[Illustration: _Models in the studio at the foot of the mountain which guided construction of the actual figures (seen through window)._]
The Mount Harney Memorial Association was authorized in 1925 by the state legislature to undertake the project on Mount Rushmore. No funds were voted for the purpose. Contributions were obtained from the three railroads serving the state, from the Homestake Mine and from private individuals, among them Mr. Charles Rushmore, a New York lawyer, after whom, quite accidentally, the cliff had been named. The work went on slowly, with considerable opposition, until President Coolidge’s visit to the Black Hills in 1927. He made a splendid speech at a picturesque ceremony held at Rushmore, immediately following which he took Mr. Borglum aside, inquired about the financing and urged him to come to Washington for help. It is doubtful whether, without this impetus given by President Coolidge, the carving would ever have been accomplished.
The Mount Rushmore National Memorial Commission came into existence as the result of a Congressional Bill, passed on Washington’s Birthday in 1929. The act carried an appropriation of $250,000 for the memorial, which was to be matched on a fifty-fifty basis by private subscriptions; it designated Gutzon Borglum as the sculptor and designer of the four figures and provided also for an inscription on the mountain.
The first ascent of the mountain was made up the canyon where the present wooden stairway now is. After the initial survey was made, pine trees with branches cut off and cleats nailed at right angles to the trees were laid in the crevices to serve as ladders. Heavy ropes were then carried by hand to the top and a small winch was carried as far as possible by pack horse and then carried to the top by hand. After this winch was fastened on the top of the mountain, it in turn was used to pull up the heavy cable that became the tramway from the ground to the mountain top. Building material was pulled up and shelters built for the men. A small studio was also built to house the plaster reproductions of the master models that were in the studio at the foot of the mountain. These reproductions were used for measurements to save time required to go to the studio 1500 feet away and 500 feet below. In some cases these models were hung over the side of the mountain so that they could be consulted and compared with the measurements as the actual stone work progressed. By this method it was possible to save considerable time and labor.