all who contribute a million dollars or more will be dis-
played permanently in the Capitol area. The Society projects that
50% of the funds will come from individuals, 30% from foundations,
and 20% from corporations. Major gifts (1 million or more) will
make up 80% of the goal. The remaining 20% will be solicited from
prospective donors of all economic circumstances throughout the
world.
OUR CAPITOL:FREEDOM SPEAKS
United States Capitol Flutorica vaciety
200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919
BUDGET - Our Capitol: Freedom Speaks
TECHNICAL COSTS
1. Control equipment: central control room and
four satellite spaces; purchase and delivery of
both hard and soft ware, installation, travel
expenses
$ 540,000.00
2. Multiplexing system inside Capitol building
to accommodate interior lighting and control
circuits
84,000.00
3. Spotlights, fixtures, stands, wiring, bunkers,
concealment: estimated from current price lists
for equipment. (Subject to bids)
520,000.00
4. Installation, excavation, labor, engineering
and supervision (a rough estimate to be refined
by final report)
2,500,000.00
SUB TOTAL TECHNICAL EXPENSES
$ 3,644,000.00
ARTISTIC CREATION COSTS.
Conception, supervision, management, production,
artists fees including: writers, historians,
composers, musicians, narrators
$ 890,000.00
SUB TOTAL OF SHOW LESS SEATING INSTALLATION
$ 4,534,000.00
SEATING INSTALLATION
$ 2,000,000.00
ENDOWMENT AND CONTINGENCIES: Yearly operations,
upkeep, and inflationary costs.
$ 3,466,000.00
GRAND TOTAL
$10,000,000.00
SOUND AND LIGHT PERFORMANCE SYSTEM FOR
THE EAST FRONT OF THE NATIONAL CAPITOL
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PUBLIC BUILDINGS AND GROUNDS
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HOUSE OF REPRESENTATIVES
NINETY-THIRD CONGRESS
FIRST SESSION
ON
H.J. RES. 736
TO PROVIDE FOR A FEASIBILITY STUDY AND TO ACCEPT
A GIFT FROM THE UNITED STATES CAPITOL HISTORICAL
SOCIETY
NOVEMBER 13, 1973
Printed for the use of the Committee on Public Works
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U.S. GOVERNMENT PRINTING OFFICE
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WASHINGTON : 1973
COMMITTEE ON PUBLIC WORKS
JOHN A. BLATNIK, Minnesota, Chairman
ROBERT E. JONES, Alabama
WILLIAM H. HARSHA, Ohio
JOHN C. KLUCZYNSKI, Illinois
JAMES R. GROVER, JR., New York
JIM WRIGHT, Texas
JAMES C. CLEVELAND, New Hampshire
KENNETH J. GRAY, Illinois
DON II. CLAUSEN, California
FRANK M. CLARK, Pennsylvania
GENE SNYDER, Kentucky
HAROLD T. JOHNSON, California
ROGER H. ZION, Indiana
W. J. BRYAN DORN, South Carolina
JOHN PAULHAMMERSCHMIDT, Arkansas
DAVID N. HENDERSON, North Carolina
WILMER D. MIZELL, North Carolina
RAY ROBERTS, Texas
LAMAR BAKER, Tennessee
JAMES J. HOWARD, New Jersey
E. G, SHUSTER, Pennsylvania
GLENN M. ANDERSON, Callfornia
WILLIAM F. WALSH, New York
ROBERT A. ROE, New Jersey
THAD COCHRAN, Mississippi
TENO RONCALIO, Wyoming
L. A. 'SKIP' BAFALIS, Florida
MIKE McCORMACK, Washington
JAMES D. ABDNOR, South Dakota
JAMES V. STANTON, Ohio
ROBERT P. HANRAHAN, Illinois
SUBCOMMITTEE ON PUBLIC BUILDINGS AND GROUNDS
BELLA S. ABZUG, New York
GENE TAYLOR, Missouri
KENNETH J. GRAY, Illinois, Chairman
JOHN B. BREAUX, Louisiana
ROBERT E. JONES, Alabama
GERRY E. STUDDS, Massachusetts
JAMES R. GROVER, JR., New York
JOHN C. KLUCZYNSKI, Illinois
YVONNE BRATHWAITE BURKE,
GENE SNYDER, Kentucky
JIM WRIGHT, Texas
California
WILMER D. MIZELL, North Carolina
RAY ROBERTS, Texas
LAMAR BAKER, Tennessee
Bo GINN, Georgia
GLENN M. ANDERSON, California
DALE MILFORD, Texas
E. G. SHUSTER, Pennsylvania
ROBERT A. ROE, New Jersey
WILLIAM F. WALSH, New York
TENO RONCALIO, Wyoming
PROFESSIONAL STAFF
THAD COCHRAN, Mississippi
MIKE McCORMACK, Washington
L. A. 'SKIP' BAFALIS, Florida
RICHARD J. SULLIVAN, Chief Counsel
JAMES V. STANTON, Ohio
JAMES D. ABDNOR, South Dakota
LLOYD A. RIVARD, Engincer-Consultant
BELLA S. ABZUG, New York
ROBERT P. HANRAHAN, Illinois
LESTER EDELMAN, Counsel
JOHN B. BREAUX, Louisiana
GENE TAYLOR, Missouri
CARL H. SCHWARTZ, Jr., Consultant-Projects and Programs
GERRY E. STUDDS, Massachusetts
JAMES L. OBERSTAR, Administrator
YVONNE BRATHWAITE BURKE,
California
ERROL L. TYLER, Associate Counsel
CLIFTON W. ENFIELD, Minority Counsel
BO GINN, Georgia
RICHARD C. PEET, Associate Minority Counsel
DALE MILFORD, Texas
GORDON E. Woon, Assistant Minority Counsel
NANCY B. VITALI, Clerk
SHELDON S. GILBERT, Assistant Minority Counsel
(III)
STAFF ASSISTANTS
DOROTHY A. BEAM, Executive Staff Assistant
ERLA S. YOUMANS, Minority Executive Staff Assistant
STERLYN B. CARROLL
CLYDE WOODLE
RUTH S. COSTELLO
OLGA WINNIK
PATRICIA C. Cross
CATHY EVANS
RICHARD C. BARNETT
ROGER FUREY
BRENDA G. JONES
MARY KATHRYN LEONARD
CHERYL MEYERS
MACHELE MILLER
JOANNE M. MORRONE
ROBERT F. SPENCE
SANDY R. SASSOON
PHYLLIS B. STONE
MERIAM R. BUCKLEY, Calendar Clerk
JOSEPH A. ITALIANO, Editorial Assistant
(II)
CONTENTS
Page
H.J. Res. 736: To provide for a feasibility study and to accept a gift from
the U.S. Capitol Historical Society
1
TESTIMONY
Pickle, Hon. J. J., a Representative in Congress from the State of Texas:
accompanied by Fred Schwengel, president, U.S. Capitol Historical So-
clety; George White. Architect of the Capitol; and William Maury, chief
historian, U.S. Capitol Historical Society
5
MATERIAL RECEIVED FOR THE RECORD
Ford, Hon. Gerald R., a Representative in Congress from the State of
Michigan (House minority leader) statement
9
Maury, William, chief historian, U.S. Capitol Historical Society, state-
ment
25
O'Neill, Hon. Thomas P., Jr., a Representative in Congress from the State
of Massachusetts (House majority leader) statement
9
Schwengel, Fred, president, U.S. Capitol Historical Society, statement
10
(V)
93D CONGRESS
1sr SESSION
H. J. RES. 736
IN THE HOUSE OF REPRESENTATIVES
SEPTEMBER 19, 1973
Mr. O'NEILL (for himself, Mr. GERALD R. FORD. Mr. MCFALL, Mr. ANDERSON of
Illinois, Mr. PICKLE, Mr. STEPHENS, and Mr. PETTIS) introduced the fol-
lowing joint resolution; which was referred to the Committee on Public
Works
JOINT RESOLUTION
To provide for a feasibility study and to accept a gift from the
United States Capitol Historical Society.
1
Resolved by the Senate and House of Representatives
2 of the United States of America in Congress assembled,
3 That, notwithstanding any other provision of law, the United
4 States Capitol Historical Society is authorized, under direc-
5 tion of the Architect of the Capitol, to prepare a feasibility
6 study to determine the desirability of installing within the
7 United States Capitol Grounds, at the east front of the
8 United States Capitol, all items of equipment and other
9 facilities required for a sound and light performance, con-
10 sisting of an interplay of light, music, narrative, and sound
11 effects (without the use of live actors), which, when pro-
I
(1)
2
3
1 jected onto the imposing facade of the east front of the
1
(1) To accept in the name of the United States from
2 United States Capitol, will re-create the evolution of Ameri-
2
the United States Capitol Historical Society, as a gift,
3 can history, based on a foundation of thorough historical rc-
3
such sum or sums as may be required to further imple-
4 search, subject to the following conditions:
t
ment such project, and such sum or sums when received,
5
(1) Such study and all expenditures connected
5
shall be credited as on addition to the appropriation
6
therewith will be borne by the United States Capitol
G
account "Capitol Buildings, Architect of the Capitol".
7
Historical Society.
7
(2) Subject to section 3 hereof, to expend such sum
8
(2) Upon completion of such study, the United
8
or sums for all items of equipment and other facilities
9
States Capitol Historical Society, at its expense, will
9
required for the sound and light performance, and for any
10
furnish the Architect of the Capitol a report detailing
10
other items in connection therewith.
11
the results of such study, installations and programs pro-
11
SEC. 3. The Architect of the Capitol, under the direction
12
posed, and estimatés of cost required to implement such
12 of the House and Senate officials designated in section 2 here-
13
project without expense to the United States, including
13 of, is authorized to enter into contracts and to incur such
14
maintenance and operating expenses.
14 other obligations and make such expenditures as may be
15
(3) The project may not be implemented, beyond
15 necessary to carry out the provisions of said section 2.
16
the report stage, except as provided in section 2 hereof.
16
SEC. 4. Sums received under this joint resolution, when
17
SEC. 2. The Architect of the Capitol shall review such
17 credited as an addition to the appropriation account "Capitol
18 report and submit the same, with his recommendations, to the
18 Buildings, Architect of the Capitol", shall be available for
19
Spéaker and majority and minority leaders of the House of
19 expenditure and shall remain available until expended. Fol-
20 Representatives and to the majority and minority leaders of
20 lowing completion of the installation, such sums may there-
21 the Senate.
21 after be used by the Architect of the Capitol, in whole or
22
If the project, as presented, with or without modifica-
22 part, to defray any expenses which he may incur for main-
23 tions, meets with the approval of such House and Senate
23 tenance and operation.
24 officials, the Architect of the Capitol, notwithstanding any
25 other provision of law, is authorized after such approval-
(1)
SOUND AND LIGHT PERFORMANCE SYSTEM FOR THE
EAST FRONT OF THE NATIONAL CAPITOL
TUESDAY, NOVEMBER 13, 1973
HOUSE OF REPRESENTATIVES,
SUBCOMMITTEE ON PUBLIC BUILDINGS AND GROUNDS
OF THE COMMITTEE ON PUBLIC WORKS,
Washington, D.C.
The subcommittee met, pursuant to notice, at 2:07 p.m., in room 2167,
Rayburn House Office Building, Hon. Kenneth J. Gray, chairman,
presiding.
Mr. GRAY. The Subcommittee on Public Buildings and Grounds will
please come to order.
I welcome all of our witnesses, and thank the members for coming.
The order of business is H.J. Res. 736, to provide for a feasibility
study and to accept a gift from the U.S. Capitol Historical Society.
We have as our first witness our very good friend and distinguished
Member of Congress from Texas, Hon. Jake Pickle. We are always
delighted to see him.
You may proceed in your own fashion, Mr. Pickle.
Mr. PICKLE. Mr. Chairman, I thank you, and I am pleased to appear
before your committee today.
With me is Mr. Fred Schwengel, president of the U.S. Capitol
Historical Society.
Mr. GRAY. I might add that Mr. Schwengel was a very distinguished
member of this committee and made many valuable contributions to the
work of this committee over the years.
Mr. PICKLE. With this particular historical committee is Mr. George
White, Architect of the Capitol, and Mr. William Maury, our Chief
Historian.
STATEMENT OF HON. J. J. PICKLE, A REPRESENTATIVE IN CON-
GRESS FROM THE STATE OF TEXAS; ACCOMPANIED BY FRED
SCHWENGEL, PRESIDENT, U.S. CAPITOL HISTORICAL SOCIETY;
GEORGE WHITE, ARCHITECT OF THE CAPITOL; AND WILLIAM
MAURY, CHIEF HISTORIAN, U.S. CAPITOL HISTORICAL SOCIETY
Mr. PICKLE. H.J. Res. 736 would provide for a feasibility study for a
sound and light performance system for the cast front of our National
Capitol.
The resolution would also allow the United States, through the
Capitol Buildings, Architect of the Capitol account. to ner nt gifts
from the Historical Society.
Before turning to the details of the legislation, I want to make a
We know though that a project such as this must be the best. None
strong sales pitch for a Capitol sound and light production by 1976.
of us would ever want to have a part in anything that would not do
All of us could speak for hours on the glories of our Capitol and its
justice to our beautiful and historical Capitol.
meaning, as Daniel Webster did on July 4, 1851, at the occasion of lay-
Because this is so, I come before you today urging favorable action
on House Joint Resolution 736.
ing the cornerstone for the Capitol extension.
I could spenk of the march of pageantry on September 18, 1793, as
This resolution authorizes the United States Capitol Historical So-
George Washington led a parade across the Potomac and up to Jen-
ciety, under the direction of the Architect of the Capitol, to prepare
kins' thill to lay the Capitol's original cornerstone.
a feasibility study for a sound and light show for the East Front.
Upon bringing the memories to life of our Capitol and its entwine-
The study would be of the desirability of such an undertaking and
ment with the story of the American people, I could then convince
the items of equipment needed.
you that this story needs to be told, and shown visually in sound and
May I interject here that everyone agrees that during the daylight
light. I can speak of much pageantry that this Nation has seen and
hours there is to be no appreciable visible sign that sound and light
equipment is in place.
experienced. Reading over the accounts of those two cornerstone layings in 1793
Under the resolution, as introduced by our colleagues, Thomas P.
and 1851, we immediately feel the sense of pride and love people felt
O'Neill, Gerald Ford, John McFall, John Anderson, Bob Stephens,
for this hig white building near the Potomac.
Jerry Pettis, and myself, all expenses of the study will be by
In 1793, the people were still unsure of the future. Europe was being
the United States Capitol Historical Society.
torn by war and revolution, and the new country of North America
Section 2 of the resolution provides that the Architect of the Capi-
was still looked upon as a temporary nuisance by some of the leaders
tol review the study and submit it, along with his recommendations,
to the Speaker, and majority and minority leaders of the House and
of Europe.
Senate.
But the people were proud. To lay the cornerstone of a new, ma-
jestic building in a new capital city was one very meaningful way to
If these House and Senate officials approve of the Architect's report,
swell up their chests and say, "We are something, and we are going to
the Architect can then accept gifts to implement the project.
Section 3 of the legislation allows the Architect, under the direction
make it."
In 1851, a somewhat different spirit prevailed at the cornerstone
of the House and Senate leaders, to make expenditures in carrying
out the proposal.
ceremonies.
The Nation had grown and proven itself to be a wonderful experi-
Any money left over on the study can be used to defray the expenses
of the light and sound show according to section 4, as well as turned
ment in civilized government.
over to actual construction of the project.
Clouds hung over the horizon, however, for the Compromise of 1850
Mr. Chairman, I want to emphasize strongly that the Congress,
had just been struck.
through its leaders and the Architect, has the final say-so on the sound
But, even in these dark hours, the sense of pride and accomplish-
and light show.
ment pervaded thoughts when turned to the people's Capitol on Jen-
This legislation does not allow something to be created and placed
kins' Hill.
into operation without congressional guidance.
This feeling was eloquently put by B. B. Fench, Grand Master of
I also strongly emphasize that this legislation will cost the tax-
the Masons, on that day in 1851 when he stated to the people present:
payer nothing. The study and project is to be funded entirely by
It was doublless supposed that, when completed according to the plan then
gifts. The Historical Society will not be back asking for appropria-
adopted. It would be of ample dimensions to accommodate all of the wants of
tions.
the people by whom it was to be erected for ages then to come.
Thus, Mr. Chairman, House Joint Resolution 736 is a good, sound
"To accommodate the wants of the people who erected it," this a
approach to implementing the idea of a sound and light program.
beautiful thought and should be cherished by all people for it should
In conclusion, let me say that we live in a troubled time for our
describe not only our Capitol but our Government.
Government. Some say that democracy has been stepped on. Others
Mr. Chairman, a sound and light show can bring all this to a visual
say fairplay has been thrown out by nay-sayers.
and undible experience.
No matter how you or I feel about current strife, the Capitol stands.
Sound and light shows have been shown for many years in Europe
The Republic endures.
to great advantage, The interplay of sound and light bouncing off an
In another time, more troubled than now, work on the majestic
impressive building is a most effective way to show history.
dome, connecting the two greatest legislative bodies in the world, con-
What better place is there for such a show than the East Front
tinued unabated.
Imagine the lingering light of twilight, people gathering around
During this time, many said that it was wasteful and wrong to con-
the East Front, and the well-balanced, artistic performance of light
tinue the effort during the war.
and sound bouncing and reverberating through the night air, re-
As the dome neared completion, John Eaton of Ohio brought this
kindling our past to build our dreams for the future.
up with the great President Lincoln.
Lincoln answered simply, "If people see the Capitol going on, it is
Mr. GRAY. Without objection, we will have those printed in the
a sign we intend the Union shall go on."
record at this point.
Such glory and faith need to be told. H.J. Res. 736 is a mechanism
[The statements referred to follow:]
for this.
The sound and light may be seen in a great many cities all over the
STATEMENT OF HON. THOMAS P. O'NEILL, JR., A REPRESENTATIVE IN CONGRESS
FROM THE STATE OF MASSACHUSETTS
world, particularly in Europe. We think it can be the culmination of
our great bicentennial presentation to the country if we could have
Mr. Chairman, as the Majority Leader of the U.S. House of Representatives,
I am very pleased to present this statement of support on behalf of H.J. Res. 736
such a program in 1976 for the public view.
before "the Public Works Subcommittee on Public Buildings and Grounds
It has been submitted on a bipartisan basis, and I think that it is an
chaired by the distinguished gentleman from Illinois, Ken Gray.
exciting and worthwhile project. And we hope this committee can
Those of us who serve in the Congress take great pride in the accomplish-
gather the committee's approval and move through this session of
ments and endeavors of the United States Capitol Historical Society, which, since
Congress SO the feasibility study can get underway and, hopefully,
its inception in 1962, has provided research and information on the historical
background and traditions of the legislative branch of government with the
within 3 to 6 months be able to make this study to the Architect of the
Capitol edifice itself as the focus of the Society's programs,
To remind all Americans of their proud and noble heritage, the United States
Capitol. Mr GRAY. I thank you, my colleague, for a very important and
Capitol Historical Society has published a best-selling history of the Capitol,
forthright statement. I certainly want to join you in your sentiment
"We the People," read by thousands of Americans who visit the nation's capital
each year, and a calendar for members of Congress, as well as a book to
and feelings. This seems to be a worthy cause and I hope to see it
educate children about the major monuments and government buildings in
moved along as a project as soon as possible.
Washington, D.C., "Our Nation's Capital Coloring Book".
I want to yield to the very distinguished colleague from Tennessee,
The United States Capitol Historical Society has promulgated an ambitious
program of educating the American populace in the history and meaning of
who wants to introduce our next witness.
Mr. BAKER. Mr. Chairman, I would like to commend our colleague,
perhaps one of the most extraordinary buildings in the world, the U.S. Capitol-
that tangible symbol of America's representative form of government. For,
Congressman Pickle of Texas, for his interest in this project.
within the walls of the hallowed Capitol, a "free people have expressed their
I cannot imagine any objection but, of course, some objection will
collective will in terms of legislation that has shaken the world and advanced
arise from some corner, but I cannòt imagine any substantial objec-
man's march toward individual dignity and material well-being. Here, art and
tions that anyone would have for a project such as this. But, princi-
architecture recall the leaders and issues that have shaped the nation's
destiny."
pally, I would like to welcome back to this committee, Fred Schwengel,
Now, the United States Capitol Society has embarked on an important and
our colleague in the House and colleague on this committee, and ex-
unique project to contribute to the American Bicentennial Celebration in 1976.
press the pride which we feel on this side of the aisle, particularly for
The project, called "Son et Lumière", involves a dramatic interplay of light,
the work he has done in the Historical Society, the effort that he has
music, narrative and sound effects without the use of live actors, which, projected
onto the imposing facade of the East Front of the U.S. Capitol, will create the
made in pursuing the interests of light and sound production, having
evolution of American history.
gone to Europe, not at Government expense, but at the expense of the
And it is for this reason that I have sponsored II.J. Res. 736, to provide for
Historical Society which has provided the principal investigation.
a feasibility study to determine the desirability of installing within the United
States Capitol grounds all items of equipment necessary for the sound and light
And he is just a tremendous man, and we appreciate him, and are
production of the evolution of American history, emphasizing the Capitol edifice
glad to have him testifying before this subcommittee today.
itself. All expenditures for the study will be borne by the United States Capitol
Mr. SCHWENGEL. Thank you very much, Mr. Baker, and members of
Society, and upon completion of the study, the Society will furnish to the Archi-
the committee. And I think I should say, to the members of the com-
tect of the Capitol a report detailing the project, who in turn will make recom-
mittee and to the members of the staff, it is good to be back in this
mendations to the Speaker, Majority and Minority Leaders of the House and
Senate. Once the project has been approved by these officials, the Architect will
room and in this atmosphere with all of you.
accept from the U.S. Capitol Historical Society a gift of whatever sum is neces-
Together we worked for so many, many things for this great
sary for the expenditure of equipment for the light and sound production.
I wish to encourage all my colleagues on this Committee to endorse this reso-
Nation. I recall one of the greatest things we did, we answered one of the
lution. For the light and sound production will be a kind of landmark for Amer-
ica, since very few of these productions have been presented outside Europe. I
great freedoms that I called freedom of movement of men and goods.
have seen "The Forum" in Rome which I understand the "Son et Lumière"
Within this committee was born a magnificent plan to build the
will model. I can truly say that if "Son et Lumiere" is anything at all like "The
Interstate highway. and with this we aided and abetted the American
Forum," then I am all for it, 100%.
It seems to me that a more impressive and beautiful contribution to our Na-
economy and help brings about a better way of a more rewarding life
tion's Bicentennial could not be imagined or desired, and I call upon this Com-
for all Americans.
mittee to report out this resolution without delay,
Mr. Chairman, I could go on and on, but I must get to the subject of
this hearing. We have statements, Mr. Chairman, from both Congress-
man Tip O'Neill, or Thomas P., the latter is correct, and Congressman
STATEMENT OF HON. GERALD R. FORD, s REPRESENTATIVE IN CONGRESS FROM THE
Gerald Ford, soon, hopefully, to be Vice President.
STATE OF MICHIGAN
I ask unanimous permission to file their statements and my own
Mr. Chairman, I speak as a Member of Congress and as a member of the
statement in the record at this point.
Board of Trustees of the United States Capitol Historical Society on H.J. Res.
The United States Capitol Historical Society is chartered in Washington,
Flist, hi me siy that I Lave been aware of the United States Capitol
in accordance with the laws of the United States as a nonprolit, educational
Historical Society since its founding in July of 1962. Since that time the Society
has produced some publications that are excellent reminders of our heritage and
organization.
Founded in 1962, the U.S. Capitol Historical Society has grown into a dynamic
history. The coloring book for children, the calendar, especially for Members of
Congress and the book "We, The People" are praiseworthy publications.
organization with an impressive record of accomplishment and a vigorous pro-
The purpose of the Society is stuted in its membership certificate, which reads:
gram for future development. It is unique among America's historical societies
"Its program is to encourage a better understanding of American History
both in its operation and in its efforts to serve the amateur historian, the pro-
through the spread of Information on the founding growth and significance of
fessional scholar, and the general public. It treats the entire spectrum of Ameri-
the United States Capitol as a symbol of free representative government."
can history as it was made in the Capitol by the Congress, its members, and
The Society has heeded the admonition of President Kennedy to "Ask not what
leaders from 1800 to the present.
your Country can do for you, ask what you can do for your Country" and ex-
Abraham Lincoln once said in a message to Congress: "Fellow-eitizens, we
pressed by President Warren Harding, at an earlier time, who said it as follows:
cannot escape history. We, of this Congress, and this Administration, will be
"In this great fulfillment we must have a citizenship less concerned about what
remembered in spite of ourselves.
The flery trail through which we pass
the Government can do for them and more anxious about what they can do for
will light us down, in honor or dishonor, to the latest generation." It is the fiery
the Nation." Eloquent and dramatic evidence that the Society responds to the
trail with which the Capitol Historical Society concerns itself, a promise to
opportunity to give can be seen daily as we witness the program of the Art work
Mr. Lincoln, if you will, to light the past to the present generation.
by Allyn Cox in the Capitol. The cost of this work, $90,000.00, is underwritten
MEMBERSHIP BENEFITS
by the Society. They have also made other noteworthy contributions.
They seek now, with the passage of H.J. Res. 736; to greatly increase its pro-
For each member, the United States Capitol Historical Society provides a
gram to display and tell the story of our Country. And as stated in the Joint
beautiful certificate suitable for framing, with the crest of every state embossed
Resolution-"To provide for a feasibility study and to accept a gift from the
on it, and a pocket-size membership card. The Capitol dome, a six-page news-
United States Capitol Historical Society."
letter filled with society announcements, activities, and historical articles is
The Joint Resolution also provides for development and production of a Sound
mailed directly to your home or office quarterly. And once each year the entire
and Light program and-"To accept in the name of the United States Capitol
membership is invited to attend our annual meeting in Washington, D.C. In
Historical Society, as a gift, such sum or sums as may be required to further
addition, members are entitled to receive all publications, with the exception
implement such project, and such sum or sums when received, shall be credited
of We, The People, and products of the society at reduced prices.
as an addition to the appropriation account 'Capitol Buildings, Architect of the
Capitol'. Further subject to section 3 hereof, to expend such sum or sums for
PUBLICATIONS AND PRODUCTS
all items of equipment and other facilities required for the sound and light
performance, and for any other items in connection therewith.
We, the People: The Story of the United States Capitol, Its Past and Promise
"The Architect of the Capitol, under the direction of the House and Senate
was published by the United States Capitol Historical Society in 1963. Winner
officials designated in section 2 hereof, is authorized to enter into contracts and
of a Freedoms Foundation award in 1904, this beautiful book is now in its 9th
to incur such other obligations and make such expenditures as may be necessary
edition and has been published in five foreign languages : French, German, Italian,
to carry out the provisions of said section 2."
Portuguese, and Spanish.
It is my hope that II.J. Res. 736 will be approved by this Committee, and
National Capitol Portrait, a collection of three great volumes-The White
passed by the Congress, SO that the feasibility of this project may be determined
House: An Historic Guide; We, the People: The Story of the United States
at the earliest practicable date.
Capitol; Equal Justice Under Law: The Supreme Court in American Life-is
available as a specially bound set. Profusely illustrated in full color, each title
weaves good history into the fabric of official Washington.
STATEMENT OF FRED SCHWENGEL, PRESIDENT, U.S. CAPITOL HISTORICAL SOCIETY
A larger set, National Capitol Profile, includes the three above mentioned
books plus two additional volumes-The Presidents of the United States of Amer-
Mr. Chairman and Members of the Committee: Thank you for this opportunity
ica and George Washington: Man and Monument. All gift books are produced in
you have given me to be back before my former Committee, in the presence of
full color and presented together in a maroon slipease stamped in gold.
members with whom I served SO many years. I have pleasant and intriguing
To stimulate interest in the age group where minds are most impressionable,
memories of my time here where we served together to serve the people's interest
the society has published Our Nation's Capitol Coloring Book, an entertaining
in SO many ways.
and educational work that appeals to children of all ages. There are fifty-two
Thank you also for giving the United States Capitol Historical Society the
illustrations of Washington for coloring, each with a one-page description writ-
opportunity to appear in behalf of II.J. Res. 736 and for other purposes.
ten in a personal interesting, and informative manner.
With me today are Mr. George White, the Architect of the Capitol, and Mem-
A fourth publication that is particularly useful is our "We, the People Calen-
ber of the Board of Consultants for Sound and Light; William Maury, Chief
dar," available in September through August or January through December ver-
Historian of the Society, Secretary of the Board of Consultants for Sound and
sions. Highlighted by a color photograph of the Capitol at twilight, each date
Light; Mr. Arthur B. Hanson, a member of the Executive Board and Attorney
block has a special note of some event of the past
a
daily
record
of
momen-
for the Society; Congressman J. J. Pickle, Member of the Board and a member
tous occasions.
of the Executive Committee of the Board; Dr. Melvin Payne, the Vice President
All products made available by the U.S. Capitol Historical Society are prestige
of the Society and President of the National Geographic Society.
items of esthetic value and historical interest. These include greeting and Christ-
The Society's purpose as stated in its constitution is:
mas cards, postal cards, slides and color prints of the Capitol, as well as lami-
"To encourage in the most comprehensive and enlightened manner an under-
nated place mats (set of four), corresponding coasters (set of eight) and n large
standing by the people of the founding, growth and significance of the Capitol of
color poster of the Capitol at twilight.
the United States of America as the tangible symbol of their representative form
of government to undertake research into the history of the Congress and the
MEMBERSHIP
Capitol and to promote the discussion, publication, and dissemination of (by) the
results of such studies; to foster and increase an Informed patriotism
The United States Capitol Historical Society is privately financed, patriotically
the study of the living memorial of the founders of this nation and the continuing
nctivated and charged with a profound sense of mission. It looks to Congress, the
thread of principles as exemplified by their successors."
executive and judicial branches of Government and most of all, to the people of
the United States for support.
provides in its constitution for different membership classifications
production, despite the great concentration on the history of the Cathedral
in order to extend its ranks as widely as possible. Ranging from that of indi-
the expense of the city as a whole. Mr. Teddy Kolleck, the mayor of Jerusalem,
viduals, whether children or adults, to business firms, corporations, and other
was helpful on two counts. First he was able to talk knowingly about the history
organizations, these classifications are as follows:
of his city, and secondly be brought up the idea of conversing with all the diverse
elements of the city of Jerusalem before deciding on the thrust and the elements
Supporting member
$5
to be included in the production.
Contribution member
$10
The productions had certain elements which can be considered as central to
Share member
$100
the development of any sound and light production. In all cases but one, Athens,
Patron member
$500
there was a central figure or concept which tied the widespread story together.
Sustaining member
$1,000
In Strasbourg continuity was found primarily in the change and development of
Family membership
$10
the Cathedral. This idea is somewhat abstract, but it is effective in the produc-
Organization membership (schools, libraries, church and civic groups,
tion. In Jerusalem the thread was carried by a stone from the original wall of the
historical and business association)
$25
Fortress. By referring back to the stone after each change in direction of the
Society members, regardless of classification, share equal benefits and are not
fortress the viewer is always able to know where in history he is. Probably the
expected to pay dues or contribute funds for society operations. Money received
most effective development of a unifying theme was found in the production at
for membership is deposited in a special fund to finance research, new projects,
L'Hotel des Invalides in Paris. Here, the story was told by "L'Aiglan," Napoleon
and additional publications.
Bontparte's son. By allowing this neutral character to carry the production it was
The society invited you to join with it in the important work of preserving and
possible to focus the viewer's attention on the monument rather than on any of
interpreting our Capitol's history. Membership is open to anyone who is inter-
the multitude of famous people who are buried there. The show in Athens, which
ested; it is not limited just to Washingtonians, or even to Americans. The mini-
had no central theme, was the least effective show. It was good in demonstrating
mum membership fee is $5.00. Other classes of membership are available for those
that sound and light productions are not capable of being historical narratives,
who wish to support-beyond the cost of the benefits they receive-the society's
but are in essence a new form of theatre.
efforts to serve the Capitol and the nation.
The group was impressed by the time limitations which present themselves in
Mr. Chairman, I would like at this point to insert in the record a brief outline
this new art form. The length of the show should probably not exceed thirty-five
of the Historical Soclety's brochure on our Bicentennial programs. This is the
minutes. The one show, Jerusalem, which did exceed this time limit became some-
material we are using to promote our programs. Also I am attaching a copy of
what wearing to two members of the group. As theatre it is important to note that
the Report of Sound and Light Trip, that was made to Europe by our Board of
the placement of the audience area was in an outside court yard and there was
Consultants for Sound and Light to investigate those projects and consult with
a proper distance between audience and monument. In Strasbourg the audience
the producers. I believe this information will be of value to you and to members
was seated within the exquisite Gothic cathedral and a proper space relationship
of your committee.
was established, but in Athens the audience was seated about one and a half miles
REPORT OF SOUND AND LIGHT TRIP
away from the ruins. (This great distance destroyed the necessary relationship
between the monument and the audience. It was generally felt that unless the
To gain as much information as possible about the new theatrical form son
audience could pick up some of the detail of the monument much of the show
et lumière (known as sound and light in the United States) before sponsoring
would be lost.
such a presentation themselves, the United States Capitol Historical Society,
The music, its phasing and its tempo, plays an important part in sound and light
with financial help from General Electric Corporation, sent a three man fact
productions. Great care should therefore be taken in the selection of the com-
finding team to visit productions in Europe and the Middle East in the first week
poser of the musical score to ensure the complete effectiveness of the score.
of October 1971.
It is probably correct to say that as in most theatre, the most important aspect
The team was composed of George White, the Architect of the Capitol; Wil-
of the show is the script, the spoken word. Without doubt, it is here that the
liam Coblenz, the Chairman of the Board of Consultants for Sound and Light of
sound and light show has the greatest chance to impress or offend. It was felt that
the U.S. Capitol Historical Society; and William Maury, the Historian and Edi-
the scripts while generally good were often to bombastic and too chauvinistle.
tor of the Society. In an addendum to this report there is background informa-
More subtlety should be used in the presentation of Our Capitol. Since the core
tion on the three.
of the script is historical it is extremely important to obtain a careful selection of
In tive days of intensive travel the team was able to observe shows in Stras-
historical facts to be used, a balance between good and unfortunate aspects of
hourg, France; Jerusalem, Israel; Athens, Greece and Paris, France. All of these
historical fact must be obtained for history and truth to be served. In his shows
productions were under the technical direction of M. Pierre Arnaud. M. Arnand
Mr. Arnaud often used relatively insignificant historical points to carry the nar-
is recognized as probably the best and certainly the most experienced flgure in
rative of the story. Whether this is the best for us is something that must be dis-
the sound and light field, and the team considered itself very fortunate in having
cussed in some detail before the development of the script for the production of
a chance to converse at length with M. Arnand about all aspects of sound and
Our Capitol.
light. Not committed to M. Arnaud before the trip, it was part of the group's ob-
On a more technical level, the group found that those shows which were given
jective to determine the worthiness of M. Arnaud's productions. In all the sites
in more than one language are presented in different languages at different times.
visited, except Paris, the team was able to make extensive tours around and in
Thus, in the show in Jerusalem there were three performances each night; one in
those areas featured in the productions. The tours of the areas were extremely
English, one in French and one in Hebrew. A member of the Philips production
helpful in giving to the team an understanding of what elements should be in-
team who accompanied the group on the tour noted that it might be possible to
cluded in making up a production. The team also found that a building, such as
have several languages broadcast at one time to several distinct areas. In passing
our Capitol, while it may be impressive even dramatic, when viewed in the light
he noted that the use of headsets to obtain the multilingual show would be disas-
of day appears an entity whose story is to be found in its entirety. Sound and
trous for the effects needed.
light on the other hand can draw the attention to one facet of a building and by
In all of the productions seen Philips equipment was used. The Philips Company
telling its story increase the understanding and appreciation of the building as
claims to have most experience in this type of production However, whether they
a whole.
In two cities, Strasbourg and Jerusalem, the team had the extreme good for-
should, either singly or in conjunction with other companies, be involved in the
time of talking with the leading citizens about the problems encountered in and
production of the show on the Capitol is something to be considered with great
the benefits of making a sound and light show. In talking with Plerre Pflimlin,
care. Mr. White, who has great experience in the electronics field, does not feel
the mayor of Strasbourg, great consideration was given to discussions of what
that Philips equipment is unique as to capabilities. He notes that their equip-
topies should be included in the thirty-two minute show. M. Pflimlin, who is
ment is sophisticated but that there are producers of sophisticated electronics
quite knowledgeable about the history of his city, was quite pleased with the
equipment in the United States. It should be noted too that there is a close affilia-
tion between M. Arnaud and Philips Company. This relationship needs clarifica-
for, the se vices of M. Armand are requested. Another point of concern is
the effect that exposed pieces of equipment have on the appearance of the monu-
We {the people} are the
ment during the day. In all the edifices visited some evidence of the sound and
light show could be seen by the duytime visitor. Every daytime evidence of sound
and light must be eliminated in Our Capitol.
In summary, the central fruth to be derived from the four shows is a re-
U.S. Capitol...
bgions, almost mystical reverence for the substance of history. It was felt by all
members of the team as well as by M. Arnand that of all the modern buildings in
the world none offers better promise for the development of such an emotion than
our Capitol However, to insure that historical truth is not sacrificed to obtain
good drama, the society must obtain the services of an excellent historian and
or writer. The person selected must not only have impeccable scholarly creden-
tials, but must as well have an artistic eye for selection of detail. Extreme cau-
tion should be exercised to insure that the script does not preach. Mayor Teddy
Kolleck's idea of showing the script to the many factions of the city before the
production of the show is a lesson from which we can benefit. The limitation of
time and space must be thoroughly understood. It must also be understood that
the production for the Capitol cannot fit into a mold adapted to European shows.
Our Capitol is a living monument, not ruin of the past or a mausoleum for time
honored heroes. Consideration of this difference must play a critical part in the
development of this production. In addition it should be noted that because the
history of the Capitel is S0 relatively short there exist on file and record the
images and voices of the people who made history there. Whether advantage can
be taken of these should be left to the discretion of the producer of Our Capitol.
In all the shows seen M. Arnaud maintained the inherent dignity of the edifice
featured in his production. It is for this reason that the group as a whole felt
that M. Arnaud and his company should be involved in our production. To what
extént M. Arnaud's involvement exists is a point that deserves a great deal of
thought and deliberation. Prior to any commitment a feasibility study as to costs,
protection of scenery and crowd control aspects should be initiated and com-
pleted. In meeting costs it is important to note that the productions seen on the
trip varied mightily as to country and age. Because of this M. Arnaud's partner
noted that an effective comparison of costs between the shows viewed and the
show at the Capitol is of little value. Other investigations in this area have shown
that the productions in the United States are not comparative because they are too
old. too small or because they grew by accretion. To insure the effective completion
2008110
of this task a small group of knowledgeable, talented and responsible people,
serving under an effective chairman, should be formed to coordinate all activities.
It must be that our production, the script, the music and the lighting maintain
the dignity of the Capitol. And while it is impossible to compress the history of
the Capitol into n thirty minute show it must be that at all times history is
served by the production. It might be wise, even at this early date, to consider
scripting future shows that could develop aspects of the Capitol not fully explored
in the first production.
After returning from the trip Messrs. White, Coblenz and Maury were able to
hear the tape of the sound and light production done by Mr. Dan Klugherz for
Independence Hall in Philadelphia, This production, "A Nation Is Born," has
been moderately successful. However, it was felt that the production was not up
to the caliber of those by M. Arnand. Fault was found in the length, some fifty-
two uninutes in the narrative style, it was an attempt at a history lesson, a chron-
ology and in the music, too much use of "Yankee Doodle." It was felt that these
failings lend to n script of poor dramatic qualities, there was no central theme to
rivet the attention and the history was more or less what could be read in any
righth grade text. Finally the script included many events with full sound effects
which occurred quite far away from the building.
A reading of Benjamin Greeberg's proposed script "The Building of America"
showed many of the same faults that the Klugherz tapes had. The major fault
of both is their tendency to make the show a historical narrative.
Be ing aware of the pitfalls should enable the producers of Our Capitol to avoid
them. And, as Capitol Architect White summed up, "Provided that it is accomp-
Hshed with the highest possible levels of quality, competence and integrity, I am
persuaded that this medium offers a fantastic opportunity to build and enhance
the sphit of democracy in the hearts of the millions of people who will have an
opportunity to witness the presentation."
Historical Society
grand concept lald out by Pierre l'Enfant; the emergence of the Capitol Building from
modest beginnings to its present grandeur; Washington as a place to live; the Capitol as the
heart of our national life. Great care is being taken to make the film historically accurate and
to convey the magnificence, the vitality, and dominating influence of our Nation's Capital, This
film will be shown at the Visitors' Center being constructed at Washington, D.C.'s Union
Station, and will be made available for showing on national television, and at schools and
selected theaters across the country. USCHS believes the film will have a strong impact in
U.S.C.H.S.
helping people comprehend the meaning, the values, and the achievements of our country as
symbolized and conveyed by the U.S. Capitol.
Without us, the citizens of the United States, the U.S. Capitol Historical Society would not exist.
Without USCHS, many important contributions to the understanding of our national heritage
would not have been made. Since 1962, USCHS, a private, non-profit organization, has
"SONETLUMIÈRE"
encouraged an understanding and appreciation of the founding, growth, and significance of
the Capitol Building of the United States as the tangible symbol of our representative form
"Son et Lumiere", our second Bicentennial project, must be seen to be fully understood. This
of government.
part of USCHS' contribution to the 1976 Bicentennial is important and unique. The "Son et
Lumiere" production will be staged on the East Front of the Capitol Building. It will become a
local point in the Bicentennial, immersing the viewer's imagination in the developmént of the
In its ten-year history, the Society has undertaken research into the history of the Congress
Capitol from the time the first stone was laid to today. "Son et Lumière" involves a dramatic
and the Capitol. and promoted discussion, publication, and dissemination of the results of
interplay of light, music, narrative, and sound effects-without the use of live actors. The
that research. USCHS has fostered an informed patriotism through studying the Capitol as a
production is based on a foundation of thorough historical research and when projected onto
living memorial to the founders of our nation, and as a promise to generations of Americans
the imposing facade of the Capitol's East Front, will recreate the evolution of American his-
to come. The President of the Society is The Honorable Fred Schwengel, and the Board of
tory. This production will be a kind of landmark for America, since very few of these produc-
Trustees includes many senators, representatives, and other governmental leaders-the
tions have been presented outside Europe. A more impressive and beautiful contribution to our
membership is made up of us, the citizens of the United States.
Nation's Bicentennial could not be desired.
The responsibilities assumed by USCHS to educate and inform the public of their history may
PUBLICATIONS
seem quite ambitious in a world in which confusion of identity and lack of credibility in estab-
lished systems holds sway. But, in ten years, USCHS has made deep inroads toward the fulfill-
Through endeavors to provide the citizens of the United States with such educational tools as
ment of those responsibilities. It has become unique among historical societies, both in its
publications on the history and workings of our government the Society is fulfilling its aims.
operation and in its efforts to serve the amateur historian, the professional scholar, and the
Among our publication are: the best-selling history of the Capitol, We. the People (available
general public. The USCHS is a dynamic organization with an impressive record of accomplish-
in five foreign languages in addition to English), an extensive bibliography of the Capitol, a
ments, and a vigorous program for future development. Presenting history in a way that will
semi-annual journal, Capitol Studies, and a newsletter, The Capitol Dome, which is received
appeal to all the people of our great nation has long been a goal of the Society. It treats the
by USCHS members. In addition to the "more adult" publications provided by our Society, we
entire spectrum of American history, made in the Capitol by the Congress, from 1800
also publish Our Nation's Capital Coloring Book. This book enables our youngsters to learn
to today.
something of the major monuments and government buildings in Washington, D.C., while en-
joying themselves.
BICENTENNIAL PLANS
ACCOMPLISHMENTS
As members of the U.S. Capitol Historical Society, we (the people) will contribute greatly to
America's Bicentennial Celebration in 1976. Although 1976 seems far in the future, it is now
Some of the many important accomplishments that we (the people, as members of the U.S.
that we must begin our preparation for that momentous occasion. Two major projects are in
Capitol Historical Society) have achieved are the donation of various historic memorabilia to
the offing as our contribution.
the Capitol. The most substantial of these is the $90,000 that we donated to the Capitol
pay for the mural being done in the House Wing. The mural depicts the various buildings which
have served as meeting places for Congress in the course of our history. By obtaining the best
FILM
muralist in America today, Mr. Allyn Cox of New York, we ensured that the work done in the
House Wing compares to that done by Constantino Brumidi in the Senate Wing over a century
The first is a half-hour film portraying Washington as the hub of the United States, and the
ago. The artisan, who in our 200-year history helped make America great, is not dead; and
Capitol Building as the forum of the nation. The film will show: the city as it exists today; the
USCHS has been able to provide testimony to that through the efforts of Mr. Cox.
19
THEFUTURE
And Congressman Pickle's statement, as a member of the board,
summarizes very well what this bill is. So it is needless, really, for me
in addition to the Society's hope to expand such on-going projects as Capitol Studies, we also
to comment on that: And the statements by Gerald Ford and Mr.
expect to become involved in updating and enlarging The Biographical Directory of the
American Congre establishing an oral history program, preparing a comprehensive study on
O'Neill are very adequate in explanation of the meaning of this bill,
the organ and development of the Office of the Speakership, a children's book on the Capitol,
so I do not think we need to go into that.
of him series on great events which have occurred in the Capitol, and a series of pamphlets on
In my statement I deal generally with the U.S. Capitol historical
historic sites and events in each of our United States. All of what the Society, and we (its
program that I think the committee ought to know about SO you can
members) have achieved, and hope to achieve, is with a view to bringing our government, its
have a 'feel of our overall plan to help people who visit this area better
history, and the meaning of freedom closer to the people of our great country.
understand their history and heritage.
See you in '76!
I say very often to young people when they come here to visit, and
occasionally take them on a tour of the Capitol, that more has hap-
pened here in the shadow of the dome of their Capitol to bring about
Bred Schwengel
the biblical promise of the more abundant life to our people than has
happened anywhere else in all of time!
The unfortunate thing is that not enough Americans understand
and appreciate this, so our purpose is to do something about that with
United States Capitol Historical Society
our program to enhance the study of history that has been made here
200 Maryland Avenue, N.E.
and published in books and stories and biographies of the Congress-
Washington, D.C. 20515
(202) 543-8919
men, and in historical programs that we have planned. Underway is
the creation and production of a moving picture for visitors com-
parable to the one you would see at Williamsburg, for people to see
before they go on the tour of the Capitol, and then the sound and light
The Honorable Fred Schwengel, President: The Honorable Marguerite Stitt Church, Carl Hav-
is the third part of our great program and great challenge.
erlin, Melvin M. Payme, Senator Hubert H. Humphrey, Walter Rundell, Jr., Vice Presidents;
All of this is explained in the remarks I have submitted so I just
Victor M. Birely, Treasurer: Lillian R. Kessel, Secretary.
think I will yield at this point after I tell you that we plan that this
ACTIVE TRUSTEES
show will be presented and shown, without cost, to the visitors to
Washington.
Lonnelle Aikman, Mrs. Robert tow Bacon, Amnon Barness, Ralph E. Becker, James Biddle,
Hon. Frances P. Bolton, Mano L Campioli, Josephine Cobb, John Crane, Leslie Dunlap, Robert
In every place in Europe where we have seen the show, they charge
G. Dunphy, Arthur S. Hemming, Constance McLaughlin Green, Arthur B. Hanson, Senator
the public to see it. It has not really been our American tradition to
Mark O. Hatheld, John A. Jackson, Oliver Jensen, Hon, B. Everett Jordan, James Ketchum,
charge for things like this, SO we envision a plan whereby we raise
Senator Charles McC Mathias. Jr., Gerald B. McDermott, Gene McGreevy, Ralph Newman,
sufficient funds that will make it possible for us to pay the expenses
Rep. Jerry L. Pettis, Rep. 11. Pickle, Harld T. Pinkett, Dorothy W.S. Ragan, Rep. Robert G.
Stephens, H., Clement M. Silverstro, Frank van der Linden, George M. White,
of nightly showing without cost to American citizens and foreigners
Hon. Ralph Yarborough.
through appropriate funds who may come here who see the show.
Also, we will follow the pattern of the society in using the very best
HONORARY TRUSTEES
talent available in the creation. We have created a board of consultants
Richard M. Nixon, Spiro T. Agnew.
of very competent American people in various areas that have experi-
ence and knowledge and understanding and appreciate the problem,
Speaker Carl Albert, Chief Justice Warren E. Burger, Hon. Earl Warren, Senator Mike Mans-
and can make a contribution.
field. Senator Hugh Scott, Rep. Gerald R. Ford, Rep. Wayne L. Hays, Mrs. Helen Duprey Bul-
lock, Thomas Cochran, Heinz Eulau, Richard C. Frank, Gordon Gray, L. Qunicy Mumford,
The present board of consultants for the U.S. Capitol Historical
James O'Gorman, James B. Rhoads, S. Dillon Ripley, Homer Rosenberger, Barbara Tuchman,
Society are:
Ronald Walker, Alexander 1. Wall.
Russell Dickenson, Regional Director, National Capital Parks, In-
terior Department; Paul Perrot of the Smithsonian Institution; John
Mr. SCHWENGEL. Mr. Chairman, I ask unanimous consent to revise
Stokes, contractor from San Marcos, Tex.; Dr. Letitia Brown, his-
and extend my remarks and speak off the cuff, so to speak, briefly, and
torian at George Washington University; Senator Mark Hatfield of
allow me more time for further discussion that may come in colloquy
Oregon; Congressman Henry Reuss of Wisconsin; Fred Schwengel,
or questions that may accur to you members of this committee.
president, U.S. Capitol Historical Society; George White, Architect
Mr. Chairman, first let me remind my colleagues that the idea for
of Capitol; and Bill Maury, chief historian, U.S. Capitol Historical
"son et lumière" or sound and light, as it is known in America, was
Society.
first suggested by Congressman Henry Reuss of Wisconsin about 10
Others will be added later. And we will be consulting closely with
years ago.
them and will counsel with the people who we finally decide will
produce the show. Now I want to introduce one of the great men of
the Capitol area and yield to him. His selection as Architect is one of
21
the best things that has happened to the Capitol for a long time.
Because the substance of a sound and light show is not simply a dry
George White graciously agreed to serve on the committee, on the
history lesson, but rather a mood-creating art form, it seemed that we
board, and he also agreed to take a trip to Europe along with Mr.
would be able, through the use of this medium, to create a mood of
Maury on my left, and Mr. Coblenz, to find out about this new great
enjoyment and appreciation, not for our national history alone, but
art form in Europe, and to consult with and learn from the producer
for the fundamentals themselves that have enabled this Nation to
and from people who have now had an opportunity to see this great
grow and prosper.
new art form.
We became convinced that the history of the country and its early
And SO I think Mr. George White may have something very worth-
founding, as well as its most important achievements, could be told
while to tell us.
with music in a composition like that of early radio programs by
So I yield to him at this time for this purpose.
which the listener envisioned the story without actually being able
Mr. GRAY. Mr. White, we are always delighted to have you before
to see the dramatic presentation.
the committee, and it's also refreshing-casting no aspersions on any
We concluded that, properly done with the advice and counsel of
predecessors-to see an Architect of the Capitol, because great things
historians and dramatic advisers, as well as musicians, the program
have happened during your tenure. 111 ПА
could be prepared at the highest levels of artistic achievement and
Mr. WHITE. Thank you, Mr. Chairman.
thus yield a truly desirable result.
When Congressman Schwengel first came to me and broached the
Technically, it would mean some changes to the building and
subject of instituting a sound and light show using the Capitol as a
grounds necessary to accomplish the sound and light features. It was
subject, I was extremely reticent, largely because I was unfamiliar
my statement to Congressman Schwengel that any lighting that would
with the concept itself. I explained to the Congressman that I had
be installed, any seating that was necessary, or any control room and
never witnessed a sound and light show and that I would be unable
electrical apparatus that would be required, would have to be
to make an intelligent response until such time as I had achieved
installed in such a way as to be completely concealed, especially in
greater familiarity with it.
the daytime, so that the appearance of the Capitol to the tourists dur-
I said, also, that it would be my position under any circumstances
ing the day was not altered in any way.
that we ought not to do anything that would in any way diminish the
This requirement may involve such things as disappearing lights,
aura of dignity which surrounds the U.S. Capitol. I said that because
perhaps on telescoping poles, bleachers that would be collapsible and
the Capitol is a symbol of freedom and is referred to as the Temple of
disappearing, or else assembled for each performance. These and other
Liberty, we certainly would not want to do anything that would pur-
technical features would have to be very carefully considered, but in
port to be dignified entertainment or a diversion for visitors and tour-
my opinion, the possible results nevertheless make it worthwhile to
ists, but would actually result in a carnival atmosphere. Congressman
examine the proposal in detail.
Schwengel, of course, assured me that this would not be the case.
With 1976 almost upon us, and with the millions of citizens that
We had further discussions with regard to the nature of a sound
will come to Washington to see the Capitol, I feel that it would offer
and light performance. It began to appear that the possibility of
a great opportunity to provide an attractive and desirable experience,
achieving an appropriate result was present, but that, without seeing
and at the same time to help enhance the feelings of pride in, and ap-
such a result in other instances, it would be difficult to make a respon-
preciation of, the history of our country.
sible judgment.
In the light of all these considerations, Mr. Chairman, I want to
Sometime thereafter, in about October 1971, the Capitol Historical
offer my support for this bill which will enable a detailed feasibility
Society, in order to make a studied investigation, sent two representa-
study to be made at the expense of the U.S. Capitol Historical Society.
tives from its organization, including a member of its board of direc-
At the completion of the study, the Congress then would be able to
tors, and myself on a short tour of several installations in Europe that
consider the detail of the proposal and to decide whether it merits ap-
were said to be at the highest levels of quality. The tour would, there-
proval for further implementation.
fore, enable us to decide whether or not it would be an appropriate
Thank you for the opportunity to comment, and I shall be happy to
device for us to use at the Capitol.
furnish whatever other information I have that the committee may
We visited a performance at the Invalides in Paris, the Cathedral in
deem desirable.
Strasbourg, the Acropolis in Athens, and the Tower of David in
Thank you.
Jerusaiem.
Mr. GRAY. Thank you, Mr. White.
We were each very favorably impressed with the presentations and
I have two or three quick questions.
hence with the possibilities for the Capitol, Further, speaking for
We have a rollcall on the House floor on a conference report on
myself, I felt that the possibilities were even greater than I had
Labor, HEW, so we will have to take a short recess and come back,
originally thought possible.
and hopefully go into executive session and report out this resolution
The performance in the Strasbourg Cathedral, for example, was
this afternoon, if we possibly can, but I am sure there is some basic
virtually a religious experience.
question, such as do you have any estimate of the cost, one
22
23
Mr. White. Yes, a very broad estimate, Mr. Chairman, because
succeed because we have fine cooperation of every Member of the Con-
until the feasibility study is completed it cannot be decided, but we
gress in what we do.
are probably talking in the nature of $2 to million for the cost of
We have turned back in the neighborhood of $300,000 toward the
installation.
history of the Capitol, the art work going on the walls in the hallway
Mr. GRAY. The reason I bring that up, and it is no secret, when you
leading to the restaurant, and this was approved by the House Admin-
bring a resolution like this on the floor, you have those questions. It is
istration Committee, and accepted, and it is going without any cost at
all voluntary money, and we wind up as we did with the George Wash-
all to the public. We have donated $90,000 for this.
ington Monument, which laid dormant for 60 years before completion.
Mr. GRAY. We salute you for that work, and I am merely asking the
I want to put on the record very precisely and concisely figures that
question for the record, and quite obviously for some of the skeptics.
it would possibly be-the parameters of cost, first, and second, for the
Mr. SCHWENGEL. And we have been in touch with some of the most
record, and I am wondering personally if the taxpayers ought to do
capable people and some of the most lucrative resources, and we have
this, because this is capital, and I assume all of you are going to go
been encouraged.
out to try to raise the money.
We believe the answer to that question is, "Yes, we can raise the
I want to make it very clear we ought to either say we are going to
money." We have some most important people in the United States
go with all volunteer contributions, or may have to at some later time
alerted to this, especially the communication field, and they are giving
come in and supplement it with Federal funds.
us encouragement, and I am looking hopefully to the future on this
This is why I think we need to state somewhere along the line what
question: I think it is a good point which ought to be understood that
we think the maximum cost will be,
there is neither authorization asked for in this bill nor appropriated
And, too, do we think, and I can address this to Mr. Schwengel of
funds contemplated.
the society-do we think this is within the capability of raising the
Mr. GRAY. We have about 7 minutes to get over to the floor.
capital without going into Federal appropriations?
I want to ask a couple of quick questions, and we will recess.
So you are saying around $2 to $3 million?
How long would you envision this performance?
Mr. WHITE. That is the way it looks at the moment. It could be
Mr. SCHWENGEL. Well, it also depends somewhat, I would say, but
more.
not more than 40 minutes. Mr. White spoke of the Invalides in Paris,
Mr. GRAY. Mr. Schwengel, do you feel this is within the capabilities
and I just saw that recently
of being raised-raising it with private donations?
Mr. GRAY. Thirty or forty minutes in time?
Mr. PICKLE. The question is, I would think, what I gather it might
Mr. SCHWENGEL. Between 30 and 40 minutes, I think it was, and
be in excess of $3 million, coming near $4 million, or even $5 million.
they do the show three times a night.
Mr. GRAY. Do you think that is within the capabilities of donations?
Mr. GRAY. Taking into account inclement weather, how many months
Mr. PICKLE. I am the lay person, and I would certainly accede to
of the year would you envision this?
these estimates, but these things usually go a little more
Mr. SCHWENGEL. We envision 7 to 8 months.
Mr. GRAY. You gentlemen know me very well, and know I feel
Mr. GRAY. Seven to eight months.
very strongly about this type of program being the author of the
Mr. SCHWENGEL. Certainly every night that the band is not there,
visitor center and the civic center, and several other things, and I
and incidentally, we plan not to interfere with the band. We would
again think it is a great idea, and I support it 100 percent, and I
want to use the band as an introduction of the proposed sound and
think that the people ought to take pride in their Capitol, and learn
light program. This would be an asset that no other sound and light
all they can about it through light and sound, and I am merely trying
program has.
to put down for the record, for those that will follow this when it
Mr. GRAY. Very good.
gets on the floor, as to what our real intentions are.
We do have to go to the House floor for the rollcall of the Com-
Do we really intend to authorize this for private solicitation, and if
mittee on Labor, HEW, and we will have to recess.
we do, do you gentlemen who have been active and interested in this
Mr. SCHWENGEL. Mr. Chairman, I would like to have the committee
really feel it is well within our capability of raising such funds.
hear the summary of Mr. Maury, who has one of the finest statements
Mr. PICKLE. I will let Mr. Schwengel speak to that, because we
on the description of this project.
have raised some $300,000 for preliminary studies in getting ready for
Mr. GRAY. He will be first when we come back in 10 minutes.
this.
[Short recess.]
Mr. GRAY. Mr. Schwengel, would you, for the record. care to com-
Mr. GRAY. The subcommittee will please come to order.
ment. ns I am sure you understand why I am asking this question.
Off the record.
Mr. SCHWENGEL I think it is a very good question, and I am glad
[Discussion off the record.]
you raised the question, because it will give me an opportunity to point
Mr. GRAY. Back on the record.
out and tell how much the Capitol Historical Society has given. We
Mr. Maury, we are delighted to see you before the committee, and
do not have any tax money for our support, and we are only able to
you may proceed in your own fashion.
24
25
Mr. MAURY. Thank you, Mr. Chairman.
It is not just history. It does not try to simplify history because, as
The Historical Society, and particularly the history department,
we all know, it is impossible to truthfully do that. Instead, it tries to
that department which I am involved in, is primarily devoted toward
capsulize and give a flow-a narrative to history that makes it possi-
scholarship. As a result, we have done quite a lot of work in this area
ble to understand and put things in a relationship that is more easily
that is discussed in my statement. One of our major projects is oral
comprehended.
history which will hopefully redress the imbalance that we feel exists
So, for this reason, and because of the need of explaining what the
SO that Congressmen and Congresswomen may get the same amount
Capitol Building is, what our history is, and how the Capitol fits into
of attention devoted to them as State political figures, but we do not
American history, all of us feel that sound and light will be a great
feel that scholarship is the only way to explain history.
benefit.
In fact, we feel the people of the United States will suffer if they
We also note that at this point Washington has no major bicenten-
do not know what their history is, and as a result of that our "We the
nial program underway, and it is our very firm belief that sound and
People" has sold more than 3 million copies. And, though it is popular
light would be the best bicentennial presentation that would be in the
history, it has been praised by scholars, because it, tells a true story, a
Nation's Capitol.
humane story, not a story that makes demagogs or, makes paragons
Mr. GRAY. I know that the Capitol is the largest visitation center in
of virtue of every important person in our past.
the city of Washington. Last year we had 71/2 million visitors, and
As Mr. Schwengel noted, this is the same idea that we are trying
certainly for the bicentennial that would be elevated even more so, so
to convey in our film dealing with Washington that will be shown
I agree with your views implicitly.
to numerous visitors at the Visitors Center. But of all the programs
I have a couple of questions. I am not trying to shorten, but I would
that are designed to excite the interest and inform, son et lumière or
want to ask you some questions.
sound and light, as it is known in America, is the most important.
Mr. SCHWENGEL. Mr. Chairman, I think to a general extent he has
It is very difficult to describe sound and light to someone who has
spoken off the cuff. I offer his prepared statement for the record.
never seen it.
Mr. GRAY. Without objection, the entire statement will be appear
It is a new, dramatic technique, a new art form. First, sound and
in the record at this point.
light uses the magic of night to help create a series of illusions. The
[The statement referred to follows:]
audience is arranged in the dark some distance, at least 100 yards from.
the front of the buildings. As lights of different colors and different
STATEMENT OF WILLIAM MAURY, CHIEF HISTORIAN, U.S. CAPITOL HISTORICAL
SOCIETY
strength are played on the edifice, a narrative and music are focused
on the crowd.
My name is William Maury. I am the chief historian of the U.S. Capitol His-
The loudspeakers are placed in such a way as to give complete
torical Society, and I am testifying in behalf of House Joint Resolution 736. As
historian it is my job to work to develop programs that fulfill the Society's goal
stereophonic effect.
of encouraging an understanding of the Capitol and of undertaking research into
In some ways sound and light uses the imagination, just as the old
the history of the Capitol and Congress. In the past, we of the Society have sought
radio shows did, but sound and light uses the magic of the night and
to achieve these ends in a number of ways. Because of the scope of our subject and
the advanced technology of lighting to heighten the imagination. It
the size of our potential audience, we have sought to develop some programs that
would appeal to scholars and others that would be for the general public.
tells the story of the building, and the people who acted out their lives
For scholars we have developed an extensive bibliography of the Capitol. This
in the building in a way that radio could not.
bibliography, published last spring, is an invaluable tool to students doing research
It does not ruin one's image of a man by showing an actor who is
on this most important building. It has about 2,300 separate entries, and is the
totally different from what one's own view of the man was but in-
only book of its kind now available for students of the Capitol. For those inter-
stead heightens one's imagination so that one understands the man
ested in the Congress, the Society has begun a journal, Capitol Studies, which
carries articles devoted strictly to the Capitol and Congress. Capitol Studies has
of the past better than one ever thought possible.
received excellent reviews. Reviewers often note the fact that because this journal
In a sense, sound and light is a time machine that takes the audience
publishes excellent articles from an historical and political science point of view,
through the past. The lights on the building can give the illusion of
it is unique and important. We in the Society feel that the Congress as an institu-
a partially completed structure-a fire, a ruin, a time of celebration.
tion has not been effectively studied. The gaps in knowledge about our national
legislature means that the American people cannot fully understand how and
When the show is finished, and the audience is suddenly back in the
more importantly, why things are done as they are. Because each individual
present, the feeling of having been in the past is obvious.
Congressman is only 1 out of 435, he is quite often lost in the shuffle, SO to speak,
I speak of sound and light from the experience of having seen four
and his actions are forgotten while governors and state speakers of the house are
such shows during a European tour with Mr. White and Mr. Coblenz
thoroughly investigated. We feel this misplaced emphasis must be corrected. In
the same vein we feel that the thoughts and comments of individual congress.
to sound and light sites there. As a result of the trip, Mr. White,
men-thoughts that carry extreme weight in the development of the legislation
who was really quite doubtful about the validity, both in historical
by which this country lives, are often forgotten when a legislator passes from
sense and in n dramatic sense, came away tremendously impressed, as
the scene. We are, therefore, developing an oral history program.
did we all, that if properly done, with properly written scripts, son et
Oral history is a new field, it utilizes the recent technology of volce recording
to preserve thoughts that in years gone by would have been written in diaries
lumière is a valuable thing.
and letters. The press of business and the telephone have dried up these
CO
be sq explained that all Americans can understand their meaning 18 something to
important research wells. Our oral history program, which is just heginning,
be sought in these troubled times.
will deal with such things as the importance of committee work and the way
Because of these points, I believe that the Congress should report favorably on
Congress and the other branches of the government coordinate. This Public
House Joint Resolution 736. The feasibility study that this Resolution recom-
Works Committee. for example, is a perfect subject for research. The fact that
mends IN an essential first step to the realization of a sound and light show before
the face of America and the way of American life have been altered by this
the bicentennial celebration. The fact is, that at this point very little of real
committee's work on the development of roads is a story that all Americans
value has been done for the bicentennial. We feel that sound and light would be
should know. Future historians studying this period of our national life would
a major, probably the major bicentennial activity in our nation's Capital. But
gain invaluable insights by reading the transcripts of in-depth interviews of
work must begin now. The feasibility study called for in the Resolution will take
members of this committee.
seven to nine months to complete. The feasibility study, better called a project
Thus in the field of historical scholarship our Society is deeply involved. But
study, will describe all aspects of the work necessary to install a sound and light
history is not only for the historian, it is for all the people, and unless all the
on the east front of the Capitol. Once completed, conferences between the leaders
people can be offered history that will be both truthful and interesting, our
of Congress, the Architect, the Society, and the producers of the show will take
Society, our nation will suffer. And this is what we-are here to testify about
at least another month. These conferences are necessary to insure that all parties
today. The U.S. Capitol Historical Society knows the need of history for all the
are completely satisfied with the production. It should be noted that the Society,
people. Our We, the People has sold more than's million copies. And, though it
in seeking to gain the fullest possible. perspective has developed a prestigious
is "popular history" it has been praised by scholars because tells a true
board of advisors. From an historian viewpoint, probably the most important
story-a human story not a story that makes demi-gods or makes paragons of
member of the board is Dr. Letitia Brown, one of the country's leading historians
virtue of every important person in our past. The same intense concentratio ont
and an expert on the city of Washington, particularly the history of blacks in the
truthfulness and interest is part and parcel of the film about the city of Washing-
city. Since actual Installation will take at least one year. the total time needed
ton that we are making. This film, which has taken almost two years to make is
from start to finish is two years. As it is late in 1973 now, the need for haste is
being produced for us by the country's foremost documentarist Francis Thompson.
apparent. It is the hope of the U.S. Capitol Historical Society that your commit-
It will cost over $350,000 to produce and the research and care that has gone
tee will quickly and favorably report House Joint Resolution 736.
into making it puts it far above any other movies of its type ever made.
or all our programs designed to excite the interest and inform, Son ct Lumière
Mr. GRAY. Mr. Maury, I want to ask you, since you did make the trip
(sound and light as it is known in America) is the most important. It is very
to Europe, and have followed this with our distinguished former col-
difficult to describe sound and light to someone who has never seen it. It is new
league, Mr. Schwengel, and Architect White, I think you put it in the
dramatic technique, a new art form. First, sound and light uses the magic of
precise language here when you say that any lighting that would be
night to help create a series of illusions. The audience is arranged in the dark
some distance (at least 100 yds.) from the front of the building. As lights of
installed, any seating that was necessary, or any control room and elec-
different colors and different strength are played on the edifice a narrative and
trical apparatus that would be required would have to be installed in
music are focused on the crowd. The loud speakers are placed in such a way
such a way as to be completely concealed, especially in the daytime, SO
as to give 11 complete stereophonic effect. In some ways sound and light uses
that the appearance of the Capitol to the tourists during the day was
the imagination just as the old radio shows did, but sound and light using the
not altered in any way.
magie of the night and the advanced technology of lighting heightens the imagi-
nation. It tells the story of IL building and the people who acted out their lives
This requirement may involve such things as disappearing lights,
in the building, in n way that a radio could not. It does not ruin one's image of
perhaps telescoping poles, bleachers that would be collapsible and dis-
a man by showing an netor who is totally different from what one's own view of
appearing, or else assembled for each performance.
the mun was, but instead, heightens one's imagination SO that one understands:
The reason I wanted to ask the question at this point, what are they
the man of the past better than one ever thought possible. In a sense sound and
light is a time machine that takes the audience through the past, The lights on
using in Europe that you visited?
the building can give the illusion of a partially completed structure-a fire, a
Are they using, might I sáy, a permanent type seating arrangement,
ruin, a time of celebration. When the show is finished and the audience is sud-
or are they using equipment that would be probably different from
denly back in the present, the feeling of having been in the past is obvious. I
our needs since they may not be concerned in some places about
speak of sound and light from the experience of having seen four such shows:
esthetics?
auring n European tour. The tour, in the fall of 1971, was taken with the sole:
purpose of determining the fensibility of sound and light for the U.S. Capitol.
What did you find in your visit?
I feel extremely fortunate to have been able to accompany the late William A.
Mr. MAURY. They are using things that are different. There is no
Coblenz, former head of the Legislative Reference Service at the Library of
question of that.
Congress and n man with a brilliant and innovative mind and George M. White,
In some cases, the audience stands.
the present Architect of the Capitol, a man whose awards and attainments are
truly impressive. The feelings that I gained about the potentialities of sound
Since we would have so many people, that would be totally un-
and light were fully shared with both of my traveling companions.
feasible. But in the case of Strasbourg, which was certainly one of
We were able to observe the sites of each installment in the daylight hours
the best programs that we attended, the audience sat in the pews there
to be certain that the large amount of equipment and wiring necessary for sound
in the church.
and Hght in no way diminished the daylight appearance of the edifice. I will leave.
to someone far more practiced in electrical engineering and architecture to say
So it is very difficult to try to make some relationship with that.
Pow the various components could be hid, but as an historian and an admirer of
Strasbourg was also important in that almost all of the visual
historic buildings, I can say that I feel sound and light represents the very best
aspects of the show were hidden. The wires were under the stones,
there is in popular history. The well-done show always have scripts that the most
and the lights were carefully hidden so that daytime visitors could
meticulous historian could not fault and the interest in history that sound and
not tell that a show was to be held in the evening.
light arouses in the audience is most gratifving. Sound and light cannot simplify
history, because as you all know, to simplify history is to give bad history. But
In Jerusalem and Athens the seating-wrrangements remained sta-
sound and light can capsulize history, it can present it in n dramatic way and
tionary. At the Invalides, in Paris, there were no senting arrange-
give it a narrative flow. For the Capitol and the Congress of the United States to
ments, The audience stood within the courtyard.
Mr. GRAY. Have you come to any conclusion-I realize much of this
Mr. GRAY. Right. I think it is very exciting and, as I sny, I want
will be undertaken in the study, but have you come to any conclu-
to subscribe to everything said here today. And I think wo should
sion as to whether seating should be provided or would performances
move forward with it, and certainly we will do everything we can
of a standup nature be preferable?
as n committee to help this project along.
Mr. MAURY. I think seating is necessary. Without it there would be
Mr. SCHWENGEL. I want to thank the committee for spending the
much moving and jostling. At the Invalides, with only six or eight
time that you have given us.
people present, this was so. In our show with over one hundred times
Mr. GRAY. Thank you. The subcommittee will proceed with other
the number of people present, the difficulties would be greatly ampli-
business.
fied.
[Whereupon, the subcommittee proceeded on to other business.]
You have to see the proper lighting. If you do not see it, then you
miss something that is very important.
So seating keeps people stationary which is important.
Mr. GRAY. This would require some blocking of traffic would it not,
in the plaza area on the east front of the Capitol?
Mr. MAURY. I would imagine so. I would not imagine we would
have any traffic.
It would be like the band concerts, for example, where there is no
traffic in the plaza area.
Mr. GRAY. Of course, I think this would draw more people than
the band concerts.
Is any seating envisioned in those cost figures at all, or is this just
the light and sound equipment that you are talking about?
Mr. SCHWENGEL. Yes, Mr. Chairman.
If I may, this envisions some kind of seating arrangement. Of
course, until we have the feasibility study, we will not know for sure.
There is a suggestion of some kind of permanent seating arrange-
ment that would hide away in the ground, come up with hydraulic
jacks during the night that would be very desirable, and desirable for
another reason, that is, they would be there for the inauguration
where we spend thousands of dollars now to make seats. And those
would be available for that.
So it would serve more than just the purpose of the sound and light
program.
The other suggestion we have so far is that every night, tractors
would haul in so many bleachers that would unfold.
Mr. GRAY. Of course. that can be rather expensive. We increased
the capacity of RFK Stadium, and those are bleacher type seats that
are removable. And they gave us an estimate of $40,000 each time they
put them in and take them out.
Of course, I realize it is more permanent.
It is 8,000 seats, although they are removable-they are moved from
a permanent seating arrangement because they are put in for the
entire, let us say, the football season, and removed for the baseball
season.
But the point T am getting at, I do know that it could involve a
considerable amount of custodial expenses.
Mr. SCHWENGEL. We are very aware of that.
The reason we need the feasibility study, or we call it the "project"
study--we prefer to call it that because we think this program is
feasible. So we think it should be entitled "project."
And until that "project" study is completed, we have professionals
giving us the estimates, so we do not know.
Our Capitol: Freedom Speaks
BERRED
AMERIT
"Whenever a People or an
Institution Forgets Its
Early Hard Beginnings,
It is Beginning to Decay."
Carl Sandburg
Our Capitol-symbol of the
United States of America for
citizen and visitor alike-will be
the focal point of our 1976
Bicentennial celebration.
For here, at our nation's home,
our proud history will be told as
never before, in
Our Capitol: Freedom Speaks
the magnificent, permanent
nightly pageant of music,
narration and moving
illumination being planned now
as a lasting gift to the United
States and posterity from private
donations through the United
States Capitol Historical Society.
Statue of Freedom was sculpted in bronze
by Thomas Crawford and erected above
the Dome in 1863.
© 1974 Four By Five, Inc., New York, N.Y. (cover photo). Manuscript Division, Library of Congress (opposite). Office of the Architect of the Capitol
National Capital Parks, Jack Rottier
Our Capitol: Freedom Speaks
OUR CAPITOL: FREEDOM SPEAKS will be
will be staged in Sound and Light (Son et Lumiere)-the
overwhelming in effect., the most elaborate
Sound and Light in the world:
exciting new art form which has proven so successful at
Imagine, if you will, night time in
great monuments of Europe and the Middle East.
Washington.
Sound and Light evokes major events of history on the
The audience has been assembling since dusk
actual sites where they took place, by playing-not on
in the warm summer air. In seats facing the
stage-but on the environment and using the
darkened East Front of the Capitol, they
imagination of the viewer. Against the magic of a night
wait...
time sky, a combination of specially cued lights, sound
A voice speaks, the voice of Freedom,
effects, recorded voices and symphonic music tells the
standing strong on the foundations laid by
our forefathers. Freedom takes us back...back
story of the Capitol and the men who built it in an
to the laying of the Capitol cornerstone in
extraordinary spectacle of inspiration and beauty.
1793 by George Washington. From silence
into stirring sound, from darkness into
OUR CAPITOL: FREEDOM SPEAKS is being planned
brilliantly designed lights, the dramatized
by the same international talents who brought "Son et
story of the Capitol itself unfolds.
Lumiere" to the Acropolis in Athens The Tower of
Electronically sophisticated high-fidelity
David in Jerusalem Persepolis in Iran Les Invalides in
stereophonic loudspeakers and extensive
Paris
lighting equipment will create, through music,
light and sound, a spirit of history in the
Careful planning by an American Board of Consultants,
viewers' minds, more surely than live actors
consisting of task forces in history, music and drama,
ever could.
will assure that OUR CAPITOL will aesthetically and
The automatic sound and light equipment will
authentically capture the essence of America's
be installed completely out of view; SO the
ideals This program will develop the desire to know
effect comes from "nowhere"
and
more about history for several million visitors annually.
everywhere. Imagination takes over, and the
audience is plunged into the presence of the
past
1976-Realizing the dream of 1776
The site holds little but promise, when
Washington, Madison and Jefferson propose
it in 1791. "A howling, malarial wilderness,"
some called it. But the land is central to the
original 13 states conveniently situated on
the banks of the "Potowmack" River so
after much debate in Congress, the
authorization is given. Maryland and
Virginia's gifts of land are accepted, and the
infant nation has a home.
With American farsightedness, planners,
including President Washington and L'Enfant
envision a city of magnificent boulevards and
public monuments, rising from the woods
and marshes of the new Federal district. Its
center is to be a height which commands the
whole area "A pedestal," L'Enfant calls it,
"waiting for a monument." Here will stand
the Capitol building. heart of the United
States of America. A dream realized.
"Here, sir, the people govern.
They act by their immediate representatives."
-Alexander Hamilton
It is slow, laborious work, carving a city-a
new national capital city-whole from the
wilderness. As it will be hard work carving a
country from the wilderness. Black men, both
slave and free, take on a great portion of the
labor. People from foreign lands and the 13
states come to join in the task of building, as
the city and nation grow.
William Thornton, designer of the U.S. Capitol, and
his winning design for the Capitol which "captivated
the eyes and judgement of all." Stephen Hallet's
Capitol design placed second in the competition.
Outsized weathercock topped the Capitol building
proposed by James Diamond of Maryland.
Corcoran Gallery of Art (top). Library of Congress, Maryland Historical Society (bottom right).
We...hope that the Grand Architect of all
men may continue his great gifts to all those
concerned, to persevere in raising. on
this cornerstone and on every other
cornerstone. that may be planted in this Federal
City, edifices so durable, with strength and
beauty, that with common care and nurture they
may not envy time.
...we further hope that all the-edifices [will] be
numerously inhabited with citizens [of ]virtue,
honor, bravery, industry and arts.
-Right Worshipful Grand Master, P.T.
Joseph Clarke
process
As the 18th Century turns to the
19th, the country is beginning to feel
its own strength. In 1793, as President
Washington lays the cornerstone of
the Capitol, the former colonies have
grown accustomed to working
together as states under the Federal
legislature. By 1800, the first section
is built, and the government of the
United States-President, Congress,
Supreme Court-moves from
Philadelphia to Washington.
Congress and the Supreme Court
move into what will later become the
small connecting wing between the
Rotunda and Senate. The District of
Columbia-like most of the nation-is
still untamed countryside. Men of
vision come here to build a city and a
Capitol.
President Washington, wearing the sash, collar and
apron of the Masonic Order, lays the cornerstone for
the Capitol on September 18, 1793, as painted by
Allyn Cox in Capitol Hall.
1793
<<<<<<<
William R. Birch, Library of Congress
Library of Congress
© Kiplinger Collection
3
LITTER 000
The first wing on the Old Capitol to be completed,
serving the Senate, House, and Supreme Court (top).
This watercolor shows the House and Senate wings
of the Capitol, connected by a wooden walkway.
The Capitol's bronze dome dominated Washington's
skyline from 1825-1856. Designed by Charles
Bullfinch, the dome looked down on poplars planted
at President Jefferson's request.
THE
Tinted part of sketch shows the House wing occupied
in 1807, and its location now (West Front view).
18888
House and Senate wings connected by wooden
walkway, and their position in today's building.
88888
Dome and Capitol addition as completed by Charles
Bulfinch in 1825.
The nation begins to
build to grow to expand
Westward. Lewis and Clark
return from their
expedition to size up the
new Louisiana Purchase,
and report to Congress on
the wonders that await in
the vast new continent.
Settlers are pouring out
through the Appalachian
Mountains, creating fertile
farms from the forests and
high plains beyond. The
Capitol is growing, too, and
by 1812 there are two
sections complete,
connected by a wooden
walkway where the
Rotunda and Dome are to
stand.
British troops set fire to
public buildings in
Washington, August 24,
1814.
Daniel Webster's 1830
address to the Senate,
calling for "Liberty and
Union, now and forever,
one and inseparable!" G.
P.A. Healy's painting
hangs in Boston's Faneuil
Hall.
Rapin's History of England, Library of Congress
Even the burning of Washington by the
British in 1814 cannot break the Americans'
spirit. After the War of 1812, architect
Benjamin Latrobe surveys the burnt-out shell
of the Capitol, declares "What a magnificent
ruin!" and sets to work. Within ten years,
the former wooden Capitol interior has been
replaced with marble, sandstone and metal.
Architect Charles Bullfinch completes the
Rotunda to connect the two Congressional
City of Boston
wings, and erects a dome of modest
proportions which is to stand almost until the
Civil War.
The far west is opening rapidly. By 1848, the
Southwest, California and Oregon are under
the U.S. flag. But growth brings pain, as the
nation enters an era of increasing sectional
rivalries which are to end in Civil War.
Under Bullfinch's Capitol dome, spellbinding
orators and statesmen like Webster, Clay and
Calhoun debate the great issues centering
around slavery and its spread to the West. By
1860, the entire area of what would be 48
continental states has taken shape but
threatens to fall apart.
Yet even as the nation appears ready to split,
Congress plans expansion of the Capitol. And
ironically, it is Jefferson Davis-the
Mississippi Senator who will soon lead the
secessionist South-who spearheads a drive
for major Capitol construction. Like so many
other men of his day, he loyally serves the
Federal government right up until the
moment he feels forced in honor to oppose it.
Even as southern Senators are bidding
strained farewells to their northern
colleagues, building is under way which will
reduce the two original sections of the
Capitol to connecting links between much
larger House and Senate wings, surmounted
by the inspiring Dome of today.
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Harper's Weekly. Library of Congress
By 1861, Union soldiers are camping
around and under what they call "the
Big Tent" the unfinished shell of the
new, large Capitol Dome. During the
Civil War, the Capitol serves as
barracks, hospital and bakery for the
armies of the North. Work on the
Dome continues during the War, as
President Lincoln declares it "a sign we
intend the Union shall go on." In 1863,
he sees the statue of Freedom hoisted
to the peak of the Dome, high above
the nearly-finished walls of the new
House and Senate wings. When the
War draws to its close, the major out-
line of the Union's home is complete.
adad
After the War, the Federal
government grows and
extends its power. The
porticos of the new House
and Senate wings are
completed in 1919, and the
Capitol has assumed virtually
the same form as today.
Subsequent work brings
interior renovation and
improvement. The Capitol
ceaselessly undergoes minor
changes and revisions, yet
continues, like the task of
government, through
wars depression political
upheaval. A 32-foot
extension of the East Front,
faithfully duplicating the
Washington in bronze against
the monumental background of
original, is dedicated by
the Dome's interior.
Republican President
"Car of History". Muse Clio in
Eisenhower and completed
the chariot records events in
just in time for Democratic
Statuary Hall; the clock once
told time for the House.
President Kennedy's
Eagle graces bronze railings of
inauguration in 1961.
Members' private staircases in
both the Senate and House
wings. Modeled by the French
"Ask not what your country can do for you-ask
sculptor Edmond Baudin in
what you can do for your country."
1859 from a design by Brumidi.
Bronze "Columbus Doors"
modeled by Randolph Rogers
in the 1850s, give entry to the
Capitol Rotunda.
The continuing work of maintaining
our Capitol-home of the world's
oldest ongoing Republic-is handed
from generation to generation like
the Constitution on which it
stands-the world's oldest continuing
written Constitution
Telling our Capitol and nation's story
through OUR CAPITOL: FREEDOM
SPEAKS, will be the major
contribution of this generation to the
physical presence of our nation's
home. Our major tangible testament
to the fact that-no matter what
disruptions may occur in our nation
and world-we have handed on
Freedom intact.
Fred R. Bell. National Park Service
Closeup of the Dome's "Apotheosis of
Washington", completed in eleven months by
Constantino Brumidi, signed by the artist in 1865.
Senators Kennedy, Brooke, Javits and Jordan greet
guests in the Senate Reception Room.
Bronze and marble alternate in statues of the Hall of
Columns. State notables flank the columns which
are adorned with tobacco-leaf capitals.
Our Capitol: Freedom Speaks
OUR CAPITOL: FREEDOM SPEAKS has
the endorsement of Congress-in a House
Joint Resolution introduced by House
Majority Leader Thomas P. O'Neill for
himself, Mr. Gerald R. Ford, Mr. McFall,
Mr. Anderson of Illinois, Mr. Pickle, Mr.
Stephens, and Mr. Pettis. The Bill was
signed into law January 1, 1974. The
entire production will be installed with
the approval of the leaders of Congress,
under the direction of, and in cooperation
with, the Capitol Architect.
OUR CAPITOL: FREEDOM SPEAKS has
been endorsed by leaders in the arts, in
the business community, as well as by
the distinguished trustees of the U.S.
Capitol Historical Society.
OUR CAPITOL: FREEDOM SPEAKS is
your opportunity to give something now
and for future generations. There are no
appropriated funds. It is being financed
entirely from private donations
contributed by concerned and interested
individual citizens, foundations, and
corporations.
OUR CAPITOL: FREEDOM SPEAKS
will cost ten million dollars to complete,
seven and one half million for
construction, and two and one half
million to create an endowment that will
ensure free admission to all citizens in
perpetuity.
OUR CAPITOL: FREEDOM SPEAKS
a project of the people for the people,
needs your contribution today. Join your
fellow citizens and make this 1976
Bicentennial project possible. Please send
your tax deductible contribution to: The
United States Capitol Historical Society,
200 Maryland Avenue, N.E., Washington,
D.C. 20515.
slides
OUR CAPITOL: FREEDOM SPEAKS CAMPAIGN
NATIONAL ADVISORY BOARD
Co-Chairpersons: Betty Ford, William M. Batten, Douglas Fairbanks, Jr.
Members: Joe Allbritton, L. Berkley Davis, Felix DeWeldon, Ernest A. Hayes, Senator Daniel K. Inouye, Austin Kiplinger, Goddard Lieberson, Clare Boothe
Luce, Jane Marilley, Honorable George Romney.
BOARD OF CONSULTANTS
Honorable George White, Russell Dickenson, Paul Perrot, Letitia Brown, Representative Henry Reuss, Senator Mark 0. Hatfield, John Stokes, William
Maury.
TASK FORCE ON HISTORY
Walter Rundell, Jr., Letitia Brown, Constance M. Green, David C. Mearns, William Maury.
THE UNITED STATES CAPITOL HISTORICAL SOCIETY
HONORARY BOARD OF TRUSTEES
President Gerald R. Ford, Chief Justice Warren E. Burger, Speaker Carl Albert, Senator Mike Mansfield, Senator Hugh Scott, Senator Howard W. Cannon,
Representative John J. Rhodes, Representative Wayne L. Hays, James B. Rhoads, S. Dillon Ripley II, Honorable George M. White, L. Quincy Mumford,
Homer Rosenberger, Helen Duprey Bullock, Gordon Gray, Richard G. Frank, Ronald Walker, and Presidents of American Historical Association, American
Political Science Association, Society of Architectural Historians, Society of American Historians, American Association for State and Local History.
"Our Capitol: Freedom Speaks' Will Serve as a
ACTIVE BOARD OF TRUSTEES
Continuous Source of Awareness of The Background of
Lonnelle Aikman, Mrs. Robert Low Bacon, Ammon Barness, Ralph E. Becker, James Biddle, Herbert Blunck, John Boles, Honorable Frances P. Bolton,
Senator Robert C. Byrd, Mario E. Campioli, Leslie Dunlap, Robert G. Dunphy, Arthur S. Fleming, Dr. Constance McLaughlin Green, Arthur B. Hanson, Senator
Our Democratic Government, The Greatness of Our
Mark 0. Hatfield, Honorable Brooks Hays, Oliver Jensen, Honorable Walter Judd, James Ketchum, Senator Charles McC. Mathias, Jr., Gene McGreevy,
Honorable F. Bradford Morse, Ralph G. Newman, Representative Jerry L. Pettis, Representative J. J. Pickle, Harold T. Pinkett, Dorothy W. S. Ragan, Rep-
Land and The Promise of Our Future."
resentative Robert G. Stephens, Jr., Mrs. Adlai E. Stevenson III, Clement M. Silvestro, Frank van der Linden, Honorable George M. White, Honorable Ralph
Yarborough.
OFFICERS OF THE SOCIETY
Gerall R. Ford
Honorable Fred Schwengel, President; Honorable Marguerite Stitt Church, Carl Haverlin, Senator Hubert H. Humphrey, Melvin M. Payne, Walter Rundell, Jr.,
Vice Presidents; Victor M. Birely, Treasurer; Florian Thayn, Recording Secretary; Lillian R. Kessel, Recording Secretary Emeritus.
STAFF
Oliver B. Patton, BGen., U.S.A., Ret., Executive Secretary; William M. Maury, Editor and Historian; Maier B. Fox, Assistant Editor; Florence C. Miller, Ad-
ministrative Assistant.
For further information on the OUR CAPITOL: FREEDOM SPEAKS Campaign, please contact: The Honorable Fred Schwengel, President, The United States
Capitol Historical Society. 200 Maryland Avenue N.E., Washington, D.C. 20515, 202-543-8919
TEXT AND GRAPHIC DESIGN
Gregory Enterprises, 39 East 51st Street, New York, N.Y. 10022
MANAGEMENT CONSULTANTS
Lawson & Williams Associates, Inc., Washington. D.C. and New York. N.Y.
wash post 1/27/75 I BI
Press
Club
'Inaugural'
By И illiam Gildea
It was like old times in
than one
MEMBER
us
ART
By Bob Burchette-The Washington Post
President Gerald Ford with Mr. and Mrs. W illiam Broom last night after
swearing in Mr. Broom as president of the National Press Club.
Press Club 'Inaugural'
PRESS, From B1
silence the guests so abrupt- told a laughing audience,
ly, another noted a certain
and Rep. Morris Udall of
We may be out of the wild-
relief in watching a politi-
erness but we're not vet out
2
Washington Star-News
Monday, January 27, 1975
portf
A Press-idential Unauguration
By Judy Flander
Star-News Staff Writer
The first time a presi-
dent of the United States
stepped inside the National
Press Club in six years, he
came to inaugurate the
club's president, William
WHAT
W. Broom, Washington
bureau chief for Ridder
Gospel
FORM EGIGNT
MATTINERI
&
United Press International
Archbishop William Baum and Bishop James Rausch (at right in
doorway) escort the President and Mrs. Ford from St. Mathews
Cathedral.
THE ABORTION ISSUE
Advice for the President
Newsmakers
ATimes 1/39/95 p2
Musical Grannies Still on the Go-Go
-Women and music should never be dated, wrote Oliv-
er Goldsmith, else: you might give away your age. But
Hilda- Mahaffey admitted that she hadn't danced in 25
years until the Go-Go Grannies opened their first set with
-
"Five-Foot-Two, Eyes of Blue" at the Luther Haven Nurs-
ing Home in Detroit and she couldn't resist showing off
28
c
Notes on People
Boston U. Bargains With Ziegler
In the latest convolution in der. Mr. Cromwell, who ex- nership" on foreign policy-
the Boston University con-
Peggy Carnegie, real estate
making, Ambassador at Large
troversy over the invitation
broker for the sale. Miss Car-
Robert J. McCloskey has
-later rescinded-to Ronald
negie said Mrs. Wonder par-
been nominated by President
Ziegler to lecture Feb. 26,
ticularly fell in love" with
Ford for the additional pest
John R. Zilber, the univer-
the antique brass chandeliers
of assistant Secretary of
sity's president, said yester-
and marble bathrooms. Mr.
State for. Congressional Re
day that the original offer
Cromwell said he had been
lations. Mr. McCloskey, 52
of $3,000 was "wholly un-
promised there would be "no
is a former chief press
authorized." but be reinvited
kleine nachtmusik. Mr. Won-
spokesman for the State De-
6
Ford Hears Abort Sermon
Washington Jan 26 (UPI) President Ford attended a traditional Red Mass for
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DAILY NEWS, MONDAY, JANUARY 27, 1975
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President Ford talks with Archbishop William Baum following
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service at St. Matthew's Cathedral in Washington, yesterday.
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