he championed henry bacon as an architect, his frequent collaborator. is chairman of the commissioner of fine arts, and then bacon appointed him the sculptor. it was a win-win for creativity. he insisted, as i said, that the statue be just the right size to fill the atrium, yet respectful of the magnificent space. he insisted it be marble, not bronze, which is one of the original alternatives, and many prefer. consider the harmony that that choice has produced. marble and granite. he insisted that it not be standing, which some people want, but a seed lincoln, because he wanted lincoln's face to be fully visible from the reflective wall to the bottom stop to the platform, all the way to the stop. a standing lincoln might have denied visitors that transcendent experience. he realized that the open-door policy we all cherish, because it lets us visit anytime, day or night. wound up, casino harsh glare on his masterpiece. he saw the lighting first time when he came back from italy. so he stalled, he first investigated, then installed, the first electric lig