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FOIA Number:
2006-0469-F (2)
FOIA
MARKER
This is not a textual record. This is used as an
administrative marker by the William J. Clinton
Presidential Library Staff.
Collection/Record Group:
Clinton Presidential Records
Subgroup/Office of Origin:
Speechwriting
Series/Staff Member:
Michael Waldman
Subseries:
14456
OA/ID Number:
FolderlD:
Folder Title:
[Roosevelt Information]: McMillan Commission
Stack:
Row:
Section:
Shelf:
Position:
s
92
4
4
2
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FDR MEMORIAL COM
10:02
A RENDEZVOUS
WITH
DESTINY
FAX MEMO
TO:
Laura Capps
White House
FAX:
202.456.5709
FROM:
Dorann H. Gunderson
FAX:
202.228.1010
DATE:
April 28,1997
RE:
(1) Jefferson Memorial Dedication Program
(2) Layout of 1901 McMillan Plan
FIUNKIJN DELANO
ROOSEVELT MEMORIAL
COMMISSION
IlOSORARY C O - C H A I A S
President
William J. Clinton
Former Prcaitlgnts
George Bush
Jimmy Carter
CicralcJ R. r o r d
R o i r j l d Reagan
COMMISSIONEKA
Co-Chnia
Mark O. HatficW
Daixicl K . inouye
Senators
Airrmw M . D'Ainaio
Carl Levin
NUMBER OF PAGES INCLUDING COVER SHEET: _1_
Reptcsc»tativc!i
Phil English
Maurice D . Hiiu;h«!y
Jerry Lewis
Pccsidcrttiul Appointeet
Barbara A . Handman
F.irsrrr S. l l y m a u
David B. Rooscvell
Jack w .
I hclmer
CAPITAL CAMPAIGN
Co-Chairs
David B. Roosevelt
Jpek Valenti
Internal ion^l Chair
Anna C. Chennault
Exnrin'ivK DIRECTOR
Dorann H . Gunderson
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C M FINE ARTS
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T H E C O M M I S S I O N OF FINE ARTS
ESTABLISHED BY CONGRESS 17 MAY 1910
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(202) 504-2195
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C M FINE ARTS
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THE COMMISSION OF FINE ARTS
A BRIEF HISTORY
1910-1995
By Sue A. Kohlcr,
Ilistoiidii ofthe Commission
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THE COMMISSION OF FINE ARTS
The Pension Building. Suilt 312
441 F Street. NW
Washington. DC 20001
tn Memorial.
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C M FINE ARTS
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T I I E COMMISSION OF FINE ARTS
A Brief History
1910-1976
The Commisiion of Fine Arts was established in 1910 io meet the
growing need (or a permaneni body to advise tlie governmeni on matters pertaining to lhe arts; and parlicularly, lo guide llic ardiileclural
development of Washington so that the capital city would reflect, in
stateliness and grandeur, rhe emergence of the Unireri Stares as a
world power.
The initial legislation authorized the Commission to advise on
statues. lountains and monuments in thu District of Columbia and to
advise generally on matters of an when requested to do so by the President or a member of Congress. Subsequently, Executive Orders and
Acts of Congress greatly enlarged the scope of the Commission's duties.
Prior to the establishment of the Commission of Fine Arts, it was
the practice of Congress, when legislation was enacted providing for a
monument or other work of art, to authorize the appointment of a
committee to advise concerning the specific project under consideration. Such a comniiltee waa as a rule composed of laymen not particularly qualified to give advice on matters of art. Money was th;n appropriated to meet the expenses of the committee and the Jury of Award.
When the project was completed the committee disbanded, leaving Congress without a recognized body to whom mailers pertaining lo die fine
arts could be referred and requiring the appointment of another committee when some new work of art was desireH.
The 1893 World's Fair in Chicago and the "City Beautiful" movement which followed were the incentives for the formation of a Public
Art League in Washington. The organizers of this group were members
of the American Institute of Architects and the Cosmos Club. The object of the League was to secure legislation which would establish a
body of experts to decide upon the merits of works of art and architecture to be commissioned or acquired by the Government. The group
was to be composed of the presidents of the American Institute of Architects, the National Academy of Design and the National Sculpture
Society, in addition to two members appointed by the President. The
bill presented in 1897 never became law; Congress wanted a commission which was advisory only and whose members were all appointed,
by eilher itself or the President.
1
i . This
'Sat Appendix for a legislative history of the Ounniixvion-
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�About rhis time the Sciiiiti: Park Commission was beginning its work
developing plans for parks and the plating of public buildings in the
District of Columbia. The Park Commission was appointed in 190) by
the Senate Committee on the District of Cohimhia, of which Senator
James McMillan nf Michigan was chairman, and is often referred to as
the McMillan Commission. If grew out of an interest in the development of Washington sparked by the Capital's Centennial in 1900 and
the ideas presemcd at the convention of the American Institute of;
Architects held in Washington the same year. Following suggestions
from the Institute, two men were asked to serve ori the Park Commission: Danid H . Burnham of Chicago, architect and business leader;
and Frederick Law Olmsted, Jr. ol Brookline. Massachusetts, landscape
architect. They accepted, and in turn asked architect Charles F. McKim
of New York to join rhem. The three then chose Augustus St. Gaudens
of New York, sculptor, as the fourth meinbcr.
mendation
parts of the
stated furtln
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favor of an
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Senator Elih
of the Cnmi
niversary of
history:
These men, who were jeccigni?ed leaders in their professions, made
a study of the Washington -«uca and then, in order to gain a better
understanding of park design and the relation of public buildings to
parks, made a brief trip to Rome, Venice, Vienna, Budapest, Paris and
London under the direction ol Olmsted, the landscape architect member. I n these cities they could study actual examples of lhe type of design they envisioned for Washington and better understand lhe problems of scale and material which they would encounter when making
their plans. While Burnham was in London he met with Alexander J.
Cassatt, president of the Pennsylvania Railroad, who subsequently
agreed to the removal of the railroad tracks from the Mall, an essential
step in implementing the Commission's recommendations.
The Park Commission of 1901, before going out of existence, made
a report to Congress in which it recommended adherence to the principles of the L'Eiifain Plan of 1791. I t also recommended an extensive,
coordinated park system for lhe District of Columbia. Particular attention was paid to the Mall and lu the placing of a memorial to
Abraham Lincoln on lhe site where it now stands. Taken together, the
suggestions made in rhis repoil were from that time on referred to as
the Plan of 1901 for Washington.
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On 11 January 1909 a committee of the American Institute of Architects appealed to President Roosevelt for the establishment nf a
Bureau of Fine Arts to advise on plans for all future public buildings,
bridges, parks, sculpture, painting and other work in which design
plays an iniegral part. As an initial step, the committee, of which Cass
Gilbert, was ehaiimiui and Clenn Brown secretary, suggested that the
President designate a Council of Fine Arts which could exercise advisory functions when railed upon and could also make recommendations on ils own initiative. President Rooscvell replied the same day in
a communiration addressed lo the committee, appioving the recom-
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C M FINE ARTS
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mendation and requesting the names of thirty men repicseming all
parts of the country who would make up the Council. The President
stated further thai he would direct his cabinet officers to ask lhe Council for advice on all matters pertaining to architecture, selection of
sites, landscaping, sculpture, and painting. The names of thirty artists
were submitted, and on 18 January 1909 Roosevelt nominated rhem to
the Council of Fine Arts, whidi he established by Execxuive Order on
tliat day. The Council held one meeting at which die location of the
Lincoln Memorial was considered and rhe site selected by the McMillan
Commission approved.
I n March 1909 Taft became President, and while he was nmch in
favor of an arts commission, he believed that it should be established
by Act of Congress, not by Executive Order. Therefore, he abolished
the Council of Fine Arts but supported congressional legislation to
create a similar cornniission. A bill was introduced into the Senate by
Senator Elihu Root of New York; in a leuer addressed to the chairman
of the Commission of Fine Arts in May 1935 on the twcnty-fifih anniversary of its establishment. Mr. Root told of its early legislative
history:
Sometime about the early spring of 1910 some Senator had
introduced in the Senate a resolution providing for the purdiase by the Government of a number of paintings that nobody
wanted to buy and under the rule that Resolution was referred
to the Committee on the Library. The responsibility for protecting the Government against a waste of money was thus
thrown upon the Committee.
A little discussion developed the fact thai all the members of
the commi ttee had an uncomfortable feeling that the pictures
were probably worthless and no such purchase ought to be
made, but that uo member of lhe committee fell any such
confidence in his own knowledge and judgment about such
things as to feel like making a report to the Senate based on
his opinion and maintaining that opinion on the floor. Wc all
felt that the committee ought to have some way of getting an
expert opinion to guide it i n making its report.
In the discussion wc recalled Theodore Roosevelt's appotntmenl of a Fine Arts Council, which fell to the ground because
it had no legal standing, and we recalled also the advantage
received from the report of park development of the informal
commission selected by the McMillan Commission, and we
finally delennincd to ask Congress to provide for the appointment of a fine arts commission whidi would meet the
need that our committee was then experiendng and a similar
need which was liable to occur in a mul li tude of cases under
wliich government officers had to pass on quesiions of art
widiout being really competent to perform sudi a duty. . . .
I drafted a very brief statute . . . and a little informal
explanation of the need which the committee felt for expert
assistance in the performing of its duties canied lhe bill
through.
0005
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garden, brnad marble steps, and a long decorative canal
symbolically connecting the monument with the proposed Lincoln Memorial.
Despite snowy weather, the planned reception was
held at the Corcoran Gallery of Art in Washington.
Theodore Roosevelt and his party arrived first. President
Roosevelt thought the Washington Monument model
"too fussy," but when he viewed the entire treatment
of the Mall he began to realize the "greatness of the
conception itself." Secretary of State John Hay pronounced himself satisfied, although he noted that the
location of executive buildings around Lafayette Square
would destroy his house. Secretaiy of War tlihu Root,
already an enthusiastic ally of the plan, was even further
enthralled by the exhibit. Members of the Senate Committee on the District of Columbia received the guests,
among them senators and congressmen, l he exhibition
was then opened to the public.
THE PARK SVSTEM AND THE CENTRAL CORE
In the commission's report to the Senate, McMillan
called the plan the "most comprehensive ever provided
an American city." Actually the plan, as directed by its
authorizing resolution, concerned itself with two main
problems: the building of a park system and the grouping of public buildings. By connecting existing parkland
and carrying the park system to lhe outlying areas of the
District and across the river as far as Mount Venion
' and Great Falls, it addressed the regional character ot
the city. By grouping public buildings in formal compositions, the McMillan plan created a highly concentrated central core. It gave the city an "official" architecture as well as a plan. Nor did the plan for the monumental city neglect its people.
Frederick Law Olmsted, Jr., drew heavily on the Boston Metropolitan Park System in his recommendations
for Washington parks. In the published version of tlie
plan he included photographs of a Boston beach, showing a recreational bridge, bathiug house, outdoor gymnasium, and children's sandpiles. In his proposals, Olmsted provided for neighborhood parks where they were
lacking, especially in that portion ot the District lying
outside the L'Enfant city, lie suggested additions to
Rock Creek Park, and outlined individual Uealiiienls
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for important parks. In transforming parks from the
promenading and reposeful variety to those of more
intensive reereational use, Olmsted tied parks to the
planning process. Park needs thus became an integrated
part ot a functional program to acquire land. Parks also
were now more democratic; they would serve the popular needs in their recreational purpose, and form an
important element in humanizing the city.
BOUL1SVAKDS, UR1VES, ANO 1'AKK CONNKCTTONS
Along with the provision of connections between
parks, to be related to the area's topography, scenic
boulevards were suggested—on the Virginia lands
through au as yet undetermined route south to Mount
Vemon, and on the Washington and Maryland sides
along the Potomac Palisades as far north as Great Falls.
Another road was planned to follow the Potomac from
the Lincoln Memorial to Rock Creek Park, to trace the ,
winding crevice to the zoo, and then connect the old
Civil War sites into a Fort Drive. A second riverside
drive emanating from the Lincoln Memorial was planned to lead down the river, paralleling an embanked
quay, lo a reereational area on the reclaimed land of
Potomac Park. landscaping in the newly reclaimed
Potomac Park, according to the commission's report,
was to be modeled after "the landscape of natural river
bottoms—great open meadows, fringed by trees along
the water side," and would mirror across the Washington Channel an improved commercial waterfront of the
Southwest quadrant. Olmsted urged the government to
reclaim and frame with raised quays the Anacostia mud
flats, on the brink of industrial use, in order to bring
recreation space to the eastern residential neighborhoods. As the planned park connections encircled the
eity, enveloping the heights of the topography, they
also crossed outlying residential areas. Between Rock
Creek Park and the Soldier's Home, the much widened
and tree-lined Savannah Street (now Varnum Street)
would, according to Hie plan, set a formal tone to the
neighborhood and provide a park facade lo an otherwise
familiar street of row houses. On the snrronnding
heights of the city's topographic bowl, moreover, the
plan suggested sites for memorials. Where the radials
met the crests of distant enciicling hills, it was thought
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And so, without creation of any power of legal compulsion,
there was brought, to the service of the Government the
authority ol competent opinion upon questions ol art arising
in the course of administration, and widespread and habitual
deference to such an opinion has saved the Government and
the community from God knows how many atrocities.
Jn the House of Representatives the bill was sponsored by Representative Samuel W. McCall of Massachusetts. The legislation was approved on 17 May 1910 and provided for a Commission of seven members, well qualified in tht field of fine arts, to be appointed by the President for a term uf lour years. The Commission was " . . . to advise upon
the location of statues, fountains and monuments in the public squares,
streets and parks in the District of Columbia. - • and upon the selection of artists for the execution of die same . . . " The Commission was
also asked to " . . . advise generally upon questions of art. when required
to do so by the President, or by any committee of either House of Congress . . . "
a
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duties by issuing a
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was asked to si
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Frederick Law Olnutctl, Jr., 1870-1957. Member of the Commission of Fine Arts, 1910-19111.
The Commi:
New York Avei
Insdtute of A
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C M FINE ARTS
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that a "simple white shelter will prove the most effective treatment," whereas closer tn the city, such sites
for memorials would call for treatment on a "more comprehensive scale."
The Grand Plan for the Mall
The grouping of public buildings and development of
the Mall represent the best-known portions of the
McMillan Commission's report. Executive functions
were to expand into new office buildings surrounding
Lafayette Square. Buildings relating to the legislative
and judicial functions of government were to be constructed around the Capitol in a relationship already
established by the Library of Congress. The Botanic
El 008
Garden at tlie toot of Capitol Hill and the east end of
the Mall were to give way to a Union Square with
statues of Generals Grant, Shenuan, and Sheridan.
Fountains, terraces, and statuary would complete the
treatment of the proposed square, an American equivalent of the Place de la Concorde in Paris.
The Mall, patterned in part after the Champs
Elysees, was proposed to be a green panel bordered by
narrow roadways and rows of elms; it was planned to
tilt slightly south, forming a new axis with the Washington Monument. According to the plan, it would
then follow a vestigial canal, or reflecting pool, recalling
the buried waters of the Tiber Creek—as well as the
decorative canals at Versailles, Fontainebleau, and
Hampton Court—and terminating on a site then still a
"marshy backwater," but later to be the site for the
Detail of the Mall Design in the McMillan Cominissioii Flan of Washington, 1901-1903
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Lincoln Memorial. The new memorial, recommended
in the plan as having a "character essentially distinct
from that of any monument either now existing in the
District or hereafter to be erected," was proposed to be
set in a rond-poiut or circle in the same way that the
"Arc de Triomphe crowns the Place de 1'Etofle at Paris."
From this proposed circle, avenues were toradiateout
into connections with Potomac Park to the south, along
theriversidedrive to Rock Creek to the north, and
across the Potomac to Arlington House on the Virginia
hills. This arrangement was similar iu form to the
avenues radiating out from the Place de I'Etoile into
tlie Bois de Boulogne and several other axial points in
111009
THE WHITE HOUSE CROSS AXIS
The north-south cross axis extending from Lhe White
House to the Potomac River was, according to the
plan, to be recreated by the location of a great sunken
garden and a round pool of ornanieulal water at the
base of the monument. The axial line would then terminate at the Potomac where a future memorial, perhaps
a pantheon to honor the Constitution's wntcrs, was to
be located. Critical to this realignment of axial relationships was the design of the Washington Monument
grounds. Aa the commission's report stated, of all the
elements iu the McMillan plan, "no portion of the task
set before the Commission . . . required more study and
extended consideration than has the solution of the
problem of devising an appropriate setting for the
Monument; and the treatment here proposed is the one
Paris.
Rendering of the McMillan Ctunmissiyn Plwi o/ the Mall, 1901-1902
127
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Michael Waldman
Description
An account of the resource
<p>Michael Waldman was Assistant to the President and Director of Speechwriting from 1995-1999. His responsibilities were writing and editing nearly 2,000 speeches, which included four State of the Union speeches and two Inaugural Addresses. From 1993 -1995 he served as Special Assistant to the President for Policy Coordination.</p>
<p>The collection generally consists of copies of speeches and speech drafts, talking points, memoranda, background material, correspondence, reports, handwritten notes, articles, clippings, and presidential schedules. A large volume of this collection was for the State of the Union speeches. Many of the speech drafts are heavily annotated with additions or deletions. There are a lot of articles and clippings in this collection.</p>
<p>Due to the size of this collection it has been divided into two segments. Use links below for access to the individual segments:<br /><a href="http://clinton.presidentiallibraries.us/items/browse?advanced%5B0%5D%5Belement_id%5D=43&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=2006-0469-F+Segment+1">Segment One</a><br /><a href="http://clinton.presidentiallibraries.us/items/browse?advanced%5B0%5D%5Belement_id%5D=43&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=2006-0469-F+Segment+2">Segment Two</a></p>
Creator
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Michael Waldman
Office of Speechwriting
Date
A point or period of time associated with an event in the lifecycle of the resource
1993-1999
Identifier
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2006-0469-F
Extent
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Segment One contains 1071 folders in 72 boxes.
Segment Two contains 868 folders in 66 boxes.
Provenance
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Clinton Presidential Records: White House Staff and Office Files
Publisher
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William J. Clinton Presidential Library & Museum
Format
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Adobe Acrobat Document
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
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paper
Dublin Core
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Title
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[Roosevelt Information]: McMillan Commission
Creator
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Office of Speechwriting
Michael Waldman
Is Part Of
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Box 34
<a href="http://clinton.presidentiallibraries.us/items/show/36404"> Collection Finding Aid</a>
<a href="https://catalog.archives.gov/id/7763296">National Archives Catalog Description</a>
Identifier
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2006-0469-F Segment 2
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
White House Staff and Office Files
Publisher
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William J. Clinton Presidential Library & Museum
Format
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Adobe Acrobat Document
Medium
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Preservation-Reproduction-Reference
Date Created
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6/3/2015
Source
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7763296
42-t-7763296-20060469F-Seg2-034-023-2015