fiifiliimirt:- pSSJJI Digitized by the Internet Archive in 2018 with funding from Getty Research Institute I https://archive.org/details/parisexpositionoOOboyd THE MONUMENTAL GATE. tEibe Hearts Exposition of 1900... H Divio descriptive IDlew anb Elaborate Scenic presentation of tbe Site, plan anb Exhibits A Beautifully Artistic and Historic Album Esplanades and Boulevards ; Bridges, Towers and Monuments ; Natural and Artificial landscapes; Vistas of Gar¬ dens and Quay-line d Waters ; Scien¬ tific, Mechanical, Architectural and Art Wonders ; Infinite Productions of Industry, Manufacture and Commerce The Revelations of Invention and Discovery ; The Varied Contributions and Characteristics of Rival Nations ; Triumphs of Genius and Handicraft. _1 IBs James p. Toys, a. /S>. Author of “ Heroes and Statesmen of America,” “Political History of the United States,” etc , etc. 'Cbe Centura’s Xast anb (Scanbest BU*Worlb Exposition Copyright 1900 by JAMES P. BOYD INTRODUCTORY. HE International Exposition has come to be one of the most potential of civilizing agents. Its evolution has been rapid, and confined to the closing decades of the nineteenth century, among whose glories it may be reck¬ oned as one of the chief. The genius of man has not been able to invent a more general, complete and wholesome appeal to the refining and elevating instincts of. individuals, communities and na¬ tions than the International Exposition. It is an historic book, whose scenic pages mirror the past with a fidelity unapproached by the most truthful pen. It is a scientific volume, whose material presentations astound with their bewildering variety of forms and uses. It is an art treatise, whose realistic chapters impress far more deeply than written theories of color and tone, brush and chisel. It is a pulpit, rostrum and school, whose silent objective speech is more eloquent than that syllabled by lip and tongue. The primitive fair was a local convenience. The county or state fair was an enterprise of profit, though stimulating to pride and ambi¬ tion. The national exhibition was unmercenary, educative and provo¬ cative of healthy rivalry and fuller acquaintance and understanding. It remained for the International Exposition to eliminate, as near as might be, the element of selfishness, to set up a school for all-world scholars and teachers, to provide an intellectual and visual fete in which all the nations were invited to participate. What institution grander and more all-embracing than this I What higher evidence of liberality and enlightenment! What so conducive 6 INTRODUCTORY. to universal peace and progress! That all the nations should be invited by any one nation to come to its table and partake of its viands in a spirit of generous rivalry, would not have been thought of a hundred years ago. That all the nations should accept such invitation and gladly has¬ ten to contribute their presence and the exhibits of their life and institu¬ tions, either as proofs of superiority or subjects of criticism, would not have been possible fifty years ago; nay, not until the International Expo¬ sition had taken on its most modern form of unselfishness and institu¬ tional liberality; had, in fact, become what it is to-day, a co-operative historic and educational society whose membership embraces the world. It is unquestioned history that no International Exposition has failed of the results anticipated. Out of each successive one has flown a generous stream of influence that became as transforming light in dark places or as needed stimulus to the genius, culture and energy of all participants. Cosmopolitan art displays have invariably advanced art, even in its best estate; science has revolutionized science; institution has re-acted upon institution; interchange of thought and idea has mag¬ ically procreated new thoughts and ideas; the mingling of nations has made new nations, not in boundary, but in the spirit that copies and ab¬ sorbs what is best, and tolerates what it cannot espouse. France, or rather her capital, Paris, has been called the foster mother of the International Exposition, or, as she loves to call it, the Ex¬ position Universale. The title is not a mere euphemism nor empty flattery. It is a truism, warranted by all the conditions that enter into the origin and assure the success of such an institution. Letting Paris stand for France and the French people, it is a centre at which the con¬ tinents can gather with a minimum of travel and expense. The speech is the polite tongue of the world. Into it all other languages easily flow, and through it are most readily interpreted, let the theme be that of di- INTRODUCTORY. 7 plomacy, business, art, science, history, or whatever contributes to the association of ideas and to pleasurable intercourse. The city itself is an unexampled charm and standing invitation. It is the one city of the world that rounds out and stamps the title and career of the “traveled person.” Not to have seen Paris is not to have been abroad in the world. Indeed, extravagant facetiousness is credited with the assertion that some people, when dead, want to go to Paris, as a sort of Elysian abode. It is truly the city of artistic beauty and com¬ plete appointment. Its palaces, public buildings, hotels and prosperous homes, are so numerous and of such exquisite artistic finish, as to excite the admiration of every beholder. Its libraries, halls of art and science, galleries, schools, teem with the richest treasures .of genius and proud¬ est evidences of progress. Its parks, esplanades, boulevards, avenues and streets are panoramas of gorgeous flower, exuberant foliage and healthful shade. Its police appointments and municipal regulations are precise and perfect. Its people are vivacious, versatile and gay. None unite more of the essentials of free and joyous hospitality. The hilarity of the holiday is ever in the air, welcome at every corner, and be-at-home at every door and in every face and hand-shake. The spirit of cosmopol¬ itanism knows no limit. All these, and countless others, are conditions which contribute to the desire and the success of the International Exposition, as Paris has exemplified the institution, and raised a contrast with other cities, states and nations. To these conditions must be added Parisian experience. This is riper than that of any other people. To go back no further, the famous Paris Exposition Universale of 1878 was the inspiration ana school of that of 1889, which was as to the former as the giant to the pigmy, or the mountain to the hillock, not only as to space but to all the essentials of utilitarian arrangement, exhaustive exhibits and brilliant show. And so that of 1889 was the loins out of which sprang that of 8 INTRODUCTORY. 1900, for scarcely had the gates of the former closed till the latter began to come into being; indeed, it is true that part of the magnificence of that of 1889, as, for instance, the wonderful Eiffel Tower and the gorgeous Trocadero Palace, was especially and intentionally preserved as auxiliary to the transcendent splendors of 1900. In 1893, the world was furnished by the United States with an ex¬ ample of what could be done in the way of International Expositions. Outside of the crowded city of Chicago arose, as if by magic, the great White City upon the beautiful lake lagoon, with the artistic splendor of its Court of Honor, its noble vistas and grand perspective, and the har¬ monious grouping of structures in their infinitely varied details—the whole a collosal work of art, to behold which was worth a visit from the ends of the earth. It was witnessed and studied by millions. It was de¬ scribed in splendid books of literature and art, and thus brought home to millions more who could not go to it. Memory of it is that of a gran¬ deur and beauty of general effect never seen before, and nobly symbol¬ ical of the power and greatness of America. It was the supreme effort of the most virile people on the globe. Nothing could be more difficult than to undertake to compare it with the Paris International Exposition of 1900, for all things connected with both are different. The Columbian Exposition was all stupendous mightiness, it had the free play of indefinite space, it bore no vital rela¬ tion to Chicago as a city, nor as an exemplar of modern civilization. But the Paris Exposition of 1900 is a part of the city itself. It is in the very midst thereof, utilizing its parks, esplanades, palaces and river scen¬ ery, becoming a part of its social life, exemplifying its citizenship, its in¬ stitution and all the features characteristic of the metropolis. It is unique and exceptional in the respect that with limited opportunity for symmetry of arrangement and extended harmonious lines, for prolonged perspective and sweeping vistas, it yet makes the very best of the situa- INTRODUCTORY. 0 tion as to external appearance, while within, by its infinite variety of de¬ tails and its multitudinous array of the productions of earth and its inhab¬ itants, it presents a picture of the world at the close of the nineteenth century with a minuteness and vividness never approached before. The resolve from the first was to make it surpass anything hitherto accomplished in the way of universal instruction and entertainment. To this end the entire government, state and municipal, together with a management, as skilled as it was enthusiastic, strove through seven years of intelligent preparation. The crowning result is a justification of all previous plans and efforts. The ensemble is a revelation. Art, in architecture, sculpture and landscape, is in its liveliest mode of color, form and adaptation. Parks and walks and angles are costumed in fra¬ grant flower, spicy shrub and lush foliage. Esplanades are lined with gorgeous palaces devoted to exhibits. The river Seine, the boulevards, the avenues, open enchanting vistas. The nations of earth are present in beautiful pavilions erected after their own ideals. An infinite variety of structures, all, as it were, artistic dreams, contain, group and classify the world’s contributions to the magnificent enterprise. And how won¬ derful and exhaustive these contributions are! What a perfect micro¬ cosm they complete! How they suggest and entertain, and with what surpassing eloquence they testify to the substantial progress of interna¬ tional peace and good will among men. How they glorify and dignify modern labor at a time, too, when socialism hangs like a threat over whole communities. And how they bespeak for the future an era of even more delicate and marvellous mechanisms, of a skill superior to mere commercialism, and of the mastery of the skilled hand and practical genius over the conservatism and dullness, or, as too often happens, the tyranny of capital. Millions will visit this little world, making, perhaps, the journey of a life-time, in order to be instructed and delighted. They will come id INTRODUCTORY. away refreshed in mind, with new ideas of civilization and life and achievement, with memories so richly stored as to prove inexhaustible fountains of pleasure. They will have enjoyed one of the grandest priv¬ ileges which means and leisure can offer. But the many are not thus fortunate. Yet they need not be unfortunate. It is the object of this volume to make them all visitors to Paris, “The Fairie City,” and to the International Exposition of 1900, and participants in the latest, grand¬ est and most impressive of all-wo-rld fetes, by bringing to them in their homes a faithful portraiture of what they would have seen and enjoyed had they been privileged to witness in person the wonderful and beau¬ tiful things in whose midst they would have found themselves. To this end, there has been imparted to the volume rare fulness and energy of description, not only of Paris itself, which is so worthy alone of a visit, and is so essentially a part of the Exposition, but of the site and plan of the Exposition, its grounds and buildings, its scenic revelations, its multitudinous displays, and all the picturesque accessories that con¬ tribute to its magnificence. This feature of the work is so much in detail and so cheerfully wrought as to convey to the reader the substantial impressions and pleasures of an actual visit. Another feature of the volume, appealing directly to eye and taste, is its profusion and beauty of art. It embraces the scenic gems of the Exposition from photographs taken on the spot. These are infinite in their variety, exquisite in effect, and illustrative of the entire material and artistic range of the Exposition—its varied architecture, its sculptures, its paintings, its bridges and monuments, its palaces and pleasure spots, its science and handicraft, its international costumery, face and habit, all its historic and strikingly impressive objects. In this respect, the vol¬ ume becomes a resplendent gallery of art, and particularly treasurable to every taste and in every home—an exhaustless source of intellectual entertainment and individual refinement. il>YR©p3ig ©i G©RfeeRljg. ORIGIN AND GROWTH OF EXPOSITIONS. The Primitive Fair—Its Features and Uses—Tts Transformations—Evolution of Institutes—Agricultural Fairs—Societies and Institutes—Sanitary Fairs— Evolution of International Expositions—First World’s Fair—Expositions at Dublin, Paris, New York—Second and Third Expositions at London and Paris—Centennial Exposition—Vienna Exposition—‘Expositions at Atlanta, Louisville, New Orleans, Chicago, Nashville, Omaha . THE FAIRIE CITY. Foundation and Early History—Growth and Improvement—Famous Old Struc¬ tures—Transformation by Napoleon III—Improvements under the Republic —The Seine and its Quays—Garden of Acclamatation—Naitonal Archives— National Library—School of Fine Arts—July Column (1830)—The Boule¬ vards—Bridges—Theatres—Museums — Catacombs—Churches—Place of Concord—Fountains—Arches—Institutes—Place of Invalids—Camp of Mars —Elysian Camps—Public Institutions—The Louvre—Tuileries—Schools— Garden of Plants—Suburban Paris. EXPOSITION SITE AND GENERAL PLAN. Conception of Exposition of 1900—Preliminary Stages—Acceptance of Plan— Advantage of Paris in Exposition Work—Opening Day and Exercises— Speeches, Music and Parades—Extent of Space—Number of Exhibitors by Nationalities—Place of Concord—The Seine—Grounds of Champs Elysees —Monumental Entrance Gate—Site of Horticulture—Bridge Alexander III —Avenue Nicholas II—Avenue Champs Elysees—Palaces of Fine Arts— Esplanade of Invalids—Quays of the Seine—Pavilions of Nations—Old Paris—The Trocadero—Eiffel Tower and Grounds—Camp of Mars—The Various Palaces—Exposition Annexes. EDUCATION. Palace of Education and Instruction—Group I of Exposition—Classes of Exhib¬ its, 1, Training of Children, Primary Education, Teaching Adults—2, Second¬ ary Education—3, Higher Education, Science Schools—4, Special Teaching of Fine Art and Music—5, Special Agricultural Education—6, Industrial and Commercial Teaching. FINE ARTS. Palaces of Fine Arts—Group II of Exposition—Classes of Exhibits. 7, Paintings —8, Engraving and Lithography—9, Sculpture, Medal and Precious Stone Engraving—10, Architecture .. „. 12 SYNOPSIS OP CONTENTS. LITERATURE, SCIENCE AND ART. Description of Palace—Group III of Exposition—Classes of Exhibits, n, Typo¬ graphy, Various Printing Processes—12, Photography—13, Books, Musical Publications, Book-binding, Newspapers—14, Maps, Apparatus for Geogra¬ phy, Cosmography, Topography—15, Mathematical and Scientific Instru¬ ments, Coins and Medals—16, Medicine and Surgery—17, Musical Instru¬ ments—18, Theatrical Appliances. 205 MACHINERY. Palace of Mechanical Engineering—Group IV of Exposition—Classes of Exhib¬ its, 19, Steam Engines—20, Various Kinds of Engines—21, General Machin¬ ery—22, Machine Tools. 223 ELECTRICITY. Palace of Electricity—Group V of Exposition—Classes of Exhibits, 23, Me¬ chanical Production of Electricity—24, Electro-Chemistry—25, Electric Lighting—26, Telegraphy and Telephony—27, Applications of Electricity ... 233 ENGINEERING AND TRANSPORTATION. Group VI of Exposition—Classes of Exhibits, 28, Materials and Processes Relat¬ ing to Civil Engineering—29, Models and Drawings of Public Works—30, Carriages and Wheelwrights’ Work—31, Saddlery and Harness—32, Rail¬ ways and Trolleys—33, Materials and Plant of Mercantile Marine—34, Aer¬ onautics . 261 AGRICULTURE. Palace of Agriculture—Group VII of Exposition—Classes of Exhibits, 35, Im¬ plements and Processes for Rural Cultivation—36, Appliances and Processes in Vine Culture—37, Appliances and Processes in Agricultural Industries—• 38, Theory of Agriculture—39, Vegetable Food Products—40, Animal Food Products—41, Non-edible Agricultural Products—42, Useful and Destruc¬ tive Insects, Parisitic Plants. 277 HORTICULTURE AND ARBORICULTURE. Gardens and Palaces—Group VIII of Exposition—Classes of Exhibits, 43, Ap¬ pliances and Processes used in Horticulture and Arboriculture—44, Kitchen Garden Plants—45, Fruit and Fruit Trees—46, Trees, Shrubs. Ornamental Plants and Flowers—47, Greenhouse and Hothouse Plants—48, Nursery Seeds and Stock. 297 FORESTRY, HUNTING, FISHING. Group IX of Exposition—Classes of Exhibits, 49, Forestry Appliances and Pro¬ cesses—50, Forest Industries and Products—-51, Hunting and Sporting Equipments—52, Products of Hunting and Shooting—53,Fishing Appliances and Products — 54, Gathering of Wild Crops. 309 SYNOPSIS OP contents S3 FOODS AND DRINKS. Group X of Exposition—Classes of Exhibits, 55, Appliances and Processes in Manufacture of Food Products—s6, Farinaceous Products—57, Bread and Fastry—58, Preserved Meats, Fish, Vegetables, Fruit—59, Sugar, Confec¬ tionary, Condiments—60, Wines and Brandies—61, Syrups, Liquors, Spirits —62, Beverages. 3 2 5 MINING AND METALLURGY. Palace of Mining—Group XI of Exposition—Classes of Exhibits, 63, Mine and Quarry Working- 64, Metallurgy—65, Metal Working. 343 DECORATION AND FURNITURE. Site and Description of Palace—Group XII of Exposition—Classes of Exhibits, 66, Fixed Decorations for Buildings—67,Stained Glass—68, Paper Hangings ■—69, Household and Art Furniture—70, Carpets, Taoestry, Upholstery—71, Temporary Decorations—72, Pottery and Porcelain—73, Glass, Crystal—74, Heating and Ventilating Appliances—75, Lighting Apparatus . 363 THREADS, YARNS, TEXTILE FABRICS, CLOTHING. Group XIII of Exposition—Classes of Exhibits, 76, Spinning and Ropemaking Appliances—77, Making of Textile Fabrics—78, Bleaching, Dyeing, Printing and Finishing Appliances—79, Sewing and Apparel-Making Appliances—80, Cotton Thread and Fabrics—81, Threads and Fabrics of Flax. Hemp, etc.— 82, Woollen Yarns and Fabrics—83, Silks and Silk Fabrics—84, Lace, Em¬ broidery, Trimmings—85, Tailoring and Dressmaking—86, Various Cloth¬ ing Trades . 383 CHEMICAL INDUSTRIES. Palace of Chemistry—Group XIV of Exposition—Classes of Exhibits, 87, Ap¬ plied Chemistry and Pharmacy—88, Manufacture of Paper—89, Leather and Skins—90, Perfumery—91, Tobacco and Matches. 397 VARIOUS INDUSTRIES. Palace of Diversified Industries—Group XV of Exposition—Glasses of Exhibits, 92, Stationery—93, Cutlery—94, Goldsmiths’ and Silversmiths’ Work—95, Jewelry and Precious Stones—96, Timepieces—97, Metal Art Work—98, Fan¬ cy Articles—99, India-rubber Goods—100, Toys. 405 SOCIAL ECONOMY, HYGIENE, RELIEF. Group XVI of Exposition—Classes of Exhibits, 101, Apprenticeship,Child-Work¬ ers—102, Labor and Wages—103, Co-operative Associations—104, Agricul¬ tural Unions—105. Factory Workers—106, Workman’s Dwellings—107, Co¬ operative Stores—108, Workingmen’s Institutions—109, Provident Institu¬ tions—no. Welfare Movements— in, Hygiene—112, Charitable Relief. 419 M Synopsis of contents. COLONIZATION. Group XVII of Exposition—Classes of Exhibits, 113, Colonization Methods—114 Colonial Buildings and Appliances—115, Colonial Products. 435 ARMY AND NAVY. Group XVIII of Exposition—Classes of Exhibits, 116, Ordnance and Artillery— 117, Military Engineering—118, Naval Construction—119, Map Drawing,Hy¬ drography—120, Administration—121, Sanitary Appliances. 469 PAVILIONS OF FOREIGN NATIONS. Descriptive Views — Character of Exhibits.... 485 SUPPLEMENTARY PALACES AND SIDE SHOWS. Location and Descriptions... 515 CONGRESSES OF THE EXPOSITION Different Congresses and their Sessions.. 579 IJst of Illustrations. The Monumental Gate.Frontispiece Frieze Representing Labor on the Monumental Gate. 21 Old Paris and the Trocadero. 28 Old Paris—St. Michael’s Gate. 37 Map of France in Precious Jewels, presented to France by the Czar of Russia. 37 Palace of Fontainebleu—Chamber of Anne of Austria. 44 Avenue Bois de Boulogne. 5 ° Garden of the Tuilleries. 59 General View—Paris Exposition 1900. 65 Opening day at the Exposition. 7 2 The Bridge of Alexander III. 81 July Column (1830) in Bastille Square. 88 Arch of Triumph. 94 View on the Seine looking towards the Bridge of Alexander III. . 103 View of the Park of the Champ de Mars taken from the Eiffel Tower. 109 The Eiffel Tower and the Park of the Trocadero.116 Street of Nicholas II. from Bridge of Alexander III. 125 Under the Eiffel Tower—The Trocadero in the distance. 131 Palace of Retrospective Arts—Armor of Francis 1 . 137 Dahomey Village. 148 The Eiffel Tower at Night. 153 The Grand Palace of Art. 160 The Little Palace of Art. 169 Palace of Fine Arts—under the Main Dome. 176 “Wounded Football Player,” near Grand Entrance.176 Statuary Hall—Grand Palace of Fine Arts. 182 Interior Grand Palace of Fine Arts. 191 Hall of Grand Palace of Fine Arts... 197 A Bedouin Sheik. 204 Men and Women of Tunis. 204 *5 LIST OF IIXUSTRATlONa 1 6 Palace of Fine Arts—Statuary Hall. 2t3 Group of Miners—Building of Mines and Metallurgy. 215 Palace of Fine Arts—Statuary Hall. 220 Group of Iron Workers—Building of Mines and Metallurgy.. .. 220 United States Section of Mines and Metallurgy. 226 Hungarian Animal Group and Dioram^in Palace of Forestry.. . 226 French Dynamo and Motor Section of Palace of Electricity.. .. 235 Head of St. Fortunate, in Art Collection of Little Palace. 241 Saint Foix—Statue in Beaten Gold, in Art Collection of Little Palace. 241 Electric Building—French Section. 248 Russian Pavilion, made of Metal Tubes, in Palace of Mines and Metallurgy .. 248 Palace of Light. 257 Bridge of Invalids and Street of Nations. 264 French Section of Agricultural Building—Ship of Chocolate.. .. 270 Agricultural Building—French Section. 270 Horticultural Hall—French Section. 279 Horticultural Hall—Foreign Section... 279 Palace of Horticulture. 285 The Greenhouses. 285 Palaces on the Square of the Invalids. 292 The Dahomeyan Cabin. 301 Hindoo Merchants and East Indian Waitresses. 301 Kaffir Trophies—Transvaal National Pavilion. 308 Canadian Wheat—British Colonial Building. 308 Zurich Tavern in Swiss Village. 314 Cambodian Orclhestra. 314 Cuban Exposition in Trocadero Building. 323 Street and Cascade in the Swiss Village. 323 Looking Across Bridge of Alexander III. 329 An Annam Tea Store and Vendors. 336 Arab Parade on Street Algiers—In Trocadero Garden. 345 Animal, Wood and Mineral Exhibit-—in Palace of Russian Asia.. 352 View Under Cupola—Grecian Pavilion. 352 The Great Staircase Austrian Section. 358 The Street of Nations. 367 German Section Place des Invalides. 37^ LIST OF ILLUSTRATIONS. . 17 Pavilion of Servia. 380 Pavilion of Mexico. 380 Palace of City of Paris. 389 Pavilion of Greece. 396 Pavilion of Denmark. 396 Pavilion of Sweden. 402 Pavilion of Monaco. 402 Interior of Pavilion of Finland.. 411 Hall of Fetes—Grand Stairway. 411 Building of the Great Maritime Companies. 417 Palace of Algeria. 417 Palace of Turkey. 424 Pavilion of Germany and Spain... 424 Palace of Indo-China. 433 Pavilion of Bosnia and Herzagovina. 433 Pavilion of the Transvaal. 440 Palace of Belgium.•. 440 Pavilion of Cambodia. 461 Palace of Congresses. 461 Palace of Russia. 468 Gardens of Trocadero and Trans-Siberian Palace. 477 The United States Building. 484 Interior of Pavilion of Norway. 501 The Water Palace. 520 Building Containing the “Tour of the World”. 537 Scene on Moving Sidewalk. 544 Palace of Diversified Industries. 553 Gallery on Second Floor of Monaco Building... 564 Guard of Ceylon Exhibition. 573 5Phe Paris Bxp®sifei©R ®f 1900. Origin and Growth of Expositions. T the very dawn of authentic history we read of fairs. They were periodic gatherings—usually annual—whose dates were fixed by some inherent need, or the general conven¬ ience, of the communities in which thev were held. They ± were common to no one people or nation, but had a gen¬ eral existence, for they served a purpose, in primitive times, of catering to man’s physical necessities, and in this respect all peoples had demands to be met. The general conditions under which they found an origin were, first, a central spot in some community, section, province, state or even em¬ pire, which possessed the proportions of a village or town, and enjoyed intercourse by water or caravan route with the commercial world. Sometimes even an improved highway settled the site, and not infre¬ quently historic or religious associations intensified the desire for visita¬ tion and temporary sojourn. In other words, we must suppose that the site offered some of the inducements of a mart, whither were gathered the essentials of life and comfort, such as the rarer food-stuffs, clothing, household wares and utensils of convenience. Second, the surround¬ ings of the site, whether of small or large area, whether near or remote, must have contained a population thinly scattered, without facilities of 19 20 THE PARIS EXPOSITION. interchange among themselves, engaged in agriculture, hunting, fish¬ ing, mining, or the production of primitive articles of handicraft. Thus situated and engaged, what so natural as that they all should seek, by virtue of necessity, if nothing else, an outlet for the products of their toil, and opportunity to replace them with those they could not produce, but which were, nevertheless, essential to their comfort and, perhaps, very existence. The typical and celebrated annual fair of Novgorod, in Rus¬ sia, grew out of the precise conditions above described, and answered the same general purposes for a district embracing tens of thousands of square miles. So of hundreds of others that flourished quite as vigor¬ ously, but have passed into history as victims of changed conditions. The primitive fair always added to utility and convenience the social inducement, for people living wide apart and holding little intercourse with one another found an annual mingling place agreeable. The de¬ sire to see and be seen, to meet friends and make new acquaintances, to exchange views, however crude, is as old as man himself, and has played its part as a social and civilizing agent from remotest times. We can even imagine that brother instinct, curiosity, operating as an inducement to “go to the fair,” for though men in general and women in particular might not have been so infatuated then as now with changes of fashion, gorgeously feathered hats, Paris cut gowns, exquisitely patterned trous¬ ers and variegated neckties not having as yet come to excite admiration and appeal to pocket-book contents, still the fair mart must have pro¬ duced a little something new each year, the seeing and knowing of which was a sufficient gratification of a mild curiosity. But if the primitive fair had few of the features of a show, if people went to them chiefly to dispose of what they had .to sell and to buy what they knew they would find, without the display and crying of wares and at prices unaffected by competition, a time came when a change crept in by reason of changed conditions. As people brought more to the fair FRIEZE REPRESENTING “LABOR” ON THE MONUMENTAL GATE. ORIGIN AND GROWTH OF EXPOSITIONS. 23 to sell, and therby acquired larger means for buying, it became profita¬ ble to introduce a greater variety of wares into the marts, to make more ostentatious displays of them, and to cry their quality and value to buy¬ ers. This innovation was simply a natural and pardonable commercial¬ ism, involving the “beating up” principle for customers, and the intro¬ duction of the laws of competition. But it proved to be far more than this, in the end. That commercialism which led to a broadening of plans for fairs, to a rivalry of effort and of price on the part of sellers, and to the presenta¬ tion of newer, greater and more attractive varieties of wares, created a demand for something aside from mere wares of sale. The old-fash¬ ioned buyer at the primitive fair became a sight-seer as well. He would see what was new and striking and, perhaps, even what was fashionable, and this, very likely, before he bought at all. If he had not bought, it became necessary to make his sojourn agreeable and to keep him in a buying mood. If he had bought, and then turned to sight-seeing, he became tired, and desirious of rest, or, since the fair was a sort of holi¬ day occasion, nothing appealed to him so strongly as some kind of amusement. Here then came into the fair the element of entertainment, not in one, but in a variety of fantastical shapes. The bear-baiter came on the scene, the traveling tragedy, comedy and farce, Pantaloon and Punch and Judy, the dancer and fiddler, the wrestler, boxer and athlete of every kind, in short, whatever was calculated to beguile, fatigue and conduce to good nature and liberality. The spirit of commercialism which demanded and excused these in¬ novations, and profited by them, was weak and faulty in the respect that it could not control them, especially among peoples inclined to abuse of freedom and blind to the difference between hilarity and excess. For instance, the Donnybrook fair of Ireland became a byword and reproach by reason of its drunkenness, fights and crimes, and had to be sup- 2 4 THE PA'RIS EXPOSITION. pressed by statute. But this was not true of all. On the contrary, the generality of English fairs grew in importance, and became valuable even to the crown, which exacted a license for the privilege of holding them, and also to the church which found in them liberal sources of char¬ ity. In France, among an affable people, fond of intercourse’ and ra¬ tional amusement, the fair grew into an institution so interesting and useful to the people, that it won kingly favor and attracted attendance from neighboring states of the continent. The fair was now to undergo other transformations, not rapid, but slow aud sure. It was to gradually lose its commercial spirit and value for something more lofty and pervasive. The conditions of its origin and existence were changing with the years. Population was growing more dense, and the social instinct could be exercised directly among the people themselves. Central marts multiplied in number and became more contiguous to the people. Water traffic by canal and river assured a daily supply of wares in the very heart of communities once remote. Means of land travel by better highways and by railway brought mar¬ kets to the verge of field and mine and forest, and in return carried away with swiftness and ease the products that invited transportation. The fair that people had gone scores of miles to see and sell and buy in once a year had come to their very doors to be seen daily. In noticing the transformations which gradually came over the fair, it remained as much as ever the creature of conditions, of environment, and perhaps even more, since it now lacked the stimulus and selfishness of commercialism. It was still to be a thing devoted to the material, but to the material in conjunction with the intellectual. The mart idea was to pass away, but the show idea was to bloom more luxuriantly than ever. Amusement there might be, but it would be that afforded by wit¬ nessing the wonders of genius and skill. Interchange of thoughts was to be substituted for interchange of wares. The ancient fair was to be- ORIGIN AND GROWTH OF EXPOSITIONS. 25 come a modern school, its visitors scholars of art and science, its teachers the visible but mute results of enlightened and progressive effort on the part of those making their displays. This evolution, like all others that have led to happy culminations, moved slowly, yet swiftly enough to keep even pace with the conditions that encouraged it. It began to manifest itself in tangible effort, speech and writing about the middle of the eighteenth century, and by 1760 it became concrete through the agency of the London Society of Arts which, in that year organized an exhibition, the first of its kind, of specimens of improvement in the useful arts and manufactures. As an encouragement to send exhibits, and in order to foster genius and skill, it originated the system of awards of prizes and premiums where excep¬ tional merit was shown. It ought to be particularly noted that this in¬ spiring and creating influence was that of an art society. Yet it was comprehensive enough to include in its fostering aim, as was proclaimed in its schedules and advertisements, manufactures, science, mechanical and agricultural industry, the fishery trade and colonial commerce of the country. The limitation to its energy and influence was that it looked not beyond encouragement to native ingenuity only. But this was not a serious defect, for of their own volition other countries immediately took up the idea and made it bear fruit in one form or another. In youthful and progressive America it took the form of mechanics’ institutes and free libraries for artisans, the latter a perpetual fountain of information for those of limited time and means, the former a permanent room for the achievements of hand and brain, and a school of useful instruction by means of demonstrations and lectures, the fair feature being still a survival through annual exhibitions, more or less ostentatious in style, dependent on the number of articles loaned or con¬ tributed by those of patronizing turn. Very soon the institute reached further and became more popular through the inducement of liberal 26 THE PARIS EXPOSITION. prizes and honorary diplomas which had the effect of enlisting friends more warmly, and attracting all who sought distinctive recognition and official approval of their genius and enterprise. So important an agency for the encouragement of invention and skilled workmanship did the institute become that even governments came to recognize them and take them under their patronage. This was so in the first institute ex¬ hibition at Paris, in 1798. When government patronage became a cus¬ tom, the transition was rapid and easy from the local exhibition, under institute auspices, to the national exhibition, illustrative of state achieve¬ ment and progress, and stimulating to the pride and energy of the par¬ ticular people interested. Thus, to mention France again, she em¬ barked by legislative enactment, as early as 1800, upon a series of tri¬ ennial national exhibitions, which unfortunately came to an end after a few trials, through the vicissitudes of politics. If we except the agricultural fair, state exhibitions never came into favor in the United States. But of the agricultural fair it must be said that though the idea was English born, it found its fullest elaboration and exemplification in this country of magnificent inducements and op¬ portunities. Yet, strange as it may appear, this class of fair had to work a tardy, almost hostile, way to recognition and popularity. When its father, Elkanah Watson, of Plymouth, Mass., first proposed an agricult¬ ural fair and cattle show, in order that farming conditions might be bet¬ tered and breeds improved, his project was coldly received, even by farmers. It took years of persuasion to induce his community to con¬ tribute sufficiently of their soil products and breeds to make his first ex¬ hibition of 1810 a success, and even this was not achieved without pre¬ mium offers in cash. His subsequent efforts to repeat this success in Massachusetts met with rebuff and derision. Said John Adams to him, when he was mak¬ ing an appeal in Boston for aid, “Commerce, literature, theology, medi- OLD PARIS AND THE TROCADERO. ORIGIN AND GROWTH OF EXPOSITIONS. 29 cine, the university and universal politics are against you.” What won¬ der that he transferred his energies and enthusiasm to Albany, N. Y.! Here he founded the first agricultural society of the State, and under its auspices held many fairs and stock shows. He induced the legislature, in 1819, to appropriate $10,000 a year, for six years, for the encourage¬ ment of agriculture and manufactures, the various local societies to raise a like amount. The State Society, whose foundation he secured in 1832, became the father of the agricultural departments which have since found existence in nearly every State of the Union. While the State agricultural fair drifted into the permanent department, the country fair lost its hold, in some measure, on popular favor by innovations—such as horse racing and games—foreign to that spirit of show of cattle, fruits, etc., which brought it into existence. During the Civil War—1861-65—there was a development of fairs along mixed commercial and humanitarian lines which became general throughout the United States, and no form of raising money to provide necessities for sick and wounded soldiers in field and hospital was so popular and successful. Akin to them is the church fair, regarded as a warrantable blending of commercialism and charity. Special interests incline more and more to fixed or periodical shows of their products. Thus, those interests get together at a certain date or in a certain place and exhibit in an educative, commercial and competitive spirit their special outputs, as of electrical appliances, machinery, wood-working, food preparations, art works. Sportsmen cultivate the line of horse and dog shows. Then there is a rapid growth of permanent expositions or museums in this country after the fashion of those in the older cities of Europe. Philadelphia dates her permanent art exposition from the Centennial Exposition of 1876, and Chicago has her Field Columbian Museum, which is the Art Palace of the Columbian Exposition of 1893, as permanently endowed by Marshall Field. The most imposing exem- 36 THE PARIS EXPOSITION. plification of this class of exposition is that known as the Commercial Museum, located at Philadelphia, of which a word will be said in chron¬ ological place. In 1850, the London Society of Arts designed to extend the scale of its annual exhibitions so as to embrace the products of the entire kingdom. But Prince Albert enlarged upon the idea, and conceived that it would be beneficial to throw the exhibition of the following year open to the industries of the whole world. The thought struck a popular vein, and a commission was appointed to organize and control the enterprise. Grounds containing some twenty acres were selected as a site. A plan for a building, composed of iron and glass, was agreed upon. The building was to cost some $400,000, and was to remain the property of the builder. Its length was 1851 feet, breadth 408 feet, with a northern projection of 936 feet by 48 feet. It was turned over to the commissioners on February 3, 1851, and the announcement was made that the “Exhibition of the Works of Industry of Ail Nations” would be opened on May 1, 1851. The foreign response to this enterprise was far more liberal than was expected. Nearly every country in Europe became an exhibitor. Most of the States of the United States were represented, as were the republics of South America. India, Egypt, Persia, the British Col¬ onies, and many of the islands of the seas, were present with exhibits. The arrangement provided for four grand groups—Raw Materials, Ma¬ chinery, Manufactures, Fine Arts, whose value was estimated at nearly $10,000,000. The Exhibition was opened on May 1, 1851, and closed on October 11, 1851, with 15,000 separate exhibitors. The daily attend¬ ance was 42,111, and the total, 6,063,986. The highest attendance in any one day was 109,915. It brought to London only about 40,000 foreigners as special visitors. The total expenditures were about $1,650,000, and total receipts $2,530,000, leaving a net profit of some ORIGIN AND GROWTH OF EXPOSITIONS. 3* $880,000. Medals and honorable mentions to the number of 5,084 were issued, and as showing the internationality of the enterprise, foreigners who occupied only two-fifths of the exhibition space carried away three- fifths of the prizes, these being mostly for textile fabrics, fine arts, raw materials and miscellaneous manufactures. In the domain of machin¬ ery, metal manufactures and manufactures of glass and porcelain, Brit¬ ish exhibitors took the larger per cent, of prizes. This first world’s exhibition at once became historic, and its influ¬ ence extended widely. It had been an experiment in an untried field, and it had paid its way with a handsome surplus left, to say nothing of its incidental advantages. The very next year (1852) the Cork trien¬ nial exhibition of the arts an^ manufactures of Ireland was greatly en¬ larged, and that of the Dublin Society in 1853 was turned into an inter¬ national one. A desire to repeat the London experiment in the United States came back with visitors, and a company was formed in New York for the purpose. In January, 1852, it was granted the use of Reservoir Square for five years on certain conditions as to the size and material of an exhibition building. The entrance fee was not to exceed fifty cents. The New York Legislature incorporated the company in March, 1852, under the name of the “Association for the Exhibition of the Industries of all Nations.” Its capital was $200,000, with privilege of increase to $300,000. The Federal government made its building a bonded ware¬ house and exempted all foreign exhibits from duty. It was strictly a private enterprise, and was opened July 14, 1853, with 4800 exhibitors, nearly half of whom were foreign. It had to contend with a site too small in area and too far from the centre of the city, with its unfinished structure of glass, iron and wood on opening day, and with general mis¬ management throughout. It remained open for 119 days at a total cost of $1,000,000, and with receipts of only $340,000. Though a dis- 32 THE PARIS EXPOSITION. mal financial failure, it was by no means held in vain, for no world exhibition was ever a failure in intellectual and industrial results. Under the inspiration furnished by the London exhibition of 1851, France also determined to repeat the experiment by enlarging the na¬ tional scope of her former exhibitions to international proportions. The government took the matter in hand and issued guarantees to the cor¬ porations in pharge. The principle of a single show-structure was abandoned, and several, with special adaptation for their purpose, were erected. A main building called the Palace of Industry was erected by a joint stock company in the Elysian Camps. It was composed of stone, glass and brick, was 850 feet long by 350 wide, and had a floor space of 1,770,000 square feet. Other buildings, as the Palace of Fine Arts, the Panorama, and three for agricultural implements, vehicles and miscellaneous displays, were erected by other corporations, backed by the government. The total cost of the buildings was about $5,000,000. The Palace of Industry remained as a permanent structure, and was not torn down until 1900, when it gave way to a site for the two Palaces of Fine Arts. The exhibition was opened May 15, 1855, an d closed on November 15. There were 20,839 exhibitors, a little less than half of whom were foreign. It was visited by nearly 5,000,000 people, and was regarded as a substantial success. Passing over the many industrial art displays of local significance—■ Madras and New Brunswick, 1853; Munich, 1854; Edinburgh and Manchester, 1857—we come to the second London exhibition, that of 1862. As with the first, a commission undertook this second one, but with a guarantee fund of $2,500,000. The French idea of separate buildings was adopted. The site was South Kensington, the main building of brick, glass and iron, covering about seven acres. The annexes increased the area under roof to twenty-three acres. It was opened May 1, 1862 , and remained opened 117 days. The foreign ORIGIN AND GROWTH OF EXPOSITIONS. 33 exhibitors numbered 17,861, and they captured 9,000 prizes. It was visited by 6,211,103 persons, or an average of 36,329 daily. The expenditures exceeded the receipts by a small margin. France immediately announced an exposition in Paris in 1867. This was to exceed all previous enterprises in plan, size and interna¬ tional features. The commission was given the Champ de Mars, or an¬ nual parade ground of some 120 acres, for the occasion. Its centre was devoted to the main structure, 1607 feet long by 1246 wide, costing $2,357, 00 °. Minor buildings accommodated special exhibits. For¬ eigners could erect their own buildings for characteristic exhibits. This was regarded as a wonderful innovation. The exposition opened April 1, 1867, and closed on October 31. There were 51,819 exhibitors. It was visited by 15,000,000 people, or 70,000 daily. The expenditures were $4,596,000, and receipts $2,882,000, but as the national and mu¬ nicipal governments had each contributed $1,200,000, there was a sur¬ plus of $626,000. London now projected a series of three annual exhibitions. The first was held in 1871, and was devoted to arts and industries, in which thirty-three foreign nations became exhibitors of some 11,000 exhibits. The attendance was 1,142,000. The second, that of 1872, was limited to displays of textiles, fine arts, printing machinery, paper, goldsmith’s work, musical instruments, etc. The third, that of 1873, was devoted to cookery, foods and domestic subjects. Austria now came into the field as an aspirant for international exposition honors. She planned her universal exposition of 1873 with admirable foresight, and introduced the feature of world congresses for the discussion of universal questions. The exposition was opened May 1, 1873, and closed November 3. There were 70,000 exhibitors, repre¬ senting every part of the world. The United States alone had 643 ex¬ hibitors, more than half of whom took prizes. The visitors numbered 34 THE PARIS EXPOSITION. 7,250,000, and the expenditures exceeded the receipts by some $7,850,- 000, which deficit the government made up. The success of this expo¬ sition was greatly interferred with by an outbreak of cholera in Vienna, local extortions and a money crisis. The centennial of the Declaration of Independence gave the United States another opportunity to conduct an international exposi¬ tion. In March, 1871, Congress created a United States Centennial Commission, to be composed of a member from each State and Terri¬ tory. This commission chose a President and other working officers, also an executive, or working, committee. On an estimated expendi¬ ture of $10,000,000, capital stock was apportioned among the States, but a special Board of Revenue had in hands the collection of subscrip¬ tion and cash funds. An invitation (July 3, 1873) was sent to the na¬ tions to participate in an “International Exhibition of arts, manufac¬ tures and products of soil and mine, in Philadelphia, in 1876, opening on April 19, and closing October 19.” Thirty-two foreign states re¬ sponded. Philadelphia placed 236 acres in Fairmount Park at the disposal of the commission for buildings, and an additional large space for shows not requiring buildings. A main buildings was erected, 1880 feet long by 464 wide. It covered 21.47 acres, had a floor space of 936,000 square feet, and cost $1,600,000. Memorial Hall, devoted to art and designed to be permanent, was erected at a cost of $1,500,000. It was 365 feet long and 210 wide. Machinery Hall was 1402 feet long by 360 wide. Horticultural Hall was erected for a permanent purpose. The Agri¬ cultural building was 630 feet long by 465 wide, with a nave 826 feet long by 100 wide. These five immense structures constituted the nucleus of the Exposition. They were surrounded by many other spec¬ ially constructed buildings, making quite a city. These were the larg¬ est grounds and most extensive building spaces ever devoted to exhi- ORIGIN AND GROWTH OF EXPOSITIONS. 3? bition purposes, up to that time. They represented an outlay of $20,- 000,000, of which the United States loaned $1,500,000, the State of Pennsylvania gave $1,000,000, and the city of Philadelphia gave $1,500,- 000. The loan by the United States was repaid. The number of visi¬ tors was 9,910,966, and it was counted as a great success in every respect. In 1878, France held, at Paris, the grandest of all her universal expositions, up to that date. The buildings covered a hundred acres of ground, and the nations were numerously and magnificently repre¬ sented. The exhibits numbered 80,000, and over 16,000,000 visitors entered the turnstiles. The desire to commemorate a centennial epoch in the cotton raising industry of the United States led to an exposition in that behalf in At¬ lanta, Ga., in 1881. Though of only local historic moment, it proved to be a creditable affair. It was followed by a larger one, involving like historic thought, at Louisville, Ky., in 1883. This was again followed by one of still larger proportions, and of international import at New Orleans, La., in the winter of 1884-85. It found a conception in the National CottonPlanters’ Association, and as a universal exhibition, but with the cotton industry as a dominant feature. The enterprise was in¬ corporated by the Congress of the United States under the names of the “World’s Industrial and Cotton Centennial Exposition.” The govern¬ ment loaned it $1,000,000 and appropriated $300,000 for the erection of a handsome Federal Building. The State of Louisiana gave $100,000, to be expended in the erection of a permanent Horticultural Hall. Var ious corporations, especially railway, took stock in the enterprise, esti¬ mated at $500,000. Commissioners were appointed for the various States and Territories, and invitations were sent out, through the gov¬ ernment at Washington, to all foreign nations to send their exhibits for display at New Orleans between December 1, 1884 and May 31, 1885. 3 6 THE PA&IS EXPOSITION. The site chosen was Upper City Park, containing 245 acres of land. A Main Building was erected in its centre, 1378 feet long by 905 wide. It was of wood covered with glass. It occupied thirty-three acres of ground. In its centre was a Music Hall with a seating capacity of 11,000. From its rear stretched an immense hall devoted to machin¬ ery. Its southern extension, 570 by 120 feet, was given up to mills and factories in operation. The Federal Building was an imposing structure 885 feet long by 565 wide. It contained the United States’ exhibits and those special to the respective States. The Horticultural Hall was 600 feet long by 194 feet wide, and constructed of iron and glass. There was an Art Build¬ ing 250 by 100 feet. Many other structures of special architecture and adaptation served to increase the area devoted to buildings, which was, in all, some seventy-six acres, or 2,673,588 square feet of show space. Displays of woman’s work, of the work of the colored race, of the cul¬ tivation and manufacture of cotton, and of the rice and sugar indus¬ tries, constituted, as a matter of course, significant features of this cred¬ itable enterprise. Paris, which might be said at this date to have become the home of the “Exposition Universale”—World Exposition—was in readiness for the opening of another one by May 5, 1889. Following the Amer¬ ican idea, this was to be a commemorative occasion, in honor of the cen¬ tennial of the French revolution. For this reason the monarchical gov¬ ernments did not lend it official recognition, though they encouraged individual competition. The United States and Switzerland gave it official acknowledgment. Notwithstanding these drawbacks it proved to be the most ambitious and comprehensive enterprise of the kind France had ever indulged in, and the world had not seen its equal. It occupied a much larger space than any of its predecessors, completely covering the space of the Champ de Mars, and connecting at the Jena OLD PARIS—ST. MICHAEL’S GATE. MAP OP FRANCE IN PRECIOUS JEWELS. Presented to France by the Czar of Russia. ORIGIN AND GROWTH OF EXPOSITIONS. 39 Bridge over the Seine with the gardens of the Trocadero. The build¬ ings were chiefly of glass and iron, and of very picturesque designs. A great palace was erected in the Trocadero gardens, called the Troca¬ dero Palace, which remained as a permanent structure, and formed one of the imposing sights of the Exposition of 1900. The Palace of Gen¬ eral Industries was crowned with a dome 250 feet high, and the Machin¬ ery Palace, the largest building under one roof in the world, up to that date, covered an area of 1,800,000 square feet. There were 60,000 exhibitors at this exposition, and 33,139 awards of prizes. The visitors numbered 6,500,000, of whom 5,000,000 were French, and 1,500,000 foreign. The next all-world exposition was that in commemoration of the four hundredth year of the discovery of America by Columbus. Schemes for the celebration of this event began to be broached soon after the close of the Centennial Exposition of 1876. One was the erection of a permanent museum in Washington, in 1892, to illustrate the pro¬ gress of the North American Continent, since its discovery. But public sentiment inclined to something more comprehensive—a world’s fair. Washington, New York, St. Louis and Chicago, urged their fitness as sites for the occasion. On April 25, 1890, Congress selected Chicago as the site, on the strength of the fact that she had pledged subscrip¬ tions to the amount of $5,000,000. On the same date, Congress rec¬ ognized the “World’s Columbian Exposition,” an Illinois corporation previously formed, and appointed the “World’s Columbian Commis¬ sion,” composed of two members from each State and Territory, two from the District of Columbia, and eight at large. The organizing corporation was to guarantee a subscription of $10,000,000, and make an actual payment of $500,000, before these commissioners finally rat¬ ified the selection of the site. Later on, a “Board of Lady Managers” 4 o THE PARIS EXPOSITION. and a “World’s Auxiliary Congress” were added, and these four bodies managed the exposition through their representatives. The site selected was Jackson Park, six miles south of the centre of Chicago. It contained 533 acres, and extended for a mile and a half along Lake Michigan. To this was added Midway Plaisance, a space of 80 acres, which extended a mile westward and connected with the city’s park system. The designing and construction of grounds and buildings were placed in charge of a chief of construction who chose the most prominent architects, and landscapists of the United States to assist him. The plans of the separate buildings were assigned to separ¬ ate architects, but their acceptance depended on the central corps, so as to assume unity of purpose with freedom of detail. On the grounds as selected, there were erected in all about 150 buildings. Of these the largest was that of Manufactures and Liberal Arts, 1,687 feet long by 787 wide, and costing $1,500,000. Others of prime importance were Machinery Hall, 842 feet long by 494 wide, and costing $1,285,000; Administration Building 262 feet square and cost¬ ing $435,000; Agricultural Building, 800 feet long by 500 wide, costing $618,000; Electricity Building, 690 feet long by 350 wide, costing $401,- 000; Mining Building, 700 feet long by 350 wide, costing $265,000; Transportation Building, 960 feet long by 256 wide, costing $370,000; Fisheries Building, 361 feet long by 162 wide, costing $224,000; Horti¬ cultural Building, 997 feet lpng by 250 wide, costing $300,000; Fine Arts Building, 500 feet long by 320 wide, costing $670,000; and still others of like importance and hardly less dimensions and, cost, as the United States Government Building, Forestry Building, Woman’s Building, Live Stock Building, Music Hall and the Casino. Foreign governments appropriated a total of $6,511,520 for their respective buildings and exhibits, France leading with $650,000; followed by Japan, $630,000; Brazil, $600,000; Germany, $214,200; Austria, $149,000. ORIGIN AND GROWTH OF EXPOSITIONS. 41 The States and Territories of the United States expended $6,020,850 for buildings and exhibits. The total cost of construction was $18,322,622. Full advantage was taken of the site upon the shores of Lake Mich¬ igan. Two navigable canals let the waters of the lake into basins and lagoons in the exhibition grounds, and a magnificent pier stretched 1200 feet into the lake. The effect of these interior water-ways was to rest and refresh, to reflect and double the architectural features along their shores, and to furnish agreeable means of transit in gondolas, launches and other water-craft. The artistic and popular verdict was that the ensemble stood unrivalled for variety of architectural beauty and unity of effect. The material known as “Staff,” which had been first used for building purposes at the Paris exposition of 1889, was brought into general requisition, and justly warranted, as applied to the immense aggregate of structures, the cognomen of “The White City.” The erection of buildings began in June, 1891. On October 23, 1892, the grounds were turned over to the national commission, and the buildings were dedicated in the presence of 130,000 people. The Ex¬ position, owing to its unfinished state, was not formally opened until May 1, 1893. The average daily attendance of paid admissions was 172,712, apd the largest attendance on any one day was 716,881, it being “Chicago Day.” The highest record of any one day at the Paris Exposition of 1889 was about 400,000, and that of the Centennial 257,- 000. The total attendance during the whole Columbian Exposition was 27,500,000. The Exposition was todrave been formally closed with an elaborate program on October 28, 1893, but the death of the mayor of Chicago prevented. It was closed on October 30, without other ceremony than a simple lowering of the flags, and the work of dismantling began the next day. The Fine Arts Building became a permanent museum, and received rich endowments from liberal citizens. 42 THE PARIS EXPOSITION. The cost of the World’s Columbian Exposition to the direct man¬ agement was $25,500,000. Add to this the amount appropriated by the U. S. Government, by foreign governments, and by States and Terri¬ tories, for their buildings and exhibits, and the grand total of cost amounted to over $40,000,000. The receipts from all sources, includ¬ ing $5,604,171 realized from sale of stock,$5,000,000 given by the city of Chicago, and $2,448,032 realized from the souvenir coins issued by the United States, amounted to $28,151,168. There was, therefore, a net profit of some $1,850,000. During the Exposition conventions were held under the auspices of the World’s Congress Auxiliary, at which were discussed philosophi¬ cal, educational, religious and economic problems from an international standpoint. Of these gatherings, the World’s Parliament of Religion attracted the most attention. In all there were 65,422 exhibitors at the Exposition, and 23,757 medals were awarded, the jury reporting upon 250,000 separate exhibits. The Southern States were again inspired to an Exposition, of both local and general import. Owing to the constitutional inability of their legislatures to appropriate public money for a proper exemplification of their industries at the Columbian Exposition, and with a view to the promotion of a larger trade with South American and Europe, an enter¬ prise, which was private in character, except the official aid of $75,999 received from the city of Atlanta, was set on foot under the name of the “Cotton States and International Exposition.” It opened at Atlanta, Ga., September 18, 1895. The site was a tract of 189 acres, two miles from the centre of the city. Not only the Southern, but many of the Northern and Western States aided the enterprise with special buildings and exhibits. There were thirteen large buildings, of which that of the U. S. Government occupied the most conspicuous position. The Administration Building was a fantastic compound of architectural PALACE OF FONTAINEBLBU. CHAMBER OF ANNE OF AUSTRIA, ORIGIN AND GROWTH OF EXPOSITIONS. 45 effects from various antiquated castles of Europe. The largest build¬ ing was that devoted to Manufactures and Liberal Arts. The most original of all was that for Minerals and Forestry, being constructed entirely of wood in its natural state from the several Southern States. The Fine Arts and Woman’s Buildings were showy and well-adapted. The Negro Building was rendered attractive by specimens of Negro industry and handiwork from fourteen States. The cost of this Expo¬ sition was some $2,000,000. It was closed on December 31, 1895. In commemoration of the one hundredth anniversary of the admis¬ sion of the State of Tennessee into the Union, an International Exposi¬ tion was held at Nashville, the state capital, from May 1, to October 30, 1897. Its date should have been one year earlier, but the incorporators failed to raise the money in time. Its site was West Side Park. Here was erected the Centennial City, a full-fledged municipality, with all its departments and officials. A characteristic of the main structures was the reproduction with great fidelity of such antique specimens as the Parthenon, Pyramid of Cheops, Texas Alamo, Grotto of Capri, and Egyptian temples. Other novel features were statues of classical and mythological subjects, a Chinese farm, cotton and tobacco fields, lakes and fountains, athletic grounds. The State made a fine exhibit of its industries and resources. About 190 acres of ground were devoted to the uses of this Exposition. The total attendance was 1,886,714. The expenditures were $1,087,227, and the receipts the same. The inspiration for International Expositions had extended beyond the Mississippi. The pioneers and their descendants of the great Trans- Mississippi region resolved to invite the world to see the wonderful de¬ velopments of a section which, within living memory, had few occupants other than Red Men. The enterprise was undertaken under the name of the “Trans-Mississippi and International Exposition at Omaha/’ The site was a plauteau just north of the city. The grounds were laid 3 46 THE PARIS EXPOSITION. out so as to take advantage of the natural outlines, and the buildings fol¬ lowed architectural designs of striking originality. In respect of ma¬ terial—“Staff”—they suggested a second “White City.” All the build¬ ings were capacious and admirably adapted for their purposes. The Government Building was particularly imposing, being of the Ionic order, surmounted by a colossal dome supporting a copy of Bartholdi’s statue of “Liberty Enlightening the World.” , It was opened on June i, 1898, and closed on October 31. The to¬ tal attendance was 2,600,000, the largest single day being 98,785. The total expenditures were $1,500,000, and the total receipts $2,000,000. Of the Greater America Exposition at Omaha—July-November, 1899, an( l the Export Exposition and World’s Commercial Congress at Philadelphia—September-November, 1899, the historic mention made must be that in their general characteristics they indicated a departure from the traditional features of the Universal Exposition. They were great schools, as all expositions are, but without competitive display as an essential factor. They savored more of the museum than of the show, more of the place of inquiry than of curiosity. They had missions identical with the Exposition Universale, yet different, for their lines lay more nearly parallel with those that govern the commercial instinct, in the quietude of its office, or in its contemplative outlook for new oppor¬ tunities. Many of these characteristics are being reflected in the Paris Exposition of 1900, and perhaps to its advantage from a strictly utili¬ tarian standpoint. The Fairie City. WO thousand years ago, Paris, now the Fairie City of the world, or as some prefer, the City of Light, was a mis¬ erable fishing village on an island (now lie de la Cite) in the river Sequana (now Seine). The fishermen were Gallic Celts of the clan Parisii. The first historic men¬ tion of the place was by Julius Caesar, in 55 B. C., who spoke of the Parisii having a fort on the island; but he called the place Lutetia. This name survived for two or three hundred years, and was then gradually lost in the resurrection of the primitive name—place of the Parisii, or Paris. As Lutetia, and under Roman influence, it began to assume import¬ ance. The Roman emperor, Constantius, resided there (292-306). Ju¬ lian was proclaimed emperor there by his soldiers, in 360 B. C. He is credited with the building of the Palace of Thermae, and of two bridges connecting the island with the left, or south, bank of the Seine, where had gathered quite a numerous population. At the end of the fourth century it had become the seat of a Roman Catholic bishop, but by this time the name Paris had been substituted for Lutetia. It assumed further importance as the capital of the Frankish king, Clovis, and St. Genevieve, who had converted Clovis, became its patron saint. Its prosperity received a check under the rule of Emperor Char¬ lemagne (742-814), who removed the capital to Aix-la-Chapelle. In 885-86 it was besieged in vain for thirteen months by 30,000 Normans, and through this success took the first decided step toward its grand des¬ tiny. Hugh Capet made it the capital of his kingdom, and it remained the capital during the existence of the Capetian dynasty. From Louis 47 4* THE PARIS EXPOSITION. VI to Charles V,the growth and prosperity of Paris began to find expres¬ sion in its municipal administration and public buildings. During the reign of Philip Augustus (i 180-1223) the city grew rapidly in population and importance. The two crude bridges which connected the isle of Cite with the south, or left, bank of the Seine were replaced with stone, and their ends defended by the newly erected stone fortresses of the Grand and Petit (Little) Chatelet (small castle). At this date too, Paris started on that intellectual career which has ever distinguished her. Three colleges were founded, which drew some 20,000 students annu¬ ally from France and all parts of Europe. These became the foundation of the university which did so much to increase the population and im¬ portance of the city. Shortly a theological college was founded, which afterward bloomed into the celebrated Serbonne. Already Paris had become in a way the capital of Western Europe. Provincial and foreign princes made it their habitual residence, moved by its exquisite architecture, fine streets, evidences of art, and opportu¬ nity for amusement, for Parisians, then as now, enjoyed the reputation of a gay people. The Hanseatic League gave a powerful impetus to its commerce. Its fortifications were completed by the building of a great wall around the city, its splendid pavements extended, its first public markets erected. The first Louvre was designed and built, which marked the resistance of royalty to the great feudal nobles. With the growing sense of municipal power and in obedience to a pardonable local pride, the Parisians of each succeeding reign turned more and more to the embellishment of their city and adaptation of means to make it healthy. There arose such beautiful and commodious structures as the hotels of St. Paul, Cluny and Tremouille, and the new fortress which became odious in after history as the Bastile. The transformation of old medieval Paris went on under Louis XII and XIII. The existing Louvre was built and the first Hotel-de-Ville (City Hotel). AVENUE BOIS DE BOULOGNE. THE FAIRIE CITY. S [ Catherine de Medici built the Tuileries. Henry II left an imperishable record of his reign in magnificent stone and marble structures. The religious struggles of the 16th century checked the work of embellish¬ ment, but it was resumed under Henry IV, who enlarged the Louvre and Tuileries, completed the City Hotel, transformed the Cite, widened the streets and quays along the Seine, planned the Royal Palace, and greatly extended the city to the west. During the reigns of LouisXIII and XIV (1610-1643) (1643-1715), who were ably assisted by the greatest engineers, architects, painters and sculptors of the age, the city underwent more marked improvements than ever. Lights were introduced into the streets. A new line of for¬ tifications was made. New dwelling and sojourning quarters were erected on every side. The police force was newly organized and in¬ creased. The marsh-lands to the north were drained and laid out in streets. New boulevards and quays were erected. Triumphal arches, as of St. Martin and St. Denis, were built. Private means and taste vied with municipal liberality in the work of improvement, and along with such public creations as the Hotel Invalides, the Academy of France, the observatory and the Gobelins factories, arose the Luxembourg built by Mary Medici, the Vale of Grace by Anne of Austria, the Royal Palace by Richelieu, the Institute by Mazarin. Under Louis XII, Paris be¬ came the official capital of the kingdom. Louis XIV opposed the res¬ idence of the nobility on their country estates. This drew to Paris the elite of the empire, and from this time on it became not only the most fashionable city of the world, but its fortunes and history were indissol¬ ubly linked with those of France itself. Under Louis XV and XVI (1715-74) (1774-93), the French court was virtually the government of France. The king was despot. Cor¬ ruption reigned everywhere. Civic pride ceased to exist. The people were taxed to poverty. Nothing flourished except literature, and that 52 THE PARIS EXPOSITION. of the bold critical kind, which flowed as a warning from the pens of Voltaire, Rousseau, Montesquieu and Diderot. The nation was bank¬ rupt. Revolution was inevitable. It came in 1790, in the shape of the Reign of Terror, whose worst crimes were committed in Paris, and whose excesses eliminated all thought of municipal progress, except that which transformed royal residences to new uses. With the expulsion of the Bourbons, and the end of the Reign of Terror came the first em¬ pire under Napoleon (1799-1815). Then came the most brilliant pe¬ riod of French history. Paris shared the glory. The Bourse arose, the Arch of Triumph and the Vendome Column. The Tuileries and Louvre were further extended, the foundations of the Madeleine were laid. With the restoration of the Bourbons (Louis XVIII, 1814-24; Charles X, 1824-30), discontent and threatened revolution filled the air. They were again expelled by the revolution of 1830, when Louis Phil¬ ippe became king (1830-48). Despite the fact that he could not control the spirit of the revolution, and was forced to flee by the outbreak of 1848, he contributed much to the improvement of Paris. Hospitals, schools and prisons were founded. The July Column rose on the ruins of the Bastile. The lighting of the streets by gas was introduced. But it was under the second empire (Napoleon III, 1852-70) that Paris witnessed her most magnificent architectural revival and was most completely metamorphosed in her ensemble. Under the engineering of the celebrated Baron Haussmann the narrow thoroughfares were converted into broad, well-paved and beautifully built-up streets at the expense of many antiquated and picturesque landmarks. The first great central railway stations were built. Public promenades, squares and parks were laid out and beautified, adding much to the health and gaiety of the most populous sections of the capital. Numbers of impos¬ ing public and private structures were completed in construction, re¬ stored, extended, or had new foundations laid, among which were the THE FAIRIE CITY. 53 Palace of Justice, the City Hotel, the Grand Opera House and other new theatres. Nor did the impulse of this era end with the German occupation of Paris in 1870. On the contrary, it continued under the new Republic, and, at times, was so rapid and radical as that transformation seemed al¬ most like enchantment. Thus had Paris come to be the Fairie City of the world, the one topping all others in her magnificence of architecture, wealth of art, beauty and convenience of boulevard, esplanade and park, historic structures, places of amusement, gaiety and hospitality of her 2,500,000 people. As to other cities, it is in itself an all-world exposi¬ tion, as much to be visited, and seen, and studied, and enjoyed, as the International Exposition going on in 1900 within its gates. In fact the exposition can best be seen and appreciated by first knowing the mag¬ nificent, cosmopolitan Paris, for as to its site, its plans, its approaches, its environments and general ensemble, and its historic attractions, the Exposition is really an integral part of the city itself. What so delightful and instructive, then, to the intelligent visitor as to view and understand the city before entering the gates of the Expo¬ sition ! The point of location is on the Seine, no miles from the river’s mouth, at Havre. The river itself is an attraction, with its magnificent quays, its 400 to 600 feet of width, and its adaptation to light-draft boats. Its general course is northwest, but after entering the city on the south¬ east at the National bridge, it sweeps westerly and southwesterly through the city, passing out at the bridge of St. John, after which it makes a majestic curve to the north around the Bois de Boulogne (Woods of Boulogne), resuming again its general northwesterly direction. In its passage through the city its south bank and left bank are synonomous, as also its north bank and right bank. The river is lined throughout the city with quays or ports, some of very ancient and all of expensive structure, which offer a picturesque 54 THE PARIS EXPOSITION. spectacle to the traveler, so animated are they with workmen and men of different occupations, and so variegated with shops, stores, saloons, etc., devoted to different classes of business and infinitely multiplied tastes. Many of them epitomize in their names some of the most inter ¬ esting history of the city. For instance, after the river enters the city on the southeast, and passes important quays on either side, there ap¬ pears on the right, or northeast, side the quay of Rapee, which perpetu¬ ates the name of the architect and builder of a country house erected on the spot under Louis XV. Opposite, on the left bank, is the quay of Austerlitz, an highly suggestive historic name. The next quay to Aus- terlitz, on the same side, is that of St. Bernard. It owes its name to a Bernardine convent which once stood near it, and is interesting as the landing place of wines on their way to the Hall of Wines, and for its contiguity to the beautiful Garden of Plants, which is not only the Botanical but the Zoological garden of Paris. At the end of quay St. Bernard the river is divided by the island of St. Louis. On the right of the northern arm are the quays of the Ce- lestins and of the City Hotel, the former named from a convent of the Celestins whose walls once skirted it, the latter being formerly known as the quay of Elms. It is the calf-market of the city. On the left of the northern arm, is the quay of Bourbon, whose ancient houses have been converted into wine stores, and the quay of Anjou, named after the Duke of Anjou. It was once lined with seignorial mansions, which are now mainly occupied by small manfacturers. On the southern, or main arm, are the historic quays of Bethune, Orleans and Tournelle. Again the river is divided by the island of Cite, and both its arms are occupied by important quays. That of Megisseric is occupied by the Chatelet Theatre, and by iron and seed merchants, while the quay of Cite is the site of the Tribunal of Commerce and the Flower Market of the city. The arms of the river now come together again, and each bank is THE FAIR1E CITY. 55 lined with a succession of beautiful quays. The first on the right, or north, side is the quay of the Louvre, so named because it skirts the pal¬ ace of the Louvre. On the opposite, or left, side, is the quay of Conti, named from the hotel of Conti. It skirts the Mint and the Institute of France. Again, on the right side is the quay of the Tuileries, named after the palace and gardens near by, and on the left side is the celebrated Quai d’Orsay, on which stands the palaces of the Legion of Honor and Parliament, and the station of the Orleans railway. It ends at the bridge of Concord, where the main entrance to the Exposition is located. Other quays of, perhaps, less historic, but no less commercial and pic¬ turesque merit, continue to line both sides of the river until it makes its exit from the city at the bridge of St. John, on the southwest side. Another picturesque feature of the Seine and the city itself, is the bridges. No less than thirty of these, many of them both historic and beautiful, span the river in its passage through the city limits. The National Bridge crosses the river where it enters the city on the south¬ east. It has six handsome arches, and was built in 1858. It was first named Napoleon III. Bridge, but its name was afterwards changed in obedience to the republican spirit. It is the scene of an annual water tournament in which boatmen vie with each other in aquatic sports. Passing down the river, one reaches in a short space the Tolbaic Bridge, connecting the two quarters of Gare and Bercy. A short distance further is the Bercy Bridge, of five elliptical arches, built in 1864, an d chiefly used by the coopers, whose quarters are near, for the transport of wines and empty casks. The Austerlitz Bridge comes next. It was completed in 1807 and named Austerlitz in memory of Napoleon’s victory over the Russians and Austrians, December 2, 1805. On its beautiful architectural ornaments are inscribed the names of the prin¬ cipal officers killed at Austerlitz. It is one of the most animated bridges THE PARIS EXPOSITION. 56 in the city, being situated between the Lyons and Orleans railway sta¬ tions, close to the Garden of Plants, and adjoining the Mazas Park, a picturesque and crowded resort of the populace, where acrobats and jugglery delight the audiences. Passing other bridges, one comes to the Bridge Marie, connecting the St. Louis island with the City Hotel. It is named from the archi¬ tect, Christopher Marie, and its foundation stone was laid by Louis XIII. and M^ie de Medici in 1614. It was originally occupied by fifty houses. The Tournelle Bridge perpetuates the name of the Castle Tournelle, a fourteenth century fortress on the left bank of the Seine. The Louis Philippe Bridge was built in 1833-34 and named after the then reigning King. The city apple fair is held on barges moored below this bridge. The Arcole Bridge, joining the Quay of Flowers to the City Hotel square, owes its name to an incident. During the attack on the City Hotel, July 28, 1830, a young man, rushing from a group of combatants in the Cite, fell mortally wounded on the bridge, exclaiming, “Remember that my name is Arcole!” The Notre Dame Bridge ranks as the oldest historic bridge in Paris. It dates from the fifteenth century, and occupies the site of a Roman bridge which led to the numerous highways on the right bank of the Seine. Another ancient bridge is the Bridge of Change, or Ex¬ change. Louis VII. established an Exchange on this bridge, which was occupied by houses, on the one side, for money-changers, and on the other side for goldsmiths. Later it became the scene of the city bird-market. The modern bridge, of three beautiful arches, replaced the old structure in i860. The Little Bridge has a history running back to the Roman occupation, and was the first by means of which the in¬ habitants of ancient Lutetia communicated with the left bank of the Seine. The Saint Michel Bridge dates from the fourteenth century, THE FAIRIE CITY, 57 but has been rebuilt several times. The Neuf Bridge is a picturesque and imposing feature of the river, and has played a conspicuous part in Parisian history and politics. Its name, “Neuf,” puzzles etymolo¬ gists. It was built in 1604, but has been rebuilt many times. Its most imposing ornament is the equestrian statue of Henry IV., cast in bronze from several statues of Napoleon, and set up in 1818. The eight arch iron Bridge of Arts connects the Institute of Arts with the Louvre, and presents from its middle a fine view down the Seine. The Bridge Car¬ rousel is decorated at either end with two celebrated statues by Petitet, the two on the left bank representing the Seine and the City of Paris, the two on the right bank Abundance and Industry. The Royal Bridge is the new name for the Tuileries Bridge. From its southern end Louis Philippe was fired upon in November, 1831. Solferino Bridge commemorates the victory of the French over the Austrians at the battle of Solferino, in 1859. The Bridge of Concord unites the Quay Orsay with the Place of Concord. It was finished in 1790 with stones from the Bastile, and was first named Bridge of the Revolution. Its original name was restored after the Revolution of 1830. The next bridge is the one built in connection with the Paris Ex¬ position of 1900. It is the Alexander III. Bridge, connecting the Elysian Gardens with the Esplanade of Invalids. It commemorates the late Czar of Russia, Alexander III., whose son and successor, Nicholas II., laid the foundation stone on October 7, 1896. A fuller description of it will be found in connection with the site and plan of the Exposi¬ tion. The next bridge below is the Bridge of Invalids, connecting the west side of the Esplanade of Invalids with the Quay Conference. Its centrepiece is decorated by statues representing naval and military vic¬ tories. The Alma Bridge, built in 1855, is named and highly sculptured 5* THE PARTS EXPOSITION. to commemorate the Crimean War. The Jena Bridge connects the Camp of Mars with the gardens of the Trocadero. It was completed in 1813, and named to commemorate Napoleon’s victory over the Prus¬ sians, at Jena, October 14, 1806. Its pedestals at either end are richly ornamented with equestrian groups representing a Greek, Roman, Gallic, and Arab horseman. Among the other bridges which span the Seine as it passes the southwestern section of the city, the most notable is the Auteuil Bridge. It was completed in 1866, and is a double- decker, built on forty-one arches. One of its decks accommodates the Ceinture railways. Its construction is regarded as a wonderful piece of engineering skill. No city in the world is so enriched by spacious and beautifully laid out parks and gardens as Paris. One of the most exquisite of these public breathing places is the Garden of the Tuileries, bordering on the Tuileries quay, to the south; on Tuileries street, to the east; on Rivoli street, to the north; and on Concord Place, to the west. It con¬ tains about seventy acres, in the very heart of the city, and forms a quadrilateral space divided into regular squares. The ancient part of the garden was laid out 1665; the modern part was laid out after the destruction of the Tuileries Palace, in 1871, and occupies its site. The garden is ornamented with rare flowers and shrubs, fine old trees, and numerous sculptures, such as Couston’s “Atalanta,” Lepautre’s “Hip- pomenes,” and Theadon’s “Apollo” and “Daphne.” Central in the garden is a fine lake, bordered by terraces. The garden is the great playground of the children inhabiting the heart of Paris, and military bands discourse music there three afternoons in a week. The Luxembourg Garden is not so large as the Tuileries, but with its fine groves and walks bordered by ancient trees, its parterres, foun¬ tains, and statues, all harmonizing with the stately Palace in the centre, GARDEN OF THE TUILERIES. THE FAERIE CITY. 61 it is one of the most charming pleasure grounds of Paris. Its situation in a sober, old-fashioned quarter of the city, with entrances from the four streets which bound it, makes it the pleasure spot of the well-to-do classes who inhabit the section, and of the students from the contiguous Latin Quarter. In the open space facing the Palace is a large octagonal fountain, and around are various famous statues, such as Lemair’s “Diana;” Briden’s “Vulcan,” and Vilain’s “Marius on the Ruins of Carthage.” Flanking this parterre are terraces with balustrades adorned by twenty statues of famous French women. Equally numer¬ ous and imposing statues adorn the respective sides of the gardens. A most interesting historic ornament is the Medici Fountain with its rect¬ angular basin, erected for Marie de Medici, in 1620. The garden con¬ tains sixteen hot-houses, in which more than 25,000 different plants are cared for. The Palais Royal garden is by no means large, but very beautiful and full of history. It is enclosed between the arcades in the rear of the Palais Royal, and was once the most fashionable rendezvous in Paris. Here the Orleans regent and his companions held their fetes, and the members of the revolutionary Directory of 1830 their orgies. The garden is beautifully laid out and planted, and is ornamented with numerous pieces of magnificent statuary. The Jardin des Plantes—Garden of Plants—is situated on the south side of the Seine near where it is crossed by the Austerlitz Bridge. It is larger in area than the Tuileries garden, and was designed by Guy de Labrosse, a distinguished French botanist, in 1635. It was at first simply a garden of medicinal herbs, but the naturalist, Buffon, gave it its present wide scope in 1732, making it the repository of all so**ts of collections. In 1793, it was further enlarged by the addition < he royal managerie from Versailles, and by the inauguration of the ,m- THE PARIS EXPOSITION. 6 * portant library. It is a little world containing all that is necessary for the study of natural history; living plants and animals, museums, col¬ lections, laboratories, libraries, an amphitheatre capable of seating a thousand persons where savants deliver free lectures. Its seventy-five acres are divided into two nearly equal parts by a central walk, the one part being chiefly devoted to botany, the other to zoology. The grounds are handsomely laid out and luxuriantly planted. Galleries, ranged at intervals around the garden, contain the fullest and richest of collections. The numerous nurseries contain 13,000 varieties of plants. The library contains 140,000 volumes. One of the daintiest open spaces of Paris is Monceau Park. It was laid out in 1778 by Philippe of Orleans, and was the scene of the fetes of the ancient regime. After the Revolution it became the favorite park of Louis Philippe. It came into possession of the city in 1852, and was soon surrounded by houses of artists. Society followed in the train of the artists, and the park is now one of the most fashionable quarters of Paris. Its gardens are rich in bronze and marble sculptures, and in fine collections of trees and exotic plants. The Trocadero Park, on the north side of the Seine, where it is crossed by the Jena Bridge, dates its beauty and importance from the Paris Exposition of 1878. Its magnificent Palace and grounds are a legacy of that event, and the grounds have been again dedicated to the uses of the Exposition of 1900, being the scene of the ingathering and displays of the colonies of colonizing nations. After the palace, interesting features of the park are the great aquarium, the noble ter¬ races, and the cascade. One of the modern, yet most interesting parks of Paris, is that of the Buttes Chaumont. It contains about fifty-five acres and is located in the northeast part of the city on the Belleville hill, in the heart of THE FAIRIE CITY. 63 the most thickly populated industrial quarters. Till the end of the Second Empire the grounds it occupies were a waste of stone-quarries, haunted at night by homeless wretches of the lower class. It was a source of public danger and a serious obstacle to communication be¬ tween contiguous districts. The problem of its removal was solved by laying it out as a public park. The work was most difficult and gave employment for years to thousands of laborers. But the transforma¬ tion became complete by 1867, in which year it was opened simulta¬ neously with the Universal Exposition. The scarred and unsightly areas were handed over to the public in the shape of green lawns and slopes, shady walks, lakes and streams and a profusion of artificial creations of great beauty and merit. Its lake and waterfall, the rocky cliffs of the island, surmounted by a little temple, reproducing that of the Sybil at Tivoli, and the various restaurants and pavilions, add to the picturesque beauty of the landscape. The sculptures, which are numerous, are nearly all of a picturesque and romantic character suit¬ able to the surroundings. The most notable are Oge’s “Pirate;” Rolard’s “Saved!”; Lefevre’s “The Ford;” Hiolin’s “Wolf,” and Des- ca’s fine group, “The Stormer of the Eyrie.” Montsouris Park contains about forty acres, and is situated at the end of Montsouris avenue in the extreme southern part of the city. It is one of the prettiest and most cheerful pleasure-grounds of Paris, and more like a private property than a public park. It contains a lake of several acres in extent, peopled by a colony of wild water-fowl, which breed in perfect security in the midst of an island. This lake, surrounded by poplars and willows, is overlooked by an immense lawn, the gathering-ground of the aristocracy of the neighborhood. The statues and groups are numerous, but not of great historic interest. 64 THE PARIS EXPOSITION. It is the seat of the meteorological observatory, a building of Moorish architecture, reproducing the palace of the Bey of Tunis. The Champs de Mars (Camp of Mars or March Camp) is a large, oblong park or public square, lying to the south of the Seine, and be¬ tween it and the Military School. The Jena Bridge connects it with the park or gardens of the Trocadero. It is some 3,279 feet long by 1,611 feet wide. It was originally a sandy field devoted to military maneuvering, but was gradually converted into a system of beautiful gardens, still, however, retaining spaces for drills and public meetings. Its name has a double reference to the Campus Martius of ancient Rome and other Italian cities, and to the old Frankish field-meetings, for legislative and other purposes, held annually in March or May, and historically known as Champs de Mars or de Mai. Furnishing as it did a large open space for great gatherings, it became the scene of many important events during the first revolution, among them the celebration of the capture of the Bastile and the festival of the Supreme Being. It also furnished the main sites for the International Exposi¬ tions of 1867, 1878 and 1889. And so, two-thirds of its area was given up to the Exposition of 1900. The celebrated Eiffel Tower occupies a central place in the end of the park next to the river. The Champs Elysees (Elysian Fields) are a series of gardens to the west of Concord Place, and extending from the Seine northward beyond the magnificent Champs Elysees Avenue. They are elaborately laid out and beautifully planted, and are the most frequented gardens of Paris. Here was the site of the Industrial Palace which constituted a prominent feature of the Exposition of 1889. It was removed to make space for the two gorgeous Palaces of Fine Arts which form chief attractions of the Exposition of 1900. The gardens are also the scene of Horticultural sections of this last Exposition. They have GENERAL, VIEW OF THE PARIS EXPOSITION, 1900. THE FAIRIE CITY. 6 ? been bisected by the new Avenue Nicholas II., running from the Avenue Champs Elysees to the new monumental Bridge Alexander III., the most striking of all the Seine bridges. Outside the walls of Paris are its two great parks the Bois de Boulogne (Boulogne Woods) and Bois de Vincennes (Vincennes Woods). The former lies 'westward of the city in the splendid sweep made by the Seine as it resumes its northwest course. It contains about 2,000 acres, and with its profusion of grass, trees, lakes, drives, rides, footpaths and monuments is a most charming spot to visit. Its most popular entrance is the grand Avenue Bois de Boulogne, which branches from the Avenue Champs Elysees at the Rond Point (Circle), in which stands the Arch of Triumph, and leads directly to the Dau- phine gate. This splendid avenue is a little park in itself, being bord¬ ered by lawns and trees and handsome houses, and studded with his¬ toric monuments. The fashionable drive of the park is the Longchamp avenue where in summer may be seen all the Parisian world. At the end of this avenue is the famous Longchamp race course where the Grand Prize is run for, and where the grand annual military review takes place. A fashionable skating rink is open in the park during the winter. Two beautiful lakes grace the recesses of the park. The Bois de Boulogne is all that remains of the ancient forest of Rouvray which stretched over plain and hill on the right bank of the Seine as far as St. Ouen. It is full of historical memories, being the site of famous chateaus and abbeys dating back for two or three centuries. It is also the site of the famous Garden of Acclimatation, established for the re¬ production of useful and agreeable animal and vegetable species. It pos¬ sesses the finest zoological collections in Paris, arranged in the most effective manner for show, study and propagation. 4 68 THE PARIS EXPOSITION. The second of the two great parks of Paris is the Bois de Vin¬ cennes (Vincennes Woods). It lies to the southeast of the city, and to the north of the Seine, and is accessible by streets, railways and steamboats. It has the cheerful aspect of a provincial garrison town, and owes its importance to its fine race-course, to the historic mem- eries that cling around its Donjon and Castle, and to the magnificent woods surrounding lake Daumesnil, part of which was set apart as an annex to the Exposition of 1900. The Castle was erected in the twelfth century and was used as a royal residence until 1740, when it became a state prison. Its Donjon is the main relic of the old Castle, and dark cells and the torture chamber tell many sad tales of punishment and misery. Cardinal Retz, author of the famous Memoirs, was shut up here in 1652, after his struggle with the great Conde. Mirabeau was confined here. In 1848 and 1871, under the Paris Commune, the Donjon was full of prisoners. The extensive forests of Vincennes were a favorite hunting ground of the Capetian kings. Larger than the Bois de Boulogne and nearly as beautiful, its visitors only rival those of the latter in numbers on Sundays and holidays, when it is invaded by the working classes. In the centre of the park is a large field for military maneuvres, also the race-course. A very agreeable feature of Paris, and one which conduces greatly to the comfort of the resident and the enjoyment of the visitor, is found in the numerous and still increasing avenues, generally planted with trees and forming the various series of Boulevards, Avenues and Streets. The Boulevards (Grands Boulevards) are those avenues or streets which mark what were the ancient boundaries of Paris. The name Boulevard, or bulwarks, indicates that they are built on the site of the old wall and its surrounding ditch. They are, therefore, in the form of bows, or circles. The Grand Boulevards are the favorite THE FAIRIE CITY. 69 lounges of the Parisians, for they are lined with the most brilliant stores, sumptuous cafes and tempting restaurants in Paris. As the quays form the favorite lounging places of the idlers of the lower classes, so the Grand Boulevards are the haunt of the lounger of the higher class, the locality where he feels himself most at home, and which he looks upon as the pride and boast of Paris. The more modern Boulevards vie with the Avenues in point of beauty and residential attractiveness. Their names generally perpetuate some historic inci¬ dent or characteristic of person or place, as the Boulevard Madeleine, Capucines Boulevard, Boulevard Italiens, Boulevard St. Denis, Boule¬ vard Henri Quartre (Henry IV). The long Boulevard St. Germain was the first southward of the Seine which was begun in 1854, and which owe their existence to the energy of Napoleon III., and his indefatigable Prefect of the Seine, Baron Hausmann. The Boulevards of Paris are very numerous, and, with the stately avenues which resemble them in handsome proportions and in being tree-planted, have quite transformed Paris. The Avenues also per¬ petuate in their names incidents of history, character, place or topog¬ raphy, as Avenue Bois de Boulogne (Bologne Wood), Avenue Mac- Mahon, Avenue Wagram, Avenue Victor Hugo. Of all Parisian Avenues, that of the Champs Elysees is reckoned the handsomest, with its magnificent hotels and other gorgeous buildings, leading to the Place of Concord. From its Rond Point (Circle), where stands the Arch of Triumph, there radiate no less than twelve beautiful avenues, like the spokes of a wheel. For this reason the Rond Point is also called TEtoile, or Star. The Boulevard and Avenue systems of Paris are supplemented by the ordinary street system under the designation of Rue; as Rue de Rivoli (Rivoli Street), Rue Theatre, etc. Many of these are as spacious and attractive as the boulevards and avenues. 7 o THE-PARIS EXPOSITION. The streets, squares, gardens and parks of Paris are embellished, as those of no other city, with many groups of statuary by noted sculp¬ tors and with numerous monuments. The most remarkable monu¬ ment is the Arch of Triumph which stands in the Rond Point (Circle), or Place de l’Etoile (Place of the Star), of the Avenue Champs Elysees. It was begun in 1806 by Napoleon I., and completed in 1836 by Louis Philippe. Though directed by eight different architects, the unity of the work is perfect. It is the largest monument of its kind in existence, being some 160 feet high, with breadths of 140 and 70 feet respectively. Its numerous and elegant bas-reliefs, inscriptions and trophies, record the triumph of the Napoleonic ascendancy, and constitute an imposing monument to national glory. The names of one hundred battles and of four hundred generals of the Empire are inscribed on the under side of its arch. The uprights on either side of the arch are decorated with colossal high reliefs of “Resistance” and “Peace,” by Etex, “Triumph,” by Cortot, and the “Departure,” by Rude. Its two principal faqades are turned, the one towards the Champs Elysees, the other towards Passy. A staircase of 260 steps leads to its top, from which a fine view of Paris is had. Another Arch of Triumph stands in the Place du Carrousel (Car¬ rousel Place), and is called Arch of the Carrousel. Carrousel Place was formerly a garden, which Louis XIV transformed into a public place when he planned the completion of the Tuileries. The Place took its name from the great public festival or Carrousel held there in 1662. In the Place stood the Carrousel Palace, which was destroyed by the Communists in 1871. The Triumphal Arch forms the eastern entrance to the gardens laid out in 1889 on the site of the Palace. It was con¬ structed in 1806 by order of Napoleon I., to celebrate the campaign of 1805, and in design is a reproduction of the triumphal arch of Septimus OPENING DAY AT THE EXPOSITION. THEFAIRIE CITY. 73 Severus in the Roman Forum. The pediment is surmounted by a quadriga or triumphal car bearing a female figure symbolic of the Restoration. Six bas-reliefs commemorate the events of 1805. Eight statues above the entablature are figures of soldiers representing the various branches of military service. Facing the Carrousel Arch is the Monument to Gambetta. It was erected by the government in 1888. On its western side it represents Gambetta addressing the people and urging them to defend their fatherland. The Place Vendome is named from Cesar of Vendome, son of Henry IV, who built a house on the site. Louis XIV demolished this house and converted the grounds into a Place. Its centre was adorned with a statue of the king, which was overthrown and melted down at the outbreak of the Revolution. Its pedestal remained intact. Upon it Napoleon erected the present Vendome Column in honor of the compaign of 1805. The granite centre of the shaft is overlaid with plates of gilded bronze cast frbm the cannon taken from the enemy and, in imitation of Trajan’s column at Rome, covered with bas-reliefs, ascending in a spiral to the top, where a statue of the emperor crowns this record of the exploits of himself and army. The incidents thus illustrated begin with the raising of the camp at Boulogne, and end with the battle of Austerlitz. Many of the figures are portraits. The column was overthrown by the Communists in 1871, but was restored in 1874. It stands 143 feet high, and can be ascended within by means of a spiral staircase. The Place de la Bastille (Bastile Place) occupies part of the site of the Bastille and its moats. The Bastille was destroyed, July 14, 1789. In the centre of the Place rises the famous Colonne de Juillet (Column of July). It is a bronze pillar, 154 feet in height, and commemorates the uprising of 1830, by which the Bourbon dynasty was overthrown, 74 THE PARIS EXPOSITION. and Charles X. forced to abdicate. It bears the names of those who fell during the “glorious three days” of July 27, 28, 29, and the inscription “To the glory of those French citizens who armed themselves and fought in defence of public liberty on the memorable days of July 27, 28, 29, 1830.” It can be ascended within by 205 steps. Its top is crowned by a lantern which supports a gilded figure of the Genius of Liberty, holding in one hand broken chains and in the other the torch of civilization. A magnificent bronze lion, by Barye, is a conspicuous ornament on the pedestal. The Gallic cock at each corner is also by Barye. Survivors of the conflict of July, 1830, continue to make annual pilgrimages to the Place and Column. It is, perhaps, one of the spots in all Paris where the sentiment of the popular quarters may best be > studied, for it is the rallying ground of those who delight in fomenting revolutions. In the centre of the Place de la Concorde (Concord Place), and on the spot occupied by the guillotine used during the Revolution, stands the obelisk of Luxor. It is a monolith 75 feet high, and covered over with Egyptian hieroglyphics. It was presented to the city by Mehemet Ali, arrived in France in 1833, and was set U P ' m I ^ 35 - On the pedestal are two diagrams showing the methods employed by the engineers to r bring it from Egypt to France. The two fountains north and south of the obelisk are copied from those of St. Peter’s in Rome. The Paris Commercial Bourse was founded in 1805 and installed in the building formerly known as the Halle aux Bles (Corn Market). The building is a rotunda, and rising from a fountain attached to it is a fluted column of great historic interest. It is all that remains of the palace built on the site by Catherine de Medici, and known in later times as the Soissons Hotel. The column is said to have be#n used as an observatory by Catherine’s astrologers. THE FAIRIE CITY. 1 5 What was once the Place du Trone (Place of the Throne) is now the Place of Nations, a beautiful spot destined to be the radiating point of twelve avenues, like the Place de l’Etoile (Place of the Star). In the centre of this Place is the basin of a fountain, surmounted by a colossal group, “Triumph of the Republic.” A figure of the Republic stands on a globe resting on a car drawn by lions. The Genius of Liberty, seated on one of the lions, brandishes a torch. Labor, Justice and Peace accompany the car. On the east, on two pavilions, are two splendid Doric columns, supporting bronze statues of Philip Augustus and St. Louis. Many magnificent specimens of memorial statuary ornament the public squares and grounds of Paris. Chief among these are statues in memory of Charlemagne, Joan of Arc, Louis XIV., Napoleon, Danton, Gambetta, Dante, Shakespeare, Beranger, Voltaire, Dumas. And so, fountains of artistic design serve to embellish the squares and gardens. Many of these have been mentioned or described in connection with the places where they stand. Chief among the others are the Arbe Fountain, erected in 1776; Fountain Cuvier, ornamented with groups of animals, and a figure of Natural History; Fountain Gaillon, with its bronze group of a Triton threatening a Dolphin; Fountain of Inno¬ cents, adjoining the Church of the Holy Innocents; the Fountain of Victory in Chatelet Place; the Colossal Fountain in the Champ de Mars; the Cascade Fountain in the grounds of the Trocadero. Paris is rich in palaces, of a high architectural order, impressive beauty and immense cost. The Palace of the Louvre, on the north bank of the Seine, and between it and the street Rivoli, is the most important structure in Paris, and one of the most beautiful palaces in Europe, equally remarkable for the harmony of its lines and the rich¬ ness and refinement of its decorations. It was originally an old medie- 1 6 THE PARIS EXPOSITION. val fortress (1180-1223), and Francis I., in 1541, began to convert it into a palace. His sen, Henry II., continued the work under different architects. After his death, Catharine de Medici took up the work, making several wing extensions, her idea being to connect the palace of the Louvre with that of the Tuileries, where she had taken up her residence, after the death of her husband, in the Hotel of Tournelles. Henry IV. continued this extension along the Seine to the Pavilion of Flore which actually formed a junction between the Louvre and Tuileries. Louis XIII. added the right wing of the Pavilion. Louis XIV. employed architects to complete the square of the courtyard and the grand colonnade that forms the main front. Napoleon I. began the wing along the Street of Rivoli. It was finished under Napoleon III. The wing built by Napoleon I. was destroyed by the Commune, but was restored by the Republic. After the Revolution of 1789, the Louvre was converted into a National Museum, open to the public, and the gems from the royal collection at Versailles were deposited there. In 1815, the Medici series of masterpieces and other works were brought thither from Luxembourg. Under Louis Philippe, the Louvre Museum was much neglected, but its works of art were generously added to under both the Second Republic and Second Empire. In its interior arrangement into floors, halls and galleries, the Louvre is admirably fitted for art, and other displays. In 110 museum in Europe is there a greater variety of objects than in the Louvre Palace. It is especially rich in pictures. All schools of art are represented. The Italian and Dutch schools are represented almost as fully as at home. The French school is, of course, most completely represented, the arrangement of masterpieces being in galleries representing the art of the respective centuries, or periods. Many of the halls are named after those who have left their collections THE FAIRIE CITY. 11 as a legacy to the Museum. The collections of engravings and sculp¬ tures in the Louvre are interesting, and of hardly less importance than the paintings. Especially is this so of ancient sculptures. Many rooms are devoted to the most perfect masterpieces of Athens, Ephesus, Chios and Samos, the superb works inspired by Phidias, Myron and Poly- cletes, and the sculptors of the school of Argos. Etruscan and Roman art is represented in several rooms. In the Hall of the Venus Milo stands one of the priceless treasures of the Louvre, the statue of the Venus of Milo, for which an offer by the British Government of 1,000,000 francs has been refused. Nor are the halls of the Louvre any less rich in sculptures of the medieval, renaissance and modern periods, all arranged so as best to contrast the times and schools of the masters. The works of French sculptors of the 17th, 18th and 19th centuries are very complete and highly noted. Halls and galleries of great number and extent are devoted to the art and curios of Egypt, Asia, the Isles of the Sea, to antiquities of extinct nations, to furniture, frescoes, glass products, ceramics, water colors, pastels, precious stones. All in all, a visit to the Louvre constitutes one of the most enjoyable and instruc¬ tive features of world entourage. The Tuileries Palace has been spoken of, in part, in connection with its magnificent surroundings, the Garden of the Tuileries. The site is the north bank of the Seine between the Place Carrousel and Place Concord. The Palace, which was for three centuries the abode of the sovereigns of France, stands on the site of an ancient tile (tuile) factory, and hence its name. It was begun by order of Catherine de Medici in 1564, continued by Henry IV., and completed under Louis XIV. It was stormed by the people of Paris, August 10, 1792. During the first Empire it was the residence of Napoleon I., and subsequently of Louis XVIII., Charles X., and Louis Philippe. In 1830, it was THE PARIS EXPOSITION. 7* again sacked by the mob. In 1848, when Louis Philippe was driven from the throne, the mob bivouacked within its walls. Napoleon III. greatly enlarged the Tuileries, and built the Floral Pavilion. During the Communist uprising of 1871, the whole central pavilion and part of the wing along the Street Rivoli w r ere burned. The wing was re¬ built during 1875-76, but the ruins of the historic central part were leveled, and the site became a part of the beautiful Tuileries Gardens. The Palace Elysee stands on the Street Faubourg, north of the Avenue Champs Elysees, and fronting on an extension of the Gardens of the Champs Elysees. It is noteworthy as the residence of M. Loubet, the present President of the French Republic. It was built in 1718. Among its early occupants was Madame de Pompadour, from whose heirs it was bought by the crown as a residence for foreign ambas¬ sadors. Subsequent distinguished occupants were Murat, Josephine, Marie Louise, Louis Bonaparte, Queen Hortense, M. Thiers, Mac- Mahon, Jules Grevy, C. Perier, and Felix Faure. Napoleon retired thither after his defeat at Waterloo, and he signed his abdication there. It was Louis Napoleon’s official residence when he was president of the second Republic, and there he prepared his coup d’etat of 1851. The Palace contains many magnificent reception rooms, and some valuable tapestries, among which is the “Judgment of Paris,” one of the great achievements of the Gobelin manufactories. The Palais Royal, one of the most popular of Parisian Palaces, stands on the site of two ancient hotels, celebrated in French literature. They were bought by Cardinal Richelieu, who tore them down and constructed a palace, which was completed in 1634. He called it the Palais Cardinal Richelieu left it to the crown, and after the death of Louis XIII., Anne of Austria lived there with her two sons. In 1672, Louis XIV. gave it to his brother, the Duke of Orleans, and it became THE FAIRIE CITY. 79 the residence of the Orleans family. Under the tenancy of the Regent Orleans, it gained evil notoriety, on account of his orgies. The great grandson of the Regent surrounded the gardens with shops whose rental produced his income. Napoleon I. made it the seat of the Tribunat. After the Restoration it was given back to the Orleans family, as the Royal Palace, and Louis Philippe lived there until 1832. It was sacked by the populace in 1848. In 1852, it became the resi¬ dence of Jerome Bonaparte, who lived there until 1870. It suffered severely from various fires, notably that kindled by the Commune in 1871, and in its present shape is a series of perpetual restorations. It is, under the present Republic, the seat of the Council of State and the Fine Arts Department. It is situated just opposite the Louvre at the point where the Street St. Honore intersects the Street Rivoli. The Luxembourg Palace is notable as being the meeting place of the Senate branch of the French National Assembly. It was built in 1612 for Marie de Medici, after the design of the Palace of Florence. It is named from Luxembourg, the original owner of the site. It became historic as the residence, respectively, of Mile, de Montpensier, Louis XIV. and Louis XVIII. The Revolution converted the palace into a prison, and here were confined Empress Josephine, Danton, Desmou¬ lins, Thomas Paine and others. Toward the end of the 18th century it became the seat of legislative bodies, and is so continued to this day, the present Senate having been installed there in 1879. Several famous trials have taken place in the Luxembourg, the Senate constituting a Superior Court. Ney was tried there in 1815; Louis Napoleon in 1840; Boulanger, Dillon and Rochefort in 1890. The Luxembourg gardens have already been described. The public chambers and halls of the Palace are rich in paintings and sculptures. Besides there is in the Palace a National Gallery of French Art, which was really the first So THE PARIS EXPOSITION. museum of France, but whose function has been largely transferred to the Louvre. It is still, however, a magnificent museum of the works of living artists purchased by the State. The collections have grown very rapidly since 1818, and its scope has gradually been extended to embrace the art of all nations. The historic Petit (Little) Luxembourg, a wing of the grand Palace, is the residence of the President of the Senate. The Palais Bourbon is at present notable as the seat of the Cham¬ ber of Deputies of the French Republic. It is on the southern bank of the Seine, and its site was sold to the Duchess of Bourbon, who built a mansion on it in 1722. This was repeatedly enlarged by different owners, and for different purposes, when Napoleon I. chose it as the home of the Legislative Corps, in 1807, adding its present classic facade, with twelve majestic columns. Here sat the celebrated Council of Five Hundred, and here, under different names, the Chamber of Deputies has met, with slight interruptions, since the Restoration down to the present. In this hall the greatest parliamentary orators in France have been heard, and here have occurred several of the most famous scenes in the history of France during the nineteenth cntury. The Palace of the Institute of France is a magnificent domed struc¬ ture on the left bank of the Seine, and facing the Louvre at the south end of the Bridge of Arts. It is the great literary and scientific centre of Paris, uniting within its walls the five learned academies—Academy of France, Academy of Inscriptions and Belles Lettres, Academy of Sciences, Academy of Fine Arts, Academy of Sciences, Morals and Politics. The Institute is a development of the College of Four Na¬ tions, designed for the education and gallicising the young men of the four alien provinces of Alsace, Pignerol, Flanders and Roussillon. It was begun in .1662 and finished in 1674. THE BRIDGE OF ALEXANDER III. THE FAIRIE CITY. 83 The Palace of Justice corresponds with our “Law Courts,” and forms an extensive pile of buildings, in the form of an irregular square, towards the western extremity of the Island Cite. The northern front looks on the quay of the Clock, the eastern on the Palace Boulevard, the southern on the Street Sainte Chapelle, and the western front on the Place Dauphine. It contains a number of galleries, courtyards, and halls; and the ground-plan bears some resemblance to that fanciful “gridiron” on which the Palace of the Escurial is said to have been modelled by Philip II. The site of the Palace of Justice was occupied many centuries ago by a palace, which for a long time was the residence of the kings of France. Of this ancient palace some traces remain, in the Tour de l’Horloge (Clock Tower) and the two adjacent towers, and above all, in the exquisite Sainte Chapelle. The palace, almost entirely rebuilt towards the close of the eighteenth century, suffered severely by the vandalism of the Communists, who in 1871 tried to burn it down; and the present building is therefore to a great extent new, having been restored in the style of its predecessor. The Palace of the Legion of Honor was erected in 1786 for the Prince of Salm; but during the Revolution it was put up at lottery and won by a baker. In 1803 the office of the Legion of Honor was established there. The edifice was burned by the Commune in 1871, but again restored. No city in the world is richer in museums and picture galleries than Paris, there being nearly fifty in all. As already intimated in de¬ scribing the Louvre, its gallery is the most important in the city, its origin being in a private collection given to Francis I. This was in¬ creased by collections belonging to Louis XIV., Louis XV., Louis XVI., and others until, at the outbreak of the Revolution, the Louvre gallery was one of the finest in the world. The Revolution did not s 4 THE PARIS EXPOSITION. check the addition of rare collections. Napoleon, throughout his wars, continually enriched the Louvre galleries by sending to them the most famous works of art from all Europe. Since 1870, valuable gifts, and the results of artistic and scientific expeditions at government expense, have greatly increased the value and extent of the various collections. The museums and galleries of the Carnavalet are important and interesting as containing objects illustrative of the history of Paris, and particularly during the Revolution. The Cluny Museum is devoted to subjects of medieval art, and contains some 10,000 objects. The natural history collections in the Garden of Plants are the largest in the world. The Luxembourg Gallery, containing the products of living painters and sculptors, has already been mentioned. The Artillery Museum in the Hotel Invalids embraces a very full and curious collection of 4,000 specimens of military weapons of all lands, kinds and ages. The very full and interesting collections in the Trocadero Palace embrace com¬ parative sculpture, architecture and ethnology. In the Guimet Mu¬ seum are collections devoted to Oriental religions. The Galliera Mu¬ seum, a magnificent stone structure begun in 1878 and finished in 1888, embraces a superb miscellaneous art collection. The Paris Mint con¬ tains one of the world’s finest coin collections. The National Archives contain immense collections of historic documents, some of which may be consulted by the public. And so, very extensive and valuable col¬ lections, special to public institutions, exist throughout the city, as those bearing on pathological anatomy at the School of Medicine, art at the School of Fine Arts, and science at the School of Mines. As to the libraries of Paris, the National Library is the largest in the world, containing over 3,000,000 volumes, and one of the impos¬ ing sights of the city. It dates back to the time of Charles V. (1364-80). It grew steadily in volumes through the centuries, but came forward THE FAIRIE CITY. *5 with great bounds during the Revolution, when the convents were suppressed and their libraries confiscated. It has besides its vast array of books some 300,000 maps of every part of the globe, over 90,000 ancient and modern manuscripts, many volumes of rare autographs, 200,000 coins and medals, and over 20,000 portfolios of engravings. The St. Genevieve Library found its origin in the ancient church. It contains some 196,000 volumes, mostly of an encyclopedic nature. It has besides, some 25,000 engravings and 4,000 manuscripts. The Mazarin Library, at the institute begun by Cardinal Mazarin, has 250,000 volumes, 6,000 manuscripts and 1,700 incunabula. In biblio¬ graphical rarities it is unsurpassed in France. In addition, it is a museum, filled with scientific curiosities and art objects. The Arsenal Library contains 200,000 volumes and 8,000 manuscripts. Its works mostly relate to the poetry and drama of France. The Opera Library, located in the Opera House, is chiefly devoted to music and the drama. It contains 15,000 volumes, 60,000 engravings and the original draw¬ ings of costumes for 200 operas or ballets. Many other notable libra¬ ries approximate those mentioned in size, number of volumes and utility. By reason of their constitutional gaiety and their devotion to musical and dramatic art, the French people are natural supporters of places of amusement, and nowhere do we find opera-houses, theatres and music halls so numerous and completely appointed. The various theatres have, in many cases, their special kinds of entertainments, and four of the principal ones—the Grand Opera, French Theatre, Opera Comique, and Odeon—receive a yearly subsidy from the government. The most important and interesting of the theatres of Paris is the Grand Opera. It ranks as the finest theatrical edifice in the world. It is situated on Opera Square, and is dedicated to the production of THE PARIS EXPOSITION. S6 classical opera and ballet, which are always produced in magnificent style. It cost $6,000,000 to build, covers 11,000 square yards, and seats 2,200 spectators. It took ten years to build the structure, which was thrown open to the public in 1875. Its grand staircase and magnificent foyer are the wonder of all beholders. The government appropriates to it annually $160,000. The leading theatre proper of France and of the world, was the Theatre Francais (or Comedie Francais). It was partly destroyed by fire in March, 1900, and this disaster broke a chain of associations which bound together the finest traditions of the dramatic art. It will, how¬ ever, be rebuilt exactly on the old lines, and the customs of the house will be revived in their integrity. Meanwhile the whole company has been transferred to the Odeon. The Theatre Francais was the leading classical theatre of the capital. Its site was the Palais Royal at the corner of Richelieu street. It was organized in 1680, and the recent structure was built 1782. It contained a large auditorium, a hand¬ some foyer, and was richly ornamented with paintings and busts of dramatists. It receives an annual subsidy of $48,000. Among its famous actors were Talma, Mars, Rachel, Coquelin and Bernhardt. The Opera Comique was burned in 1887, but a new structure stands in its place in the Place Boildieu near the Italian Boulevard. It is devoted to lighter kinds of opera and lyrical dramas. The Odeon stands close by the Luxembourg Gardens. It was opened in 1782, burned in 1799, rebuilt in 1808, again burned in 1818, and immediately rebuilt. It contains one of the best auditoriums in Paris, and enjoys a government subsidy of $25,000. Among the non-subsidized theatres of importance, are the Porte (Gate) St. Martin, on St. Martin Boulevard. It was formerly devoted to ancient religious drama, but now embraces historical and spectacular JULY COLUMN 1830 IN BASTILLE) SQUARE. THE FAIRIE CITY. 89 drama of the higher stamp. It is patronized by a very fashionable public. The Bouffes Parisiens is a very pretty little theatre near the Italian Boulevard. It was founded by Offenbach for the production of his opera bouffe (comic opera) pieces. The Renaissance Theatre adjoins the Theatre St. Martin. It is devoted to modern comedies and to operas not in the repertoire of other theatres. The Sara Bernhardt Theatre is named after the famous actress, who revived the old Historic Theatre. It is one of the handsomest theatres in Paris, and is devoted to comedies and drama, classic, romantic and modern, but always pieces in which a woman performs the leading part. The Nouveau Theatre is in the building occupied by the Paris Casino, but has no connection with it. It is devoted to comedies, dramas and historical pieces. The Chatelet Theatre is situated on Chatelet Square. It is one of the largest in Paris, and has an immense stage for spectacular pieces. Its movable roof is taken off in summer. The Vaudeville is on the Italian Boulevard, near the Opera House. It is devoted to lively dramas and comedies, and is patronized by audiences who seek gaiety. The Gymnase Theatre was founded in 1820. It produces modern comedy in highly finished style. It is regarded as one of the best of Parisian theatres. The Varieties Theatre is distinctly Parisian, being devoted to vaudevilles, highly-spiced comedies, operettas, burlesque historical pieces, etc. The Palais Royal Theatre is also essentially French. It produces comedy in its broadest sense, interspersed with farce. The Ambigue Comique produces dramas and melodramas adapted from the periodical novels (feuilletons) which run in the news¬ papers. The Antoine Theatre is a new one devoted to modern drama, as represented by young authors of promise. Other theatres of lesser importance are the Nouveautes, the Athenae Comique, the Cluny The- 5 9° THE PARIS EXPOSITION. atre, Theatre Dejanet, and Theatre Chateau d’Eau (Castle of Waters), the latter having the largest auditorium of all Paris theatres. Beside theatres, Paris offers more varied entertainments than any other city in the world, in the shape of music halls, circuses, artistic shows, dancing and singing saloons, and unclassified amusements. Restaurant and cafe life is more highly developed in Paris than in any other city. They are numbered by the thousand, but the more noted ones are patronized by distinctive lines of patrons, thus becom¬ ing daily meeting places, something on the order of clubs. The Cafe Americain is the one at which daily congregate literary men and artists; bankers and brokers predominate at the Cafe Riche; at the Cafe de Helder are found the military and naval officers, and cadets of the Military School; at the Cafe Paix rich foreigners congregate to meet compatriots and read their national newspapers; the Cafe Madrid is the headquarters of journalists; at the Swiss Cafe and Varieties Cafe, mostly actors congregate; students are chief patrons of Cafe Vachette; Scandinavians and chess players meet at the Regence Cafe. The Grand Cafes are chiefly located on the Boulevards, between Boulevard Montmartie and Madeleine. Perhaps the most famous cafe of Paris, and one of its curiosities, is that of the Chat Noir (Black Cat). Paris is a great centre of education. It has an effective common school system, embracing all the grades from primary to normal. It also boasts a large system of greater schools, lyceums, institutes and colleges, devoted to special and general education. Thus, there are special schools devoted to manufactures, colonization, decorative arts, fine arts, records, Oriental languages, mines and mining, political science, military and naval science, engineering, teaching, the profes¬ sions, chemistry, sciences of various kinds. There are four great col¬ leges, three of which belong to the State and prepare pupils for the THE FAIRIE CITY. 9* higher schools. But the pride of Paris and of France is the Latin Quarter of the city, in whose centre stands the Pantheon, and where clustre those venerable institutions of learning that may be reckoned as a grand national university, and that constitute the educational glory of the Republic. Here within five minutes’ walk of one another are the Serbonne, the heart of the university; the College of France; the special schools of law, medicine, mines, pharmacy, fine arts, languages, etc.; the historic Polytechnic School, the Normal School, etc. In the faculties of these schools are nearly 400 professors, and more than 100 lectures are delivered every day. The many thousands of students in attendance come from all parts of the earth, there being over 5,000 in the medical school alone. The Serbonne, or heart of the university, was founded, in 1256, by St. Louis and named after his confessor, Robert of Serbon. It was originally a theological school, but grew to be an academy of scholastic science, renowned throughout Europe. Under Richelieu a building was erected on the present site for the Theological Faculty of the Uni¬ versity of Paris. In 1808, the Serbonne was proclaimed the seat of the University of France, but in 1896 its jurisdiction was again limited to Paris. It is the University of the Capital, embracing five faculties—- Theology, Literature, Science, Jurisprudence, and Medicine. The last two are installed in separate buildings. New buildings of the Serbonne, still under construction, are finely decorated with paintings and sculp¬ tures by famous modern artists. The College of France stands near the Serbonne. It was founded in 1530 by Francis I., but had no building for 50 years. It finally found a home in two buildings which occupied the site of the present College of France, whose erection was begun by Henry IV. in 1610. It is not an integral part of the University. Originally founded for the teaching gt THE PARIS EXPOSITION. of Hebrew, Greek and Latin, it has acquired world-wide fame as a school of mathematics, medicine and general sciences. The Poly¬ technic School was founded in 1794. It is a government school for the education of officers of artillery and engineers. The Superior Nor¬ mal School instructs in the higher grades of teaching, preparation of professors, etc. The Military School and School of Fine Arts have sites away from the Latin Quarter. Paris contains over seventy parish churches, and some fifty Prot¬ estant churches. Of the former, Notre Dame, the metropolitan cathe¬ dral, is the largest and most famous. Its corner-stone was laid in 1163, 6y Pope Alexander III., but it was not finished till nearly a century later. In 1845 a thorough restoration of the church was begun. Notre Dame is one of the finest specimens in France of the ogival (pointed) style of architecture. Its interior is 132 yards long, 53 wide and 37 high, and contains 37 chapels. There are three grand rose windows, whose stained glass dates from the 13th century. The large bell in the south tower was cast in 1686, and weighs 30,000 pounds. The Saint Chapel is perhaps the most beautiful church structure in Paris. It was built by St. Louis to house the supposed crown of thorns and the portion of the true cross. It was finished in 1247, but has since been restored. The Expiatory Chapel on the Boulevard Hausmann, was built by order of Louis XVIII., and finished in 1826. It commemorates Louis XVI. and Marie Antoinette, who were buried on the spot. The church bearing the name of St. Etienne du Mont dates from the 13th century, but was remodelled in 1517. The rood- loft is a 17th century masterpiece by Biard. Its stained-glass windows represent the best artistic work of the 16th and 17th centuries. The Madelaine Church was opened in 1842, though begun under Louis XV. Napoleon I. intended it to be a Greek temple, dedicated / ARCH OF TRIUMPH. THE FAIRIE CITY. 95 to the soldiers of the Grand Army. It is now one of the most richly ornamented and fashionable churches of Paris. The Church of St. Roch was begun in 1653. On the top of the steps of this church, Bona¬ parte placed the cannon which checked the uprising of 1795. The Church of the Sacred Heart, on the Montmartre Heights, is of Byzan¬ tine architecture. Its roof affords a fine view of Paris. St. Sulpice Church was begun in 1646, and was known as the Temple of Victory during the Convention. Val de Grace Church was erected by Anne of Austria as a thank offering for the birth of the future Louis XIV. Its cupola is an imitation of that of St. Peter’s at Rome. Many other of the Catholic churches of Paris take high architectural rank and are of great beauty. Of the forty-five or more Protestant churches that of the Oratoire is the most conspicuous. The Pantheon, though now secularized, ranks as one of the most imposing and historic of eccleciastical structures. It stands on the heights south of the Seine, and marks the spot where Ste. Genevieve, patron-saint of Paris, was buried. The chapel raised over her tomb became a church dedicated to her name, in which her body was en¬ closed in a magnificent shrine, executed by St. Eligius, the goldsmith- saint. It soon became a point of pilgrimage, and a religious centre round which sprang up the great Augustinian monastery of Ste. Gene¬ vieve. Towards the middle of the 18th century, when the church had fallen into decay, Louis XV. determined to replace it by a grandiose building in the classic style of the period. The shrine of Ste. Genevieve was removed and the great building was begun under the direction of Soufflot. Louis XV. laid the foundation stone in 1764. Unfinished at the outbreak of the Revolution, it was secularized as a burial-place for the great men of France. Louis XVIII. restored it to the church 9 6 THE PA'RIS EXPOSITION. as a place of worship, but in 1885, on the occasion of the death of Victor Hugo, it was once more secularized. Many reminiscences of the various insurrectionary movements in Paris are associated with the Pantheon. On June 24, 1848, the insur¬ gents installed themselves in the building, and sustained a regular siege. Sheltered behind the columns of the cupola, they fired down upon the troops who had occupied the School of Law. General Damesme was at last obliged to cannonade the great bronze door, which fell in with a crash. One of the colossal statues of the peristyle was shattered. On May 24, 1871, the Communards had fortified the Place, defend¬ ing it by two important barricades, one of which extended across the entrance into the Street Soufflot. The Versailles troops advanced in detached columns from three sides, and after fierce fighting under a storm of shells and bullets from the Pantheon, succeeded in carrying the barricades in the immediate vicinity, when they dislodged the in¬ surgents by a bayonet charge. But for the promptness of their action the monument would have perished like the Hotel de Ville. Barrels of gunpowder and vats filled with petroleum were placed in the vaults, awaiting the signal to blow up the building. Of the nineteen cemeteries of Paris, thirteen are within the walls. The largest of these is Pere Lachaise, covering 100 acres, and con¬ taining the tombs of many of France’s most distinguished characters. A crematory is connected with it. The next largest is the Montmartre cemetery, and the next Montparnasse. One of the most remarkable burial places of Paris is the Catacombs. These were ancient quarries dating from the time of the Romans. During the last century the quarry galleries began to give way and to consolidate. This suggested their use as catacombs, and the remains from the disused Cemetery of THE FAIRIE CITY. 97 Innocents were brought thither and deposited. They were solemnly consecrated in 1786, and since have received all the remains ex¬ humed from old cemeteries closed for sanitary reasons. The con¬ tents of sixteen cemeteries were deposited here between 1792 and 1814. During the disorders of the great Revolution, immense quantities of skeletons brought to light by the rifling of tombs, etc., were thrown into the Catacombs. In one vault are the remains of victims of the prison massacres in September, 1789. In 1810 a new system of arrangement and classification was adopted,- and order was introduced into the unseemly chaos that obtained. Some three mil¬ lions of bodies are represented by the skulls and bones that line the galleries. Periodical publication flourishes in Paris in great luxuriance. Its reviews rank among the ablest of the world. The illustrated and artistic journals hold the very highest place. Its daily papers are spicy in news but lack editorial strength. The Petit (Little) Journal enjoys the patronage of 1,000,000 every morning. It has the largest circulation in France. The Gaulois is the fashionable journal of Paris, and the Journal Officiel is the official organ of the Government. The hospitals of Paris are monuments to the charity and scientific ^culture of the metropolis. The oldest is the Hotel Dieu (God), founded about 660, and rebuilt between 1868 and 1878. It contains nearly 600 beds. The Charity Hospital, founded in 1602 by Marie de Medici, is the chief lying-in hospital. The Lariboisiere was endowed by Countess Lariboisiere with $600,000 for the Paris poor. It contains 690 beds. Among other leading hospitals are the Necker, Pity, St. Antoine, St. Louis, Midi, Louveine, Maternity, and many devoted exclusively to children. THE PARIS EXPOSITION. The central markets of Paris, where wholesale trade in foodstuffs is carried on, are called LesHalles (The Stalls). These comprise ten pavilions of glass and iron, each about half an acre in size and separated from each other by covered streets. They cover in all some 111 acres, and the Ceinture (Belt-line) railway delivers products to them. They are capable of holding 4,600 cattle, 4,000 calves, 7,000 pigs and 22,000 sheep. Close to them is the corn market, but the greater part of the grain arriving in Paris is either stored at the railway stations or taken directly to the distributing warehouses or to the bakers. There are three great markets for wines and spirits, and numerous special markets for skins, horses, fruits, charcoal, etc. The water supply of the city is derived from the Seine by pumpage and canal into elevated reservoirs. The sewage is collected by an admirable system of sewers into two great sewers terminating on the Seine at Clichy. These are connected and can be drained by pumpage for the purpose of utilization as fertilizers. In proportion to its population, Paris is not preeminently a manu¬ facturing or commercial city, on account of its distance from the sea. The highly concentrated government of France necessitates for it a numerous official life. But it is a great financial centre, and the seat of residence for foreigners from all parts of the world, not only the wealthy, but authors, artists, scientific men, students. Its largest financial institution is the Bank of France. Its manufacturing indus¬ tries run largely to products involving taste and a high order of artisan- ship, such as bronzes, jewelry, decorative furniture, and that infinite variety which have come to be known as “Parisian Articles,” for lack of better classification. In the publishing business, Paris practically does the work of entire France, especially in the production of engrav¬ ings and illustrated books. The larger manufacturing establishments THE FAIRIE CITY. 99 include engineering works chiefly in connection with railways, foun¬ dries and sugar-refineries. The Government itself runs for its benefit the tobacco factories, the national printing establishment, the mint, the Gobelins Tapestry factory and the dye-works. Paris excels in establish¬ ments appertaining to the manufacture of clothing, hats and food- products. For administrative purposes Paris is divided into twenty arrond- issements (wards), and each ward into four quarters. Each quarter elects, by universal suffrage, a member of the municipal council. Each arrondissement has a mayor and three deputies, nominated by the governor, or prefect, of the department of the Seine, who act as regis¬ trars and take charge of the poor relief. And so, each has a justice of the peace nominated by the Government. The municipal council votes upon the budget of the city. The prefect of the Seine, and the prefect of police, both government officials, represent the central muni¬ cipal authority. They are both high and responsible offices, the former having in charge elections, taxation, municipal debt, schools, public lands, markets, cemeteries, etc.; and the latter the police, and public safety. / Exposition Site and General Plan. HE success of the International Exposition at Paris, in 1889, was the inspiration of that of 1900, in the same city. As early as 1893, preparations were begun for the latter by the scientific and business minds of Paris and the nation. Private contributions were solicited, and the responses were prompt and generous. Plans were called for and were offered numerously. The government, municipal and national, contributed material and moral encouragement. By a system of draw¬ ings, all the people, without reference to station, were asked to con¬ tribute their mite, even if it were no more than the price of a ticket of admission. It thus came about that the estimated cost of the Exposi¬ tion was well assured in advance. Then came the selection of a plan out of many offered for the Ex¬ position Universelle (Universal Exposition), or as we call it, Interna¬ tional Exposition. This was difficult, because of architectural varieties added to space selections. The areas at command forbade the grouping of structures in a single place, yet they must be so contiguous as to con¬ vey the impression of a grand whole, as well as to contribute to the com¬ fort of visitation; and it can be safely said of the plan finally agreed upon that its most remarkable feature is unquestionably the astonishing man¬ ner in which, notwithstanding its amazing proportions, the contiguity and perfection of detail has been maintained throughout. At the Chicago Exposition of 1893, there was a stupendous White City in Jackson Park, which bore lit tie vital relation to Chicago as a city, or to its place as an exemplar of modern civilization. It was different with the Paris Exposition of 1900. By the genius which inspired it, by IOI io 2 THE PARIS EXPOSITION. the spirit which presided over it, by the fact of its location in the very heart of the metropolis, it became an essential part of the city itself, and a manifestation of that cosmopolitan life which Parisians love to cater to and enjoy. And since the adage is in great part true that Paris is France, the Parisians through their Exposition reflected more of the characteristics of their nation at large than would have been possible with any other city on the globe. It would seem as if Paris had made of the Exposition an opportunity to show to the world, at a noble feast to which all the nations were invited, the light, life, liberality and taste of the French people, and to ask comparison of them, in no invidious spirit, with all the things illustrative of the past and present which the invited guests could bring along with them. Through all her preparations for the Exposition ran this conscious¬ ness that Paris and the Exposition were in a measure convertible terms, and that conceding whatever glories one might please to other cities, she was the typical one of the world in which to exemplify human his¬ tory and progress, and at the same time to attract and please the infinite variety of visitors which represented the different nations. By virtue of her frequent former Expositions, she knew more about them than any other city. Pier instincts were all, as it were, exhibitionward. Her broad avenues, charming sights, atmosphere of gaiety and joy, polished manners, and richness of art, would prove an invitation and relief to sadder and more stolid nations. She, above all other cities, could afford to bid the world welcome and be for a time the world’s benevolent host and admired friend. And she could do this for another reason—one unusual with Expo¬ sitions. The Exposition of 1900 was an actual part of the city in respect to its ornamentation and control. Its architecture and decoration were provided under the supervision of those city departments which had for years shown such exquisite taste in the development of Parisian architec- VIEW ON THE SEINE LOOKING TOWARDS THE BRIDGE OF AEEXANDER III. EXPOSITION SITE AND GENERAL PLAN. io S ture and embellishment. This assured an artistic finish for the various Exposition buildings in keeping with the exquisite and permanent or¬ namentations in the city itself. Moreover, the control of the Exposi¬ tion remained in the hands of those who controlled the department of Public Works, and other important departments. This assured for the Exposition the same character of lawns and parks which distinguishes the city, the same freedom of travel, and respect for peace. The estimated area of the space devoted to the buildings and grounds of the Exposition of 1900 was 1,030,000 square yards, an area much larger than the Exposition of 1889, and more than four times that of 1878. This immense area was divided geographically into six parts or sections, and the site and plan of the Exposition may be best de¬ scribed by their mention; though, for the purpose of grouping the ex¬ hibits, there were really eight sections, three of which were assigned to the beautiful Champ de Mars (March Camp). The official opening of the Exposition of 1900 took place in the Salle des Fetes (Festival Hall) on April 14, 1900. The occasion was a mixture of gorgeous splendor within the hall with the confusion inci¬ dent to a state of unpreparedness without. But this last has ever been common to expositions of great magnitude. They have never been perfect on opening day. On that date Paris awoke in gala attire ready to enjoy the anticipated fete. The weather was bright and the boule¬ vards were thronged. By noon the Place de la Concord, on which fronted the monumental gate to the Exposition, was filled with people. All the omnibuses and river boats were decorated with festoons of flow¬ ers and bay leaves. Pennants and flags fluttered from every window in every street. The Place de l’Opera (Opera Square) was particularly resplendent with escutcheons of the Republic, steel breastplate ' and crossed swords, insignia of the Military Club, whose home was within the square. THE PARIS EXPOSITION. jot As the day advanced the weather grew finer and finer. At 2.15 P. M., Pesident Loubet, followed by his ministers, entered the Grand Presidential Tribune, where the gorgeously attired diplomatic corps awaited him, streams of sunlight were pouring through the rich stained glass dome of the Salle des Fetes, where the ceremony took place. The President reached the front of the Tribune amid the strains of the “Mar¬ seillaise” and the applause of an audience comprised chiefly of the polit¬ ical, artistic and intellectual elite of France. President Loubet ex¬ tended greetings to the Ambassadors of the various countries repre¬ sented. When all were seated, M. Millerand, Minister of Commerce, delivered the opening oration, in the course of which he said: “The persevering efforts and the passionate energy of M. Picard (the commissioner general) and of his colleagues made possible the pro¬ digious work which I present to you to-day. One cannot, however, without committing an injustice, extract names from the notable lists of artists, engineers and contractors who were the artisans of these mar¬ vels. “The universe is associated with France in this gigantic enterprise, and the government of the Republic fulfills a very pleasant duty of hos¬ pitality and gratitude in expressing its thanks to those sovereigns and chiefs of state. The visitor to the exposition will owe to the friendly people who have shown so much eagerness and good will in receiving the invitation to visit the exposition the miracle of being able to in a few minutes make a tour of the world. The types of all architecture grouped side by side on the two banks of the Seine in a sparkling and harmonious disorder will captivate his imagination while pleasing his vision, and by a natural affiliation of ideas this picturesque display will give birth in his soul toward the reflection that however distant they appear to be from one another, by education, custom and prejudice, all the sons of Europe, citizens of diverse nationalities belong to the same family, and their duty EXPOSITION SITE AND GENERAL PLAN. 107 like their interest, is to work toward increasing the common patrimony of science and art. “What progress can be realized, what transformations brought about in the space of only three generations, a glance at the Centennial Exposition would reveal to us. The time will come when other voices, more authoritative than mine, will make the inventory of the artistic treasures enclosed in these edifices. I will limit my ambition to recall¬ ing how in a hundred years the face of the material world has been re¬ newed. “Words fail me to express the grandeur and the extent of this eco¬ nomical revolution under our hand. We have seen the forces of nature subdued and disciplined. Steam and electricty, reduced to the role of occult servants, have transformed the conditions of existence. Machin¬ ery has become the queen of the world. Installed in power in our fac tories, constructed of iron and steel, she has replaced by slow but con¬ tinuous invasion the workers of flesh and bone, of whom she makes aux¬ iliaries. What a change in human relations! “Distances diminish to the point of disappearing. In a few hours are devoured distances which were formerly only accomplished at the price of days and of great fatigue. The telephone, that sorcerer, brings to our ear the words and even the tone of a friend’s voice, separated from us by hundreds of miles. The intensity and the power of life—of death itself—recoil before the victorious march of the human soul. The gen¬ ius of a Pasteur, pure benefactor of humanity, whose glory is not over¬ cast by any shadow, increases a hundred-fold the power of surgery and of medicine. The malady, seized at its origin and isolated ceases, and there appears on the horizon the happy period when the epidemics which ravaged cities and decimated peoples will no longer be anything but terrifying memories and legends of the past. THE PARIS EXPOSITION. r©8 'Thus does science multiply with admirable prodigality the means which she places at the disposal of man to bend the exterior forces to her laws, or guarantee him against their hostility. She renders him a more signal service in giving up to him the secret of the material and moral grandeur of the societies which can be described in one word—solidarity. We are the heirs of the faults as well as of the meritorious points of our fathers, and we are already writing the history of the solidarity of our sons and of our ancestors, and why should not we do so in the case of our contemporaries? "We must not forget these physical contagions, the houses of the poor," where the morbid germ of uncultured brains are sheltered, where superstition and hatred ferment, constituting perils of which a far-seek¬ ing intelligence is destined to convince us. We must hasten their dis¬ appearance, triumph over ignorance and conquer misery. "What higher, more pressing social duty is there? If the most generous altruism and the sweetest of sentiment find in themselves their reward, and diffuse in personal interest its most thorough justification, imagine the outcome of mutual assistance of syndicates and associations of all descriptions destined to group themselves into one sheaf, resisting individual weakness, so many proofs of human solidarity. "It aims to lessen in the bosom of each nation the shocking inequal¬ ities resulting from nature or from the social regime. It proposes to unite in the bonds of a real fraternity the children of a same people. But its effects do not stop at frontiers. Interests, ideas and sentiments in¬ termingle and cross each other over the whole surface of the globe, like those light threads in which human thought floats—beneficent com¬ plexity which permits us already to discern a new era of which only yes¬ terday a noble initiative forged at The Hague conference the first links. Yes, more strongly than we could have done ourselves international re- VIEW OF THE PARK OF THE CHAMP DE MARS TAKEN FROM THE EIFFEE TOWER. EXPOSITION SITE AND GENERAL PLAN. 11 it lations have shaped themselves from the multiplicity of news and the stability of exchange. “Besides, we have reason to hope and believe that a day will come when the world will only know the profitable rivalries of peace and the glorious struggles of labor. Oh, labor, labor, Creator, sacred Creator. It is Thou who ennoblest. It is Thou who consolest. Under Thy footsteps, ignorance is dissipated and pain flies. By Thee humanity has leaped over the barriers of the night and mounts unceasingly toward the luminous and serene region, where one day will be realized the ideal and perfect accord of the power of justice and of good.” M. Millerand’s address was warmly applauded, and then President Loubet arose and spoke as follows: “In inviting the governments and the peoples to make with us a synthesis of human work, the French Republic had not only in mind to institute competition of visible marvels and to renew on the banks of the Seine the ancient renown of elegance and courteous hospitality. Our ambition is more lofty; it soars infinitely above the brilliance of transitory fetes and does not confine itself. “Whatever patriotic satisfaction we may experience to-day to the gratification of our amour proper or self-interest, France wished to give a striking contribution to the bringing about of concord between peo¬ ple. She has the consciousness of working for the good of the world at the conclusion of this noble century in which the victory over error and hatred was all incomplete, but which bequeaths to us a living faith in progress.” President Loubet then spoke of the admirable spectacle that the Exposition afforded of mind disciplining the forces of nature, and of the support foreign governments had lent France in accomplishing the great work. 6 THE PARIS EXPOSITION 112 In conclusion the President said: “Gentlemen, this work of har¬ mony, peace and progress, however ephemeral its outward show, will not have been in vain; the peaceful meeting of the governments of the world will not remain sterile. I am convinced that, thanks to the per¬ severing affirmation of certain generous thoughts with which the ex¬ piring century has resounded, the twentieth century will witness a little more fraternity and less misery of all kinds, and that ere long, perhaps, we shall have accomplished an important step in the slow evolution of the work toward happiness and of man toward humanity.” This peroration, delivered with fervor, evoked an outburst of cheer¬ ing. When the cheering had subsided President Loubet said: “It is under these auspices and in this hope that I declare open the Exposition of 1900.” The music that attended the opening of the Exposition was one of its most notable features. The famous brass band of the Republican Guard was excellent and the large string band was equally well received. The great chorus of male and female voices directed by one chief leader and four subordinates, produced a grandiose effect. The ceremony in the immense auditorium being at an end the President and the distinguished party crossed the whole length of the hall and mounted the grand staircase, lined with white-trousered guards, and the disappearance of all in the dim distance was like a scene from a grand opera. A few minutes later the procession, after visiting half a dozen sections, emerged from the building and traversed the broad, open lane between the two files of soldiers, down the middle of the Champ de Mars. Throughout this open-air promenade the sun-warmed breeeze made the weather gentle and all that could be desired, but one could not help thinking what half an hour of rain would have done to this gay scene. Amid the booming of cannon the President embarked on the EXPOSITION SITE AND GENERAL PLAN. "3 boat that was to convey him to the Seine for the inaugural ceremony at the Alexander III Bridge. The Presidet’s trip down the river was a dignified spectacle. All the occupants of the three boats remained standing during the voyage, if it may be so called. The bands that accompanied the Presidential party played the national hymns of every civilized country. Each boat was gorgeously decorated with the flags of all nations, and all sorts of patriotic insignia. It was close on 4 o’clock when the first of the three boats made its appearance coming from the neighborhood of the Trocadero. It was followed at short intervals by the other two. They moved with a slow and even speed toward the Alexander Bridge. At that point an im¬ mense crowd lined the river bank on both sides. The people had been waiting for the President for several hours. During that time they had amused themselves by visiting the national pavilions, in some of which music and dancing had been provided to while away the time. The appearance of the boats was the signal for a grand rush to the bridge, but it was kept clear of all spectators save newspaper men and other privileged persons. The President, still surrounded by his at¬ tendants and the foreign officials, mounted the steps that led to the bridge. He was followed by a long cortege of distinguished persons from every walk in Parisian and European life. This procession slowly proceeded across the bridge, while the Russian band at one end and the French band at the other alternated in playing the national airs of all countries, those of Russia and France prevailing. “America” was played as Mr. Peck, the American Commissioner, and his staff crossed the bridge and joined the President’s party. The air was caught up by thousands of Americans in the crowd. The Russian band was greatly applauded and made to repeat sev¬ eral of its selections two or three times. At the close of the Russian THE PARIS EXPOSITION. ii 4 hymn, President Loubet’s carriage stood waiting at the end of the bridge, but he did not take it, but continued walking down the magni¬ ficent Avenue Nicholas Second, toward the Fine Arts Building. His splendid guard of cuirassiers went clanking along a few steps behind him. Soon he headed the immense procession that struggled through the Champs Elysees toward the Elysee Palace, and it was in this beau¬ tiful open space that he received the most rousing reception of the day from the people, for he had created a profound popular impression by the announcement that all military and naval prisoners had been par¬ doned, and that a ration of wine had for the day been granted to all soldiers and sailors. Contrary to the rule which had prevailed at former Exposition openings, the public was excluded from the Exposition grounds, sup- posably for certain state reasons. Of the place of the United States in the Exposition, Ambassador General Horace Porter said: “The present French Exposition will attract even greater interest than any previous effort made in Paris to display before the world the products of the various nations. Every government of any importance will be represented, and in the way of sight-seeing and the gathering of general information a visit to it will be equal to making a tour of the world. “Owing to the broad views and the public spirit early manifested by President McKinley regarding this enterprise, and to the liberality of Congress in providing means for organizing a creditable and attractive American section, our country has secured a representation which will arouse universal interest. The increase in our commerce with Eu¬ ropean nations which will result in this systematic and extensive display of products will without doubt enlarge our foreign trade to such a marked degree that the country will be repaid many times for the wise expenditures authorized bv the Government. YTHE EIFFED TOWER AND THE PARK OF THE TROCADERO. EXPOSITION SITE AND GENERAL PLAN. 117 '‘The friendly intercourse which will take place between prominent and influential people from all lands will do much, it is trusted, to bring about better understandings between the countries and to foster that good will which is so necessary among nations in securing an era of har¬ mony and peace.” United States Commissioner General Ferdinand W. Peck said: “The exhibits of the great international exposition inaugurated to-day reflecting the arts, sciences and industries of the present age will be an achievement of heretofore unequaled perfection. At no other similar event have the nations of the world so elaborately and ambitiously par¬ ticipated. While artistic architectural effects are not lacking, and the ensemble of the buildings and gardens will be brilliant, yet this exposi¬ tion will be most noted for the exhaustiveness of its exhibits and for the intelligence of their arrangement and the beauty of their instalation. “A gold medal at Paris in 1900 will be a trophy of which any exhib¬ itor may be proud. It will mean supremacy over the best mankind can accomplish. The United States will be represented by the largest num¬ ber of exhibitors of any foreign nation, and the awards for which our jurors will struggle will be a test of the quality of our representation and will evidence the rewards of our achievements.” The following is a table of exhibitors which speaks eloquently of American enterprise: France, 30,000; United States, 6564; Belgium, 2500; German, 2000; Italy, 2000; Russia, 1500; Scandinavia, 1400; Austria, 1000; Great Britain, 600; the British colonies, 600. America had three times the number of exhibitors that France had at the World’s Fair, in Chicago. She occupied 329,052 square feet, with her forty-seven distinct exhibition spaces, thirty-three in the main Ex¬ position grounds, fourteen in the Vincennes annex, excluding the ground covered by our eagle, surmounting the national pavilion on the Quai D’Orsay. THE PARIS EXPOSITION. 118 In locating and getting a clear understanding of the general plan of the Exposition, the river Seine becomes an important feature. It is a great canal rather than river, and passes through the Exposition grounds in a westerly direction, with its banks of solid masonry support¬ ing wide quays on which many massive public and private buildings stand, and with its numerous bridges of splendid architecture. On the north or right bank of the Seine, where it is crossed by the Concord bridge, is what may be termed the geographic centre of the city. This is the Place de la Concorde (Concord Place) whose southern front is upon the river, and which passes north with its richly verdure-clad sweep to the street Rivoli. On the east of this magnificent square is the no less mag¬ nificent guarden of the Tuileries, extending back to the palace of the Louvre. On the west side lies the beautiful Champs Elysees, a series of exquisite small parks which are intersected by the most magnificent avenue in the world, the Avenue Champs Elysees. This avenue which enters the Place de la Concorde half-way back from the river, formed the northern boundary of the exhibition grounds at this point, all the space between it and the river and between the Place de la Concorde and the Avenue Autin and Bridge of Invalids, being devoted to Exposition pur¬ poses. The monumental gateway fronting the Place de la Concorde was the main entrance to the Exposition. Of course there were many other entrances. This monumental gateway was in itself an architectural rev¬ elation and an earnest of what the visitor might expect when once be¬ yond its portals. It was designed to be a type and epitome of the Ex¬ position itself, and was built in an entirely new and original style, so as to present a rich harmony of colors, the predominating ones being blue, green and gold. Three large arches touching one another at the base, and joined as they ascended by delicate open work, supported a central cupola, exquisitely gilded and rising to the height of 125 feet. The EXPOSITION SITE AND GENERAL PLAN. largest of these arches faced the Place de la Concorde. On its face over the arch it bore the Ship of Paris, and was surmounted by a gilded statue of the city, dressed in modern robes and head-dress. The pilasters sur¬ rounding the bases of the arches supported magnificent friezes in free¬ stone, by distinguished sculptors, and the niches back of the principal gateways were decorated with paintings and statuary. On either side of the front of the building stood two graceful pillars mounted with lum¬ inous globes, and all around were numerous masts decorated with the flags of all nations. The structure was magnificently lighted at night by means of eight powerful reflectors concealed in the Place de la Con¬ corde. The public entered through the great arch and then dispersed into the grounds through the two side arches, after having passed through one of the seventy-six turnstiles, thirty-eight on each side. By this ingenious and swiftly working arrangement, 60,000 people could be admitted in an hour. Once within the grounds, the visitor found himself in a section of the Exposition devoted to flowering plants and shrubs, and which formed a part (Class 46) of the Horticultural and Arborcultural group, provided elsewhere with special buildings. This section extended from the Place de la Concorde down to the Bridge of Invalids, encircling the two palaces of Fine Arts and the Music Kiosk and bordering on both sides the newly laid out Avenue Nicholas, named in honor of the reign¬ ing Czar of Russia. The section had further additions, as parts of the Exposition general, in the Place of Invalids and the Champ de Mars. It was filled with every description of plant and flower in season, ar¬ ranged in beds and borders with consummate artistic effect, and its myriads of leaf plants and aromatic shrubs imparted freshness and fra¬ grance to the air. It was noticeable throughout the entire Exposition spaces that the managers had seized upon all the remnants of ground that had escaped the attention of builders, or were not needed for esplan- THE PARIS EXPOSITION. 156 ades and avenues, and had devoted them to shrubs and flowers and trees, in order to furnish visitors with natural delights. Skirting the river, as it passes by this enchanting section, is the Quai de la Conference (Conference Quay). Along this quay, and ex¬ tending on both sides of the new Alexander Bridge, was another section (Class 45) of the Horticultural and Arborcultural group, devoted to Fruit Trees. Here appeared fruit trees of every kind, trained and clipped in approved manner, and fitted to trellises of fantastic design, the whole an epitome of the arborculture in which France excels. It must not be forgotten that the two section just mentioned represented but two classes of the great Horticultural group, other classes of the group appearing at places where soil and exposure formed essentials to growth, or where peculiar growths assisted landscape features. In further study of the site and plan of the Exposition as limited to the grounds of the Champs Elysees, notice must now be taken of an¬ other new monumental structure, designed to be a permanent contribu¬ tion to the city’s convenience and beauty. This is the Pont Alexandre III (Alexander III Bridge). It is situated at a point a little more than half-way between the Bridge of Concord and Bridge of Invalides, being nearer the latter than the former. Its south end is directly upon the beautiful esplanade of Invalides, and its north end at a point nearly in the middle of the grounds of the Champs Elysees. To give it an open¬ ing on the Grand Avenue of Champs Elysees, a short avenue was con¬ structed from its northern end through the Champs Elysees grounds, nearly bisecting them. This avenue—Nicholas II Avenue, in honor of the Russian Czar—was superbly fashioned as an approach to the bridge, which is not only the sole monumental bridge of Paris, but a stupendous illustration of the latest scientific developments, and a masterpiece of al¬ legorical art. It is of a span approximating 400 feet, and 133 feet in width. The corner stone was laid by Czar Nicholas in 1897, and the fcXPOSITION site and general plan. tu work completed in 1899. The structure solemnized the alliance, or cor¬ dial intent, between France and Russia. It is named Bridge of Alex¬ ander III, in honor of the late Czar of Russia. On either side of the new Avenue Nicholas II, and in the midst of the grounds of the Champs Elysees, stand the two newly erected palaces of Fine Arts, both designed to be permanent contributions to the city’s architectural beauty and artistic taste. The larger one (Grand Palace) is on the west side of the avenue. For the year 1900, and for the .purposes of the Exposition, it was devoted to the French and the international art of the nineteenth century, but after that would be used for the purposes of the great annual art exhibitions. The smaller (Petit Palace) palace stands on the east side of the avenue, facing the former. It is devoted to French retrospective art, that is to pictures representing the historic growth of art in France. Both these buildings furnish fine architectural attractions. The stately pillars of the larger one especially, that stand in a grand row around the building, the noble statuary, the colossal figures that represent the various arts, examples of which are to be seen within, the gorgeous mosaics, the surmounting dome of glass, present a com¬ posite of striking beauty and brilliancy. A crystal roof admits a flood of light and directs it at the proper angle upon the art treasures of the world. Thus much for the site and plan of the Exposition as exemplified in the Champs Elysees. A second part lay across the Seine on the south side by way of the magnificent Alexander III Bridge. In crossing this gigantic structure one cannot fail to be impressed with its monumental element, as expressed in the four porches facing up and down the streams at either end of the bridge. The gilded groups surmounting them frame the vista from the Champs Elysees to the glittering dome of the Hotel Invalides. Each of these porches con¬ sists of undressed block of echaillon stone supporting a group of four 122 THE PARIS EXPOSITION. Ionian columns. From base to summit it measures 55 feet and is about 13 feet wide. The allegorical group is about 17 feet high, while base- block bears a stone statue with attributes in gilt and bronze. These represent the four aspects of France: 1. The France of Charlemagne; the allegorical group above symbolizing France’s Fame in Fine Arts (Sculptor). 2. France of To-day, surmounted by Fame in Science. 3. France of the Renaissance, surmounted by France in Commerce. 4. France of Louis XIV. From the middle of the Alexander III Bridge, a superb view of the Exposition could be had on both sides of the Seine, while on the right hand the great Palace of Fine Arts, with its fluted columns dazzling white against the massed foliage of the Champs Elysees, stretched to the quay and along the Cours-la-Reine (Queen’s Court). On the left hand, or to the south, and across the Seine, there opened the vista of the Esplanade of Invalids, so full of beauty and historic interest, with its Tomb of Napoleon and Church of Invalids, its Artillery Museum and Museum of the Army, its Gallery of plans in relief of the Ancient For¬ tresses of France, and at its southern end the imposing Hotel Invalids, an asylum for sick and wounded soldiers, built from 1670 to 1674, and capable of accommodating 7,000 inmates. The garden of this magnifi¬ cent Hotel Invalids, opens from the Place or Esplanade of Invalids, and continues the latter to the Hotel. But the Esplanade was temporarily narrowed to less than a third of its width by the grand Palaces on either side, erected for the purposes of the Exposition of 1900, the Esplanade of Invalids constituting Part II of the general Exhibition Plan. One had now to pass from the Alexander III Bridge directly into the Esplanade in order to view the Grand Palaces of the Exposition which lined its sides. Those on the left side, or rather the one on the left side, for one has to conceive of it as a continuous Palace divided into at least two minor Palaces, were the Palaces of National Manufac- EXPOSITION SITE AND GENERAL PLAN. *23 tures and of Diversified Industries. These were devoted to French exhibits. The Palaces on the right were devoted to the manufactures and diversified industries of foreign nations. In their architecture, the Palaces of the left—those devoted to French Manufactures and Industries—presented three symmetrical parts in harmony with the axis of the Esplanade. The first part, a decorative facade parallel to the Seine, was connected with the two others by mo¬ tives of architecture, circular porticos forming two entrance pavilions. With their pilasters, their balconies and sculptured arches, these pavil¬ ions were very beautiful. The part of the Palaces parallel to the Seine was likewise terminated by pavilions, surmounted by open domes, de¬ signed to give light to the upper story. In order to enlarge the space for exhibits, the greater part of the Palaces of 1900 were built with a ground floor and upper story, which was the exception in 1889. On the sides of the Esplanade, the Palaces were divided in three parts by pavilions, to each of which corresponded a portico and a grand terrace, from which the view extended over the gardens. On the walls at the base of the terraces large decorative paintings had been executed with a novel and pleasing effect. The Palaces terminated with a circu¬ lar portico giving access to a monumental stairway connecting them with the higher buildings on the Street Grenelle immediately adjoining. In these last Palaces, symmetrical without exact resemblance, the ground floors were lighted from the side, but also received daylight from open spaces in the floor above. These edifices were glass covered above and offered a succession of open galleries and vestibules. This double series of Palaces was devoted to Decoration and Furniture of Public Edifices and Homes, which constituted Group XII (classes 66-75) anf ^ to Diversified Industries which constituted Group XV (classes ’92-100) of the general classification of the Exposition. THE PARIS EXPOSITION. 124 On the border of the Street Grenelle, the Palace of Furniture ex¬ tended, presenting, like those of National Manufactures, two symmet¬ rical parts. All the buildings of the Esplanade were built in a space of about 360 feet, between the lines of elm trees in groups of five forming a square which bordered it in six rows on each side. The avenue in the middle was no feet in width, that of each of the two lines of buildings was 126 feet. Behind these Palaces, the spaces between the groups of elms was used, on the Street Constantine side, for annexes of groups 12 and 15, and for the reconstruction of picturesque houses, characteristic of some of the French Provinces, on the Street Fabert side, for annexes of cer¬ tain foreign exhibitions. At night, each of the two lines of Palaces of the Esplanade Invalids was lighted by 1068 incandescent lamps. There were many lamps in the central walk and in the groups of trees, making in all 2154 lamps. This part of the Exposition, which was a little dark in 1889, was as brilliant as any in 1900. The Palaces on the right of the Esplanade—those devoted to foreign exhibits—were fully occupied by the leading nations, for whom ample space had been provided. Switzerland, Japan, Denmark, Great Britain, United States, Germany, Russia, Belgium and others, were vieing therein with their representa¬ tive objects to prove the skill and accomplishment of their craftsmen. Altogether these buildings were the place where the business men of the world put in hours crowded with instruction and insight into the value of the handicrafts of these people who were contesting for the world’s trade. Here the genuine were made known and the spurious detected; here prices, as well as workmanship, were compared, for the representa¬ tives of the various countries were anxious to give all. information that the curious as well as the searcher after knowledge cared to ask for. Passing out of the Esplanade Invalids, and back to Alexander III Bridge, and then looking again westward down the Seine, the visitors NICHOLAS II. FROM BRIDGE OF ALEXANDER III. EXPOSITION SITE AND GENERAL PLAN. 127 eye took in Part III of the Exposition plan (parts III and IV, being both on the Seine, were generally classed as one Part). It was the vista of the Seine, the grand water avenue of the Exposition, extending from the Bridge Invalids to the Bridge Alma. A closer view of this pictur¬ esque sketch was had from the Bridge Invalids. Here one was com¬ pelled to choose one side or other of the river, in order to make a tour of the Exposition. But to describe it as part of the general plan, and to begin on the right, or north, bank of the Seine, there was found upon the quay, and quite near to the Bridge Invalids, the Pavilion of the City of Paris, a composite structure typifying the metropolis. Beyond, upon the quay, and extending back to the Street of the Queen, stood the three main, and numerous smaller, palaces devoted to Horticulture and Arbor¬ iculture. These extended to the Bridge Alma, and completed the plan as to the right bank of the river between Bridge Invalids and Bridge Alma. The left, or south bank, within the same space was wholly occu¬ pied by the Street of Nations, the quay being lined with Pavilions con¬ structed by the different nations for their accommodation at the Expo¬ sition, and as types of their architecture and other characteristics. These constituted an effective attraction, and are hereinafter described in detail. The next part (Part IV, or the water extension of Part III) of the Exposition plan laid between the Bridge Alma and the grounds of the Trocadero and Champ de Mars. This was another river vista, em¬ bracing on the right, or north, bank the quaint reproduction of Old Paris, and on the left, or south, bank, that is, upon the Quay Orsay, the Mexican Pavilion, Press Pavilion, Roumanian Restaurant, the Section of Hygiene, and the Military and Naval Exhibits, the latter occupying a vast Palace along the quay. In the rear of this palace were curious pavilions of several foreign nations, as Russia, Great Britain and Belgium. 128 THE PARIS EXPOSITION. Part V of the Exposition plan embraced that section of the Champ de Mars (Camp of Mars) which faces the Seine on the south side. Here the Jena bridge crosses the river at a point in the centre of the Troca- dero gardens, on the north, and those of the Champ de Mars, on the south, forming a beautiful vista. But the above named section of the Champ de Mars, quite an extended one, was practically severed from its parent gardens in 1889, by the erection of the celebrated Eiffel Tower, the most conspicuous object of the Exposition of that year. The section was specially laid out, and the grounds, of which the Tower be¬ came a centre, are now best designated by the name of Eiffel Tower grounds or gardens. The grounds (Part V of the plan) were a lively part of the Exposition of 1900, abounding in a variety of palaces, pavil¬ ions and miscellaneous attractions. To the left of the Tower they were such as the Panorama of the Tour of the World, Siamese Pavilion, Swiss Chalet, Alpine Club Exhibit, Palace of Light, Palace of Costume, etc. Having passed southward through this interesting section, one entered the magnificent grounds of the Champ de Mars proper. They constituted Part VI (Parts V and VI were by some classed as one part) of the Exposition plan. Here was the chief ensemble of the great Expo¬ sition. The very large area of the Champ de Mars was more than two- thirds given up to Exposition purposes. On either of its sides and across its entire rear, were erected palaces, amazing in their extent and beauty, leaving a central esplanade of walks and flowers. The first of these palaces on the left was that of Mines and Metallurgy, where the working of mines and the processes of reducing ores were on exhibi¬ tion. Next came the Palace of Textiles and Clothing; and third the Palace of Machinery with its variety of engines and enormous boilers with their gigantic chimneys. At this point, the magnificent Palace of Electricity was erected di¬ rectly across the Esplanade, bringing it to an end, and connecting the EXPOSITION SITE AND GENERAL PLAN. 139 palaces on its right and left. This monumental structure was faced by the brilliant Castle of Waters, both of them a revelation in electrical effects. But the Palace of Electricity, though it stood across the Es¬ planade at its southern end, did not occupy all the space to spare there. Behind it was a large area, extending back to the Avenue Motte Picquet. However, before looking into this area to see what wonders it con¬ tained, it proved best to view the palaces on the right of the Champ de Mars. Opposite that of Mines and Metallurgy, above mentioned, stood the grand Palace of Education and of Letters, Science and Arts. Next, to the south, was the Palace of Civil Engineering and of Transportation, where appeared every civil engineering device and every means of travel. Adjoining it was the Palace of Chemical Industries, with its laboratories and processes. These three palaces, corresponding to those on the left, graced the right side of the Champ de Mars, their imposing facades overlooking the central Esplanade. Now for the section in the r$ar of the Palace of Electricity. Here was one of the largest and most interesting structures of the Exposition, constituting, with the Palace of Electricity, Part VII of the Exposition plan. It was the Palace of Agriculture and Foods—products of the soil and the foods into which they are capable of being converted. This little world occupied the entire area between the Palace of Electricity and the Avenue Motte Picquet, and Avenues Bourdonais and Sufferen, except the two central spaces occupied, respectively, by the Salon of Honor and artistic Hall of Fetes. On leaving the Champ de Mars, one naturally passed back through the Eiffel Tower grounds, on the side of the Tower opposite to that on which entrance was made. This was necessary in order to comprehend more fully the variety a ! nd nature of the attractions in which these grounds abounded. Here were found the Morocco Palace, Palace of Optics, Pavilions of Ecuador and Central America, Palace of Women. THE PARIS EXPOSITION. Concorama, Mareorama, and a little further on that astonishing astro nomical creation, the Celestial Globe. Once again at the river front and at the southern end of the Jena Bridge, one was not yet quite ready to cross it, for on the quay to the left stood an interesting structure, or series of structures, belonging to Part V of the Exposition plan. It was the palace devoted to Forestry, Fishing, and Hunting, containing unique displays in great number and of instinctive value. Now the last of the parts or sections of the Exposition plan, Part VIII, could be viewed and grasped. It laid across the Jena Bridge, to the northward, and embraced the gardens and grounds of the Trocadero. The central object here is, of course, the gorgeous Trocadero Palace, mounting high and imposing above its many terraces, and overlooking buildings and landscapes for miles. It is a preservation of the Exposi¬ tion of 1889, and in itself was not so much identified with the Exposi¬ tion of 1900 as were the gardens and grounds around it. The slopes leading up to the palace were dotted with a variety of strangely con¬ structed buildings, for here was located the section of the Exposition de¬ voted to the exemplification of colonization by the different nations having colonies. On the left hand, going up the hill toward the Palace, all the French colonies were represented by various attractions, and on the right, foreign colonies set forth their exhibits. The reader has now passed over the site and had a view of the plan of the Paris Exposition of 1900. With a fair understanding of them, each of the great palaces and points of interest could be readily and intelligently located, and to each could be referred the character of displays which distinguished them. While the site was as well selected as possible, considering the difficulty of obtaining space in the centre of a populous city, and the plan was logical in its arrangement, so that it could be comprehended with ease, the obstacle of following it up physi¬ cally was ever present, for lack of contiguity between minor geographic UNDER THE EIFFEU TOWER—THE TROCADERO IN THE DISTANCE. EXPOSITION SITE AND GENERAL PLAN. 133 parts or sections. There could hardly be such a thing as a stereotyped route of the Exposition. That which came nearest to it, and which comported with the lines of the plan above laid down, except as to the two river vistas or sections, and the blending of the Eiffel Tower grounds and gardens with those of the Champ de Mars, was mapped at an early period of the Exposition by one of its distinguished officials, Autonin Barthelemy. It combines the value of an intelligent chart of site and plan with highly descriptive vigor, and makes an appropriate conclusion to this chapter. It runs: “It was a happy thought which caused the organizers of the Exposition of 1900 to lay the principal entrance close to the Place de la Concorde, so magnificently designed by Gabriel, and slightly to the rear of the Cours la Reine. Here rises the Monumental Gate, the creation of M. Rene Binet, which M. Guillot has decorated with a frieze glorifying Labor. Having passed the gateway the visitor traverses the grounds devoted to Horticulture and Arboriculture, and thus reaches the Alexander III Bridge, on each side of which—on the right bank of the Seine—rise up the Great and Small Palaces of Fine Arts. The first is the work of Messrs. Thomas, Louvet and Deglane, the second that of M. Girault. The larger edifice houses the Centennial Exhibition of French Art, and the Decennial Exhibition of French and Foreign Fine Arts; the smaller the retrospective exhibition of French Objects of Art. In the large palace one has an opportunity of admiring pictures, sculp¬ tures, engravings, and industrial objects of art created in France between 1800-1899, and, as a natural corollary, for our neighbors at least, artistic French and foreign productions since 1889. In the small palace are grouped industrial objects of art, which conjure up before one’s gaze the whole history of travail on French soil from the very commence¬ ment up to the year 1800. M. Roujon, Director of Fine Arts, has en¬ trusted the care of this Exhibition to M. Emile Molinier, Conservator 7 134 THE PARIS EXPOSITION. of National Museums, and Professor at the School of Louvre, who has given proof of a most remarkable faculty of organization in these deli¬ cate labors, for which his scientific accomplishments specially marked him out. “On leaving the Palace of Fine Arts, possibly even before entering it, you make your way to the Alexander III Bridge, forty yards in width, which Messrs. Resal and Alby have built across the Seine in a way reflecting the greatest credit on their science. The decorative work of the bridge is by Messrs. Lenoir and Michel, who have backed the turret-shaped pylones to the bridge, from the side of the Cours la Reine, with seated figures of France during the Roman period and of Modern France, Messrs. Coutan and Marqueste having executed figures of France during the Renaissance and the time of Louis XIX on the Es- planade des Invalides side. The decoration, a task of no little difficulty, since care had to be taken not to overweight the work of the engineers, but only to felicitously mark its starting and finishing point, was con¬ ceived by two architects of exceptional skill, Messrs. Cassien Bernard and Cousin. “Now let us go back to the right bank of the Seine. On the other side of the Pont des Invalides we find the Pavilion of the City of Paris, in which are grouped the different services governing municipal life. Plere is the Street of Paris and here also, for the amusement of the vis¬ itor, are to be seen the Tzech Restaurant, the Temple of Fun, the Black Cat, la Roulette, les Bonshommes Guillaume, the Theatroscope, the Cinematophone and the Wonder Tower. But why all this gaiety cheek- by-jowl with the cold Palace of Congresses and of Social Economy? “We have now reached the Place de l’Alma, and if you don’t care to look at the Old Paris of M. Robida, which is just facing us, you can cross the footbridge, which M. Resal has thrown across the Seine by the EXPOSITION SITE AND GENERAL PLAN. *35 side of the regular bridge, and, turning to the left, enter the Street of Nations, on either side of which you will observe the Foreign Pavilions. “Some few weeks before the opening of the Exhibition no more fantastic sight could be imagined than this street, viewed at night from the opposite side of the river, when its pavilions, with their vague con¬ tours, outlined against a moonlit sky, looked for all the world like fairy scenery. Here we have Servia, with its cupolas of Moslem design; Greece, which has adopted the Byzantine style; Monaco, Roumania, which M. Formige has installed in a pavilion, where there is a Rouma¬ nian carbaet with a native orchestra; Spain, Bulgaria, Germany, Fin land, Norway, boasting an exquisite pavilion, with superposed galleries, and a beautifully designed spire; Belgium, which presents to us a happy reproduction of the Audenarde Town Hall; Great Britain, which a very talented young architect, Mr. Lutyens, has vividly portrayed in the shape of an English country house of the beginning of the 17th century —Kingston House, to wit—fitted up and furnished as such a house would be at the present day; Persia, which transports us, as it were, into the Medurre Madershah Palace at Ispahan ; Hungary, in the design of whose pavilion Messrs. Balint and Jambor have associated themselves for the purpose of combining in a harmonious whole the successive styles peculiar to their country, from the Roman down to the present; Bosnia-Herzegovina, Peru, Austria, whose pavilion has a noble sweep; Portugal, Denmark, the United States, Turkey, and lastly, Italy, rejoic¬ ing in a truly imposing pavilion. This brings us to the Esplanade des Invalides, and we have before us the street terminating the perspective of the famous gilded Dome of Mansard, on each side of which Messrs. Tou- doire and Pradelle, Esquire, Larche, Nachon, and Tropey-Bailly have erected the palaces which contain the National Manufactures, the Dec¬ orative Arts and the various Industries. On one side of the street are the French sections, on the other those of the foreigners, and under the THE PARIS EXPOSITION. 136 trees, arranged in the form of a quincunx, the foreigners are variously installed; whilst the French, on their part, show us the Arlesian House (Maison Arlesienne), the Provence country house (Mas Provencal), and the Breton House (Maison Bretonne), quite a charming little corner of provincial France. “But we retrace our steps, to again pass by the foreign pavilions. On the other side of the Pont de l’Alma, skirting the river, we come to the Mexican Pavilion, the Press Pavilion, and the Pavilion of the Land and Sea Forces—or, in other words, the science of destruction, ever on the alert, ever advancing, with an eye solely to the battlefield, on which international quarrels are decided—and then to the Department of Hy¬ giene, which aims at rendering the centres of human habitation more favorable to the development of health and its preservation. Strange neighbors, forsooth! “We now find ourselves on the Champ de Mars. At this point the buildings are so numerous that it would be difficult to enumerate them all. They crowd upon the Eiffel Tower. The Round the World Pan¬ orama elbows the State Registry and Domains and Manufactures. The Swiss Chalet is appropriately placed by the side of the Alpine Club. The Russian spirits’ exhibit has for neighbors a Tyrolese Chateau, and the Woman’s Palace, in which the ladies find displayed an array of most tempting attractions, and which are a resume of their ever-growing activity. In the Optical Palace you can, without trouble, and seated most comfortably in a theatre specially constructed for the purpose, see the moon thrown on to a screen at a distance of indeed little more than a yard. The Mareorama presents to us the illusion of a voyage on the Mediterranean, with stoppages at Marseilles, Naples, Venice and Con¬ stantinople, accompanied by sea-sickness. The Costume Palace, which is alongside the Angers slate-quarries, one of the salient features of this part of the Exhibition, which further comprises the Pavilions of Siam, AMERICAN INDIAN-GRAND ENTRANCE AVENUE. PALACE OF RETROSPECTIVE ARTS—ARMOR OF FRANCIS T EXPOSITION SITE AND GENERAL PLAN. *39 Morocco, Ecuador and of the Republic of St. Marin. The foregoing is a strange jumble of architectural notes introductory to the grand palaces on the Champ de Mars, designed by Messrs. Henard, Paulin, Blavette, Hermant, Raulin, Sortais, and Varcollier. *'L would like to talk to you at greater length and more compe¬ tently as to the contents of these various palaces, and would fain expa¬ tiate upon the mines and metallurgy which demonstrate, for instance, in a striking manner by what remarkable discoveries scientists have signal¬ ized the century which has flown. I would likewise descant upon the yarns, textures and wearing apparel, which lend themselves to these wonderful exhibitions, and will, doubtless, set you thinking when you come to see how varied are the industries which unite to clothe us. What delight, and, no doubt, sore temptation to the ladies when they look upon these cambrics, muslins, laces, guipures, blondes, Valen¬ ciennes, English point, Mechlin lace, Froufrou, Venetian point, Chan¬ tilly or Angouleme point, Genoese point, Brussels or Auvergne point, or the numerous silks, satins, failles, velvets, brochees and the like! “Our fair friends, I suspect, will feel inclined to lag behind, whilst their fathers, brothers or husbands, of a more serious turn of mind, look at the Machinery or Electricity, that Fairy of the nineteenth century which is not only to be met with in the Palace which bears its name, but all over the Exhibition, for the Monumental Gate has 36 arc and 3,100 incandescent lamps, the Champs Elysees’ Garden 174 arc lamps, and the Alexander Bridge 500 incandescent lamps. There are 1,100 in the Waterworks, 5,000 in the Palace of Electricity in addition to twelve arc lamps, 4,500 in the Salle des Fetes (Hall of Fetes), 2,136 in the Palais des Invalides as well as 60 arc lamps on its Esplanade. In an article in the Paris Review, M. Michel Corday described how, underneath the foun¬ dation even of the Waterworks—which is intended to utilize the water before sending it to the motors, and, at the same time lend itself, thanks 14 © THE PARIS EXPOSITION. to the electric light, to color effects—there is a gallery which is forbid¬ den to the profane. ‘Fixed to the wall are two boards, twenty-four yards long, studded with apparatuses for direction, control and safety. It is a veritable junction, similar to what we see as we approach the large terminus of a railway, where, by means of a switch-board, trains are turned on to their proper rails. Here it is the current which is switched on to the wires. From this network, which is carefully cov¬ ered with India-rubber, the current radiates in all directions, glides under the boards of the galleries, bifurcates, disperses, divides, extends, crosses the river and transmits its beneficent electrical energy to the uttermost points of the Exhibition.’ “It must be admitted that M. Henard, architect of the Palace of Electricity, was not set an easy task. In point of fact he was called upon to design a palace, but with due regard to the fact that its lower part would be hidden by the Waterworks of which we have just spoken. ‘After numerous sketches,’ as M. Antonin Proust has told us, ‘M. Henard submitted to the Direction of Department of Agriculture, and obtained its approval of, the design we now see. It consisted of raising the central hall of the Palace of Electricity in such a way as to give it the necessary height to be seen behind the Waterworks, and of crown¬ ing the facade thus obtained by a coping, or crest, of a special trefoil de¬ sign, surmounted by a group symbolical of electricity. By daylight this coping, or crest, is intended to be outlined against the sky like lacework of metal and glass, by night like lacework of fire. An enormous sun, of glass, radiates behind the statue of Electricity. The latter is borne in a chariot drawn by two allegorical animals, the one, Pegasus, person¬ ifying the poetry of science, the other, a dragon, symbolical of material strength. Millions of electric lamps, of changing colors, are made to vary the color and aspect every instant of this luminous crest. All the EXPOSITION SITE AND GENERAL PLAN. 141 resources of modern electric lighting are brought into requisition to impart to the whole a flood of fairy light.’ “Have you sufficient strength left to hackle’ Agriculture and Food¬ stuffs? The former has, so to speak, been created in the course of this century. The latter, with its wines and brandies, beers, liqueurs, farina¬ ceous products, bread, pastry, and confectionery, preserved meats, fish, vegetables, and fruit, is the veritable realm of Pantagruel. Neverthe¬ less, the Chemical Industries invite our attention also. They comprise, my dear ladies, perfumes, soaps, toilet waters, scented oils, pomades, perfumed essences, scent-bags, extracts, and scented waters, perfumed powders, tooth-paste, toilet vinegar, face-powder, face-paint, hair-dyes, etc., etc. They include, gentlemen, tobaccoes, against which not a few reproaches have been levelled, though, possibly, none so original as that of the Turkish author, who lived in the year 1640, and complained that the excessive use of the narcotic weed on the part of idle and worthless fellows prevented people in heaven from seeing one another in conse¬ quence of the clouds of smoke that rose up. “We now enter a part of the Exhibition which cannot fail to awaken more than ordinary interest, I allude to the Art of Printing, with its processes and machinery, Sciences and Arts, Education and Instruc- ^ tion. Without going into detail it may safely be said that printing has been wonderfully perfected, not merely since the time when Louis XII. declared that printing was one of the blessings of Providence, but even during the period which the Exhibition is designed to summarize and celebrate. Photography is an art, and photographers render very great services, not merely because they preserve our features to posterity, but because they furnish the scientist the aid of which he stands in need. One of the most interesting triumphs of the century is the art of pho¬ tographing in colors. 142 THE PARIS EXPOSITION. “It is almost superfluous to point out the improvements effected in the publishing trade which, while it has not neglected the more fanciful editions, has made it a point of popularizing the works of the best au¬ thors by cheap and handy publications. “The Chartography Department demonstrates the interest now taken in the study of geography. The striking progress made in the course of the century in medicine and chirurgy is manifest in the depart¬ ments consecrated to these two sciences. The Department of Dramatic Entertainment affords some idea of the infinite care, study and expense underlying the pleasures we so lightly enjoy at the theatres. We now turn to Teaching and Education, those knotty problems which have so puzzled the brains of this century, and the solution of which, in France or out of France, has yet to be found. Primary education alone is re¬ sponsible for a multiplicity of doubtful questions; at the present mo¬ ment we are called upon to grapple more particularly with the organiza¬ tion of secondary education, having due regard to the fact that, no longer the preserve of a favored coterie, secondary education claims its disciples among ever-widening circles aspiring to a higher intellectual culture. The development of superior education involves no less vital interests. There is also the education of girls, which the Third Repub¬ lic justly claims the credit of having organized. Nor is this all. There is artistic education, that is to say particularly the arts of draughtsman¬ ship. Drawing is rightly taking an important place with the nations, who are beginning to understand that it is not less necessary to be able to draw pictures of objects than signs of words. Then, again, we have the instruction in agriculture as a specialty, and technical education, that is to say, industrial and commercial instruction, the benefits of which, when intelligently organized, are so apparent in Germany. “But time presses; we must return to the Jena Bridge, stopping for a moment at Commercial Navigation, Forests, Ffunting, Fisheries and EXPOSITION SITE AND GENERAL PLAN. 143 Crops, at either side of the bridge on the river banks, which have been installed by Messrs. Tronchet and Rey. Upon the slopes of the Troca- dero rise, terrace-like, on the one hand the Foreign and on the other the French Colonial edifices. Here we have a living picture, so to speak, of the titanic task undertaken by Europe, the responsibilities it involves, the problems it raises. There are other things of interest on the slopes of the Trocadero; a good deal is being said of the wonders of Andalusia in Moorish times. Japan and Asiatic Russia also have their pavilions here. “It would be vain to undertake to enumerate all the marvels which this part of the Exhibition contains. Dazzled, fatigued, but properly proud, our visitor will then leave the Exhibition by way of the Troca¬ dero Palace, after having inspected the Museum of Comparative Sculp¬ ture, one of the most happy creations of the Third Republic. I say properly proud, because I think it impossible to behold the varied spec¬ tacle without some perception of the grand work acomplished by hu¬ manity in the course of this century. The Exhibition of 1900 consti¬ tutes, so to say, the stock-taking of the nineteenth century. On the threshold of a new era, the nations were convoked to a peaceful demon¬ stration of the progress realized by the human intellect in a period dis¬ tinguished beyond all others by its fecundity. “It is something to think that for six months the most diverse, the most dissimilar peoples, will collaborate in the same undertaking, that they will learn to know each other better, and that the solidarity of the human race must, perforce, benefit by the new associations which the Government of the French Republic has had the proud privilege of creating. Was ever more admirable spectacle presented to the intelli¬ gent curiosity of the world? A whole town has been erected in which Letters, Arts, Sciences, Industry, and Commerce have accumulated their 144 THE PARIS EXPOSITION. riches. Not a step in advance but what is registered here, not a prob¬ lem to whose solution the Exhibition of 1900 does not contribute. “But let us not praise too much. Barrow says that the same He¬ brew word signifies ‘to applaud’ and also ‘to render overweening or mad.’ We will not push our satisfaction to so dangerous a limit. But let us recognize with joy that the Exhibition of 1900 is an act of faith, a manifestation of the ideal, and of our belief in the perfectibility of the human race, and this is, we think, the highest that can be said.” Education. ROM the terraces of the Trocadero park on the north side of the Seine, or from the top of the Trocadero palace, a notable architectural monument of the Ex¬ position of 1878, which survived as a permanent museum, and readily lent itself to exposition uses in both 1889 and 1900, one looked southward, with a sense of rapture, across the beautiful Iena Bridge and beneath the grandly sweeping arches of the Eiffel Tower, into the magnificent area of the Champs de Mars, which, for the time being, had surrendered its wonted devotion to military manoeuvres to become the largest architectural centre and seat of the most numerous exhibits of the Exposition of 1900. Having taken in this spacious view, and understood the exact lay of the Champ de Mars grounds, one passed, with some degree of confidence, across the Iena Bridge, and through the exquisitely laid out and beautifully planted spaces surrounding the Eiffel Tower, to the Champ de Mars, now a point of destination, because the search was for the Palace which contained the exhibits devoted to the cause of Education and Instruc¬ tion. Let it be understood that the Champ de Mars had surrendered two- thirds of its 120 acres to Exposition purposes—a third of its width on the right (west) or Suffren Avenue side for its full length, and a third of its width on the left (east) or Bourdonnais Avenue side for its full length, leaving the charming space between to represent the Champ de Mars in diminished form as to space, but in heightened feature, if that were possible, as to landscape and flowering effects. These surrendered sides areas of the Champ de Mars, had become ornamented with majestic *45 146 THE PARIS EXPOSITION. palaces of striking architectural designs and vari-colored effects, their fronts overlooking the central Champ, as if an embowered and perfumed court, or as if still a magnificent esplanade, whose proportions had yielded temporarily to the glories of a special holiday occasion. At the very entrance to the Champ, and upon the right hand, one found the oject of pursuit in the form of the imposing palace devoted to Education and Instruction, and to Letters, Sciences and Arts. The lo¬ cation was one which fortunately afforded two facades or fronts, one overlooking the Champ de Mars, the other, on the north, separated by a charmingly variegated space from the Palace of Optics (Palais de TOptique). The architecture of the Palace of Education and Instruc¬ tion, and of Letters, Sciences and Arts, was composite. The word “composite” must not be understood here in its technical architectural sense, but in that general historic sense in which it was made to com¬ bine, in keeping with the spirit and purpose of the entire Exposition, the architecture of almost every period. The general effect was not describable in architectural language, but to the untutored eye and sense of the casual observer it was strikingly fantastic. The large balconies, profusely ornamented with figures, were suggestive of the interior of a theatre. At the main entrance, on the side fronting the Palace of Op¬ tics, was an immense porch something in the nature of a gigantic sea- shell, as if even old Neptune had felt moved to mingle his gratuities with those of dry-land denizens. On either side of this porch were two stately cupolas, or domes, richly adorned in reliefs, mosaics, panels and rose windows, the effect of the whole being very rich and wholly novel. Within this entrance and from a highly ornamented vestibule space, arose the grand stairway, above which stood two magnificent groups, representing Science and the Arts. But the chief entrance to the Palace was at the corner, or angle, where the west and north facades, or fronts, met. Here was the grand DAHOMEY VILLAGE. EDUCATION. *49 Tower of the structure, which, owing to its bold position at an angle, was impressive in outline and proportion. By its base the entrance passed, through a central porch surmounted by a campanile, or bell- tower. The porch was flanked by two pierced wings, each covered by a vaulted dome, the whole effect being pleasingly and oddly antique. Each of the wings contained a winding staircase, of easy tread, by means of which the upper floors were reached. Once within this unique and palatial structure, there was danger of getting bewildered or lost, unless one kept in view the fact that the Ex¬ position was conceived and arranged on a perfectly methodical plan, brief study of which enabled the visitor to move about with confidence to reach desired points with speed and comfort, and to witness displays with satisfaction. In this respect the Exposition of 1900 showed marked improvement over that in use on any previous occasion. Hith¬ erto it had been the custom to group and classify exhibits with reference to their origin rather than to their nature and purpose, with the result that while a more imposing show was obtained, it was less instructive and less conducive to special comparisons. For, in nine cases out of ten, a visitor had some special branch of production to which he desired to devote attention, and by the new scheme adopted at the Paris Expo¬ sition greater facility was afforded for close observation and study. Great credit was due to M. Picard for devising and putting in operation the scheme by which the multitudinous exhibits of 1900 fell into readily localized groups, which were again sub-divided into more highly spec¬ ialized, yet readily accessible classes. Of the eighteen groups which embraced and exhausted the exhibits of 1900, the very first became the group of Education and Methods of Instruction, an honorary place doubtless assigned by virtue of its im¬ portance, since the whole Exposition was on Education and Instruction. With Group I, then, in mind as an objective, it became easy for the vis- THE PARIS EXPOSITION. itor to locate it in the great palace into which he had made his entry, and once in the midst of it, its classes, or sub-divisions were readily found, for all were charted with plainness and accuracy. The separate classes of Group I were numbered from i to 6. These classifying numbers were never duplicated in other Groups, but were carried on consec¬ utively through each. Thus the figures representing the respective classes of a Group, began where those of the preceding Group left off. Having reached the desired Group in the Palace—Group I, or that embacing Education and Methods of Instruction, and having referred to its classes, they were found to run thus: Class i. Training of Children—Primary Education—Teaching of Adults. Class 2. Secondary Schools and Education. Class 3. High Schools and Higher Education. Science Schools. Class 4. Art Schools and Special Teaching of Fine Arts, including Music. Class 5. Agricultural and Forestry Schools. Class 6. Special Industrial and Commercial Teaching. It was natural to wish to take the classes up according to M. Picard’s order of arrangement. Therefore, Class I became an objective. An ingenious revolving floor carried one surprisedly yet comfortably to the second story of the Palace. There is no such thing as a “second story” in Paris. It is always the “first floor.” Neither is there such a thing as the “first story.” It is always the “ground floor.” Well, then, having been thus revolved to the first floor (second story), and, for that mat¬ ter, to the space occupied by Class I, the “Ecole Maternelle” (Infant School) came into view—its class and its playgrounds, with its infinite et-cetera of toy-like accessories, its heaped variety of supplies for attract¬ ing attention and for finger manipulation, its vari-colored paper strips, nimble cuttings and adjustings and plaitings, and multitude of highly EDUCATION. 151 toned and bewitching picture-books. Close by was an immense school room, 430 feet square. This was an exact reproduction of a real and existent school, with picture and map covered walls, its teachers’ desks, scholars’ benches, books, plaster and clay models, blackboards, and num¬ berless accessories. Then one who had thus far enjoyed the animated display was shown the results of the daily task performed in elementary schools. These re¬ sults embraced the monthly exercise books in infant composition, arith ¬ metic, drawing and whatever had been imposed as a duty. Other pri¬ mary schools, of a more advanced type, displayed their delicate needle¬ work, lace-work, embroideries, mending, specimens of young house¬ keeping. These as to the girls, while the boys exhibited their handi¬ work in wood, iron and whatever material they had been called upon to exercise their youthful skill and genius. Whatever imperfections—and of course they were many—might have appeared in these early attempts were supplied or corrected by schools devoted to a more special train¬ ing, whose exhibits frequently gave evidence of extraordinary mastery of the craft exemplified. The teaching of adults, also a part of Class 1, was what, in America, would be knoyvn as Normal School teaching. Teachers of both sexes therein showed, by exhibits of their best work and best lectures, how this select body of educators, chosen by the members of the Primary Teaching Staff, was trained. Teachers from all quarters had sent in plans of their schools, reports of their methods of instruction, and pho¬ tographs, many of which were thought worthy to be enlarged for ster- eopticon purposes, giving a faithful portraiture of school life and activity. Hard by, was an exemplification of the work of night-schools, such as models and types of the materials generally used in them. Samples of ideal school libraries were shown, and various institutions connected with the workings of a perfect school system. Then, there was shown an THE PARIS EXPOSITION. 152 infinite variety of modern school adjuncts, such as youthful savings- banks, benefit societies, scholars’ associations, past and present, with the crowning feature of a cinemetograph which reproduced in vivid life¬ like form, the manifold phases of popular education in a village school— the play-ground, the boys upon it bouyant and nimble in their games, all except, perhaps, the sad countenances of the youths when the bell rang the end of the recess. Even the unofficial, or free, system of edu¬ cation in France was exhibited, and its results placed side by side with those obtained under control of the department of Public Instruction. In contrast with this comprehensive and educative display, ap¬ peared a very suggestive, instructive and quaint retrospective collection of exhibits, comprising the old-fashioned lesson and class book, engrav¬ ings of ancient schools, pictures of pupils in their crude costumes of gen¬ erations ago, familiar scenes in the childish life of the past, books, docu¬ ments and many other objects illustrative of antique school methods and regimes. One particularly interesting part of this old-time display was a collection by M. Pellison, exemplifying the life of school children in the 16th century. Passing to Class 2, or that class illustrating the Secondary Schools and Education, much the same general arrangement was found. One was still on the first floor (second story) and contiguous to the spaces of Class 1. The first exhibit here seen was that of the Ministry of Educa¬ tion ; and it is well to understand that the bulk of the educational exhib¬ it was contributed, arranged and remained under the auspices of this Ministry or Board. This exhibit (Class 2) comprised the work of sec¬ ondary pupils, their exercises, class-books, compositions, examination papers, statistics and documents. Then came a series of exhibits by in¬ dependent exhibitors. Publishers made a display of the principal books used in class-rooms, and which they had published in their regu¬ lar course of book production. Instrument makers were present, too, THE EIFFEE TOWER AT NIGHT. EDUCATION. *5$ with their instruments and appliances used in school rooms. There were fine collections of objects of natural history to illustrate that branch of teaching, and impress the subject in hand on the mind of the pupil. Other collections were there of apparatus and material helpful in teach¬ ing of a scientific order, also vast displays of methods and works con¬ nected with instruction in off-hand and mechanical drawing. The dis¬ plays represented, in general, the official schools, school methods and objects of France. As a rule the institutions connected with religious organizations failed to send exhibits, ecclesiastical teachers not wishing to make a display of their school methods and appliances. This Class (2) embraced a very interesting exhibit of the three edu¬ cational establishments connected with the Legion of Honor, compris¬ ing work of various kind, done by the pupils, especially specimens of needlework and embroidery, which indicated marvellous skill and patience, and proved an unusual source of interest to lady visitors. The Retrospective Collection of this class showed numerous and in¬ structive views of old scholastic institutions, reconstitutions of the dresses of collegians in ancient times, portraits of school teachers who had won reputations, scholastic documents of antique make-up, engrav¬ ings representing features and characteristics of college life. Especially striking was the Legion of Honor collection of dolls, representing the ladies superintendent of the educational establishments belonging to the order in their dresses of different periods of time. Higher and Scientific Education was the subject of Class 3. It embraced the objects and methods exemplifying higher education in its various phases. A special section dealt with important scientific insti¬ tutions and numerous learned societies, their papers, and publications, and the results of various scientific expeditions, such as those for dis¬ covery and the unearthing of archaelogical remains. The Mission's exhibit was a leading attraction of this class. 8 IS 6 THE PARIS EXPOSITION. In order to follow the classes of this instructive group in their order a descent had now to be made to the ground floor (first story) of the Palace. This was as easily achieved as the ascent had been, for one had but to step on the revolving floor, and soon a landing below was effected. Here, in its place, was found Class 4 of the Group, (Group I), viz., that dedicated to Special Teaching of Fine Art, including Music; and in it were represented the great National, Departmental and Practical Schools of Artistic Teaching. The work in decorative art was particularly striking, evincing as it did, the wonderful advance it has made in late years. Each of its several exhibits were found to be worthy of serious study. They contained marvels of ingenuity, of skill, of taste, of art, which were as keenly ap¬ preciated by the casual visitor, or general public, as by the professional artists. The French Conservatories had sent, in great number, their pupils, compositions and instruments suited to teaching purposes. But in addition to this, and in order not to be behindhand, the great French School of Music and Declamation had sent in and placed on exhibition its own special exhibits. The Concert Room, in the Palace of the Con¬ gress, was prepared by this great school as the place where its best pupils in singing, instrumental music, tragedy and comedy presented, individu¬ ally and collectively, their productions to the public. Besides the con¬ certs given there by pupil classes, and the performances given before the competitions, the performances of the best pupils were repeated, as soon as the prizes were distributed, and the cantatas that won the Harmony and Composition prizes were performed. In the Centennial Collection of Class 4 were found portraits of an¬ cient teachers and composers, works by illustrious pupils of by-gone days, antique appliances specially designed for educational purposes, and a history of the School of Fine Arts from the days of the revolution down to the present, set forth in the form of a chronologically arranged ex- EDUCATION. *57 hibit comprising all the works which have won the Grand Prize of Rome, right through the centuries. One had to again ascend to the first floor (second story) to view and study the objects embraced in Class 5 of the Group. This Class was that devoted to Special Agricultural Education, and it contained many sub-sections. In one was found a comprehensive exhibit of plans, models, materials, collections, and practical workings of the Veterinary Schools. In another was exhibited the various appliances, appurten¬ ances and practical workings of the National and Practical Schools of Agriculture. Both the above sections were attended by departmental and special professors, also by professors of the National Agronomical Institute, who delivered lectures, and explained the practical working of appliances. A most interesting accompaniment of this Class was the Museum of Diseases of Animals, belonging to the Veterinary School. While it was a most vivid and forceful educational spot for the enthusi¬ astic student of this useful science, it was a regular Chamber of Hor¬ rors for those who were not blessed with strong nerves or a dull imag¬ ination. Another interesting museum contained a collection of natur¬ alized birds and blown egges contributed by the School of Aviculture. Still other museums of no less interest contained collections of stones, herbaria, and very remarkable natural history collections. Special Schools of Agriculture and Silk Culture contributed collections of bee¬ hives and honey, and samples of cocoons and other objects representa¬ tive of silk production. The Agronomic Institute, or Institute for the scientific laying out and management of lands, made a most interesting and exhaustive exhibit of scientific instruments and appliances for those who wished to be informed on the subject of diseases which affect soil, plants and animals, and who cared to inquire into the conditions most favorable to the cultivation of farms and gardens, the best methods of stock-rearing, and the general practical results of agronomic science— THE PARIS EXPOSITION. a science which, by the way, is one of comparatively recent growth, but which has found a high place in the esteem of agriculturists and has marched forward with rapid strides. In order to visit and study the next Class of the Group (Class 6, Group I), the movable floor must be again brought into requisition and a descent made to the ground floor (first story). This Class, that of Special Industrial and Commercial Teaching, occupied an annex on the rear, or Avenue Suffren, side of the Palace of Education and Instruction. It comprised every department of Technical, Commercial and Manufac¬ turing Education, except the Department of the Seine, whose exhibit appeared in the Pavilion of the City of Paris. Where so many brilliant results had been, within a few years, achieved in the above branches of education, especially in that of technical education, it was difficult to designate those of the highest illustrative value. But one could not escape dwelling with satisfaction, for a moment at least, upon the fine exhibit of steam engines, fitting work, and wood and iron work shown by the School of Arts and Crafts, and the Manufacturing Schools. So. clock-making was technically illustrated by the Schools devoted to that branch of mechanism. Other separate and interesting exhibits exem¬ plifying technical instruction were present in great number, as those of artistics objects produced by the Professional Schools of Jewelers and Goldsmiths; embroideries and lace-work of the Lomounier and Mar- tinere Schools; works in flowers and feathers produced in the School of the Paris Society for Paternal Help; artistic work shown by the Pro¬ fessional School of Paper Manufacture, and the manufacturers con¬ nected with it. Thus much for the delineation of the Six Classes of Group I, and such detail of them as fairly exemplified their contents. As they have been viewed thus far, they were essentially French, and in that respect were at their fullest as to number. Whether at their best as to quality THE GRAND PALACE OF ART. E0UCAT1ON. 161 was a question for the Prize Judges to determine, for they were in com¬ petition with the exhibits of the Foreign Sections which chose to be present with their exhibits appertaining to Education and Instruction, and which found a home in the Educational Palace and its annexes. Sweden, for instance, showed a complete primary National School, with its reading classes, manual training courses and methods, house¬ hold and cookery courses. Norway exhibited twenty categories of schools. Among the most interesting and striking of them was the one exemplifying the elemen¬ tary school system of Christiana, and another illustrating a complete school of cookery. Hungary occupied two large and artistically decorated sections, one on the ground floor (first story), the other on the first floor (second story). The principal exhibitors were the Art Schools of Buda Pesth, and the special Industrial School of Agram. Their exhibits embraced school furniture, water-color panels, iron ornaments, precious stones, cut and set, and many other evidences of manual training, and of taste in school furnishings. Switzerland had a large, variegated and complimentary exhibit, in numerous rooms set apart for her purposes, but as many of them con¬ tained exhibits appertaining to Literature, Science and Art, a Group (Group III), which found its abode in the same Palace, reference must be had to them in place. Her educational section, however, comprised many striking and valuable exhibits representative of the methods and results in her most excellent system of elementary, secondary and higher schools, also in her scientific and art schools. The exhibits of her tech- nichal schools showed a high order of excellence, and without intention to discriminate, special excellence was shown, in this respect, by the technical display made by the School of Industrial Art at Geneva. 162 THE PARIS EXPOSITION. Russia exhibited the work and plans of her profesional schools for boys and girls, also of her national technical schools, her higher scientific schools, and her learned societies. A map, conspicuously hung on the walls of her section, showed that the Russian Empire contained 1000 in¬ dustrial schools. The United States had an interesting exhibit belonging to the edu¬ cational group (Group I), and in juxta-position an equally interesting one belonging to Group III. The former quite fully typified the educa¬ tional systems and their practical results in the United States, and were remarked upon for their comprehensive arrangement, and the method chosen to elucidate them by means of photographs in glass cases. It proved creditable to the United States, in the end, that her educational exhibits carried off a large number of prizes when the day of award came. The University of Pennsylvania was awarded the Grand Prize for its archaeological exhibit, in a field represented by 900 other exhib¬ itors, 70 of which were from the United States. The exhibit of the University of Pennsylvania was prepared by Dr. H. V. Hilprecht, rep¬ resenting the Babylonian department; Mrs. Cornelius Stevenson, the Egyptian department, and Stewart Culin, the American department, consisted of eighty wing frames, each set of sixteen frames holding thir¬ ty-two pictures. One set of these frames was devoted to general views of the University buildings prepared by the architectural department, while the remaining space was given over to archeological objects. Be¬ neath these photographs there was a table case upon which were placed reproductions of implements used as dice in games and divination by the American Indians. Among the other general awards coming to the United States were: For Elementary Eucation—Bureau of Education, Washington. D. C.; Boards of Education of a large number of cities and States; Board of Education of Washington, D. C.; United States Commission to the EDUCATION. 163 Paris Exposition of 1900; Hawaii Public School System. Secondary Education—Department of Education, United States Commission. Higher Education—Vassar College, Wesleyan College, Harvard Ob¬ servatory; University of California; University of Chicago, Columbia, Cornell, Harvard, Johns Hopkins, Princeton and Yale. Department of Industrial and Commercial Education—Bureau of Education, Wash¬ ington, D. C.; Hampton Institute, and Tuskegee Institute. England, Germany, Belgium, Italy, Spain, Portugal, and a few other countries had educational exhibits of an interesting character, but in many cases they were overshadowed by the allied exhibits in the same Palace and belonging to Group III—that of Literature, Science and Arts. Fine Arts. already in great part described, that dream-land of the In¬ ternational Exposition of 1900 whose central features were the two Palaces of Fine Arts, lay in the midst of the shrub and flower lined paths of the Champs Elysees (Elysian Fields), and on the east and west sides of the new, but mag¬ nificent, avenue of Nicholas II, named in honor of the Rus¬ sian Czar. This avenue is a short one, very nearly bisecting the grounds of the Champs Elysees, and extending from the broad and gorgeous Avenue of the Elysees to the monumental bridge across the Seine, also newly constructed, and named the Pont Alexander III (Alexander III Bridge), in honor of the late Russian Czar, and in commemoration of the compact of amity between France and Russia. It is the understanding that these Palaces of Fine Arts are to re¬ main as permanent contributions to the architecture of the city, and as abodes of the productions of artists past, present and to come. Hence more has been spent upon their erection and ornamentation, as well as upon their special architectural and utilitarian appointments, than upon any other buildings of the Exposition. Indeed, so important were they considered as an evidence of high architectural attainment, as a means of permanent beautification, and as a repository of all that was inspiring- in the world of fine art, that there was no hesitation on the part of the Exposition managers to make a place for them, or at least to render them conspicuous, by the removal of the rather ungainly but very fam¬ ous Palais de lTndustrie (Palace of Industry), itself a survival of the Ex¬ position of 1889. *65 166 THE PARIS EXPOSITION. One may have approached these gorgeous palaces in one of three inviting ways. The first would have been from the Place of Concord, westward, through the Monumental Gate, the main entrance to the Exposition, and then threading the variegated, flower-perfumed and foliage-decked paths of the Champs Elysees. The second would have been to pass from the Avenue of the Champs Elysees, southward, into the Avenue Nicholas II, and thence directly between the two Fine Art Palaces. While standing there with the imposing facade of each Pal¬ ace on either side, with the back northward toward the Avenue of the Champs Elysees, and the face southward, one beheld the most splendid vista the Exposition afforded. Immediately in front lay the monu¬ mental abutments and statue crowned arches of the expansive Alexan¬ der III Bridge, then the lengthy sweep of the bridge itself, and beyond, the wide, flower-costumed Esplanade des Invalides (Invalids’ Esplan¬ ade), stretching in the distance between the immaculate structures on either side, devoted to the exhibition of the manifold and diversified in¬ dustries of all lands. On and on this Esplanade led the raptured sight, until the picture ended in the glorious back-ground of the Hotel des Invalides (Invalids Hotel) beyond, and towering above, which sprang the gilded dome of Napoleon’s tomb. The third approach would have been the direct opposite of the second, northward across the Alexander III Bridge, with the advantage of a double vista from the bridge, i. That of the river Seine, stretching westward for a mile between its Pa¬ vilion and Palace bedecked quays. 2. That shorter one of the Avenue Nicholas II, bordered by the exquisite flowering and foliage effects of the Champs Elysees, and the imposing facades of the two Palaces of Fine Arts. But no matter how the approaches may have been made, the grand central objective was the two Palaces of Fine Arts, and still, and ever, the Palaces. Seen, however often, exteriorily, they never fail to impress or never cease to be a study. FINE ARTS. 167 The one on the west side of the Avenue Nicholas III, was the Grand Palace of Fine Arts; the one on the opposite, or east, side was the Petit Palais (Small Palace) of Art. The former, or as its name implies, the larger, was the home of the living, or directly representative, art of the world. The latter, or smaller, was the repository of the retrospec¬ tive, or historic, art of France, a museum, as it were, in which were grouped the objects illustrative of the steps of French art progress, from primitive times to the present. The arrangement of exhibits in each necessarily differed. Those of the Grand Palace were arranged so as to bring forth the art characteristics and merits of the respective nations. Those of the Small Palace were arranged so as to show the historic stages of French art growth. But both, according to the plan of M. Picard, which controlled the entire arrangement of exhibits, were thrown into the same grand group, the retrospective art objects becom¬ ing in the aggregate an interesting and instructive contrast to those typ¬ ifying modern art, or, of themselves, an independent study. Therefore, the Fine Arts department of the Exposition became embraced under the head of Group II, and the classifications under Group II, and which exhausted it, were as follows, the numbers of the classes beginning where those of Group I left off: Class 7. Paintings, Cartoons, Drawings. Class 8. Engravings and Lithography. Class 9. Sculpture and Engraving of Medals and Precious Stones. Class 10. Architecture. However much one was prepared, or desired, to enter the Grand Palace, and nearly all preferred to visit it first, it seemed impossible to do so without repeating the view of its exterior, already taken in the study of the “Exposition Site and Plan,” for the whole atmosphere was redolent of art, and one seemed never to tire of studying the noble col¬ umnar effects produced on its facade, nor the elegance and strength of THE PARIS EXPOSITION. f 68 the eight figures between the columns representing the different styles of Grecian, Roman, Phoenician and other national art. Equally fascin¬ ating was the repeated study of those exquisite mosaic friezes, extending from ground to second story, which reproduced to the eye the most brilliant art epochs in the world’s history. Nor could one willingly cease to ponder again and again those many masterpieces of sculpture which imparted such a charm of strength, variety and beauty to the entire facade. But the feast within awaited. Passing from the Avenue Nicholas II, through the imposing portal, one stood in the grand vestibule, 500 feet long by 175 feet wide. This immense vestibule or hall, in whose midst one felt overcome with the sensation of distance and spaciousness, divided the Palace into two wings. The centre of the right wing was found devoted exclusively to French art, while the entire left wing, run¬ ning parallel to the Seine quay of Conference, was devoted to the picture galleries of foreign nations, each country having been given a free hand to decorate its own section as it pleased. One may be prepared to won¬ der how such a profusion of galleries could be accommodated with requisite light for showing paintings to effect. But the demand was fully met by an ingenious method of slanting the glass roof and securing reflecting angles which distributed equal light to all, and so regulated it as to suit both close and remote views of art objects. At points on either side of the grand vestibule, where it was crossed by a smaller ves¬ tibule, were spaces devoted to sculpture. An immense circular space at the end of the vestibule, opposite to the entrance, was similarly devoted. As has been mentioned, the centre of the right wing of the Palace was found devoted to French art. This was truly a spacious and impos¬ ing section, approached through the vestibule which crossed the main one. Flanking this splendid section on three sides, and, indeed, ex- THE LITTLE PALACE OE ART. FINE ARTS. *7i tending around the main and side fronts of the right wing of the Palace, were the magnificent galleries devoted to what was called the Decennial Exposition of Art. This Decennial Exposition was, of course, a part of the general Exposition, and perhaps the most attractive of its art parts, but it was no less a special French institution, in accordance with whose rules the naticms of the world were invited to compete in art work every ten years. Therefore, whenever one entered a gallery devoted to the Decennial Exposition of Art, he stood in the midst of paintings and other art works contributed by the nations of the world for the purpose of competing for the handsome medals and general prizes which success commanded. It was commendable to witness how liberally the artists of the different nations had contributed of their productions to this decen¬ nial contest, and what a generous spirit of rivalry existed between them; and every American felt a particular pride in the fact that the art pro¬ ductions of his own country stood second to those of France only both in number and merit. Nor were these galleries devoted to the Decennial Exposition of Art confined to three fronts of the right wing of the Palace alone. They extended entirely around that rear portion, or annex, of the Palace which had its facade on the Avenue Autin; a facade, by the way, almost as imposing, though of less length, as that on the Avenue Nicholas II. As might have been expected, since these numerous Decennial galleries formed a competitive fete, to which the world had been invited, an im¬ mense space, in the aggregate, was devoted to them, together with grander and more magnificent surroundings, and facilities for light, than was ever before attempted. Another unique section of the Grand Palace was that devoted to the Centennial Exposition of Art, or to Art that could not be classed as either antique or modern—art too fresh and suggestive to be relegated to the retrospective collections of the Little Palace across the Avenue THE PARIS EXPOSITION. 172 Nicholas II, yet too ancient to be mingled with either the modern and elegant displays of France in her national section, or with those mag¬ nificent competitive displays in the Decennial galleries. This Centen¬ nial section of art occupied the entire front of the Grand Palace Annex, or that part which faced the Avenue Autin, and the section was divided into fifteen halls or galleries on the ground floor and ten on the first floor (second story).Directly within the entrance from the Avenue Autin facade, and occupying an immense circular area in the centre of the ca¬ pacious vestibule, was one of the several sections of the Palace devoted to sculpture. In a study of the ground floor arrangement of the Grand Palace— especially of that of the right wing—for art display, one could not help being impressed with the great number of cozy, small galleries contin¬ ually met with. They seemed to be, as it were, little private galleries, elegant in their appointments and in the enjoyment of special floods and angles of light. But they were only so many minor parts of the grand Decennial, or competitive, Exposition, and their separate appearance was in accordance with a very happy idea of the management to group the works of each distinguished artist as much together as possible. Thus in one of these small galleries might have been found together “The Last Supper,” “The Conscripts” and “The Virgin,” the three grandest and best executed conceptions of Dagan-Bouveret. The first floor (second story) of the Grand Palace of Fine Arts, was to a certain extent the counterpart of the ground floor. It was reached by means of a monumental iron staircase, rising from the main vestibule. This staircase was in itself a handsome work of art, designed by M. Louvet, and in nothing was more picturesque and inviting than in its handsome lounges and landing places. The floor contained many salons and lounges, arranged as places of general reunion, and a grand central hall around whose exterior ran a gallery 1200 feet in length FINE ARTS. *73 and 40 feet wide. Above the whole edifice was a huge dome 140 feet in height, resting on a base 230 feet in diameter. Let it not be forgotten that the entire wing of the Palace running parallel to the quay of the Seine was devoted to foreign picture gal¬ leries, France occupying almost all of that side which looked out on the gardens of the Champs Elysees. The sculpture department covered about the same space in the centre of the nave projecting out into the gardens. In answer to criticisms on the roof arrangement for throwing sun¬ light into the very many picture galleries of the Palace, on their loca¬ tion, and on contrasts between the Grand and Smaller Palace, a com¬ petent French architect has said: “Why was not the principal entrance to the Exposition situated on the Avenue Nicholas II, at a point between the Avenue Champs Elysees and the Alexander III. Bridge? The answer, of course, is to be found in the fact that an important construction at either end of this magnificent perspective would have spoilt the general effect. “Here, from the 'Avenue Champs Elysees/ a spectacle unques¬ tionably without parallel is before us. The two great Palaces of Fine Arts, called officially the ‘Grand Palais’ and the ‘Petit Palais/ are edi¬ fices worthy in every respect of the great occasion which has called them forth, and of the great nation of artists which has created them. “Opinions will naturally vary as to the relative artistic merits of the two buildings, but, remembering the adage that ‘comparisons are odious/ we may with greater advantage dwell upon the many and obvious merits of each. And, first, let us not forget that the great problem of harmonizing the two has had here again to be grappled with, and has been successfully solved, and we cannot but admit that 174 THE PARIS EXPOSITION. the picture presented to us from this, possibly the most important point in the whole Exhibition, is a veritable triumph. “To the visitor who has come to Paris, not to see ‘side-shows’ and ‘bazaars,’ but to note the artistic progress of France, this glorious reve¬ lation of her power will give full and lasting satisfaction. It is indeed undoubtedly true that between the ‘Champs Elysees’ and the ‘Quay Orsay’ we have material for artistic appreciation such as has not been presented at any previous International Exhibition. Fortunately, too, we have the satisfaction of knowing that these Palaces of Fine Arts and the great bridge connecting them with the rest of the Exhibition belong to the State, and are permanent additions to the architectural glories of Paris. Both in the grand lines of their entirety and in their minutest details, these works are filled with that true artistic feeling which to see is to admire and even to reverence. “The ‘Grand Palace of Fine Arts,’ designed by M.M. Deglane, Louvet and Thomas, is erected on a site the shape of which presented many formidable difficulties. This site, of extremely irregular form, lay between the Avenue Nicholas II. and the Avenue Antin, and be¬ tween the Cours la Reine and the Champs Elysees. The Avenue Nicholas II. not being exactly parallel with the Avenue Antin, this irregularity necessitated great care in arranging the plan of the build¬ ing. This difficulty has been most skilfully overcome. “But let us turn to the main features of the Palace as we now see it. It is to be feared that the great majority of visitors will not profit by an inspection of the parts of the Grand Palais lying away from the Avenue Nicholas II. They are, however, equally worthy of most care¬ ful study. Indeed, it is obviously impossible to form even an approxi¬ mate idea of the completeness of this magnificent building without studying it as suggested. But within the limits of the present notice we ‘WOUNDED FOOTBALL PLAYER’’-NEAR PALACE OF FINE ARTS-UNDER THE MAIN DOME. GRAND ENTRANCE. FINE ARTS. 1 77 must content ourselves with commenting only on those parts of which we are able to give illustrations. “That part of the Grand Palais which faces the Avenue Nicholas II. has been designed by M. Deglane. Criticism has been heard to the effect that this facade is overladen with detail, but the charge, we can¬ not but think, is quite unjustified. The dignity of the whole is unques¬ tionable, and that being assured, we can scarcely find an excuse for the criticism that there is here too much elaboration. On the contrary, it seems to us that almost without exception the details of the building are in strict keeping with the character of the general design, and take their proper place as decoration. “The stately facade of the part of the Grand Palais fronting upon the Avenue Nicholas II. consists of a peristyle of columns in the manner of Louis XVI. or of the middle of the eighteenth century. These columns are richly decorated with wreaths of oak and laurel, and at in¬ tervals groups of sculpture give relief to the long perspective. The central entrance to the Palais consists of three great arches, each divided by double columns, at the bases of which are four statues repre¬ senting ‘Architecture,’ ‘Painting,’ ‘Sculpture,’ and ‘Music.’ On either side of this great entrance are important colossal groups by MM. Gasq and Boucher. These groups are at the bases of the great motives of architecture flanking the entrance, and these are surmounted at a great height by sculptural efforts of great artistic excellence. “The visitor to this part of the Exhibition who has previously noted the somewhat florid edifices on the further side of the Seine, will be forcibly struck with the contrast between them and those at present Under consideration. And it must be conceded that the lesson is £ valuable one. Here, in the case of the Art Palaces, color and form are kept strictly within the bounds of the higher taste in such matters, 9 *78 THE PARIS EXPOSITION. with the result that in this very reserve we find the more lasting satis¬ faction. We have said that this reserve is noticeable both in color and form. It is certainly applicable to the very beautiful decorative frieze in mosaic running along the whole length of this fagade. The designer, M. Edouard Fournier, is to be congratulated on a really remarkable achievement. The color scheme consists in a most harmonious ar¬ rangement in reds, yellows, greens, and blues, gold being used with discretion and judgment. “Perhaps the best point of view from which to obtain a correct impression of this part of the Grand Palais, is from the steps leading up to the corresponding entrance to the Petit Palais. And from this point, many criticisms are passed upon the appearance of the circular glass and iron span of the roofing. And perhaps, if there is room for criticism, it is on this point. One must remember, however, the great difficulties presented by the problem of the internal lighting of so vast a space, a problem which is of the utmost importance in a building which is to contain works of fine art. Moreover, it may be truthfully stated that, except from this particular point of view, the defect, if defect it be, is not noticeable in the favorable impression created by the building as a whole. “It is not too much to say that the Grand Palais, on the artistic merit of which so much depended, is a triumphant success, and that it will add to the just renown of the French architects of the close of the nineteenth century.” The paintings which made up the French exhibit of Group II., numbered 1,530, and the aggregate of foreign paintings was nearly as large. Among those of the French section which were notable for their traditional art, and also for that art which tends to new thoughts and sensations, was “The Pursuit of Pleasures” (five landscapes), by FINE ARTS. 179 Cazin; “Storm in the Forest” (and others), by Menard; “Sleep of the Infant Jesus,” by Hebert; “Ponies in the Sunshine,” by Besnard; “Queen of Angels,” by Bouguereau; “A Pilgrimage,” by Dauchez; “Girl with a Rose,” by Prinet; “Lady Godiva,” by Lefebvre; “A Lace Maker,” by Lormont; “Death and the Woodcutter,” by Lhermitte; etc. On the first floor (second story), above the exhibition of French paintings, were found the engravings, drawings, pastels and water colors. Among them were productions of many of the masters named above, but they comprised chiefly the works of such as Renouard, Madame Simon and others, who seldom attempted oil painting. To these was added a series of paintings of miniatures, showing an unex¬ pected and charming revival of an art which had almost disappeared. The section of engravings contained some 500 exhibits of plates, and at least 360 of these were the reproduction of pictures, excellent in their way and signed by artists of world-wide celebrity, such as Achille, Jacquet, Burney and Flamery. A noticeable defect in the arrange¬ ment of engraving exhibits was that no separate place was provided for the authors of original plates, who were brilliantly represented by such names as Lepere, in his “Views of Paris;” Carrieres, in his lithographs of “Rodin” and others; Bracquemond, in “Souvenir of the Russian Week” and “Pheasants.” Two large halls of the first floor (second story) were compactly filled with architectural drawings, and, besides, they were ranged all round the outer galleries. The entire Grand Palace was, in a measure, an up-to-date exhibition of architectural art, though the close of the nineteenth century did not appear to have produced any decided in¬ novations in architectural styles. Among the most notable of these drawings were Bertone’s “Ancient Restorations at Rome and Pom¬ peii;” Chedaune’s “Pantheon of Agrippa;” Blondel’s “Three Private THE PARIS EXPOSITION. ‘U Hotels;” Wable’s “Anthological Museum,” and Roberts’ “Restoration of the Castle of Amboise.” The Sculpture Sections of the French exhibits did not by any means convey an idea of the vast amount of work done by sculptors during the decade ending with the century. As a matter of fact, the most important pieces of work in the line of sculpture were those which could not be moved, such as the public monuments which are dis¬ tributed so generously throughout Paris and entire France. However, the statues which were on view in the Palace transepts and in the sur¬ rounding gardens, proved of great interest and compared very favor¬ ably with the works exhibited by other nations. Every here and there one great group exalted its ornamental head above another, and one could study with pleasure the masterpieces of the era. Near the greater statues clustered those of lesser size and the busts, and here again the masters were fully represented—Ginder, in his “Panthers,” “Lions,” “Tigers,” and “Danish Hounds;” Marqueste, in his “Eve” and “Ma¬ ternity;” Lenoir, in his “Marshal Canrobert,” etc. Placed in cases in the panels of the Hall of Painting, were the medals and engraved precious stones, which had come to occupy a place in French art higher than ever before. This exhibit far excelled any ever seen in Paris, and that of no other country approached it in artistic splendor. As has been said, the side, or wing, of the Grand Palace of Fine Arts, overlooking the gardens devoted to Horticulture and the Seine beyond, or, in other words, the south side, or wing, of the Palace, was devoted to the exhibits of fine arts of foreign nations. Entering, there¬ fore, the Palace at the doorway leading from the Avenue Nicholas II., the first of the foreign sections was found on the ground floor, on the left of the grand vestibule. It was the Belgian section, consisting of STATUARY HART— GRAND PALACE OF FINE ARTS. Copyrighted, 1900—William H. Rau. FINE ARTS. t* 3 two halls, with rather limited space for a country whose artistic pro¬ gress was so well recognized. Here were shown in great profusion and beauty the paintings of Belgian artists of renown, as well as those of new aspirants for fame. One could not help marking especially the splendid landscapes of Courtens and Baerteven, the clever portraits of Motte and Van Beers, and the paintings of interiors, by Stevens. Bel¬ gium also showed some rich specimens of sculpture by Meunier, DuBois, Rombaux and others. Next to Belgium came Holland’s fine art exhibit, numbering in its rich collection such masterpieces as Israel’s “Winter Day in Am¬ sterdam;” Mesdag’s “Summer Morning;” Ten Cate’s “Meuse at Rot¬ terdam;” ets. So, the Holland collection was especially strong in en¬ gravings, thus keeping up the representation of the Netherlands in this branch of art. In sculpture appeared such distinguished works as those by Van Hove and Mile. Schwartze. Italy’s collection of fine-arts came next. It was contained in a small hall, but she had a larger collection on the first floor (second story). Her paintings were pleasing and brilliant, true representatives of the art which characterizes the soft skies and scenes of the Mediter¬ ranean shores. One could discriminate with difficulty between the merits of the masterpieces which adorned the walls of the Italian gal¬ leries, but perhaps Michetti’s “Peasant Returning from Mass” attracted the most attention. Italy was also particularly rich and varied in sculp¬ ture, the most striking pieces being Troubetzkoi’s “Cavalry Soldier” in bronze, and Canonica’s “Surprise and Silence.” Next to Italy came Russia’s art exhibit, contained in two halls, but with a principal exhibition of paintings in wooden buildings erected in the corridor. The place of honor in the Russian exhibition was oc¬ cupied by the fine statue of the late Emperor Alexander III., by Auto- 184 THE PARIS EXPOSITION. kolsky, who also contributed several other masterpieces. The Russian paintings, especially those executed by Friesland artists, were melan¬ choly in conception and stiff in execution. Germany’s art exhibition stood next to that of Russia. It was strikingly characteristic in its quiet arrangement, and in the strength of works calculated to show the merits of the rival schools of symbolism and realism. German engravings and sculptures brilliantly represented the masters in these lines of art, the sculptures of Begas, Hildebrand, Struck, Eberlein, and others being particularly noticeable. Spain’s exhibit followed that of Germany on both floors of the Palace. She was represented in painting by her best artists, but their productions appealed rather to one’s astonishment than sentiment. She was stronger and richer in sculpture than in painting, having, in sculpture, gotten away from the influence of the Roman school of art. Sweden’s two halls came next to Spain on the ground floor of the Palace. Her paintings, generally in delightful harmonious coloring, represented such masters as Zorn, Arsenius, de Bjorck and others. The same reliable taste was found in the engravings of Zorn and Lars- son, in the sculptures of Ericksonn and Milles, and in the architectural designs of Anderberg and Boberg, the latter of whom built the charm¬ ing Swedish Pavilion in the Street of Nations upon the quay of the Seine. Denmark came next with her gallery decorated in blue, and with designs of lines which reminded one forcibly of the pleasing simplicity associated with the celebrated porcelain-work of Copenhagen. She had a large and varied collection of art works, representing the talent of such masters as Kroyer, Lorenz, Froelich and others. Switzerland’s works of art filled four halls on the first floor (second story) of the Palace. Her exhibit of paintings was particularly credit- FINE ARTS. 185 able, notable among them being the mountain landscapes of Band- Bovy, and Burnand’s “Invitation to the Feast.” Fine engravings were present by Van Muyden, Megard and others. Waldman was preemi¬ nent in his sculptures of wild animals. Great Britain presented a display of art quite varied and strong. It represented her veteran artists devoted to antique art, the pre- Raphaelite school, which affects a return to the Italian art of the 15th century, imitators of 18th century painters, and independent artists. Among the most brilliant productions were “Cupid’s Hunt” and “The Lord of the Priory,” by Burne-Jones; “Spring,” by Alma Tadema; “Golden Blossoms,” by Parsons; portraits, by Herkomer, Walter Crane, etc. Closely connected with the British section on the first floor (second story) came the art exhibit of the United States. It was spacious, well arranged, and creditable to the large number of contributors. The sculptures were installed both inside and outside of the palace. Of the United States exhibit the Editor of the “Fine Arts Catalogue” says: “The Director General of the Paris Exposition of 1889, in his official report on the Fine Arts Exhibition, said: ‘The United States Section was but a brilliant annex to the French Section. . . . The ambition of American artists evidently is to interpret the world of to¬ day; but they have come to us to get their method of expression. . . . It would be difficult to mention many men who do not draw their inspi¬ ration directly from French masters.’ “With this official comment in mind the Director of Fine Arts for the United States at the present Exposition has endeavored to place before the world a collection of American art that cannot be justly characterized in like manner. During the past decade the United States has made unparalleled progress in all things, but in none is this m THE PARIS EXPOSITION. progress more noticeable and pronounced than in the Fine Arts. Ten years ago there were very few institutions sufficiently well equipped to supply the ever-growing demands for education in art, and the student was instructed by men fresh from the European schools. It was then necessary that the student should go to Europe, not only to broaden his conceptions, but really to learn the means to execute them. Paris, which was universally admitted to be the art centre of the world, be¬ came the Mecca for most of our students, and it is only natural that they should have acquired many of the mannerisms and methods of their masters. But since the Exposition of 1889, American art has to a great degree emancipated itself from foreign trammels, and entered upon a career of its own,—expressing American thought and reflecting American nature. To-day we have many well-equipped institutions in which the student can develop an artistic temperament on his native soil, in which individuality is recognized and encouraged, while the necessary methods of expression are being learned. It used to be said that landscape was the only field for native art; but the splendid growth of our figure painters, of portraitists of the first rank, of mural painters and masters in stained glass, who meet and successfully compete with those of Europe on their own ground, make this statement no longer tenable. “To such fearless and dominating personalities as the late George Inness, Homer Martin, A. H. Wyant, and a score of others who are still living, we must look for the establishment of a National Art. These men sound a clear, strong note of originality; and their influence on the art of their country is pronounced and permanent. It is not of painting alone that this statement is true. Our sculptors, architects, and illustrators are among the best in the world; and our engravers on wood have long since been acknowledged preeminent. FINE ARTS. 187 “In forming the present exhibition, the object of the Director of Fine Arts has been to place before this conclave of nations a truly representative American exhibition. To insure this result, he ap¬ pointed as his advisers, both in America and in Europe, the strongest and ablest of our artists in the various fields represented, forming juries before whom every creed and cult found support and sympathetic atten¬ tion. It is, therefore, confidently believed that no phase of American art produced during the past decade has been omitted, but that all phases are represented by the most characteristic examples obtainable. “That the space allotted to the United States in the present Expo¬ sition is inadquate must be greatly regretted, as many of our able men are of necessity insufficiently represented; but the policy adopted by the Director of Fine Arts in the beginning, and strictly adhered to, was not in the interest of the individual, but of National Art, and the result must be just recognition of our artistic strength, which will place us beside the strongest. “Much is due to the public spirit and generous aid of some of our best-known institutions of art, and to many connoisseurs, who have made the present exhibition possible by lending their most valued works; and the Director of Fine Arts wishes to take this opportunity to acknowledge their kindness and cooperation.” In painting, the exhibit embraced 255 works by artists of national fame, among whom were Abbey, Baxter, Calder, Crane, Davis, Eaton, Foster, Gay, Harrison, Jones, Kingslay, LaFarge, MacChesney, Nich¬ olas, Ochtman, Pearce, Reid, Sargent, Tanner, Vail, Walden, Zog- baum. It also embraced 160 drawings, etchings and engravings by prominent artists; 41 miniatures; 62 pieces of sculpture, comprising such works as St. Gaudens’ “General Sherman,” “MacMonies’ THE PARIS EXPOSITION, 18B “Bachante,” French’s “George Washington,” and Herring’s “Echo;” and 56 architectural designs. In the distribution of awards the following American artists were favored with prizes: Department of Fine Arts—Class 7 (painting).— John S. Sargent, J. MacNeill Whistler, Edwin A. Abbey, John W. Alexander, Cecilia Beaux, George de F. Brush, William M. Chase, Winslow Homer, Abbott Thayer. Class 8 (black and white).—J. Mac¬ Neill Whistler, Joseph Pennell, Timothy Cole. Class 9 (sculpture).— Augustus St. Gaudens, Frederick MacMonnies, Daniel C. French, Charles Grafly, George Grey Barnard, Richard Brooks. In the galleries running parallel to Avenue Nicholas II., was found the art exhibit of Austria-Hungary, containing interesting paintings by her artists of renown. Japan occupied a place between France and the United States, and joined for the first time the great European International Art Ex¬ hibition. Her exhibit attracted wide attention by virtue of its novelty, and invited study by reason of its peculiar merits. In her description of the Japanese exhibit Minnie Robinson says: “It was odd, after having steeped one’s eye with the vivid or startling colors of the other pictures of the great gallery, to enter here and be met with the pale, rare hues of this clever reawakened Oriental race. It was a point of rest among an assemblage of canvases replete with enigmatic motif, subtle, evasive suggestions, despairing, though powerful, interpretations of life. Not but that many of these said canvases merited the effort of concentration and reflection that one had to bring to bear on them in order to judge them properly, but nevertheless one was glad to repose himself, after having made a conscientious 'turn’ among them. “This repose he could have in the Japanese section. But it was not because the pictures here were lacking in thoughtful treatment or PINE ARTS. 189 study. Each one of them, in fact, was as carefully and minutely finished as a bit of miniature work. It was rather from their total avoidance of problem subjects, which perhaps they finished with long before our restless modern races saw the light, and their studious cultivation of those themes which involve soft reveries and playful flights of fancy. Two of the rooms were entirely devoted to paintings done according to Japanese traditions; the third showed the effect of foreign art upon the artists of the land of the cherry blossom. “Naturally, one turned to these first two rooms with more interest than to the other, because the work seemed more genuinely Japanese as to methods and inspiration. It was like alternating between the realms of fairies and dreams here. One picture possessed all the vague poetical suggestiveness of a vision seen in sleep, another softly glittered with powdery gold dust like that produced by the wand of the fairy godmother. “The motifs were as slight as the execution was light and delicate. On one canvas one saw a transparent yellow chrysanthemum being demolished on its stem by a little kitten, while a bumble bee hovers above the scene apparently much disgruntled to see its legitimate prey snatched from it. Another presented two or three tiny sparrows shiv¬ ering in the snow, and a third showed a line of mountain peaks veiled in the softest, most ethereal clouds. One wandered further and en¬ countered a tiger—he is a favorite subject with the Japanese artist— full of a lithe power, spitting defiance at a dragon-headed god emerging from a glittering powdery cloud. “Such subjects treated by any but an Oriental hand seem puerile, or at the most inconsequent. But the wonderful patience, the exquisite poetical sense, and the marvelously fine touch of the Japanese—which is as much lighter in its movements than ours as is a swallow’s flight THE PARIS EXPOSITION. I90 to an eagle’s—make of them charming little scenes that appeal to our imagination pleasantly, and recall those delicate evanescent sides of nature to us that the Western artist seems seldom able to imprison in a canvas up to now. -‘The Japanese fir tree, every flower indigenous to Japan, and all small birds, the artist of the Oriental island kingdom portrays to per¬ fection. One reads sometimes about each thing in nature possessing an individual soul—ah! well, look at any one of these things in a Japan¬ ese painting, and you will see a subtle, fragrant little inner-spirit peep¬ ing out of them all. “All of these pictures are painted on white silk, and hence there is a uniformity of background that immediately strikes the eye on entering the room. If a landscape is delineated, it is more often done in blacks and browns, with the ever-present white background, and it is astonishing how poetically serene and pure the effect is. “The Japanese artist affected by ‘the moderns’ shows himself astonishingly adaptable. In the third room one found a collection of oil paintings quite conventional as to coloring, etc. He has, however, been truer than the American painter to his native land in the choice of his subjects. All his groups and landscapes are drawn from Japanese sources. There are no problem-pictures here either. The Oriental accepts our methods, but he has no wish to acquire our unrest and dis¬ content. He mirrors faithfully fishing scenes, Japanese interiors, a bamboo forest, but they have no double interpretation; they are what they are, pure and simple. “What the Japanese artist of the future, more and more enrapport with our turbulent Western civilization, may become, it is not possible to say, but at present he is possessed with a fine poetical appreciation fWfffr INTERIOR GRAND PARACE OF FINE ARTS. FINE ARTS. *93 of nature’s more ethereal sides, and a gift of quiescent patience which gives to his work an indefinable allurement.” The Norway collection had a prominent position in the Palace, and richly deserved it on account of her rare artistic intelligence, for she boasts of many excellent artists, as Thaulow, Werenskiold and others. Portugal displayed, in her exhibit, her sober, classical traditions, being represented by Salgado’s “Our Savior,” Braga’s “Sister Marian¬ na,” Columbano’s “Vision of St. Anthony,” and Reis’ several portraits. Roumania, Servia and Bulgaria had their art exhibits grouped together in the corridor on the first floor (second story). Their dis¬ plays showed that their political independence had been of too recent date for their original talents to show marked progress. Yet there were some very creditable productions, as Kutlik’s “First Triumph of Death;” Grigoresco’s “Ox Cart;” Kornea’s “Death of Sigurd,” etc. Three other halls on the first floor (second story) of the Grand Palace were reserved for the art exhibits of foreigners. In them were collected the works of Turkish, Peruvian and other artists, whose nationalities were not represented by official agents. Among these were some three or four independent American artists. Fifteen halls on the ground floor of the Grand Palace of Fine Arts, and ten on the first floor (second story), were devoted to the Centen¬ nial Exhibition. This was, up to a certain point, merely a second part of the Retrospective Exposition, with which it was connected by cer¬ tain pieces of furniture and objects of industrial art. Painting and sculpture, which were exhibited in the Little Palace of Art as the ex¬ ception rather than the rule, and with the sole idea of completing the general scheme of decoration, were quite paramount in this Cen:_ Exposition. Space was, however, found for the lesser arts, and they 194 THE PARIS EXPOSITION. were found in the Halls of Rest where they were grouped according to date. The various galleries occupied by the Centennial exhibits com¬ municated with one another on their respective floors. Though the exhibition was called Centennial, it, nevertheless, contained several works of the revolutionary period. But the central object was to represent through this centennial art the France of a hundred years ago in its artistic moods. Thus, a series of works formed a collection representing the revival of Grecian art under the first empire. And so, for other collections, each representing its period. This account practically exhausts the wonders found inside of the Grand Palace of Fine Arts. The next step must be to the opposite, or east, side of the Avenue Nicholas II., where stands the Little Palace of Arts, devoted to the French Retrospective Exposition. Small only by comparison with the Grand Palace, this beautiful building is almost of equal importance in creating an impression of the artistic success of the Exhibition. Its site being a more promising one than that of the Grand Palace, this advantage has been seized upon and used to good purpose by the architect, M. Girault. The main front of the Petit Palais (Little Palace), facing the Avenue Nicholas II., consists, broadly speaking, of a series of thirty- two Ionic columns, leading up to a grand entrance arched in semi¬ circular form. This entrance conducts us into the great central hall, which, viewed from the exterior, is seen to be surmounted by a dome of extremely fine proportions. Pavilions of harmonious lines terminate the main faqade. These terminal pavilions at either end take the form of large bays, each consisting of three windows, separated by columns. Fine motives of decorative sculpture crown these bays, and contribute materially to the beauty of the composition. FINE ARTS. *9$ Seven arched windows of symmetrical proportions connect the main front with the posterior fagade. Domed pavilions terminate at either end this part of the Palace. This posterior portion of the build¬ ing is, as in the case of the Grand Palace, well worth careful study. Returning to the Main Front, we may notice that the general lines of the building are extremely simple, and this fact undoubtedly enables the Little Palace, although so inferior in actual size to the Grand Palace, to hold its own in point of dignity against its giant neighbor. These simple and dignified lines give a sense of size to the lesser building, which is of the very first importance in such a case. The Ionic columns are severe almost to an extreme, but they are in strict keeping with the general lines of the architecture, and contrast admirably with its decorative features. Amongst these latter is to be especially noted the fine sculptured frieze in high relief which runs along the entire length of the main front. The great flights of stone steps leading up to the main entrance enhance the dignity of this fine ap¬ proach, and the superb groups of sculpture by MM. Convers and Fer¬ rary give a completeness to this entrance not excelled by anything in the Exhibition. Before leaving this part of the building, let us note the wonderful metal work used here. Indeed, the whole of the Little Palace is ex¬ tremely rich in this respect, the metal work being of an order altogether exceptional both in purity of design and quality of workmanship. Color has been but sparingly used in the decoration of this part of the Palace, but fine metal work, and here and there gilding, has been used with taste to emphasize points of importance. The great central arch of the main entrance is surmounted by a magnificent lunette in high relief by Juyalbert, other decorative features 196 THE PARIS EXPOSITION. . being winged figures with wreaths proclaiming the triumphs of paint¬ ing and sculpture. Passing now through this entrance we note the beautiful lines of the interior. Here are placed the art treasures showing the History and Progress of French Art, from the earliest historical times to the end of the eighteenth century. But a glimpse of the attractions of the courtyard beyond takes us once more into the sunshine, and here a picture, attractive in the extreme, lies before us. A semi-circular colonnade of marble columns of beautiful color, and festooned with garlands of gilded bronze, support a roof, the balus¬ trade of which is decorated with gilded sculptures. The panelling of the walls of this semi-circular corridor are composed of marbles of varied color and texture, arranged to produce a wonderful harmony. The floor is composed of designs in mosaic. The courtyard itself is laid out with the greatest taste. Fountains play here among flowers and shrubs. The basins of the fountains are, above the water-line, decorated in mosaic. The color scheme is very rich, blues and greens, with gold, predominating. Indeed, it seems that the reserve maintained in respect of color, in the front facing the avenue, has had here the effect of reaction, and the architect has been inclined to show that, in its proper place, the warmth and wealth of color may be used unsparingly. Before leaving this courtyard we may note the design of the en¬ trance to the central vestibule. Though naturally less ambitious than the main entrance, it is, none the less, a beautiful and artistic work. Indeed, he would be a captious critic who could find serious fault in any part of this fine building, every detail of which appears to us to be of the best and finest. The architect has given us a work which took HALL OF THE GRAND PALACE OF FINE ARTS. FINE ARTS. m the jury by storm at the time of the competition, and which now fills the public with delight and admiration. To M. Girault, and the sculp¬ tors and decorators concerned, must be given the credit of producing in the Little Palace a work worthy to be the home of the Historic Ex¬ hibit of French Art. The Little Palace had been destined, before even the walls had risen above the ground, to contain a retrospective history of industrial art in France. The program adopted presented a complete series of the diversified manifestations of the national genius, in the order of human activity. This project could not be followed with the severity, in chronology and composition, that the organizer, M. Molinie, had indicated; certain matters, as the history of leather work, were not represented, and glass work held a place of only minor importance. Outside circumstances prevented M. Molinie from applying the precise method that he intended to establish in the order of the exhibits, and it was a real achievement to be able to gather together, in spite of all the difficulties, such an interesting collection, composed of specimens of the first order, representing a long series of centuries. Of course there are some vacancies and omissions, but the study is presented as it never has been before. No public museum is able to furnish so per¬ fect an arrangement, and, although the number of exhibits is consider¬ able, the arrangement is so happy that a visitor, as little instructed as he might be, can seize the gradation and connection of artistic move¬ ment in France from most remote times. In fact, from the Gallo-Romanic epoch with its bronzes, its pot¬ teries, its arms, to the end of the eighteenth century, each epoch is clearly and fully characterized. Some relics are exhibited going be¬ yond the Gallo-Romanic epoch, almost to prehistoric times. IO 200 THE PARIS EXPOSITION. The visitor, mounting the high steps, passes into an elliptical ves¬ tibule, decorated soberly with appliques of pink marble on a base of yellow marble. There he finds himself facing a knight of the XVI cen¬ tury, armed from head to foot, and mounted on a horse no less pro¬ tected. The armor is that of Francis I., which is kept usually in the Gal¬ lery of Apollon at the Louvre, and which had been mounted on a dummy horse belonging to the Museum of Artillery. This museum also sent two other armored horses, and they decorate the sides of the outer hall which stretches the whole length of the faqade, with large high windows opening on the gardens of Avenue Nicholas II. The pedestal which supports the armor of Francis I. bears a Latin inscription, which, upon translation, reads as follows: “The King Francis, father and restorer of the liberal arts, to all those who visit this edifice devoted to the arts, offers his best salutations.” At the left end of the outer hall is a statue, barbaric and massive, of a Gallic Mercury, holding in one hand a bag, and in the other the necessary rod. This rod, so roughly indicated, awakens in the minds of many visitors an idea of a crosier, and they see in this rough-hewn block a bishop of a very remote period. The Mercury marks the en¬ trance to the galleries. It is necessary to start there in order to follow the chronological order of the exhibition. These galleries form three sides of the building, enclosing the interior garden with its portico. They are double, and composed of halls placed side by side. It is neces¬ sary to go from one to the other in order to follow the succession of epochs. One sees first Gallo-Romanic and Merovingian jewels; among some bronze articles was a very interesting clasp of tarnished silver from the museum of Lons-le-Saunier. The Hall of Ivories contains FINE ARTS. 201 some marvels, among others an Annunciation, of which the two actors, the Virgin and the Angel, belong to different collectors and are re¬ united here for the duration of the Exposition. The articles of the XIV Century are particularly interesting. Farther on, among the metal objects, the show-case devoted to brass-work, attracts attention, with candle-sticks, lamps, etc., in the most fantastic forms. In another case are exhibited some Gallo-Romanic bronzes, found in excavations made in France, but of Roman, Greek and Etruscan origin. In the adjacent halls are placed some furniture of the XIV and XV centuries, and some statuettes carved in a close-grained freestone—the “Weepers at the Tomb of Philip the Bold” and “A Woman’s Head,” both of uni¬ versal reputation. Next come the fire-arts; the series of glassware is very complete; the few Gallo-Romanic potteries present some beautiful pieces. Then glazed stoneware, and, following that, the history of the earthenware of Rouen, with beautiful specimens. In the center of the hall, in cases, are the rarest pieces of Oiron and of choice Palissy, notably two copies of the statuette of the nurse. Then comes the history of French cera¬ mics in its great chapters, and permitting, by the proximity of objects, most instructive comparisons. The goldsmith’s art in religions subjects shows many admirable specimens in diverse styles; images of the saints in beaten gold, studded with gems of marvellous execution. Next comes the stuffed furniture; and here the richness of the time of Louis XIV, XV and XVI occupies exactly half of the halls forming the retrospective museum. It is there the crowds gather, for the fashions in our sumptuary arts come from that side. These halls are a revelation of that epoch of ceremonious pomp and theatrical magnificence. In the neighboring halls are the specimens of the more 202 THE PARIS EXPOSITION. human art that appeared with the Regency, with an accumulation of the discoveries and inventions of all kinds, and a series of tapestries, which are one of the artistic glories of France. Notable statuary pieces, either within or as ornaments of the Little Palace, is Injalbert’s group representing Apollo in the midst of the Muses. “The City of Paris,” with a gracious female seated at her feet, symbolizes the Seine. A colored stone image of a hairy, barbaric old man, represents Ocean; while a siren, with supple muscles and sweet perfidious caresses, typifies the Mediterranean. On the face of the Palace toward the Champs Elysees, is a clock, decorated, by Lemaire, with models of the three Fates, and by emblematic figures representing Day and Night. MEN AND WOMEN OF TUNIS. A BEDOUIN SHEIK. Literature, Science and Arts. r S these are associated with Education, what so natural as to look for them in connection with Group I, or that devoted to Education and Instruction, described in previous pages of this work. Under the comprehensive arrangement of M. Picard, the Literature, Science and Arts (not Fine Arts) of the world came to constitute Group III of the Interna¬ tional Exposition of 1900. It was given a home in that magnificent Palace which ornamented the right, or northwest, corner of the beautiful Champ de Mars, as one entered its esplanade from the northern, or Eiffel Tower, end. This grand Palace of Literature, Science and Arts, and of Education and Instruction, needs no further portraiture, as to position and architecture, than that found under the head of the article upon Education. But as in that article it was not necessary, nor even possible, to de¬ scribe more of the interior arrangement of the Palace than that which appertained to educational exhibits, it now becomes proper to get a fuller and more explicit idea of this interior, in order to locate and study the various classes of exhibits comprehended under Group III, or the Group devoted to Literature, Science and Arts. First, however, it would be well to learn the classes of this Group, remembering that their numbers began where those of Group II left off. The classification of the Group ran thus: Class 11. Typography—Various Processes. Class 12. Photography. Class 13. Books, Musical Publication, Book-binding, Newspapers, Posters. 205 206 THE PARIS EXPOSITION. Class 14. Maps, Apparatus for Geography, Cosmography, Topog¬ raphy. Class 15. Mathematical and Scientific Instruments, Coins, Medals. Class 16. Medicine and Surgery. Class 17. Musical Instruments. Class 18. Theatrical Appliances and Plant. Now on passing through the central porch of the Champ de Mars facade, and entering the principal door of the Palace, one was immedi¬ ately in the midst of the objects which constituted Group III, that is, the exhibits which illustrated the world’s Literature, Science and Arts (not Fine Arts). On the right hand was Class 17, allocated to Musical In¬ struments. Here, those found a genial atmosphere and a gratification of eye and ear, who were interested in the “concord of sweet sounds.” So, too, the genius of those who were interested in the manufacture of musical appliances of every kind found full exercise, for the display was gorgeous and exhaustive of the class. There were wind instruments of brass and wood of every size and conceivable form; stringed instru¬ ments, exhaustive of styles and models; pianos, of ever variant size and quality; metal wind instruments, variable in tone as the throat of mock¬ ing bird, plain in form or with pieces lengthening as the telescope; mus¬ ical slides, pistons, keys, reeds, and uncountable other ingenious appli¬ ances for varying tones and affording comfort for performers; other wind instruments with keyboards, such as organs, accordeons, etc.; every model of percussive instrument, such as drums, tom-toms, gongs, cym¬ bals, etc.; automatic instruments, in all their glory of notes and sounds, not even excepting the much abused and commonplace hand-organ; bird organs, musical boxes, in short, any and every sound producing in¬ strument the genius of man has called into being for harmonious assaults on the sense of hearing. Then there were infinite separate parts of mus- LITERATURE, SCIENCE AND ARTS. 207 ical instruments whose uses and places in instrumental mechanism ex¬ cited curiosity and wonder. All this was what a first and, of course, a more or less hasty and con¬ fused view of what exhibit 17 revealed. But such a view was unfair to visitor and exhibit, for infinitely various as the objects were, and as per¬ verse as they were in their nature for classification, the display was ar¬ ranged by M. Lyon, President of the Class (17) with the most exquisite taste, and in the most intelligent and comprehensive manner. Nor did this first view embrace all of the space devoted to the exhibit. It only took in that part of it found on the ground floor. To complete the sur¬ vey, one had to remember that the first floor (second story) contained almost an equal space devoted to musical instruments, and that here were found the larger, weightier and grander instruments such as pianos and organs, while the smaller instruments of string and wind were limited to the ground floor. After the instruments themselves, on the first floor (second story), was a great attraction in the form of the Concert Room. It was set apart by means of a glazed frame-work and draped awnings, and had a seating capacity of 500 people. Here were held specimen performances on the various instruments upon exhibition. These per¬ formances frequently took the form of stated concerts, in which the orchestras of the large musical establishments of Paris, with their soloists, organists, quartettes, and performers of chamber music took a part. And these performances were further varied by the playing upon instru¬ ments representing various musical periods or epochs, by concerts of foreign music on instruments manufactured in each country, and by con¬ certs of purely French music on instruments appropriate to the compo¬ sitions and places of performance. As an historic adjunct to the entire musical exhibit was the Centennial Museum, exceedingly rich and full of interest, both artistic and retrospective. Here were seen several old violins of the famous Stradivarius make, and some still earlier instru- 2 o 8 THE PARIS EXPOSITION. merits by Saxe. A primitive' piano stood close by, dating from 1636. It was accompanied by a clavichord, dating from 1567. Then there was a viole d’amore (love violin) of the seventeenth and eighteenth centuries; a Louis XIV hapsichord with two keyboards; a Dutch hapsichord with three keyboards, dated 1616; an entire array of instruments belonging to Gand and Pupot; an eleventh century harp; an ivory musette of the year 1701; a hurdy-gurdy by Powet; a lyre by Pleyel, made early in the century; a pair of bagpipes from the Bourbonuais of the eighteenth century; an ancient theorbo or arch-lute; an imense harpsichord over 18 feet long, the only specimen of its kind in the world. Phonographic science, which was found exemplified in other parts of the Exposition of 1900, was introduced into this musical section, on acount of the perfec¬ tion of the sounds emitted. The principles of phonography were shown to have undergone rapid changes within a few years, and as applied to musical sounds, instruments had been constructed almost entirely free from the disagreeable nasal tones which hitherto accompanied them. As above stated, this Class 17 (Musical Instruments) of Group III, was found on the right hand side of the corridor, immediately after en¬ tering the Palace. On the oposite side of the corridor, on the ground floor, was found Class 15 of the Group, or the Class devoted to Math¬ ematical and Scientific Instruments, and to Coins and Medals. It was found convenient to enter and inspect it, though to have followed the M. Picard classification, one should have gone to Class 11 the first class of the Group. Passing, therefore, into the section embracing Class 15? it was found replete with instruments of precision—mathematical and scientific instruments, ending up with coins and medals. There in profusion were found apparatus and instruments for prac¬ tical geometry, land surveying, topography and geodesy. There were compasses innumerable, calculating machines, levels, barometers, and such like indicators of temperature, moisture and dimensions. There LITERATURE, SCIENCE AND ARTS. *09 were all kinds of measuring instruments, optical instruments, astronom¬ ical instruments, instruments used in physical research and in meteor¬ ology; apparatus intended for laboratories and observatories ; microm¬ eter screws, dividing machines, sensitive scales for scientific purposes; weights and measures of the different countries. Next came the plant for manufacturing coins and medals. This part of the Exhibition began with appliances for weighing metal, test¬ ing the standard of alloys, casting, tapping, rolling, stamping out, mill¬ ing, washing, verifying the weight of coins, striking and checking them before delivery, also the plant for making stamps and dies. Coins and medals were shown in great variety, and there were many works on coin¬ age dealing with the economical, statistical and other points of view. The National Mint exhibited, as in 1889, a stamping machine, which was worked in the presence of the public. Close to the rotunda, on the left, by the entrance were seen the first forty franc and hundred franc pieces bearing the effigy of the Republic, engraved by the Chaplain, also Roty’s great Sower (five franc piece). In a small section of Class 15 was an exhibit showing how spectacle glasses are manufactured; other sections showed M. Gautier’s monster telescope, 19 feet long; opera- glasses, microscopes and sensitive glasses. There was a very interest¬ ing Retrospective Museum connected with this Class, which appeared, among other ancient and curious things, an antique coining machine of the time of Louis XIV, and a large and valuable collection of ancient coins and medals. After exhausting Class 15, one could go with pleasure and profit to Class 11 of Group III, that is to the Class embracing Typography and the various printing processes. This Class involved large and heavy machinery, and was, therefore, found installed in an annex of the Palace, fronting on the Avenue Suffren. Here were seen all the material and plant used in printing and typography, and the production of those arts 210 THE PARIS EXPOSITION. —printing presses, machinery and apparatus used in typography, lith¬ ography, copper-plate engraving and printing, autography, vincog- raphy; specimens of printing—chromotype, typo, litho and chromo- litho printing; phototype, numerous methods of engraving, simili- gravure, heligravure, photogravure, plates by every known process, type founding, machinery without end. In the department allotted to ma¬ chines for setting up and assorting type, the Linotype machine had a splendid display of its wonderful automatic powers. Then there were special private displays of up-to-date presses and cutting and folding ma¬ chines, equal to the task of turning out 80,000 sheets an hour. There were also type writing machines of many varieties, operated by skilled typists, and specimens in black and color typography, proofs and pos¬ ters, etc. The Retrospective Museum of this Class was arranged so as to give a regular history of the typographic, litographic and engraver’s art. Among the many wonderful exhibits of this Class, perhaps the one that left the deepest impression was the Linotype Composing Machine. The Engineering Journal considers it the most remarkable machine of the century. It is the outcome of about twelve years of continuous ex¬ periment and invention, and the expenditure of a sum of money very nearly approaching a million pounds sterling. It marks the first and only successful departure from the long-established forms of movable type and the primitive methods of hand composition. It is the only machine which is in practical, successful use in any considerable num¬ ber of printing offices, and the only machine which has effectually with¬ stood the test of time. Many machines and processes were developed by its inventor and his associates, each marking an advance in the art. First in order were matrix machines, designed to punch letters one after another in lead or papier-mache, and thus produce a page or column matrix from which t@ LITERATURE, SCIENCE AND ARTS. t\t cast a stereotype at a subsequent operation. Next came machines in which a number of dies were composed in a line, the line justified, and the entire line then impressed at one operation in some matrix material. During the development of the matrix machine the revolutionary step was taken of casting from the machine-made matrices independent type¬ lines or slugs, now known the world over as “linotypes.” This raising of the unit of composition from a single letter to a line, the production of each line complete and independent of the others, has proved to be the most radical and important invention in the printing art since the days of Guttenburg, Koster and Caxton. The next and last great improvement was the production of a ma¬ chine in which the linotypes were produced instantly and ready for use on the press by the mere fingering of keys like those of a type-writer, the keys serving to assemble temporarily in line metal matrices bearing individual letters, against which the slugs or linotypes were cast in type metal. This machine, known to-day in every land as the Linotype, is now extensively made in two factories in the United States, one in Eng¬ land, one in Canada, and another in Germany, giving employment to some three or four thousand hands; and it is being regularly employed in most of the leading newspaper offices of the world, and also by many hundreds of book and general printers. Operated by a single person, the machine produces and assembles linotypes ready for the printing press at the rate of from 6,000 to 20,000 letters per hour. It produces finished matter of the highest quality. It permits the face or style of type to be changed at will. It allows the operator to read and correct his matter as he proceeds, thus avoiding the usual errors in correction. Any person of intelligence can, in a few days, become a good operator, and in a few weeks an expert. The first Linotype machines were introduced into a printing office in the United States in 1886. They entered the first office in Great 2r2 THE PARIS EXPOSITION'. Britain in 1890, and succeeded in doing most satisfactory work. But it was decided to develop and improve the invention to its fullest possible extent. To this end the action of the machines was carefully watched, the requirements of the printing office were studied, and the advice of skilled printers and mechanics was sought in all directions. In the light of the information thus gained, the machine has been modified, im¬ proved, increased in capacity, and made adjustable or convertible to meet every demand. New tools and machinery have been devised, and the “interchangeable” system employed in the manufacture of all its parts. The result is the present standard Linotype, a machine marvel¬ lous in speed, approaching perfection in the quality of its products, and unsurpassed in the perfection and action of its diversified movements. Class 12 of Group III was devoted to Photography. This Class was, in a manner, a museum of photographic art and industry. All the great makers exhibited their most perfectly-finished apparatus of every description; and along the frieze one admired some exceedingly fine photographic proofs and prints. The most varied processes were exem¬ plified by these proofs, on glass, on stuff, on wood, 011 enamel; photo¬ graphs in color of moving objects, etc. Photogravure, which was al¬ ready represented in the typographical class, was thereby illustrated in some very fine plates. This scientific application of the art of photography was there shown by a series of X-ray plates, enlargements of exceedingly small photo¬ graphs (micrography photoniscroscopic prints), photographs of celes¬ tial bodies and of rays of light; by stellar and lunar photographs, etc., The Observatory, and the great savants Lippmann, Segrey, Dr. Brouar- del, Flammarion, Hottery, were all there, with the most curious results of scientific photography; and, to conclude, let us mention the Maison Lumiere (Illuminated Mansion), which offered the most perfect of cin¬ ematographs in full work. This placed at the entrance to the Class, and GROUP OF MINERS—BUILDING OF MINES AND METALLURGY. LITERATURE, SCIENCE AND ARTS. 2*5 a tastefully decorated door-way drew attention to the fact. The ceiling that covered this Class was a remarkable piece of work by the painter Noel Bouton. In the Retrospective Collection this Class was repre¬ sented by a collection of old-fashioned apparatus, among which a few primitive Daguerrotype cameras ranked as real historical curios. On one side and in the centre of the huge square formed by the annex erected for Class 11, were found the exhibits which made up Class 13 of Group III, that is, the Class embracing Books, Musical Publica¬ tions, Book-binding, Newspapers, Posters, etc. The displays rep¬ resented, in general, publications sent out by publishers of every kind; books, magazines and other periodical publications, musical publica¬ tions, newspapers, and posters; the materials, processes, and products of the stitching and binding trade; and also colored printing and illum¬ ination. The special collection sent by the Publishers Association of Great Britain and Ireland, contained some magnificent specimens of the publishers’ art, as did the collections of other countries. The publishers of posters and pictorial advertisements exhibited an array of the works produced by the foremost masters of an art which has attained, within the last few years, an important position, among the original results of artistic ingenuity. One noticed with pleasure the engravings from certain fine editions de luxe, and the splendid book¬ bindings, both in the antique and in the modern taste. There was no room for the illuminators elsewhere, and they were accordingly hospit ¬ ably housed in Class 13. This fact was duly noted by the admirers of this dainty and delicate art. The Retrospective Museum of this Class, which was in the centre of the Palace, was rich in curiosities, and of the rarest kind. One spec¬ ially noted the collection of manuscript letters belonging to the Due de la Tremoilles (letters from monarchs of every period); a collection of books bearing the arms of Richelieu; a marvellous Book of Hours, in 216 THE PARIS EXPOSITION. MS., which belonged to Queen Mary of Aragon; a collection of a thous¬ and books, microscopically small in size; and a History of Bookbinding, illustrated by the greatest binders, lent from the Gruel collection. Class 14 of the Group embraced Maps and Apparatus for Geog- ( raphy, Cosmography and Topography, and it was an interesting and in¬ structive Class to those who admired fine maps, whether plane or in relief, physical, geological, hydrographical, astronomical, topographical, statistical, symbolical, or of whatever kind. Surely every taste could have been gratified by those splendid displays. In the Retrospective Collection of this Class there appeared a curious collection of ancient maps belonging to Prince Roland Bonaparte, and some very interesting globes of the seventeenth and eighteenth centuries. Class 15 has been already visited in connection with Class 17. One therefore went naturally from Class 14 to Class 16 of the Group, or that Class representing Medicine and Surgery. This was deserving of a thoughtful visit. It contained all sorts of improved instruments of sur¬ gery ranged in glass cases—delicate, brightly polished, artistically curved, in nickel, in silver, in gold, just as you chose—bistouries, lancets, nippers, saws, scalpels, scissors, forceps, etc. There were bacteria, the microbes of the past century, the far-famed bacilli; then dressing appli¬ ances ; others for practical and mechanical prothesis; orthopaedic appli¬ ances, too; those used in cases of surgical hernia, and for special thera¬ peutic needs. There were dentists’ instruments, strait-waistcoats, in¬ valid beds, crutches, wooden legs, cases of instruments for army sur¬ geons, all the Red Cross aids for the wounded, and all the appliances for restoring respiration to drowning or suffocating subjects. The Retrospective Collection of this Class was installed with that of Class 14, and it embraced several private collections, showing the surgical instruments of other days. LITERATURE, SCIENCE AND ARTS. 217 Class 18, the last Class of Group III, was devoted to displays illus¬ trative of Theatrical Appliances and Plant. The arrangement, decora¬ tions and all that made this Class one of the most interesting of the Ex¬ position were prepared and superintended by M. Raynaud, the architect of the Opera. It was aranged in two groups on each side of the princi¬ pal pasages-way, about 16 feet wide, running through the Hall along the Champ de Mars. The first group, on the right-hand side of this passage-way, as one moved towards the Palace of Civil Engineering, con¬ sisted of three great scenes, each covering a surface of 233 feet, and as¬ signed to the master of decorative art in the truest sense of the word, that is, the art of Theatrical Scenery. On the first, Garubon had un¬ folded a succession of wondrous landscapes—the Seasons. On the sec¬ ond, Amable had depicted, with his usual skill and talent, the exquisite legend embodied in Schubert’s Erl-konig. The music was expressed in the most harmonious fashion by M. M. Pathe’s phonograph, while on the canvas in the background the strange dream rolled by before the enchanted gaze. One saw the darkness, the thunderbolt, the conflagra¬ tion, the rain, the forest moving on, and so forth. On the third, Car- pezat had exerted all his technical skill and all his powers of artistic evo¬ cation in a series of transformation scenes. First one beheld a public square, with a cathedral in the background. The canvas unrolled, the scene changed; and we had the entrance to the church, then the interior, and soon the whole religious ceremony was enacted before one’s eyes. Each of these scenes measured 16 feet by 14. They constituted a very exact reduction of our large theatrical scenes. The public watched the sight from a gallery in front of the stage, which was reached through wooden porticos, carved and gilt, with portieres by M. M. Belloi. The exhibition took place several times daily, and also at night. The light¬ ing was a special feature, supplied from the works in the Av. de la Bour- donnais. 2-3 THE PARIS EXPOSITION. The second group comprised the exhibits, properly so called, of the material objects connected with theatrical art. In the glass cases on the left of the landscape were found sparkling jewels and trinklets, some of them marvels of the jeweller’s art; girdles set with precious stones, armour damascened work, wigs and false hair, fleshings and theatrical costumes bearing the unmistakable mark of such real artists as Gutperle, Halle, Soisel, Millet, Lapont, an others. Opposite these glass cases on the left, the scene-painters offered an exhibit of a very special form ox art, very difficult of attainment, only accessible, indeed, to a few really gifted natures. The rough sketches, to the number of 18, were on the scale of 0.5. They were all of them unpublished compositions. Side by side with Chaperon (Panorama of Paris), Carpezat, Moisson, Rouffin- Rubbe (who have succeeded their grandfathers), Rubbe, Amable, Jam- bon, and Henri Riviere, there were some still younger men of very great talent. A passing glance had to be bestowed on the drawings of costumes by Choubrac, Thomas, Henriot, and their rivals. A halt had also been made to again study the perfection reached by the latest phonographs, which had their place there under the head of theatrical apparatus, and the survey ended with the Centennial Exhibition close to the group of the liberal arts in Russia. One room was given up to a reconstitution of the apartment of Mile. Mars; a second to a collection of portraits of the great dramatic and lyric artists of the century, of historical souven¬ irs ; a third contained a series of rough sketches by deceased great decor¬ ators of the past century; and to conclude, the last room was devoted to sketch models of costumes. Here, with the aid of wax figures, were given reproductions of the dresses worn by performers in Gluck’s Ar- mida at various periods, from the original creation (1777) to the repro¬ duction in the middle of the nineteenth century, and down to the last charming performance at the Grand Opera. GROUP OF IRON WORKERS-BUILDING OF MINES AND PALACE OF FINE ARTS—ST AT U A R Y HALL- METALLURGY. LITERATURE, SCIENCE AND ARTS. 221 In this department, as in 1889, was an array of costumed figures. A history of dancing was sketched out by means of some pretty statu¬ ettes, which M. Raynaud, the ingenious organizer of this brilliant dis¬ play, had been at much pains to collect. / 11 Machinery. r visiting the palatial structure devoted to Machinery and Mechanical Engineering, one again made a passage southerly from the beautiful and variegated grounds of the Eiffel Tower, and entered those, even more beautiful and bewildering, of the Champ de Mars (Garden of Mars). This time a halt was not made at the entrance of the Camp or Garden, as when the Palace of Education, Literature, Science and Art was visited, nor yet upon the right wing or side of the Camp, but the journey proceeded along the left (easterly) side or wing, past the gorgeous facades of the Palace of Mines and Metallurgy and the Palace of Textiles, Tissues and Vestments, and to that Palace which marked the objective for the time being, to wit, the Palace Mechanique, or Palace of Machinery and Mechanical Engineering. This Palace, noted for immensity and spaciousness rather than for any particularly beautiful architectural effects had for its opposing Palace on the Camp that of Chemical Industries, and both of these Palaces were the last whose facades fronted full on the Camp, for thereabouts the magnificent proportions of the Palace of Electricity rose directly across the Camp, closing the vista with its brilliancy. But though the full front effects of both these Palaces were thus lost, the proportions and interior show ef¬ fects of the Machinery Palace extended back past the Palace of Elec¬ tricity, and clear across the rear of that Palace to the right, or Suffren Avenue, side of the Champ de Mars. Before entering this Grand Palace of Machinery and Mechanical Engineering, one should have understood also its place in the M. Picard 223 2?4 THE PARIS EXPOSITION. plan of arrangement of Exhibits, and of the excellence of this plan too much cannot be said, especially as it related to those mighty and mov¬ ing mechanisms which ordinarily constitute a department of machinery and mechanical engineering. Generally speaking, at all former Expo¬ sitions, National or International, arrangements for the exhibits of ma¬ chinery and mechanical departments have been carried out on the same lines. The most capacious gallery or hall possible having been con¬ ceived and erected, steam generators, motors and all kinds of manufac¬ turing engines, were rushed into the space and crowded indiscrimin¬ ately side by side, without regard to their individual characteristics and, too often, without reference to their purposes. This indiscriminate method, or rather this lack of method, involved the necessity, owing to the difficult position in which exhibitors found themselves, of carrying all important questions of transport, which required belts, bands and fixed machinery, to within a certain distance of the motive power ap¬ pointed for the work; and even to secure this essential of nearness of power was rendered almost next to impossible owing to the incongruous medley of collections which it necessitated. But thanks to the discoveries and inventions in electricity, which have enabled the industries to deal speedily and satisfactorily with all matters concerning the transmission of motive power, it was found pos¬ sible to proceed on other and more intelligent and convenient lines of plan and arrangement at the International Exposition of 1900, and to set up together and convey the necessary power to those sections of plant only which bore a certain affinity to one another. Pursuing these new lines of plan and arrangement, the exhibition of Machinery and Mechanical Engineering of the Exposition of 1900 fell into Group IV of the Picard system, and Group IV had for its subdivisions the follow¬ ing Classes, the numbers beginning where those of Group III left off: Class 19. Steam Engines. HUNGARIAN ANIMAL, GROUP AND DIORAMA, IN PARAGE OP FORESTRY. MACHINERY. 2*7 Class 20. Various Kinds of Engines and Motor Machines. Class 21. General Mechanics and Specimens of General Mechan¬ ism. Class 22. Tools and Mechanical Implements. Class 19, or that of Steam Engines, contained two leading sections, one French, the other foreign, each containing engines of a capacity of 10,000 horse-power. This was quite in contrast with the arrangement of the Exposition of 1889, when all the boilers generating steam were grouped together in a single building behind the Pavilion of Machinery. And just here it must be noted, that a most striking and complimentary feature of the Exposition of 1900, as compared with that of 1889, was the great development shown in the use of tubular and multitubular boilers, the greater part of which were provided with improved systems of firing and grates. Perhaps the greatest improvement was found in boilers devoted to naval purposes, but, in general, the increase in motive power ranged from 250 up to 3000 horse-power, as compared with that estab¬ lished by the exhibits of 1889. Of the 20,000 horse-power generated in the two sections mentioned (French and foreign), 5,000 horse-power was directly available and ample, owing to the increase of electric force, for driving every description of engine over the whole extent of the Exposition, by the use of conducting cables. The balance of this avail¬ able horse-power was devoted to the lighting of the Exposition, and of this a surprising part went ,to produce the enchanting effects seen at the Palace of Electricity and Chateau D’Eau—Castle or Grotto of Water. There is hardly anything more awe inspiring than a monster en¬ gine. It is the embodiment of such gigantic power that one is bewildered in witnessing its subjugation to the laws of control, and its rythmic move¬ ments in obedience to the spirit of mechanism. And then, to think, the beginning of the century knew no such creation, or if so, only as a toy for scientists and mechanical engineers to speculate over. During the 228 THE PARIS EXPOSITION. first quarter of the century the largest engine built consumed eleven pounds of coal per hour for every horse-power produced. Twenty years ago an engine that consumed only two and a half pounds of coal per hour for every horse power produced, was looked upon as a mar¬ vel. Standing amid the mazes of the gigantic machinery that pulsated within the walls of the Palace on the Champ de Mars, one witnessed an average consumption of coal per hour for condensing machines, far be¬ low figures dreamed of a decade ago, and in this reduction saw one of the most desirable of modern mechanical artd scientific achievements. And yet, this pride of achievement was humbled by the sad confession that, after all, only about ten per cent, of the whole quantity of coal con¬ sumed in the grates dtf the best of modern steam generators became available in the form of steam. Both the French and foreign departments did their best to exhibit their triumphs in boilers and engines, and it was a proud fact for an American to realize that the products of his country's genius in this line compared favorably with, if they did not excel, those of any other nation. When it came to those exhibits of the class which might have been em¬ braced under the head of novelties, or which, from their peculiar con¬ struction, were better calculated to excite curiosity than to invite respect for their utility, the French, of course, had no rivals. An instance of this was the steam driving wheel of 300 horse-power, constructed on the Laval system, and the largest ever made. The accessories belonging to steam engines were simply bewilder¬ ing in their profusion, except, of course, to those whose genius felt the inspiration of such an environment. There were the fire-boxes, fur¬ naces, boiler chimneys, stationary, portable or semi-portable boilers, packing and boiler-fittings, feed apparatus, steam jacketings, anti-foul¬ ing compounds, water softenings, feed water heaters, cocks, stationary, portable and semi-portable engines, valve gearings, condensers, regula- MACHINERY. 229 tors, governors, lubricators, fittings, methods of examining and testing steam apparatus, ingenious engines set in motion by the evaporation of other liquids than water, in short any and every appliance to facilitate the development and control of machine energy. Class 19 had many annexes, each one specializing features con¬ nected with the class, or exemplifying some feature, either as savoring of private enterprise or as too monumental to admit of the limitations of covered structures. Such, for instance, were towering chimneys (smoke-stacks), the two most notable of which were those of porcelain, rising above the workshop of Suffren and La Bourdonnais—the latter being fifty feet in diameter at the base, fifteen at the top, and costing over $40,000 to erect. In connection with Class 19, as with nearly all Classes of the Ex¬ position, was that comparative, curious and very informing feature, known as the retrospective exhibition. Therein was found an objec¬ tive history of the growth of the steam engine and condenser, in the form of models, engravings, drawings and documents, from the very first attempts to use steam as a motor down to the perfected results of modern skill. Here too was found an interesting history of the associ¬ ation of owners of steam engines, compiled by the secretary of the section. > With the wish for more time to dwell upon exhibits of this inter¬ esting Class, and with the promise to refer to it again should opportunity occur, one passed to the next and contiguous Class (Class 20), embrac¬ ing the various kinds of engines and motor machines. The French word which we best understand by our word Locomotives, is the one which covered this Class as a general heading. When in the previous Class, where steam was the familiar power, one stood amazed at its en- ergy, and at the awfulness of the motion it imparted to giants of steel and iron. But in Class 20, the sense was rather piqued with the curios- 23° THE PARIS EXPOSITION. ity and wonder than awe-inspired. Perhaps one had gotten somewhat used to the wide swing of gigantic arms and the rapid rotation of mon¬ strous wheels. At any rate, here the results of energy were not so much a contemplation as were the sources of energy. Hardly anything in nature, compound or simple, but here seemed to yield its secret power at the bidding of genius, and to kindly loan that power to machines of motion. There were engines whose power was water, hot air, gas, petroleum, compressed air, sal-ammoniac, carbonic acid, solidified gasses, wind, and countless other natural energies. Then there were the various exemplifications of the practical uses to which all could be turned. Their parts and appliances were shown, together with a series of motors whose power was derived from springs, weights, counter¬ weights, pedals, etc.—an ingenious and marvellous entirety, suggestive of the possibilities of energy and motion after coal has done its whole duty and ceased to be a commercial source of power. Then here again was the retrospective section with its documents and models tracing the history of elementary machines from the beginning. One has thus grown familiar with the machinery for the genera¬ tion of power and with its direct application, and is ready for the next Class of Group IV, Class 21. This embraced the various kinds of gen¬ eral mechanism, or General Mechanics. It might have been compre¬ hended, at least in part, under means for the transmission of power, for it began with exhibits of apparatus showing the passage of power from object to object or place to place, such as shafting, plumbers’ blocks, guides and slides, joining systems, gearing clutches, pawls, pulleys, belt¬ ings, cables or power transmission, governors and speed regulators, lu¬ bricators, engine counters, recorders, speed indicators, pressure gauges, machines for testing materials, apparatus for measuring fluids and gasses, cranes and lifts for moving loads, hand or steam pumps, hy¬ draulic rams, and every similar pharaphernalia. Fire engines fell into MACHINERY. 231 this interesting category, hydraulic presses and accumulators, modern methods of making use of inferior gasses by passing steam over red- hot coals, water pipes and accessories, air compressors, ventilators, power transmission and distribution at a distance by means of water, steam, air or vacuum, and apparatus for preventing accidents by machinery. Two salient points observed were the moving road and the continuous lifts (elevators) by which it was reached. The irrigating machines were particularly noticeable, especially by farmers, for whose use they were especially designed, and to whom they were to become a source of profit. There was shown a new and interesting development in canal construction by the use of cement, strengthened by rivited steel plates. Great progress in weighing machines was shown, particularly those of the automatic balance. Radical improvements in lifts (elevators) were shown, as regards increase of weight and adaptation of electricity as a motive power. Instruments for condensing air had made great progress, and those were shown capable of obtaining gas under a pressure of 200 atmospheres. The Retrospective Exhibition connected with Class 21, while fail¬ ing to offer the great attraction of those connected with Class 19 and 20, was by no means devoid of real interest. It served to make appar¬ ent by the contrasts it furnished the improvements in hydraulic appa¬ ratus and receivers, and the many changes that have taken place in the tools and appliances of handicraft. Class 22 of this Group was devoted entirely to tools. The exhibits of this Class, both French and foreign, consisted of very many fine col¬ lections of highly perfected mechanical tools. In the metal working section were shown machines worked by blow compression or tension, steam hammers, forging presses and machines, cutting, shearing, punch¬ ing and stamping machines, rollers, draw benches, wire drawing ma- THE PARIS EXPOSITION. 232 chines and presses, and machines for stretching and flanging, bending, welding, rivetting, cutting, folding, rolling, moulding, etc. Here, too, were shown the methods of heating, annealing, temper¬ ing, cementing, welding, and brazing, that are in ordinary use. There were also handles, vices, hammers, shears, punches, dies, etc. Next were machines with cutting tools, lathes, drilling, rimming, screw cutting, and milling machines, saws for cutting metal, planing, slotting, grooving, and special tools for the above machines. There were grinding, polish¬ ing, and sharpening machines, also machine and grindstone accessories. The vices, files, taps, and dies, and screw plates of tools for hand-work were exhibited, and the methods and tools used in setting out work, adjusting, checking, and testing. There were surface plates, marking gauges, straight-edges, squares and compasses, scribbling blocks, stand¬ ard measuring gauges, and instruments for testing shape and dimen¬ sions. Another section of this class was devoted to wood-working plant Saws for cutting trees, cutting up timber with the bark on, and for shaping. Machines for squaring timber, planing machines, lathes, drill¬ ing and slotting machines. Machines for making tongues and grooves, tenons and mortices, shaping and cutting machines, and all sorts of ma¬ chines and hand-tools specially used in wood-work. To finish up, there were the machine tools which do not come under any special classifica¬ tion. The Retrospective Exhibition of Class 22 was of great historical interest, for it enabled us to follow, step by step, the different transform¬ ations of mechanical tools, and to grasp that characteristic result of mod¬ ern industry, which tends more and more to lessen manual labor. Electricity. HETHER manufactured in the heavens, in the simple hand-machine, or in the energetic dynamo, electricity is the subtlest of elements and the greatest of natural won¬ ders. We use the word “manufacture” in connection with its production. It is a misnomer, for electricity is already made. It is all-pervasive like air, but so refined as to escape harness, until the machinery of generation, natural or artificial, is brought to bear upon it. That it should play a conspicuous part in the last Exposition of the century which witnessed its wonderful commercial development was to be expected. Never be¬ fore was it put to such numerous magic uses. Its subtlety and bril¬ liancy seemed to comport with the mercurial French spirit. It rendered gaity gayer, motion swifter, power stronger, variety more variegated, scenic splendor more vivid. If one were going to deny that it was uni¬ versal in nature, yet insist upon a cognomen representative of national traits, he would say that electricity was French. Not only was it pervasive in presence and effect of the entire Ex¬ position, but of all Paris. Its glow was everywhere, its pulse vibrant in plaza, boulevard, pavilion and palace. Day and night it silently dis¬ pensed 5,000 horse-power to every nook and corner, and to the myriads of trembling machines of the Exposition grounds. It made night more than day, for illuminated Parisian night is the time of French vivacity and ecstacy. The grand centre of electrical effects, so far as the Ex¬ position was concerned, was the Palace of Electricity. This reared its monumental front directly across the Champ de Mars, furnishing a gor- 2 33 2J4 THE PA'RIS EXPOSITION. geous background to the charming vista as seen from the arches of the Eiffel Tower, from even a closer standpoint, or from the farther terraces of the Trocadero park beyond the river Seine Immediately in front of the Electrical Palace stood the grand and indescribable erection of the Chateau d’Eau—Liquid Castle, or show of castellated waters—in the form of a gigantic grotto, in which a foun¬ tain of rainbow-colored waters played incessantly. In the centre of the immense basin stood a symbolical group representing Humanity and Progress conquering Spite and Retrogression. Nothing could have been more apropos to the Exposition than these symbols, and especially as they stood at the very entrance of the halls in which was exemplified the subtle power which has done more to mark the century’s humanitar- ianism and grand civilizing march than any other. The effects of the Chateau of Water were charmingly exhilarating at any hour, but at night, and when it shimmered under the glow of 1000 colored lamps, the appearance was that of fairyland. It was a fitting introduction to the gorgeous Palace which arose behind it, and whose marvellous frontage was approached by two gently rising staircases, one on either side of Castle of Waters. In making the approach by either staircase, one seemed to be simply transported from one fairyland to another, so effec¬ tive were the night decorations of the Palace, when thousands of electric lights formed illuminated friezes around it, and myriads of crystal points brought the whole structure into glowing outline. But one need not have waited tiff night to be lost in admiration, for daylight, too, was full of exquisite revelations, and the Palace of Elec¬ tricity was in a sense the controlling spirit of the entire Exposition. Out of its recesses went the silent, secret force that moved and lighted the whole colossal organization. Should it have stopped its generative work the tens of thousands of machines that hummed the tunes of Ex¬ position industries would have ceased their music, and the myriads of FRENCH DYNAMO AND MOTAR SECTION OF PAEACE OF EEECTRXCITY. ELECTRICITY. 237 lamps distributed throughout the buildings and gardens would have sud¬ denly ceased to impart their welcome light. According to the M. Picard plan and arrangement, the subject of Electricity was worthy of its separate Palace, and sufficient for a single group. It therefore became Group V of the Exposition, and as with other groups, the numbers of its classes began where those of the prior group left off. The Classes of Group V ran as follows: Class 23. Production and Utilization of Electricity. Class 24. Electro-Chemistry, Electro-plating. Class 25. Electric Lighting. Class 26. Telegraphy and Telephony. Class 27. Electrical Machinery, Various Applications of Electricity. As already intimated, the power for lighting the entire Exposition and running its machinery was manufactured in the Palace of Electricity. From its basement, hundreds of miles of wire extended in all directions, passing along walls, running through underground conduits, or diving beneath the waters of the Seine. One gentle touch of an electrical but¬ ton with the finger unbridled the magic fluid and sent it on its instanta¬ neous career to emblazon palace, hall, tower, museum, shop and garden, and impart its energy to myriads of mechanical devices. How glor¬ ious the transition when with a flash the 1600 incandescent lamps of the Palace and its 300 archway lights burst into radiance! In the same in¬ stant the Monumental Gateway became aglow, the Bridge of Alexan¬ der III, the gardens of the Champs Elysees, the esplanade and palaces of the Invalides, the Champ de Mars, the Trocadero, the quays of the Seine with their pavilions of the nations, while the inimitable Castle of Waters poured forth its fiery cascades. The spaces devoted to Class 23, or to the Production and Utiliza¬ tion of Electricity, were divided between the ground floor and first floor (second story) of the Palace of Electricity; and the ground floor spaces THE PARIS EXPOSITION. were further and necessarily associated with that part of Group IV (Class 19, Steam Engines) which supplied steam power. In general, the ground floor space was devoted to the heavier electrical machines, such as dynamos and motors, while the first floor (second story) was devoted to the several sections of Electro-chemistry, Electric Lighting, Telegraphy and Telephony, and Electrical Appliances. Owing to the number, power and weight of the machines which occupied the ground floor of the Palace, they were distributed over sev¬ eral places, and to the first place or class, called electrogene—place where electricity was produced—were assigned the mammoth machines which supplied the Exposition with the necessary power for light and motion. These machines were, of course, and as already mentioned, in close relation with the steam engines of Class 19. Every generative unit included a steam engine, with a minimum of 1000 horse-power, in connection with a dynamo without bands. As a gigantic electrical lab¬ oratory nothing could have been more complete and imposing. Here all the prominent electrical engineers of France were in active competi¬ tion, with their latest types of electrical generators. An extension of this Class 23 was found on the ground floor of the Palace of Mechanism. It comprised dynamos of every description, worked either with or without steam, dynameters with continuous and intermittent currents, models of electric street railways, barges and boats, lighting plants for light-houses, search lights or steamers and naval vessels, etc. And here was gathered every description of motor from the 100,000 pound dynamo to the tiniest toy motor. Going back to the ground floor of the Palace of Electricity, and taking up the thread again, one saw every variety of cable for conducting lighting and motive power, all kinds of insulators and appliances for aiding the passage of electric currents. Owing to the limited space at command in the Champ de Mars, the exhibition of street railways and their methods of ELECTRICITY. 239 propulsion were transferred to the Bois de Vincennes (Vincennes Woods) where they became an attractive feature of that picturesque suburb. The next class of Group V (Class 24) was devoted to Electro-chem ¬ istry. This proved to be a most curious and attractive class, and like the former was divided into ground floor and first floor (second story) sections. On the ground floor were found electric stoves- worked by carboxite of calcium and aluminum, and baths for producing chlorate of potash. This last process attracted great attention, as it had never been carried on in public before, but had been kept as a secret in the workshops of Savoy, whose waterfalls supplied power for the motors. Other notable attractions of the floor were an ozone generator, wrapped in a halo of brilliant and crackling electric sparks in its efforts to pro¬ duce ozone for sterilizing drinking water; and, most wonderful of all. the brilliant experiments made daily and in public for producing crystals and manufacturing diamonds and other precious metals. Aladdin might have envied this triumph of electro-chemistry. On the first floor (second story) was carried on the interesting oper¬ ation, through all its successive steps, of electro-plating. The num¬ erous electrolytic baths held solutions of gold, silver, copper, or what¬ ever metal was to constitute the plating. The object—knife, spoon, fork, or whatever else—to be plated was thrust into the bath, an elec¬ tric current was sent through it, when, behold, the metal with which the bath was charged was precipitated firm and fast upon the object inserted. It was not a new or occult operation, but here it seemed to have been lent a new charm by modern electro-chemistry and up-to-date mechan¬ ism. A vast array of voltaic batteries and electric accumulators, illus¬ trating the latest improvements along these lines, served to attract the attention of those electrically inclined. 240 THE PARIS EXPOSITION. As might have been expected, the class of the group devoted to Electric Lighting (Class 25) was, at night, particularly brilliant under its blaze of light reflected in a series of crystal chandeliers. Along the halls of the electrogenic section, or section for producing electric light (Class 23), already described, appeared, in splendid array, all the models for in¬ candescent lamps, chandeliers, brackets, candelabra, exhibits of manu¬ factures of bronze artistic works, private electrical plants, electric reg¬ ulators, and the larger apparatus required at central lighting establish¬ ments. A miniature factory for the manufacture of incandescent lamps showed the wonderful number and extreme delicacy of the operations required in the production of these familiar, useful and ornamental objects. In the centre of the Palace of Electricity was found Class 26, or the class embracing Telegraphy and Telephony. Here the variety was infinite and displays novel, owing to the fact that so many vast strides had been made of very recent years in both these branches of electricity, Telephonic appliances of every kind appeared, transmitters, receivers, batteries, conduits, and those marvels of ingenuity, the switchboards, burdened with their new devices for solving the complicated problems arising from increasing numbers of telephonic subscribers. Then what a variety of wires and cables was there, showing the best conductive ma¬ terials, and their complicated forms, for overland purposes and for car¬ rying messages beneath the rivers and oceans. The class of Electrical Machinery and various Applications of Electricity (Class 27) was also an interesting one. Here were shown courtless sets of apparatus designed to secure the precision which only minute exactness of construction, and delicate electric adjustment, could impart. Countless others were designed to show the application of electricity to heating and cooking purposes. Among these were stoves for cooking and warming purposes, coffee roasters, chafing dishes, and sr, > 2 H ► O SP 2 ; W n *~J a > 2 *-J 3 <3 2, « ^ t-H rt W s 5 c, w 5zJ O o f a w - « > > o 0 & o ft % o' W 3 t-J o • *-h ft- o ? g g 3 S3 2 o a P> w ELECTRICITY. *43 others illustrating the value of electricity in household economy. Had one been ill, there was opportunity to test the efficacy of electricity as a therapeutic agent, in the form of batteries and other ingenious and novel means of administration. Or if it had become necessary for a physician to look within one’s body to see the condition of its working organs, or to locate some foreign and harmful substance, what an opportunity was there presented in the profusion of those appliances which go to make up a modern X Ray outfit—radiographs, radioscopes, Crook’s tubes, glass plates and bulbs, fluoroscopes, etc. This Class (27) occupied the centre of the Palace, opposite the Hall of Honor. The Hall of Honor stood in the very centre of the Palace, and faced the Hall of Fetes. In its immense areas, surmounted by a lofty and imposing dome, were collected and arranged the principal gems of the French and foreign electricians. The United States was brilliantly represented by the latest discoveries of Edison, Tesla, and other distin¬ guished electricians. Germany was particularly strong in her many exhibits, including that of the celebrated Roentgen, the inventor of radiography, and of Professor Wehnelt, who invented an electrical in¬ terrupter capable of producing 5,000 interruptions of the current in a minute. Italy was ably represented by Marconi with his instruments and appliances illustrative of his new system of wireless telegraphy. In a central pavilion Switzerland exhibited the various interesting and valuable inventions of M. Dussaud, among which were the loud-speak¬ ing and automatically inscribing telephones. A practical exhibition of these telephones was given throughout the day, and by means of them, visitors, without even coming close to the machines, could carry on a conversation with their friends, to as remote a distance as the Swiss village in the Palace of Agriculture. The conversation could be re¬ peated at either end, as oft as desired, by the registering telephone. 12 *44 THE PARIS EXPOSITION. As showing the devotion of the respective nations to electrical science, they were present at the Exposition of 1900 in force and in keen competition. It was a noble sight to witness this amiable rivalry in a science that had in so short a time harnessed such a mighty natural force and turned it to man’s every-day account. The powerful and very practical instruments of the United States were the centre of special attraction and study. The Swedish exhibit of telephones showed that her scientists had made great headway in the invention of practical instruments for sending and receiving speech, and not only this, but had succeeded in manufacturing them at such a cheap rate as to enable her citizens to instal them in their private houses at little cost. Russia set forth a grand display of instruments opposite the Hall of Honor. On the right, Great Britain was strongly represented by her principal electricians. Germany certainly entered as a strong rival of the other powers. She had ample space at her command, and she utilized it in an excellent manner. Her exhibits were placed in a long hall to the right. At the end of the hall, and occupying its entire breadth, was seen the colossal crane, made by Karl Flohr, of Berlin. It lifted weights of 55,000 pounds with ease, and was used for conveying and placing in position most of the other machines in the Palace of Electricity. Swit¬ zerland’s creditable exhibit was distinguished by the introduction of several powerful dynamos. Austria, England, Belgium, the United States and Italy, cooperated with France in producing the necessary lighting and moving power for the whole Exposition. In the English exhibit were three machines of 3,500 horse-power; Austria showed four of 4,700 horse-power; Belgium, two of 2,200 horse-power; Switzer¬ land, three of 1,700 horse-power; Italy, two of 1,800 horse-power; Ger¬ many, four of 7,500 horse-power. The French exhibit showed seven¬ teen machines, supplying 14,500 horse-power. In addition to their ELECTRICITY. MS principal installations, the foreign sections exhibited side by side with those of France, all the latest electrical discoveries and inventions. What a vivid, magical world the whole Palace of Electricity was! How eloquently its treasures spoke of the genius and enterprise that had subjugated the subtlest of all forces and converted it to commer¬ cial use! Aladdin owned a magic lamp, by means of which he could bring to his instant aid the services of an all-helpful genie. When he wished for aid, he had but to rub his lamp. At once the genie ap¬ peared to gratify his desires. By means of the lamp Aladdin could hear the faintest whisper thousands of miles away. He could annihilate both time and space, and in a twinkling could transfer himself to the tops of the highest mountains. How the charm of this ancient story is lost in the presence of that marvellous realism which marks the achievements of modern electrical science! No gathering of electrical appliances, no display of the results of genius and skill as applied to electricity, ever approached those of the Exposition of 1900, either in number or importance. It was the grand climax of the century in electrical knowledge and mechanism. And then the arrangement was so perfect, so suggestive. It made avail¬ able both for view and study, as well as for present practical adaptation, all the achievements of electrical science. It was a chapter of history, or rather a great book, in which one could read from the dim morning to the brilliant noonday of a science before which all others pale. It recalled Thales, invoking the silent energy whose phenomena and pos¬ sibilities are so infinite, by rubbing a piece of amber with his clothing, 600 years before Christ. One read afresh in those electrical wonders of the Exposition the story of Dr. Gilbert's struggle with the subtle agent, which he wrote in his “Magnet,” in the year 1600 A. D., and which was the first book 246 THE PARIS EXPOSITION. on electricity ever written. Also of the subsequent struggles of Boyle, Newton, von Guericke and Hawksbee, with their electrics, and their glass cylinders and sulphur rolls. And again, how Gray, in 1729, found that he could conduct the electricity, excited on his glass cylinder, to a distance by means of a packthread. These were all simple, childish, toy-like things in the presence of those mighty monsters of the Expo¬ sition; nevertheless, those investigators and experimenters were, in their time and way, as much giants of genius as these of later date who have girdled the earth with electric wires. And there in the midst of the great electrical accumulators, one recalled the importance of the discovery of the Leyden Jar, in which electricity could be bottled up and preserved for future experiment, and how Benjamin Franklin electrified the world, so to speak, by ignit¬ ing a glass of brandy in the house of a friend beyond the Schuylkill river, by means of a wire attached to a Leyden Jar in his own house, some miles distant; or how he turned electricity to first practical ac¬ count by attracting it from the clouds by means of his kite-string, thus leading to the use of the lightning rod as a means of safety against the electric bolt. But if the simple frictional electricity of the time was thus capable of producing wonders, what a grand step toward the practical results made visible at the Exposition of 1900, that was which Galvani took in 1790, when he generated an electric fluid by means of an acid and dis¬ similar metals; a step enlarged and completed by Volta, in 1800, who, in the construction of the Voltaic pile, showed to the scientific world that a new kind of electricity, one not frictional, had been discovered. Then the displays in the Palace of Electricity suggested the suc¬ ceeding rapid strides in the history of electrical science, for science it could now be called with some degree of plausibility:—how Sir Hum- THE PALACE OF LIGHT. ELECTRICITY. H9 phrey Davy blended chemistry with electricity, and how he foreshad¬ owed the arc light of the future by his discovery that if a piece of char¬ coal were inserted between the two ends of a charged wire a brilliant electric spark would be emitted; how Oersted, of Denmark, found that he could measure the strength and direction of an electric current; how Ampere, of France, discovered the identity of electricity and galvanism; how Ritchie, of England, invented the first suggestion of the dynamo and motor, in a crude machine which was capable of producing a con¬ tinuous motion by means of the attraction and repulsion between fixed magnets and electro-magnets. And again, as one stood in the presence of those monumental machines of the Exposition, how eloquent the chapter contributed to -electrical history by Faraday became. In 1831, he made known his revolutionizing discovery that by means of a coil of wire he could in¬ duce electricity from magnetism. With this coil, which he called an induction coil, he actually constructed a dynamo, which failed of com¬ mercial success, because the only source of energy he could, in his day, draw upon was that supplied by the rather costly Voltaic cells. And as the electrical science of the century, in so far as it was represented by the Class (26) of Telegraphy, bowed to the past, how vividly became the chapters which told the story of the evolution of electric transmission of speech:—How Ronalds, of England, in 1816, operated a telegraph by means of pith-ball signals; how Ampere, in 1820, suggested the deflection of the magnetic needle as a reading agent; how Dyar, of New York, in 1828, was able to write electric im¬ pressions on litmus paper; how Morse finally struck the key of success in his telegraphic apparatus and ingenious alphabet; how the world stood in amazement when, on May 27, 1844, Washington spoke with Baltimore, a distance of forty miles, by means of the electric telegraph. * 5 ° THE PARIS EXPOSITION. All this was overland. In 1842, Morse showed that submarine teleg¬ raphy was feasible. In 1848, an insulated cable was laid and operated under the Hudson between New York and New Jersey. In 1851 a submarine cable was operated in the English Channel. In 1857, Cyrus W. Field laid a cable under the Atlantic Ocean, but it broke. He laid another, in 1858, but the insulation proved faulty. In 1865, a third attempt was made, but the cable broke. In 1866, a fourth and succes- ful attempt was made. This signal triumph was the forerunner of all those immense systems which traverse the beds of oceans, and which have proved so invaluable to international commerce and the world’s diplomacy. What the overland telegraph has done toward bringing local states and communities together the submarine cable has done for the remote nations. One of the attractive features of the section of the Exposition devoted to Telegraphy was the variety of forms shown for the manufacture of submarine cables. And the same Class (Class 26) was devoted to Telephony. Here a briefer, but no less interesting history was written. How Wheaton’s string telephone of 1819 could transmit musical sounds to a distance, if the ends of the string were armed with delicate diaphrams. How, in 1854, Boursel showed that if a man spoke near a moveable disk, suffi¬ ciently flexible to lose none of the vibrations of the voice, and so that this disk alternately made and broke a current from a battery, then a similar disk at the further end of a charged wire would execute the same vibrations. This was the telephone; but it transmitted only the sound of the voice at the pitch of the speaker, and not the intonations and variations of syllabeled speech. Drawbaugh, of Cumberland County, Pa., struck the key of speech transmission as early as 1859-60, by introducing into the electric circuit a small quantity of powdered charcoal confined in a tumbler, through ELECTRICITY. *5* which the current passed. The charcoal offered just the kind of varia¬ ble resistance to the current necessary to reproduce the tones and syl¬ lables of speech. He was robbed of his invention by subsequent scien¬ tists of mercenary turn. In 1861, Reis of Germany, Gray of Chicago and Bell of Boston came into the field as rival discoverers of the speech- transmitting telephone. Their success turned entirely on the introduc¬ tion of a variable medium, like charcoal, into the electric circuit. Ber¬ liner's microphone of 1877, further improved the telephone, and so did Edison’s discoveries. The principles they introduced were those which entered into the telephones of the Exposition of 1900, but there were many new appliances of a mechanical character. The monster dynamos and motors of the Exposition suggested Faraday’s simple beginning, in 1831, with his induction coil and “New Electrical Machine.” The electro-magnet became the spirit of the dynamo. In 1848, Brett found that the induced currents of the dyna¬ mo, even as it then existed, could be turned to account for increasing the strength of the electro-magnets used in inducing them. Then the dynamo ran rapidly to perfection, by new discoveries, and by increasing the size and power of the electro-magnets, and with this perfection came its multiplied uses. It became the prime factor in electric light¬ ing. Trolley systems sprang up in cities, towns and villages. The dynamo succeeded the steam engine in hauling cars through tunnels. Dynamo plants sent electricity from such sources of water-power as Niagara to distant cities to be applied to lighting and every kind of machinery. The most brilliant of all the historic chapters of electricity, written at the Exposition, was that of Class 25—Electric Lighting. In the midst of splendor and effects never before equalled, one could not suppress the reminiscence that Sir Humphrey Davy had, as long ago THE PARIS EXPOSITION. as 1809, lit upon the phenomenon, that if he brought the two ends of an electrically charged wire mounted with charcoal tips into proximity, the current would leap from one tip to the other in the shape of a bril¬ liant arc. This was the beginning of the arc light. It needed two essen¬ tials to fit it for commercial use. One was a substance, for use in place of the charcoal tips, that would stand the heat. This came about in due time in the form of specially prepared and hard graphite carbon tips, shaped like cand'es, and so adjusted by clock-work, or by gravity, as to be kept at the requisite distance apart during the period of burn¬ ing. The second essential was a generator of electricity cheaper and more powerful than the Voltaic cell, or pile. This was met in the per¬ fected dynamo. By 1879, arc lighting was sufficiently complete to war¬ rant its introduction in cities for street purposes. Incandescent light¬ ing had a longer struggle, but under the genius of Edison it became the light for houses and halls, as soon as he discovered the proper ma¬ terial out of which to manufacture the coiled carbon filaments inside of the vacuum globes. Electric locomotion, as typified at the Exposition, opened the vista of history back to Davenport’s attempt, in 1835, to run a small car by means of the electricity furnished by Voltaic cells. Of course, this was but a toy. In 1851, Professor Page, of the Smithsonian Institute, ran a car propelled by electricity upon the steam railway between Washing¬ ton and Baltimore. He got speed, but the cost of supplying the cur¬ rent by means of batteries, the only means then known, prohibited the commercial use of the method. With the invention of the dynamo as an economic and powerful generator of electricity, and also the inven¬ tion of the motor as a means of turning electrical energy to mechanical account, the way was open all over the world for more active investi¬ gation of the question of electric-car propulsion. Different inventors, ELECTRICITY. *S3 both in Europe and the United States, placed in operation various systems of experimental street railways. One was operated in Denver as early as 1885, and the first to be operated on the trolley plan was in Richmond, in 1888. In five years’ time the new means of propul¬ sion was deemed convenient, safe and profitable. Enthusiasts say that the trolley is only the beginning of electric locomotion. This seemed true in the presence of the numerous devices shown at the Exposition, having for their object the propulsion of cars, either for the carriage of passengers or freight, swiftly or slowly, on levels or gradients, short lines or trunk lines. Most of these devices in¬ volved a third, or middle, track for carrying the electric current. In viewing the wonders of Electricity at the Exposition, not only in the Palace of Electricity, but in the many places of manufacture and industry where it was called into requisition, one could not fail to be impressed with its adaptability, power, cleanliness and noiselessness. One stood in awe before that marvellous electrical revelation which came about during the decade through the discovery of the X, or un¬ known, or Roentgen, ray, by means of which the invisible within our bodies becomes visible, and susceptible to photographic reproduction. And so of that newly discovered principle by means of which Marconi, and others, seek to transmit intelligence, through electrical agency, with no conducting medium other than the air. Then there was the impressive wonder of the electric clock not only for keeping time but for regulating time over an entire country; the wonder of electricity as used in the elegant arts of electrotyping and electroplating; in the various modern submarine devices for the destruction of ships, known as torpedoes, submarine mines, etc.; as a lighting or firing agent for guns in forts or torpedoes in harbors; in the operation of railway sigmal systems, opening and closing of switches, and limitation of safety sec- *54 THE PARIS EXPOSITION. tions; in enabling the dentist to manipulate his most delicate tools; in medicine as a healing agent; in plant growth, where a new science has sprung known as Electro-horticulture; in heating and warming, and welding of metals; in the working of fans and bells; in fact, in innumer¬ able forms that conduce to human comfort and convenience. The Palace of Electricity was popularly known as “The Fairy of the Exposition of 1900.” It was a good fairy; one of those beautiful and powerful fairies who bring to princely cradles their generous gifts. One of those fairy godmothers who lend to their daughters a little of their own charm and brilliance of their traits and characteristics, who leave on the forehead of the new-born a little of the gleam of their genius. But it was at the same time a very modern fairy. She has suddenly filled the closing century, running over and changing the face of the earth. For the past ten years she has been prodigal with the blows of her magic wand. And if prophets can be believed, her exploits will more than ever alter the life of men in the twentieth century. Her name calls up an extremely lively person, all nerves, not without caprices, clothed in brightness and enveloped in unknown mysteries: Electricity. The grateful Exposition offered her a princely hospitality in her domain. It built for her a magnificent Palace, a Palace of the “Thousand and One Nights,” as one says when speaking of architecture that is incomparable for richness and fantasy. Moreover this Palace was not hard to find. It formed the end of the tableau on the Champ-de-Mars. Bordered with gardens, the lateral facades seemed to form a hedge to lead to the triumphant centre. With their garments of clear color and their domes shining like precious mitres, they recalled religious personages ranged and robed for the pas¬ sage of a divinity. ELECTRICITY. 255 And was it not a fantasy without equal, this Palace which had no other monumental entrance than the deep porch of the Chateau d’Eau (Castle of Waters), no other staircase of honor than the giant-steps formed by the cascade? Had it not a richness incomparable, this auda¬ cious screen which shut off the perspective of the Champ-de-Mars, out¬ lined on the sky like an immense fan, concealing the fairy coquette? In the language of an observant descriptive writer, this Palace possessed one capital virtue; its distribution was eloquent. It spoke to the eyes, and recounted the genesis of energy from its origin to its applications. To go through it was to discover at the same time the philosophy of this marvelous force. First the useful places, which gave better than the gala apartments the true physiognomy of the build¬ ing. Two colossal brick chimneys, double the dimensions of the Ven- dome column, marked the extremities of the power works. Sheltered by a glass partition, between these two monuments the boilers extended in a double row. Some of them were spread out in the form of reser¬ voirs, others looked like organs with their pipes, other still modestly concealed their anatomy under brick mantles. These white-hot fires, which, during the two hundred days, devoured tons and tons of coal in order to boil the water, were the source of the energy of which the other parts of the palace showed the successive transformations. The court of boilers was behind the building, properly speaking. On the ground floor of the Palace itself was another colossal row, that of machines, called the electrogenic groups. Each of these groups was composed of a motor set in motion by the steam brought from the boilers, and of a dynamo. Under the rapid rotation that its companion communicated, it produced the electricity. In short, these were the couples which engendered the energy. And two novel transformations 2 5 6 THE PARIS EXPOSITION. had been operated before the eyes of the visitor; heat had become mo¬ tion in the motors, and motion had become electricity in the dynamos. Where did this energy go? From the boilers to the electrogenic group, the steampipes were its vehicle. From this point wires, metallic cables, rather, conducted it. All these wires converged toward a single point, a subterranean gallery in the Chateau d’Eau. There a double table, over one hundred and seventy feet long—for everything was gigantic in this establishment-reunited all these wires, all the appa¬ ratus of distribution, safety, starting, and control. It was the switch board from which the current was sent forth directly over the whole surface of the Exposition. On the first floor (second story) were the salons of Electricity. She exhibited here, complaisantly, all her little show-case miracles. She appeared as a carrier of speech and writing, recalling those benefits of telephone and telegraph, so recent, but become so necessary ,to life that they seem to have existed always. Further on, the mysterious wave showed that she had no more use for the help of a wire. She escaped from a Crookes tube through opaque bodies to a sensitive plate which she impressed; and it was the radiograph. Or, indeed, she escaped even into space; and it was telegraphy without wires. Or again, she allowed herself to be bottled; and it was the accumulator. Another time she illuminated with an intense phosphorescence the tube of Tesla that an operator placed in its vibrant zone; and it was the cold light, without doubt the light of the future. Moreover, in some galleries, which were all porches, that could be considered as part of her domain, Electricity deigned to become the collaborator of chemistry. On the way she consented to age wine, to whiten materials, to hasten fermentations. But, especially, sEe had given birth to that new science, electro-chemistry, that may be called RUSSIAN PAVILION, MADE OF METAL TUBES. (Palace of Mines and Metallurgy.) ELECTRICITY. "59 the modern Alchemy. Thanks to this prodigious force, the chemist returns, in effect, to the transformations of simple matter; he dares to face them again, as his ancestors in their search for the philosopher’s stone. And does not the electric furnace make better than gold, giving us rubies and diamonds? And yet all these miracles were only the secondary employment of electricity at the Exposition, and did not give it that original, novel physiognomy that it owed to the modern fairy. In the daytime the energy was sent from the subterranean gallery of the Chateau d’Eau all over the Exposition, and put all the machinery in motion. By this transportation of energy, the machines could be placed by the side of the objects that they had made. For each group, materials, process and products could be united, animating the exhibition and impressing its lessons in a durable manner. At night, when the motors had suspended operations in most of the closed galleries, electricity became light. Such an illumination, for power, intensity, and diversity had never been seen. The Monumental Gate and the front of the Palace of Electricity were especially noteworthy. The Seine with its bridges and its palaces turned toward the river, was animated with a Venetian life, while the scintillations of arc lights threw on the gardens a peaceful moon-light. To these useful miracles, to this animation of machinery in the gal¬ leries, to these luminous decorations, must be added the perpetual round of the railroad and the rolling platform, the indefatigable march of 27 inclined planes, and one can have an idea of the benefits, which, from the top of her Palace, the fairy Electricity conferred on the Ex¬ position. Engineering and Transportation. OOKING southward into the ornamental stretches of the Champ de Mars, from beneath the arches of the Eiffel Tower, one saw on the easterly, or right, side, and as a first presentment, the magnificent proportions of the Palace of Education and Instruction and of Letters, Sciences and Arts. Already a walk had been taken through the spac¬ ious halls and amid the wonderful displays of this superb structure. One was therefore ready to extend the walk to the next, or second, Palace on the same side of the Champ de Mars, that is to say, to the Palace of Civil Engineering. This Palace abutted so immediately on the first as to appear like an extension of it. In its numerous and spacious courts were found the all-world objects which exemplified the sixth grand group of the Exposition, the group of Civil Engineering and Transpor¬ tation. According to the M. Picard arrangement, thus Group VI fell nat¬ urally into the following classes, whose numbers began where those of Group V ended: Class 28. Materials, Plant and Processes relating to Civil Engineer¬ ing. Class 29. Models, Plans, and drawings relating to Public Works. Class 30. Carriages, motor cars, cycles, and general Wheelwright Work. Class 31. Saddlery and Harness. Class 32. Railway and Tramway Plant. Class 33. Materials and Plant used in the Merchantile Marine, Steam and Sail. 261 262 THE PARIS EXPOSITION. Class 34. Aeronautics—Balloon and Machine Flying. The exhibits of this interesting group occupied upper and lower floors of the Palace, or as the French designate them, ground and first floors (second story); and as was usual, and in most instances necessary, the larger and weightier machines and objects were found on the ground floor. Thus, in beginning one’s study of the Group with Class 28, the section devoted to it contained upon the ground floor a fine selection of the heavier materials and machines illustrative of civil engineering plans and plants, while on the floor above appeared the displays indicating the variety and quality of structural cements and artificial building stones. The Class throughout was a very full illustration of the status of modern civil engineering, and was particularly attractive to engineers and build¬ ers. One of its objects which proved to be a centre of admiration and study, especially in view of the fact that Paris was fast eclipsing all other cities in the beauty and perfection of its underground, or subway, means of travel and communication, was that comprising the model plant of the very enterprising and successful Orleans Company, where modern tun¬ neling operations have been a surprise to the engineering world. In the same part of the Palace of Civil Engineering, and contiguous to Class 28, was found Class 29, showing the models, plans and draw¬ ings relating to Public Works. This, again, was a centre of peculiar in¬ terest to civil engineers and contractors. It exemplified roads and other public means of communication by land; bridges and viaducts of every conceivable shape, strength and engineering device; inland navigation; means of conserving the waters of rivers; canal construction, with its dams, locks, elevators, fixed bridges and draw bridges, reservoirs, feed¬ ers, pumping stations, mechanical warping and towing paths, plants and implements used at river ports. Then under the head of seaports were shown the general arrangements, the jetties, basins, locks, swing bridges; the plant and implements—where the same had not been in- THE BRIDGE OF INVALIDS AND STREET OF NATIONS. ENGINEERING AND TRANSPORTATION. 26 $ eluded under shipping—in use at seaports; maritime canals; sea-coast illumination, buoys, light-houses, light-ships and beacons; wing-dams, rip-raps, levees and other works for protection against flooding by river and sea. And here, too, were shown the office, or early engineering, work upon railroads, that is, how they were treated upon paper as re¬ gards plan and profile and preliminary calculation and estimate; also exemplifications of the best means and methods of the construction of roads and streets in towns and cities. Means of affording a plentiful and pure water supply for cities were shown under this Class 29, as well as modern systems of sanitary engineering and gas lighting, to¬ gether with network conduiting for telegraph and other tubing systems worked by compressed air. To crown all was a plentiful display of books and maps containing statistical and other engineering information re¬ lating to public works, and particularly to those which appertained to the Exposition of 1900. The exhibits of Class 30 proved to be a delight, and a revelation, to those loving to hold the reigns, to speed on the bicycle, or to spin to the hum of the automobile. The Class possessed a charm for the amateur as well as the closer observing engineer. It embraced all vehicles intended for traffic on roads, excepting railroads, from the sim¬ ple roller skate to the huge motor omnibus. There were numerous sub¬ divisions, or sections of the Class, in which were found all the modern appliances for the manufacture and control of carriages, wheels and cycles; and for the technical exemplification of new-fangled motors, gas engines, motor cycles, automobiles, velocipedes, machine moved trans¬ ports and tradesman’s vans, delivery wagons, as well as magnificent car¬ riages, coaches of state fitted up with harness and other accessories, mail coaches, drags, phaetons, buggies, sulkies, pony carriages, sleighs, great automobile omnibusses. An annex connected with this Class was erected in the suburban Vincennes Wood, where automobiles, cycles and *3 266 THE PARIS EXPOSITION. other auto-motors were placed on exhibition as to speed, endurance and general utility. On the ground floor of the Palace was found the abode of Class 31 of the Group. This Class was devoted to exhibits of Saddlery and Harness. It embraced a display of riding and stable harness for horses and for draught animals. State harness, saddles, bridles, harness for public service and carriage harness, and all parts of harness and ma¬ terials and inventions connected with saddlery and harness making. The united Centennial Museum of these two classes is full of in¬ terest. It consisted of a complete collection of ancient carriages; a Roman chariot, a litter, a post-chaise, sedan-chairs, a travelling car¬ riage of Louis XV., a wheel-barrow chair borne by two mules like a sedan-chair, a Louis XV. sleigh, the campaigning carriage of General Mortier, a “berline” of the Empire, a State coach of the 18th century, and a landau all harnessed with horses and footmen complete. This collection was succeeded by another of small models of coaches and carriages constructed during the last twenty years. Beyond this were found the State harness of the Empress, the goat-chair belonging to the Comte de Chambord, Prince Murat’s State harness, Baron Vittea’s grand collection of bits and bosses; a collection of engraved spurs, an old mail-cart, harnessed, and a very curious retrospect collection of cycles. The mention already made of Class 28, the first class of this inter¬ esting Group, or the class embracing materials, plant and processes re¬ lating to civil engineering, was of that portion of the class which was found on the first floor (second story). Reference must now be made to that portion of the class which was found on the ground floor. Here were found a great number of building materials other than timber or materials from quarries, metal and ceramic products. Here were ENGINEERING AND TRANSPORTATION. 267 lime, cement, plaster, artificial stone and so forth that one sees, together with plant and method used in the production of these materials. Then there followed the method used for testing building materials, the work¬ ing up and preparing of building materials, the implements and methods used by stone dressers, stone cutters, masons, carpenters, slaters, joiners, locksmiths, plumbers, glaziers and painters, and also those employed for earth work, the hand tools that are needed, exca¬ vators, dredgers, barrows, tip wagons, contractors’ rails, hand cars and trucks; then there were plant, other pumps, and methods used in making foundations, such as pile drivers, piling, screw piles, pneumatic apparatus and the plant and method used for the transport and dis¬ tribution of materials, as well as maintenance of roads, streets and public promenades. Class 32 of the group was devoted to Railway and Tramway Plant. It consisted of two sections, one representing steam railways, the other tramways, or street railways. Parts of each of these, that is, parts which showed speed of travel, were not in the Palace, but were relegated to the Bois de Vincennes (Vincennes Woods), where the areas permitted the laying of tracks and speed exhibitions. There, close by lake Dau- menil, one found Mr. Baudry’s celebrated electrical engine in opera¬ tion, with its speed of seventy-five miles an hour. This engine made its first successful experiments in 1897 and in 1898. At these trials a speed of sixty-two miles an hour was easily attained, while drawing a load of one hundred tons. Further trials were designed, tending to show the conditions necessary to establish a scheme of electrical trans¬ port on a reliable financial footing. The Western Railway, which was about to transform its connecting lines into electric ones, had here a series of exhaustive displays. 268 THE PARIS EXPOSITION. But to go back to the Palace. There in the section of Class 32, devoted to railways, were found numerous exhibits of locomotion and rolling stock. Passenger carriages of great variety were shown, vans and goods wagons, as well as separate parts of the same, continuous brakes, train signalling apparatus, engine sheds, engine works and re¬ pairing shops, snow ploughs, measuring instruments, dynamometers, and various kinds of indicators. Relating to traffic, there were the train diagrams, schemes for the distribution of rolling stock, plans for cleaning and disinfecting. There were movable signals and other means adopted for securing the safety of traffic, tickets, ticket cases, notices, lists of fares, and all that, including goods traffic, goods rates, and methods and plant adopted for storing and handling goods. Then came a variety of systems of railways; these included rack, cable, overhead, and sliding railways, and movable platforms, and motor or other forms of engine used for propulsion, as well as the roll¬ ing stock connected with all this. The next section was devoted to tramways, and in this were shown various types of permanent way used on different kinds of roads, the points and crossings necessary, the turntables, the turning loops and triangles, and implements used for track laying and cleaning. With the rolling stock for tramways were also shown the brake gear, and the plant used for storing power, whether it be hot water, compressed air, electricity or what not. The transport of ships over railways was also shown, and to end up with, statistics and special maps and works re¬ lating to railways were to be seen. The South African Line made a very interesting exhibit of its narrow gauge system. The Centennial Museum of this section was represented by a very remarkable series of exhibits, in the form of the first train to St. Ger- SHIP OF CHOCOLATE. ENGINEERING AND TRANSPORTATION. 2; i main with Stephenson's locomotive, “Evicta,” the attendants being dressed in the costumes of the first half of the nineteenth century. Class 33 of Group VI. was a large and imposing one, and found a home by itself. The Class embraced Material and Plant used in the Mercantile Marine. It was found in the Mercantile Marine Palace, or Palace of Navigation, situated on the left, or south, bank of the Seine, to the immediate right of the Jena Bridge, and between a portion of the Seine front of the Champ de Mars and the river. This Palace was a capacious structure, without any stated architectural lines and with no pretentions to beauty. The principal entrance to it was facing the Jena Bridge. The space reserved for French exhibits of the Class occupied about one-half of the area covered by the building. The balance of the space was occupied by the exhibits of Spain, Austria, Russia, Germany, United States, Netherlands, Italy and Great Britain. The Palace consisted of two stories, or, as the French put it, a ground and first floor. On the ground floor one noticed with pleasure the decorations of the wooden joists, representing anchors, escutcheons, and various naval allegories. A grand gallery ran parallel with the bank of the Seine. There was a large central hall, over whose middle rose a cupola, and up from which one mounted to the first floor (second story) by means of a magnificent staircase. The first floor also con¬ tained a spacious hall and a grand gallery. The ground floor gallery fronting the Seine was the scene of a great number of exhibits of life-saving apparatus, in competion for a prize of $20,000 offered for the best by the heiresses of Mr. and Mrs. Anthony Poliak, who were lost in the wreck of the ship Bourgogne. Here also were exhibits of greatly improved arrangements for the launching of life-boats. 2J2 THE PARIS EXPOSITION. The grand staircase was made the scene of a highly decorative exhibition of objects belonging to the French Yacht Union. They consisted of boats, yacht regulations, flags, signals and other parapher¬ nalia connected with yachting sport. Under the cupola was a small-sized boat, with all its apparatus, exhibited by the Central Life Saving Society; also a sailing boat and petroleum boat built by the celebrated Tellier firm. Here also were important exhibitions of the Suez Canal. Under the hall was a Retrospective Exhibition from 1800 of models of merchant vessels, and a very fine collection of large and small coasters. Still continuing under the hall were the respective ex¬ hibitions of Russia, Germany, the United States, and Great Britain, of their commercial navigation, ship’s boats full size, mooring-cable’s, cranes, life-saving objects. To the right of the Palace, in the part near the Moulineaux Railway, were exhibitions of hemp and steel cordage by the firms of Max Richard and Segris et Bessonneau, and full size reproductions of engines and boilers, by the firms Delauney-Belleville and Niclause et Turgan. Ascending to the first floor (second story) one found at the top of the grand staircase a fine exhibition of models of boats by the General Navigation Companies of Havre, Paris, Lyons, Marseilles. In the Gal¬ lery surrounding the cupola was a magnificent exhibition of life-saving objects, arrangement and equipment of vessels, implements, etc., by the firm of Meteyer. On the Bridge in the centre was an exhibition of raw materials, paint, etc., for shipping, and magnificent saloon from the works at Grenelle. To the right in the gallery surrounding the hall was an exhibition of models of boats by the companies of the “Loire ship-building yards,” the yards of the “Mediterranean,” and the works of M. Statre Sons of Lyons. ENGINEERING AND TRANSPORTATION. 273 To the left were models of the boats of the transport companies, steamers and sailing-vessels of the Transatlantic Company, the com¬ bined shippers and the Havre Peninsular Company. Facing this com¬ pany’s show-case was an Exhibition by Jeanselme, water-color draw¬ ings representing the arrangement of Atlantic liners. Among the for¬ eign sections the most interesting were those of Great Britain (2 sec¬ tions) ; the Germany section, crowned with a reproduction of the Ham¬ burg light-house; the Italian division, the Russian and the American. The Pavilion of Maritime Transportation stood behind the Moul- ineaux Railway, between the Jena Bridge and the Pavilion of the Cham¬ ber of Commerce. Its low construction and its roof put one in mind of the hull of a vessel turned upside down. It was surmounted by several masts, adorned with flags used on the company’s vessels. The Company of Maritime Transportation seized the occasion of the Uni¬ versal Exhibition to celebrate its fiftieth anniversay, and it formed a retrospective and a present-day exhibition; so that one could judge of the progress made by its works during this period. In close proximity to the Mercantile Marine Palace, and just across the Moulineaux Railway, stood the Paris Chamber of Com¬ merce. This institution enjoys world-wide reputation and authority ;and is the only Chamber of Commerce in France which possesses thirty- 1 six members instead of twenty. It also boasts two vice-presidents, and two secretaries. Owing to its importance therefore in the World of Commerce, it was decided that all its various sections should be ex¬ hibited under one roof. A beautiful Pavilion was, therefore, designed by M. Roy to the left of the Jena Bridge, somewhat in the style of the Trianon. This charming edifice contained a reception hall, an equally fine exhibition or section and a suite of rooms for M. Masson, the Presi¬ dent of the Chamber. THE PARIS EXPOSITION. 274 The collection consisted of a series of engravings and photographs and “reductions,” which served to illustrate the worth of the Chamber of Commerce of the city of Paris. Besides these there was an interest¬ ing library of books connected with the same service. The various machines for drying silks, analyzing paper, and determining the right weight of various articles of commerce were exceedingly interesting. The Custom House exhibits were also in this Section, as well as those for determining the weight and carrying power of fire arms, which ren¬ ders Parisian manufacturers independent of Liege and St. Etienne. The Chamber of Commerce also exhibited matter connected with the various water works. Commercial schools for both sexes, under its special direction. The exhibits of the National Office of Foreign Commerce were also included in this Section. Class 34 of this Group was devoted to Aeronautics. This Class, by reason of the large and clear open air space required, was displayed in the Bois de Vincennes (Vincennes Woods), one of the handsomest of the environs of Paris, and accessible by trolley and steam cars, and by water. The scene of the exhibition of Aeronautics was near the southeast extremity of the grounds. Here balloon ascensions took place every Thursday afternoon from May to September. There were other aerial exhibitions such as scientific kite flying, etc. The balloon ascensions were competitive, and in the nature of aerial races, the strife being to break records of lofty flight and win prizes. Large crowds attended these flights of races, especially the one on the 17th of June, which was the most beautiful. The maneuvres of the swelling balloons attracted a certain interest, but it was the simultaneous departure of a numerous flotilla which excited popular enthusiasm. In making serious races, the true handicap is to have all the balloons depart at the same time. The caprices of the air are so great ENGINEERING AND TRANSPORTATION. *75 that two balloons ascending from the same place a quarter of an hour apart cannot have the same temperature, or clouds or wind. On the 17th of June, ten balloons of elaborate construction and large size, were sent up from Vincennes, by experienced aeronauts, but the time of flight was not extended by an hour; on the contrary it was diminished 11 hours. The record had been 29 hours, and the victor of July 7 re¬ mained only 18 hours in the air. The race of June 17 was surprised by a storm, which permitted M. Genty, director of Aerostatic Park of Toulon to make some inter¬ esting observations on board the victorious balloon, and to communi¬ cate them to the Academy of Sciences. But the advantage that science might have derived from a night flight, in which the aeronauts navi¬ gated in the midst of the lightning was lessened by the fact that certain of the contestants, who had given evidence of great technical skill, were obliged to descend to the ground because a part of their ballast had been put under seal. The inconveniences of handicapage were even more apparent in the race of June 24, where the prize was awarded to the contestants who attained the greatest height. The victorious bal¬ loon only reached a height of 28,000 feet, although numerous ascen¬ sions with illuminating gas have reached 23,000, and even 26,000 feet, without the aid of oxygen gas that the aeronauts had the right to breathe in the race of June 24. The baMoon enclosure of the Exposition contained an elegant monument, which remains in the Forest of Vincennes for the various usages of aerial navigation. Agriculture. N seeking a view of the Palace of Agriculture one could not avail himself of the magnificent vista of the Champ de Mars (Camp of Mars), for it was ended by the gorgeous intervening facade of the Palace of Electricity and Castle of Waters; and yet for spaciousness and adaptation, hardly any Palace excelled that of Agriculture. It occu¬ pied the entire rear space of the Champ de Mars, except that central part which was taken up by the Salle des Fetes (Hall of Fetes); that is, it backed up the Palace of Electricity, extended its southerly front the full width of the Champ de Mars, along the Avenue Motte-Picquet, its right front along the Avenue Suffren, and its left along the Avenue Bourdon- nais. The side next the latter avenue was occupied by the French ag¬ ricultural section, that next to the Avenue Suffren by the foreign sections of the agricultural exhibition. It was thus not only conveniently sit¬ uated for admission, but was susceptible of ready sub-division for the purposes of departmental displays. The important subject of Agriculture formed the seventh grand group of the Exposition of 1900, according to the M. Picard system of arrangement, and this group—Group VII—was divided into the fol¬ lowing classes, its numbers beginning where those of Group VI left off: Class 35. Implements and Processes used in Rural Cultivation. Class 36. Appliances and Processes used in Vine Culture. Class 37. Appliances and Processes used in Agricultural Industries. Class 38. Theory of Agriculture (Agronomy)—Statistics. Class 39. Vegetable Food Products. 2 77 THE PARIS EXPOSITION. Class 40. Animal Food Products. Class 41. Non-edible Agricultural Products. Class 42. Useful Insects and their Products—Destructive Insects and Parasitic Plants. An important interior arrangement of the Palace of Agriculture must here be noted. It was, especially as to the French section, the home not only of the group (Group VII) embracing Agricultural exhib¬ its, but also that of its associate Group (Group X), embracing Food Products. Not only was this so as to the two groups themselves, but when they were classified, the respective classes were so arranged as to be, when possible, in juxta-position; and further, that intimacy of posi¬ tion was supplemented by similarity of kind or quality, the general intent and effect being to continue the lines of agricultural production objec¬ tively through to those of food production or preparation, the two being, as it were, associate. Thus, when one had seen, for instance, a grain from the standpoint of an agricultural production, it was a prime object lesson to view it in a near-by section from the standpoint of a food pro¬ duction, that is, as it was undergoing the process of conversion into edible and nutritive form. It was just such minute, ingenius and intel¬ ligent arrangements as these that made the entire Exposition so strik¬ ing, instructive and faithful to the true educative principle. Class 35, the first of Group VII, naturally occupied a large space in the Palace of Agriculture, and also many of its annexes, or extensions. It was redolent of the farm, and one felt amid its mazes as if transported to some rural scene, enlivened by husbandmen and the paraphernalia of earth cultivation. Here were the implements and the processes which exemplified French tillage. It would be well for the reader to remember that the scene lay in that part of the Palace containing the French exhibits of this agricultural class (Class 35), and that as yet the right hand section of the Palace containing the agricultural exhibits of HORTICULTURAL HALL—FRENCH SECTION. HORTICULTURAL HALL—FOREIGN SECTION. AGRICULTURE. 281 foreign nations, in all their endless variety, had yet to be visited. To continue them, here also were found numerous interesting specimens of the various types of rural cultivation; plans and models of farm build¬ ings; general arrangements of buildings and farms; sheep-runs and sheep-folds; cattle sheds; pig styes; paddocks for breeding purposes; special arrangements for breeding, rearing and fattening cattle; stabling and stable utensils; sheddings; kennels; and innumerable other objects illustrative of this feature of rural cultivation. These were appropriately supplemented by exhibits showing the practical activities of farming, as, for instance, the treatment of animals when sick; and here were brought to view the appliances and methods used in modern veterinary surgery; improvements in agricultural engin¬ eering, as in the draining of bogs, fens and marshes; appliances used in husbandry; dealing with the clearing and planting of land; preparation and preservation of crops; harvesting; preservation and use of manures; making of artificial manures. Then there were agricultural implements of a variety of forms and uses—those drawn by horses and oxen, or pro¬ pelled by wind, water, steam and electricity; also locomotive agricul¬ tural machines and horse gears; windmills, pumps, road transports, corn cribs, silos, and appliances for preparing food for animals. Perhaps no interest in France, classed as agricultural, is of greater moment than the culture of the vines. This, then, became the subject of a class by itself—Class 36, of Group VII, or the class devoted to the Appliances and Processes used in Vine Culture. This class furnished a signal instance of that associative arrangement, before mentioned, of kindred classes which went so far toward heightening the instructive value of the Exposition of 1900. It found a home in a very handsome separate building, which also housed Class 60, of Group X, the group being that of Food Products, and the class being that of Wines and 282 THE PARIS EXPOSITION. Brandies. One could thus instinctively associate the entire science and business of agriculture with its practical results. In the spaces allotted to vine culture one found in neatly arranged form the types of buildings, tools for staving in, vine ploughs, hoes, and implements used for grafting, pruning, and gathering. A collection of roots was shown, also the appliances used in vintage, in wine sheds, in cellars, grape pickers, wine pressers, and the system of wine making, together with the methods, appliances, and materials used for preserv¬ ing wine. Diseases of the vine, and the best methods of checking them, were also dealt with. As already stated, Class 36 was intimately associated with its sister Class of Group X.—Wines and Brandies. The two occupied a dis¬ tinct and remarkably handsome building capable of sheltering 7,000 visitors, and the joint exhibit was known as the Wine Section of the Exposition. To the left of the principal hall was the gallery or space for vine-culture, as above mentioned. In it was a diorama painted by the artist Decouchy. It represented one of the most typical vineyards of the Champagne district during the season of vintage. Beside it was a model, one-tenth in size, of a wine-maker’s press, at the moment the grapes were being brought in, with the weighing and pressing of the grapes. A long glass case nearby was crowded with a series of ex¬ hibits representing in natural order the steps of vine-growing from the spring-pruning to the vintage. Opposite this case hung a bas-relief map of the Rhenish vineyards, with the details of the wines peculiar to each district. Before leaving this building the visitor should have inspected the gallery of Accessory Industries, where the Syndicate showed specimens of all the principal industries owing their existence to the champagne trade. First came champagne bottle manufacture, with a replica of a AGRICULTURE. 283 furnace one-tenth real size; then cork, of which Champagne imports eighty millions annually from Spain; then candied cane sugar, used for thickening the effervescence and sweetening the wine, and lastly the ingenious tools used in the work and the industries which produce all the necessary articles for making up the bottles, that is to say, the labels, metal caps, sheets of tinfoil, wire, etc. Descending to the ground floor one came to a model wine-store belonging to Class 36, which represented a typical wine vault and its contents, from press and vat to the bottling and labeling. Further on, the Haute Garonne showed a fragment of a cloister surmounted by a brick belfry. Quite close was a Tower of Justice by Carcassonne, in the interior of which was seen, through a window, a diorama repre¬ senting the City Brewery. To inspect the wines o»f Le Gard one passed under the ruined gateway of Augustus; here was also an exhibit from Herault; the Saumur syndicate had a very fine pavilion in Renaissance style, and a small building erected on rollers, which continually turned round and round, and presented in turn its various exhibits. The wine merchants of the Seine were quartered in a Renaissance building, the component parts of which were taken from the works of Jean Goujon; the nymph of the Seine adorned the front. The Boissons department reminded one of the fine wines the monks produced. Next to it was a handsome Louis XIV. fountain. Finally, the department of the Upper Loire had a picturesque Breton belfry. Among the large pavilions there were scattered here and there all sorts of little kiosks, wine arbors, and drinking bars belonging to indi¬ vidual exhibitors. All around were shown the implements of wine culture peculiar to each district, wine grower’s ploughs, tools for grafting and pruning, vine slips, winesheds, presses, plant for use in wine making and fer- 284 THE PARIS EXPOSITION. mentation. One noticed particularly an enormous champagne bottle in cask-staves, the hydraulic wine-presses, the Moet settling-stick, and a copy on a small scale of a Burgundian vatting cellar. These two classes (36 and 60) had also annexes in the Avenue Motte Picquet, near the Avenue Bourdonnais. One noticed the Mer- cier pavilion, composed of two casks, connected by a bell tower, in the interior of which a cinematograph showed views of the Mercier cellars at Epernay, and the enormous tun of M. Fruhinsoliz of Nancy, which measures 18 metres by 19, and holds 4,200 hectolitres (110,000 gallons). The products to be submitted to the International Jury were ex¬ hibited in a room in the Government warehouse on the Q. St. Bernard, on the same side as the PI. Jussien. The Retrospective Museum consisted of a very interesting ex¬ hibition of ancient wines and wine-presses. Here were also representa¬ tions of a dairy farm of bygone times, a bakery with its old kneading- trough, a cook-shop, in which everything reminded one of some old Ragueneau, a confectioner’s shop with its working rooms, a small ale¬ house where beer was sold in jugs, an arbor in which the cheapest French wine was on sale, and the rustic wine-press of a by-gone time. The attendants were in national costumes and the whole exhibit was interesting and animated. The next Class (Class 37) was devoted to Appliances and Processes used in Agricultural Industries. Here were examples of agricultural factories connected with farming, dairies, creameries, and butter fac¬ tories, cheese dairies, agricultural distilleries, and starch factories, mar- gerine factories, and those for the preparation of agricultural textile fabrics. Hen roosts, dove cots, and pleasant walks, and appliances for artificial hatching and fattening of poultry were also to be seen. PAL,ACE OF HORTICULTURE. AGRICULTURE. 287 Passing through that part of Class 35 (already mentioned), de¬ voted to plants, etc., used in rural cultivation, one came to Class 38— Theory of Agriculture, and Agricultural Statistics. This department of the Exposition was of great professional interest. Here were dis¬ played studies relating to soil and to water from an agricultural point of view. Agrological charts, climatic charts, and others, were here shown, together with returns of cultivated lands, census of live stock, and the progress accomplished, especially since 1889, in agriculture, and its successive changes. Statements of fluctuation in rent, price of land, labor, live stock, crops, and animal products. Institutions and societies for the promotion and advancement of agriculture, agricul¬ tural experimental stations and laboratories, with plans, models, organ¬ ization, staff, implements, accounts, work. Agricultural and popular banks, charitable and benevolent institutions, and agricultural insurance offices, together with books, papers, statistics, diagrams, and periodical publications. Agronomical charts indicating the distribution of the agricultural population, the number of farm animals and profit derived from them; plates representing the diseases which afflict agriculture, with the most recently devised remedies. There was also a cinemeta- graph which showed life on a typical French farm. Class 39—Vegetable Food Products—was also of essentially pro¬ fessional interest. It embraced the cereals and oil-giving and sugar- yielding plants and their products. Here were seen fine exhibits of wheat, rye, barley, rice, maize, millet, and other cereals in sheaves or in grain. Broad beans, peas, lentils, potatoes, beetroot, carrots, turnips, and mangold wurzels. Saccharine plants such as beetroots, sugar cane, sorghum, and various plants, including coffee and cocoa, olives and edible vegetable oils, forage, stored or in silos, and fodder for cattle. 14 288 THE PARIS EXPOSITION. The next Class (Class 40) was devoted to Animal Food Products, such as edible fatty substances, oils, fresh or preserved milk, fresh and salt butter, cheese, eggs, etc. On the left hand side of the Palace near the Gallery of La Bour- donnais stood a chalet devoted to the industries connected with milk: the architect was M. Binte, who also designed the monumental porch of the Place Concord. On the ground floor of the chalet was the dairy belonging to the Cooperative Societies of Charente and of Poitou, where butter is made by the latest processes, and also that of the cheese industry of Franche Comte Ain, and Savoy, which makes Gruyere. In the front a milk-bar was set up, at which butter could be tasted; it was connected with the bar on the floor above by the moving staircase. Following Class 40, came Class 41, devoted to Non-edible Agri¬ cultural Products. Here were exhibits of the textile plants such as cotton, flax, and hemp in sheaves, ramie, textile vegetable fibres of all kinds. There were plants producing oil in stalk or in seed, non-edible fats and oils, and plants containing tannin, as well as those used for dyeing purposes. Tobacco in stock, in leaf, and in seed. Hops, plants, and seeds from natural or artificial meadows. Raw wool, washed or unwashed, bristles and hair of domestic animals, and feathers. This section was rendered very attractive by the ingenuity of the exhibitors, who had not spared themselves to ensure success. Near the entrance one passed between two wharfs into a vessel constructed by the firm of Menier, an exact reproduction of a ship of the time of Louis XV., with its rigging, its masts, its decks, and its lookouts. The effect was striking. The interior was curiously arranged. Down below, in the hold, one got a glimpse of the workshops in the Noisiel factory, a model chocolate factory in actual work. Between the decks there was a diorama, also panoramas of views in the countries in which AGRICULTURE. 289 cocoa, sugar-cane, etc., are produced; on the decks and in the lookouts charming saleswomen disposed of the products of the firm. On the sides of the vessel, on terra-firma, all kinds of confectionery, cakes, drinks, condiments, stimulants, and spices were exhibited and might have been tasted. Class 42 showed a peculiarly interesting exhibit of useful insects and other kindred products, also destructive insects and parasitic plants. Here were also found systematic and scientifically arranged collections of both useful and destructive insects, bees, silk-worms, and other bombycidae, and cochineal insects. Then there was a fine display of appliances for rearing and keeping bees and silk-worms, also an ex¬ hibition of honey, wax, and cocoons, together with appliances and pro¬ cesses for the destroying of noxious and injurious insects. If anything, the Foreign Sections of the great Palace of Archi¬ tecture, were even more interesting than those of France. This was particularly true of the sections occupied by the United States and Germany. Everybody said that commercial France had made a tre¬ mendous effort to regain and hold prestige through her Exposition. The United States and Germany are the two nations which have within the decade made such forward strides toward industrial and commer¬ cial supremacy that the older nations, England and France, have be¬ come justly alarmed. There is no stopping either of these two young giants. The Exposition of 1900 certainly served to accentuate their merits. The patience and thoroughness of Germany have made its scientists hold first position in the world. Their inquiring minds, their habits of travel and study, lately their firm political footing amongst the powers, have made them fit and apt to reap the benefits of centuries of quiet thought. 290 THE PARIS EXPOSITION. In the United States the century of pioneering, the gradual amal¬ gamation of varied elements, have stimulated inventive genius, versa¬ tility, the instantaneous action and reaction between brain and brawn. And so it came about that under our flag, which waved here and there and everywhere in the various parts of the Exposition, work of a very high quality was shown—the work of a young nation, which still is regarded with respect, sometimes with awe, by the older ones. Every¬ thing sent on by the United States was extremely practical and solid in quality. As to its products and resources, whether in the showing of its gold and silver mines, or its fruit and grain, there was a bounty, a largeness, a perfection of quality about them that inspired a confidence in our commercial and industrial future, which can not even be shaken by any political vagary that we might commit. Next century will probably be our century—the great American rise, beyond the belief, calculation, hope, of anybody now living. At the entrance of the great hall of the Palace, on the left, stood the Swiss Pavilion in which was represented its agricultural displays. It was built in an unusual style. The roof of its monumental gateway was covered with grey and gold scalloped moldings, and supported with three light arches surmounted by slender turrets. The galleries of the ground floor and first floor—the bays and porches of which were decorated with richly-colored designs—were divided into elegant halls separated from one another by domed pas¬ sages. The Swiss Pavilion contained an exhibition both of the pro¬ ducts of the land, and of all the industries of the 22 cantons. Groop 1—Swiss display of wines, liquors, etc. The wine-gallery was richly ornamental. From the projecting beams of the ceiling were suspended enormous bunches of grapes, while the walls were adorned PALACES ON THE SQUARE OF THE INVALIDS. agriculture. m with pictures representing different Swiss vineyards. In the smaller rooms were exhibited beers and fine liquors, kirch, cognac, etc. Group 2, next to above-mentioned, contained exhibits of Dairy industries. First room: a modern cheese-dairy, with improved plant; next to it are all kinds of exhibits connected with the milk-trade. Goods manufactured by the firm of Nestle, of condensed milk fame, who produce some 32,000,000 tins yearly. Another room was devoted to preserved fruits, etc., especially those of Stadlen and of Maggi. Group 3 was devoted to models of the latest improvements in mill machinery. At the end of this group were rooms containing exhibits of biscuits and sweetmeats. Behind was an agricultural exhibition showing, among other things, improved farm apparatus. At the lower end of the hall, Geneva had an exhibition illustrating the science of physics. United States Group.—On leaving the Swiss Pavilion the United States section lay to the left. It occupied almost the whole length of the palace, and was surrounded by a vast arcaded gallery, similar to the market-place at San Francisco. To the right and left of the prin¬ cipal entrance were bells of liberty, reproductions of the bell being sounded on the opening of the War of Independence. The large door¬ way was ornamented with flat, heavy pylons, and surmounted by the American eagle. The show cases inside contained various products of the soil: cereals, sugars, salted and preserved meats, wine from San Francisco and Chicago, teas and coffees, and choice samples of the various pro¬ ductions of the forests. In the annex on the right of the section was a grandly imposing exhibition of improved agricultural implements; thrashing, crushing, and mowing machines, reapers and binders, plows, harrows, cultivators, and every species of improved farm machinery. 294 THE PARIS EXPOSITION. In front of the United States section were three others: Germany to the left, England in the middle, and Denmark to the right. 1 German Section:—The building was elegant, of one story, and consisted of a series of arbors in carved wood, decorated with foliage and green vine branches and grapes. In the show cases are exhibited various German products, particularly liqueurs and fruits, varieties ofi vegetables, besides flowers and gardening tools. English Section:—This section contained an exhibition of grains, fruits, vegetables, hops and farinaceous and oil-giving plants. Stout and pale ales, whisky, rye-brandy, English liquors, preserved meats and Cheshire cheese were also displayed. The Danish Pavilion:—This display was in a very elegant building. It contained an important exhibition of cereals and grains. Flours were shown by the Copenhagen Steam-mills Company, Agricultural Implements. Specimens of improved plant for use on farms and dairies were shown. In the middle of the palace was the Portuguese Section, in which stood a Portuguese restaurant. To the side were cases containing fresh and preserved fruits, oranges, lemons, figs, etc., as well as port wine and Madeira. In the other half of the Hall, quite close to the Salle des Fetes, was the Russian Section. Here were show cases in massive wood, carved and gilt, surmounted by turrets with white and yellow tiles. Sugars, teas, coffees, vegetables and Russian wines were among the exhibits. Next to Russia, in the corner of the Hall, on the same side as the Avenue Bosquet, was the Swedish Pavilion of carved wood, brightly colored and ornamented with some unpretentious sculpture. Its ex¬ hibits included examples of the Alfa Laval Milk Separator. A small dairy with special plant for the making of butter, shown by the “Ra- AGRICULTURE. 295 diator” Company, different agricultural machines, apparatus for pre¬ paring Swedish punch and chocolate, and for preparing and preserving anchovies and fish of all kinds. After Sweden came Italy, with exhibits of varieties of wheat and of maize, cheeses, preserved fruits, macaronis, and other pastes, wines, such as Marsala, Zucco, Lacrima-Christi, etc. The Hungarian Section, which followed, was placed in a pavilion charmingly decorated with foliage of the vine and grapes in high relief. Various Hungarian products were displayed. Models showing the ar¬ rangement of schools of agriculture and industrial chemistry, school machinery and furniture. Along the walls were paintings representing different mining and agricultural regions of the country. There was also a section devoted to Hungarian wines, including Tokay. Next to Hungary came the Austrian show cases, in which were exhibited various products of Austria, sent by the Agricultural Com¬ mittees of Prague, Lemberg, and Vienna, different kinds of apples, beetroot sugar, malt, vegetables from Silesia, Austrian wines from Bohemia, Lower Austria, Melnick, Voss Cauer, etc. Coming back towards the entrance door of the hall one found the large Spanish Pavilion, Moorish in style, built like a mosque and en¬ riched with mosaics and arabesque paintings. The principal entrance on the left was a large castellated gateway with a pointed arch, sur¬ mounted by an elegant cupola. It was a reproduction of the archway at Grenada, known as the Wine-Gate. There was here an exhibition of food-stuffs, grains, and seedlings, olive oils, fruits, oranges, lemons, Spanish wines, Marquis de Merito, sherry, Andalusian wines, etc. The chief exhibit of Norway was a large case of preserves, one of its greatest industries. There were also samples of the well-known Nor¬ wegian beer. Bulgaria exhibited wines and beers from the Royal THE PARIS EXPOSITION. brewery. The Agricultural Exhibition closed with exhibits from Hol¬ land, Roumania, Japan and Turkey. In the Avenue de Suffren was to be seen the Swedish “Alfa Laval” cream separator, and the model of a German baker. Horticulture and Arborculture. NE of the most agreeable charms of the Exposition of 1900 was the extent to which it was flower-decorated and tree- embowered. One walked beneath interminable and gra¬ cious shade, or, at least, was never out of sight of cheerful foliage. Trees were everywhere, and they seemed to stand for a Parisian ideal of beauty and comfort. One of the earliest forms of worship was that of the tree, and it almost seemed as if Paris was still addicted to a nature-worship in which trees stood as conspicuous em¬ blems. Rather than use the axe in one of the buildings dedicated to American exhibits, a row of living trees formed the columns of the aisle, and, carrying their foliage beyond the roof, offered a pleasant protection from the summer sun. It is almost an impossible undertaking to describe that, group (Group VIII) of the Exposition which embraced the subject of Horti¬ culture and Arborculture. It was the most ubiquitous and pervasive group of the Exposition. Indeed, it was not inaptly described by the Frenchman who, either to conceal his ignorance of a situation, to pique further curiosity or to indulge a just pride, answered the query of a vis¬ itor to the Exposition, as to the location of the Horticultural and Arbor- cultural group, with, “Look all about you.” If the group, as a distinct arrangement and imposing part of the Exposition, were not really all about and always around one, nevertheless, one seldom passed beyond the delightful effects of flower, shrub and tree. They were the glory of the esplanades and avenues, the invitation of boulevards and streets, the charm of plazas and walks, the smile of vistas and nooks. The genius of the landscape gardener was at its best when it met that of the arborcul- 297 THE PARIS EXPOSITION. -$8 turist in the resolve to make the embellishment of flower, shrub and tree foliage one of the most marked features of the Exposition, and a solace and wonder to all comers. One might have reveled for an entire season amid the bright color and inviting shade of the Exposition, and dreamed that all the delights of a visit to the Horticultural and Arborcultural group had voluntarily come to him. But one could not visit the Exposition to dream, to surfeit the smell with the odor of flowers nor the sight with their variegated colors, to enjoy the balm of shady trees. A sense of duty forbade. There was an object in view, business ahead, a pocket to consult, a time for home returning. One could never get away from the M. Picard arrangement of exhibits. It was so intelligent, so comprehensive, so helpful, that one wished to sail by no other chart. Let us see what it said of the subject of Horticulture and Arborculture. They constituted Group VIII, of the grand groups of the Exposition. Let us see further how he has classified this group. Begin to number the classes where the numbers of the classes of the previous group left off, that is at 43. Then the classes ran thus: Class 43. Appliances and Processes used in Horticulture and Ar¬ borculture—Gardening Implements, Tools, etc. Class 44. Kitchen and Garden Plants—Vegetables. Class 45. Fruit Trees and Fruit. Class 46. Trees, Shrubs, Ornamental Plants and Flowers. Class 47. Greenhouse and Hothouse Plants. Class 48. Horticultural and Nursery Seeds, Bulbs, Roots and General Stock. One has already, and perhaps many times, threaded a way through the beautiful grounds of the Place de la Concorde (Place of Concord) to the majestic Monumental Gate that constituted the main entrance to the Exposition Grounds. Now the journey again lies thither and with HORTICULTURE AND ARBORCULTURE. 299 little bemoan, for the commanding proportions and architectural ele¬ gance of this Monumental Gate never palls the sight. One viewed it rapturously before passing through it to visit the gorgeous Palaces of Fine Arts within the grounds of the Champs Elysees (Elysian Camps), and standing face to face on either side of the newly constructed Avenue Nicholas II, which runs through the grounds from the magnificent Ave¬ nue Champs Elysees to the new monumental Bridge Alexander III. The view repeated, with perhaps a higher appreciation of its art, entry was had through its spacious portals into the ornamentally platted, flower-perfumed and tree-embowered grounds of the Elysian Camps. Arrived there, and beholding the magnificent stretches to the left between the Palaces of Fine Arts and the Quay Conference, one would suspect that the scene was too ideal to be claimed as a prosaic part of the Exposition. But fairy-like as it was, it was compelled to yield to the M. Picard classification, and to constitute two of the classes (45, 46) of the Exposition proper. The first of these (Class 45) laid parallel with the quay Conference and abutted on it. It extended from the Monu¬ mental Gate to the Bridge Alexander III, and then beyond to the Bridge of Invalids, and it was the home of all sorts of species and varieties of fruit and fruit trees. There were fruit trees in the open as well as those trained against walls, and many magnificent specimens of the products of cultivation on a large scale, such as orchards, orangeries, etc. There were also cider apples, pears, cherries, plums, oranges, lemons, al¬ monds and the nut varieties; in fact a full and gorgeous display of lus¬ cious fruits. Nor was garden cultivation neglected. Here were spec¬ imens of the garden grown in the open as well as against walls, and many garden fruits of quite new species and variety. All this was to the left of the open vista or pathway extending west¬ ward from the Monumental Gate and across the Avenue Nicholas II to Avenue Invalids. To the right lay the stretch embracing Class THE PARIS EXPOSITION. 300 46. Here were found ornamental standard trees, grafted or not, all sorts of park plants and a great variety of garden plants; herbaceous plants in the open ground, blended beds of flowers, baskets of flowers, and even nosegays of natural flowers. A smaller section of Class 46 was found in an angle of the Grand Palace of Fine Arts, on its north side, between the right wing and rear annex. It was a beautiful exhibi¬ tion of landscape gardening and of tree, shrub and flower effects. Passing now the Bridge Invalids, going west, and keeping to the north bank of the Seine, one found a great part of the stretch of the quay, from Bridge Invalids to Bridge Alma, occupied by the real head and centre of the Horticultural and Arboricultural Group (VIII). Plere were situated the Palaces and annexes which housed the Classes of the Group, not located in the open and elsewhere. The situation was directly across the river from the Street of Nations, and the Palaces faced the Pavilions of Nations, and extended back from the river to the Cours la Reine (Street or Course of the Queen). The Palaces of Horticulture and Arboriculture were two in num¬ ber. The first one reached, that is, the easternmost one, was devoted entirely to French exhibits of Horticulture and Arboriculture. It was an immense greenhouse, constructed of iron and glass, some 275 feet long, 105 feet wide, and 70 feet high. In its centre was a capacious nave, with large side aisles, curving out at intervals, and thus forming a series of bow windows. It contained a profusion of palms, anthu- riums, etc., and in the centre a perfect carpet of flowers formed by beds cut into various patterns. These beds were refilled constantly, as com¬ petitions were held there during the period of the Exposition. The second Palace was further west upon the bank of the Seine, and was of the same size and architecture as the first. It was reserved entirely for foreign Horticultural and Arboricultural exhibits, and was THE DAHOMEYAN CABIN. HINDOO MERCHANTS AND EAST INDIAN WAITRESSES. (British-Indian Tea Parlor, Trocadero.) HORTICULTURE AND ARBORICULTURE. 3 ° 3 divided into as many sections as there were foreign nations exhibiting. By the side of the palm trees of Monaca stood the splendid exhibition of American fruits of all kinds, the plans and photographs from Ger¬ many and Hungary, and the surprising orchids from Mexico. The two Palaces were separated by a garden with geometrically laid out beds, in whose centre was erected the Aquarium of Paris. This fine building was very different from the Aquarium before constructed in Paris, and also from the stereotyped styles found among other na¬ tions. Instead of giving only a slight glimpse into the life of rivers and streams, one found there the most intimate secrets of the deepest ocean—a fanciful world which realized for the observer the weird im¬ agination of such writers as Jules Verne. Behind the two large Palaces stood a smaller one with a blank wall on the Cours la Reine side, and with windows facing the Seine. It was devoted to Classes 43 and 48 of the Group. Having now seen the location and construction of the buildings specially erected for the Horticultural and Arboricultural displays, and remembering that two Classes (45 and 46) of the Group, located elsewhere, have already been described, attention must be given to the classes occupying the Palaces. Class 43, the first of Group XIII., and the one devoted to Appli¬ ances and Processes used in Horticulture and Arboriculture, was located partly in the French Palace and partly in the rear building described in the last paragraph. It was readily one of the largest and most instructive in the Horticultural and Arboricultural Group. It showed that great attention had been paid to gathering together and neatly arranging a representative collection of implements that are in daily use by gardeners and nurserymen. There were spades of all de¬ scriptions, pick-axes, hoes, many ingenious and effective lawn-mowers, and garden-rollers and cultivators. There were tools for pruning and 304 THE PARIS EXPOSITION. grafting, and all sorts of devices for gathering produce, and packing it in such a way that it will with the least possible damage bear the ills of transportation. Water apparatus for gardens formed of itself an entertaining exhibit, and even props for plants and overburdened fruit trees were there shown. Ornamental gardening took up considerable space. Vases, pots, chairs and other kinds of garden seats and beau¬ tiful fountains were shown among the apparatus and objects that go to make a glorious garden. A larger class of exhibits was that of the glasshouses and their accessories; the mats that are needed where frosts are keen, and the heating devices. Here too were room and window conservatories, beautiful and compact aquariums for aquatic plants and the plans, drawings, models, books, pictures, etc., that have been issued of late to assist in garden architecture. The immense gal¬ lery which ran throughout the building had its upper walls hung with plans, water-color sketches and perspective drawings. Class 44 was entirely given up to displays of Kitchen Garden Plants. This included the coarser variety of vegetables that are grown in the kitchen gardens as well as market gardens. Here were potatoes, cabbages, carrots, long radishes, artichokes, mushrooms and cress, all specimens of the freshest sort. The ingenuity and fecundity of the French gardener is well known; and it is conceded that French epi¬ curean taste exacts a vegetable variety practically without limit; so that if one were to undertake to compress a description of kitchen garden products, seen in Class 43, into a limited space, he could best do it by saying that all was there which French skill could concoct or French palate demand. Class 47 was devoted to Greenhouse and Hothouse Plants, and one came upon many delicate specimens of these from all parts of the world. Examples of the cultivation in use in different countries for HORTICULTURE AND ARBORICULTURE. 3<>5 utility or ornamental purposes were given, and here were shown the processes by which vegetables and fruits are forced, and the results that are obtained by this artificial method of growing. Of greenhouse and hothouse plants there was a splendid exhibit, especially of those for ornamental purposes. Class 48, the last Class of the Group, was devoted to Horticultural and Nursery Seeds and Stock. It embraces a comprehensive collec¬ tion of vegetable seeds, nursery stock of trees, many of them grafted, and some of them not. The seeds were arranged in vessels standing upon stages. Above the stages were handsome photographs of veget¬ able and flower seeds. Part of this Class, not suitable for exhibition under cover, was shown in the Bois de Vincennes (Vincennes Woods) by the side of the lake. It consisted of young trees from one to four years old, intended for replenishing the woods and forests. It also con¬ tained a collection of cuttings, showing plants at different stages of growth. There were temporary exhibitions, consisting of three com¬ petitions, of roots, bulbs and plants ready for sale, were held during the period of the Exposition. Scattered all over the marvellous Exposition were found choice little corners devoted to plants, flowers and trees, and one specially interested in these, by keeping his eye open, could not fail to come upon many delightful groups of them. Although these scattered sec¬ tions were scarcely of sufficient importance to be enumerated in detail, the Management of this group of the Exhibition certainly went whole¬ heartedly into the matter, and no one could have cause to complain of the show, nor of the space that was allocated to Horticulture and Ar¬ boriculture. Indeed, it was truly wonderful to observe the collection that had been gathered together from the four corners of the earth, THE PA'RIS EXPOSITION. 3 6 and there made to flourish and to bloom, as though the plants were indigenous instead of being for the most part exotic. The principal nations having Horticultural and Arboricultural displays in the palace devoted to foreigners, were the United States, Netherlands, Russia, Mexico, Germany, Austria, Belgium, Hungary, Italy, Great Britain, Japan and Monaco* KAFFIR TROPHIES—TRANSVAAL NATIONAL PAVILION. CANADIAN WHEAT—BRITISH COLONIAL BUILDING. Forestry, Hunting, Fishing, Wild Harvestry. HE Pont D’ Iena (Bridge of Jena) crosses the Seine from the Park of the Trocadero to that part of the Champ de Mars (Camp of Mars) occupied by the Eiffel Tower. It forms part of the beautiful vista which begins at the terraces of the Trocadero, extends under the arches of the Eiffel Tower and through the grounds of the Camp of Mars, until it is ended by the glittering facade of the Palace of Electricity. One never tired of this vista, whether viewed from the Trocadero terraces, or from the closer point of the Bridge Iena. At the southern end of the Bridge of Jena, and stretching westward of it along the left bank of the Seine, as far as to the Avenue Suffren, lay the spaces and pavilions dedicated to the ninth grand group of the Ex¬ position—Group IX, or that of Forestry, Hunting, Fishing and the Gathering of Wild Crops. This was certainly a choice portion of the marvellous world show. It was striking and surprising how the nations had here entered into generous rivalry through the number and variety of their contributions, and especially the nations of Anglo-Saxon origin, with whom the chase has ever been a matter of study and enjoyment. According to the M. Picard arrangement, Group IX fell into the following classification, the numbers of the respective classes beginning where those of Group VIII left off: Class 49. Appliances and Processes used in Forestry. Class 50. Products of the Cultivation of Forests and of Forest In¬ dustries. Class 51. Hunting and Sporting Equipments. Class 52. Products of Hunting and Shooting. 309 *5 3 T o THE PARIS EXPOSITION. Class 53. Fishing Appliances, Tackle and Products—Fish Culture. Class 54. Appliances and Instruments used for Gathering Wild Crops. The main pavilion of this group was an imposing structure, without definite architectural lines, yet richly ornamented. Over the entrance stood two magnificent bas-reliefs, one “A Grand Hunt,” by Baffier, the other “A Combat of Stags,” by Garden Under the arch was a decora¬ tive painting by Aubertin, representing “Fishing.” Two handsome pavilions faced the river front, and also two large and effective statues representing “Hunting” and “Fishing.” Immediately on entering, one was in the midst of Class 49, or the first class of the Group—Appliances and Processes used in Forestry—- a class which, by the way, should have invoked the special attention of all American visitors, for no people on earth have been so prodigal of their forest wealth, and so neglectful of reproducing the forest growths they have destroyed as those of the United States and Canada. Class 49 showed plans explanatory of the laying out of woods designed to meet, and come under, laws regulating forestry; methods of perpetuating the supplies of timber, and of securing its economic consumption all over the world; also handsome photographs of the many varieties of timber trees. Then there was a wonderful collection of seeds gathered from all countries where trees flourish, which, of course, meant every habitable region of the earth. Next to the seeds were shown specimens of both indigenous and exotic forest products; and it is proper to say here, that in respect to such products French ingenuity and persistency have in¬ sured for their country a truly wonderful display. One then came upon the innumerable and curious implements of special use for the gathering, preparation and preservation of forest seeds. Close by were plans of drying houses and numerous specimens of the implements used in for- FORESTRY, HUNTING, FISHING, ETC. 3ii est-tree nurseries, also many ingenious appliances for general tree and forest cultivation. Facing Class 49 on the left, came Class 50—Products of the Cul¬ tivation of Forests and of Forest Industries. Around the different gal¬ leries in the centre of each exhibit of this class were painted panels which represented the history of timber. Here were seen, in large substantial samples, specimens of all kinds of forest products—wood for cabinet work, for construction purposes, for fire wood, for staves and shingles, for cask wood, for lath wood, and wood for dyeing purposes; also the cork trees, the bark for textile purposes, the tanning, and fragrant and resinous substances. After these appeared the products of forest indus¬ tries, turnery, basket work, rush and grass manufacture, together with numerous and picturesque displays of wooden shoes, wood wool, corks, dried woods, charcoal, raw potash, and in fact practically everything that is made of these species of wood. A most interesting feature exempli- fied the different processes to which wood is subjected from the time it is cut down in the forest until its transformation into boats, carriages, fur¬ niture, or whatever object may be had in view. One could not help thinking that the comparatively new art of forestry was given a healthy and deserved impetus by such large and interesting displays. A foresters’ paradise was found in Class 51—Hunting and Sporting Equipments. This was two little worlds, one of manufacturing applh 1 ances, the other of their products. In the first were found the special machinery and tools employed in the manufacture of fire-arms, such as gun-shaping machines, special lathes for instantaneous reproductions, accurate machines for finishing the internal bore of gun-barrels, boring machines of every conceivable design, rifling machines, special machines for making the wooden stocks of guns, milling machines, machines for making gun parts in metal, machines for polishing and straightening tempered parts. Following these came the infinite variety of machinery THE PARIS EXPOSITION. 3*2 and tools for making cartridges and ammunition. In the second of the little worlds were found the products of the first in the form of finished weapons—sporting guns of all kinds by the most famous makers, accompanied by the different kinds of cartridges, pellets and ammunition, including abundant samples of black and smoke¬ less powders. In a middle gallery was the retrospective, or historic, exhibition, presenting in glass cases, copies of ancient weapons show¬ ing the gradual development from the day of the sling {o this day of repeating rifles and cordite powder. There was an excellent exhibition of crossbows, of guns, rifles and pistols, and accessories appertaining to every kind of small arms. Here was seen the solid bullet and the much debated hollow explosive bul¬ lets, bullets that spread after touching their object, in short, every sort of leaden pellet that Tcills. Then there were other accessories of shoot¬ ing, as the percussion caps, priming, cartridges, etc. One very fine collection of ancient arms in the retrospective gallery formed a part of the Imperial Museum at the Hermitage in St. Petersburg, Russia. In another glass case of the retrospective gallery was an interesting ex¬ hibit of sword, carbine and pistols from the manufactory of Versailles, which were presented, in 1814, by the city of Paris to General Jacken, who was governor of the city during the occupation of the allies. Other antique exhibits were the sword presented by Napoleon I. to Alexander I. at Tilsit; the weapons of Prince Eugene of Beauharnais; the sword in chased gold, and the scabbard of tortoise-shell inlaid with golden bees and acorns, which Napoleon wore at Arcole and-Rivoli; the case of weapons belonging to the Duke of Chartres, and brought from Lepage, in 1839, by the Duke of Orleans; an interesting history of the arquebuse, from the lintock, flint and steel period down to the present time. CAMBODIAN ORCHESTRA. Forestry, hunting, fishing, wild harvestry. Other sections of the Class contained interesting exhibits devoted to hunting and sporting equipments, those used in schools for the study of fencing-art, and the training of hunting dogs. Class 52 of the Group embraced Products of Hunting and Shoot¬ ing. It was upon the first floor (second story) of the pavilion. Here were found the products of hunting and shooting. There were draw¬ ings and collections of land and amphibious animals, birds and their eggs. These products were carefully and accurately prepared. Then there were the skins and furs of beasts in the rough; following these, dressed skins for furriers, bristles, hair and down, undressed feathers and birds’ skins, horn, ivory, bone, shell, musk, civet, and all that. The feather trade, so important in Paris, was well represented, though it appeared a little meagre because the principal applications of the feather had their place, in the fashions and costumes, in the Palace of Yarns, Cloths and Clothing on the Champ-de-Mars. Here were marvelous ostrich plumes of an incredible length and lightness, plumes of the marabout, sea-gull, swan, turkey, etc.; plumes of the vulture for feather-brooms, down of eider, duck and chicken, for quilts and bed¬ ding; the quills of the goose-feathers, with the imitations of pork bristles for brushes, and the toothpicks that are made from them. The dressed furs were of great beauty. From the rabbit to the blue fox and the ermine, all were superbly brilliant after passing through the hands of the furrier, and some of the garments exhibited were worth a fortune. The greatest curiosity of this corner of the pavilion was a portrait of M. Loubet, entirely of furs; the head of white down, the hair and beard of chinchilla tail stitched with a needle, the shirt and cravat of ermine, the coat and vest of Alaskan otter, the lower part of the bust in natural Alaskan otter. THE PAMS EXPOSITION. On the first floor was an exhibit of the perfumes of animal origin, showing how they are obtained from the musk and civet, with stuffed specimens of these animals from various countries. In the Italian section two strange engines excited the public curiosity, and the most unlikely suppositions were put forth as to their use. They were, in fact, cannon, but of a special kind, destined to bom¬ bard the sky. They were invented in 1896 by a vine grower of Styrie, and have been much employed since in Austria and Italy with great success against hail storms. When black, menacing clouds appear over the crops, the cannon are charged with powder and fired. The dis¬ turbance of the air is sufficient to prevent the formation of hail storms in the aerial laboratory. Russia had a beautiful exhibit of furs and birds for fashion. Ger¬ many especially showed traps. On the trunk of enormous trees in the Canadian Section appeared a caribou and an elk with monstrous horns. In this department, Hungary took the lead in an exhibition of all the birds and mammiferous animals of the country, mounted in natural attitudes before a sort of panorama of rocks, little brooks and rustic bridge; and a splendid collection of old hunting arms. To be sure, in a land containing so many patient fishermen as France, it was only to be expected that the Piscatorial Department in this mighty Exhibition would be thoroughly up to the mark. To make it so, France had indeed hauled her net over the world, and dipped her hook into the waters of every quarter of the globe, the result being a thorough representative exhibition, and one which no enthusiastic fisherman could fail to study with interest. This Class was Class 53 of the Group, or the class devoted to Fishing Appliances, Tackle and Products. It was found on the ground floor of the pavilion. The first section of the class was set aside for forestry, hunting, fishing, wild harvestry. s»? fishing appliances, tackle and products, and fish culture was also in¬ cluded. To begin with, here were to be found floating appliances ap¬ pertaining to fishing, nets, tackle, and implements for sea fishing, nets, traps, tackle or appliances for fresh-water fishing. Section 2 of this class contained instruction on marine fish culture, Crustacea, molluscs, starfish, and other radiata. Next fresh-water fish culture was gone thoroughly into, and plans were given of the buildings required for the hatching out of fish and raising them to an age when they are strong enough and knowing enough to swim out into the waters haunted by the terrible ogres that lie in wait to devour little fishes. All the appliances and processes used in pisciculture, ingenious fish ladders which enable the finny tribe to surmount high falls were here shown, and even the cultivation of leeches was explained and ex¬ pounded. There was a representative number of different sorts of aquariums, and a marvellous display of drawings and collections of fishes, cetacea, Crustacea, mollusca, etc. This class ended with exhibitions of pearls, shells, mother of pearl', coral, sponges, tortoise shell, whalebone, sper¬ maceti, ambergris, fish oils and fats. Then one came to the last class in this interesting group, that class (54) which dealt with Appliances and Implements used for gather¬ ing Wild Crops. In the first section of this class, one found appliances and implements used for gathering thei spontaneous products of culti¬ vated soils. Many uncivilized peoples that inhabit the continents of the earth have for generations depended for existence on the grains and fruit that grow without cultivation, and to this day much of the com¬ merce of the world is taken up with gathering and consuming crops that no man has sown, but that all men endeavor to reap. THE PAfcIS exposition; 3 lg Here were mushrooms and truffles. Here were also scores of varieties of edible wild fruits and edible plants and leaves and bark and roots, and the uncultivated fruit used by herbalists, pharmaceutical chemists, dyers, manufacturers of paper, oils, or other substances. India-rubber had a large section to itself, and gums and resins came in at the tail end to make this group an all-comprising one. The Pavilion of Forestry, Hunting and Fishing and its contents, as seen by another visitor to the Exhibition, is thus described: The Pavilion of Forestry was situated on the left bank of the Seine below the Jena Bridge. It occupied considerable space, but not too much for the enormous amount of interesting material that was there presented to the public. The part of the building facing the Champ- de-Mars was reserved for French exhibits; the foreign sections were Collected in a long narrow building, the extremity of which met the prolongation of the Avenue Suffren. In the French part, the different categories, forests, hunting, fish¬ ing and wild crops, were separated, but they were reunited in each for¬ eign section. The principal entrance, on a level with the Champ-de-Mars, gave access to a grand hall reserved by the Administration of Waters and Forests. It was the official French section and was superintended by the forest guards, who were permitted in rotation to spend ten days each at the Exposition. There were disposed, in well-arranged little groups, all the animals of the French forests; a stag and roe, a hare, a badger, a ferret, a wild cat, some rabbits, squirrels, etc. At the end of the hall were the fauna of ponds and rivers; otter, water-rat, frogs, king-fishers, aquatic birds, etc. FORESTRY, HUNTING, FISHING, WILD HARVESTRY. 3*9 The principal motive was a forest house ornamented with natural heads of deer and other guests of the woods. A large statue in wood, the Wood Cutter, stood in front of the threshold. At the foot was a group of animals; two hunting dogs, a fox and its family, a wild-boar, a bear, a chamois, some birds of prey, etc. Little firs surrounding the group and building, gave the whole a rustic appearance. It was alto¬ gether of local color. The strong odor of resinous essences completed the illusion. The forest house contained two excellent dioramas showing the operations of replanting forests and defense against land slides. The nearest to the principal entrance showed a mountainous slope, com¬ pletely bare except at the base; in the upper part the equilibrium was So unstable that no forest vegetation could develop, at least in the actual conditions. In the second diorama the work of man, aided by time, had tri¬ umphed. Walls had been constructed which retained the earth, plant¬ ings had been made, and vigorous trees commenced to cover the sides of the mountain with their shade. On the side of the forest house and on the opposite wall were six panels showing the products derived from various kinds of wood, the group arranged on each panel representing the materials which permit the same kind of work. Everywhere, among the panels, were very beautiful photographs taken by forest agents, showing trees in summer and winter, mountains in process of restoration, etc. Here and there were reproductions in relief of the work of damming torrents, some statistical documents, sections of trunks showing the layers of wood, etc. A door framed in branches still covered with their bark gave en¬ trance to the gallery reserved for class 50: Products of Forest In¬ dustries. 326 fttfi PA-MS EXPOSIfiOM. It contained the products of French exhibition, and like all the rest of the palace, was very interesting. It was arranged in a marvel¬ lous fashion and made a profitable study. Beside sticks and resinous logs in their successive stages of preparation, products direct from the forest, which require as the work of man, only sawing and putting in bundles, were the different varieties of charcoal: of oak, of beech for furnaces, of black alder for gunpowder, pulverized charcoal for dental powder. One exhibit showed in reduced size, a furnace in the forest for making charcoal. Beside this were boxes and cases of all kinds, oak laths, canes, varnished wood for furniture, etc. Then came the cork-tree and its multiplied applications; stoppers, life-preservers, pavements, bricks, etc., cork decorated and painted, ornamented with flowers, the barks for the tannery, the carpets in vegetable fibres, the cooperage, the basket trade, luxurious chairs, trunks, hampers, garden chairs, and a veritable wicker house io feet long. Pyramids of bottles contained the products derived from wood by distillation; oil, alcohol, tar, etc. The perfection of modern mechanism was evident in the exhibition of sawing. Some sections of very large trees were exhibited in an annex on the Champ-de-Mars. The galleries of the foreign section were on the level of the Champ- de-Mars and ran around a large hall, the floor of which was on a level with the quay. The exhibit of Japan was most successful. Photo¬ graphs of forests, and varieties of wood, insects hurtful to each species, herbs and fruits were arranged for the instruction of the visitor. An admirable collection of bamboos presented a surprising variety of tints. The United States, whose exhibit was at the end of the gallery with an out-door annex, made a creditable showing with displays of plants, beautiful pictures on glass in front of the windows, and a sample of FORESTRY, HtMflNG, FIStttN-G, WILD MARVESfRY. 3** different woods. Spain sent some gums and a fortress in cork. Sweden was well represented by a variety of forest products and photographs; and best of all, two dioramas that attracted very favorable attention. One represented a saw-mill, the other conducted one into a charming pine forest. The illusion was perfect. In the hall of the ground-floor, Russia had a remarkable exhibit of the Forest of the Caucasus. Hun¬ gary was the pearl of the Forest Pavilion. Her exhibit was arranged with marvelous taste, all in the decorations of forest woods. CUBAN EXPOSITION IN THE TROCADERO BUILDING. STREET AND CASCADE IN THE SWISS VILLAGE. Foods and Drinks. HE scene of exhibits of this interesting group—Group X of the M. Picard plan—was the Palace of Agriculture. This was the southernmost, or rear, Palace of the Champ de Mars (Camp of Mars) and immediately behind the Palace of Electricity. It occupied the whole of the width of the Champ de Mars, except that central portion where stood the Salle des Fetes (Plall of Fetes), and its southern front faced the Ave¬ nue Motte Picquet, while the front of the left, or east, wing faced the Avenue Bourdonnais, and that of the right, or west, wing faced the avenue Suffren. As already stated under the article Agriculture, this Palace was of colossal proportions, without any very special architectural effects. In its internal arrangement it was the perfect show-house for the two grand groups—Group VII, Agriculture, and Group X, Foods and Drinks—which found a home amid spacious halls and sections. And in the respect that it was the home of two groups so near akin, the ingenuity and comprehensiveness of the M. Picard arrangement fully appeared. What so natural as that the food product, such as the baked loaf, should be found in juxta-position with the agricultural pro¬ duct, such as the wheat or corn, out of which it was made. And so, wines as a food product were best seen in contiguity with objects exem¬ plifying vine culture. This proximity of associate displays enabled the visitor to trace with ease and instructiveness the full history of a product from the field to the table. Therefore it was that often by the mere crossing of a hall-way, or by a very few steps, the visitor could pass from a section, or sub-division, of the Agricultural Group to one belonging to the FoAd and Drink Group. 325 326 THE PARIS EXPOSITION. The Grand Group of Foods and Drinks—Group X of the Exposi¬ tion—fell into the following classification, the numbers of the classes beginning where those of the prior group—Group IX—left off: Class 55. Appliances and Processes used in the Manufacture of Food Products. Class 56. Farinaceous Products and their Derivatives. Class 57. Bread and Pastry. Class 58. Preserved Meats, Fish, Vegetables and Fruit. Class 59. Sugar and Confectionery—Condiments and Relishes. Class 60. Wines and Wine Brandies. Class 61. Syrups and Liquors—Various Spirits—Commercial Al¬ cohols. Class 62. Various Beverages. It is needless to say that the nations were out in their strength in the displays belonging to this group. There seemed to be something peculiarly inviting about it for competition. Perhaps it was because France had long held the supremacy in the creation and manipulation of food products. Her cookery was regarded as triumphant and her wines as unsurpassed. What pleased a French taste was regarded as accept¬ able to all the world, or, if not, then the dissatisfied were ranked as among those of vulgar taste, and as heathenish in their epicurean no¬ tions. It was pleasing to an American to note that his food products came to the front in pleasing variety and in forms to persuade the world that he had a dainty palate and the wherewithal to gratify it. This was especially so as to the conversion of the flour of Indian corn into a desir¬ able table essential, an enterprise which was comparatively new in the old world, but which bade fair under American genius to be successful. And it was equally so as to the competition offered by America in wines. Those of California vied with the ancient and established brands of not only France, but of Spain, Portugal and all the Rhine countries. FOODS AND DRINKS. 327 It depended on the direction in which the left wing of the Agricul¬ tural Palace was approached—it must be remembered that the left wing was essentially French and the right wing foreign—as to what class of the Group of Food and Drinks should become a first study. One who had just sought a little rest in the cosiness of the central Hall of Fetes, or who had there interviewed a friend or written a letter home, would naturally seek entrance to the Group by descending the broad and easy staircase to the class of the group at its bottom. This would be Class 60 —Wines and Brandies—in juxta-position with Class 36 (already de¬ scribed) of Group VII—Appliances and Processes used in Vine Culture. But Class 60 was not only spacious in size but made up of many minor sections and structures. For instance, right at the foot of the staircase, just mentioned, was the Champagne section of the Class. Here was a graceful pavilion devoted to a special show of Moet and Chandon champagnes. Near by were smaller erections, also devoted to special exhibits. And then, in what might be called a corner of the Hall of Fetes,was the monumental pavilion of the Syndicate of the Cham¬ pagne Trade. This pavilion ranked as a palace of the Louis XV style, and was richly decorated with paintings and sculpture. Its lower arcade was a cellar such as could only be met with in Champagne. Be¬ neath was a vaulted cellar designed to convey an idea of the plant required for producing sparkling wines. Here workmen were engaged in finish¬ ing the last operations to which a bottle must be subjected before arriv¬ ing at the stage in which it is fit for familiar use. These operations con¬ sisted in removing from the cork the deposits generated in the bottle, when the wine is changed for effervescence, and the sweetening and corking processes which followed. Close by was the packing depart¬ ment where 3000 bottles were daily labelled, the necks covered with tin- foil, or else metal capped, and then packed in cases or baskets ready for shipment. In this palace of the Syndicate was a superb gallery contain- 3^8 THE PARIS EXPOSITION. ing accessory industries, that is, all the principal industries owing their existence to the champagne trade. Among these was the manufacture of champagne bottles, corks, candied cane sugar for sweetening the wine, ingenious tools used in the making of labels, caps, tin foil and wire. But it is hardly fair to oneself to be thus enticed from the regular order of things by their proximity. However much one tried to “go it alone” in the Exposition, the experience of a day, or even an hour, was pretty sure to leave the impression that M ; Picard had planned and arranged to such effect as that it was loss of time and dire discomfiture for a stranger to undertake to inspire new routes and classifications. Therefore attention must be directed to the first class of the Group— Class 55, or that devoted to Appliances and Processes used in the Manufacture of Food Products. This Class, in so far as it was made up of French exhibits, found a home on the ground floor of the Palace of Agriculture, and on the right of the entrance from the Avenue Bourdounais. Part of the Class, however, was to be found in a large room on the Billy quay. This part was composed of large machines, such as required steam for their operation, and whose size and weight demanded special accommoda- tion. That part of the Class exhibited in the Palace showed on entry a great number of flour-mills, and factories for the production of glu¬ cose and starch. Following, came Italian paste factories, bakeries, and the mechanical appliances for kneading and baking, biscuit factories, pastry works, and the manufacture and preservation of ice, also the appliances and methods used for preserving fresh meat, game, and fish. Following this came the works for canning meat, fish, vegetables, and fruit. Sugar manufactories and refineries, chocolate, cocoa, and con¬ fectionery works. Preparation of ice and iced drinks, the coffee berry, and coffee roasting. There were vinegar works, commercial distilleries, LOOKING ACROSS THE BRIDGE OF ALEXANDER III FOODS AND DRINKS. 33* breweries, aerated water manufactories, and various industries for the production of food and food stuffs. Entering the area devoted to Class 56—Farinaceous Products and their Derivatives—one found numerous samples of flour made from cereals, grain without husks and groats, potato starch, rice, flour, lentil, and broad bean flour, and gluten. Here too were tapioca, sago, arrow- root, and various starches, Italian pastes, semolina, vermicelli, maca¬ roni, infants’ food, and home-made pastes. The next Class (57) was partly in the Palace and partly on the Billy quay, with Class 55. That part in the Palace showed Bread and Pastry. Here are various breads, with or without yeast, fancy bread, and bread in moulds. Compressed bread for travellers and for military campaigns, sea biscuits, pastry, etc., various kinds special to each country, ginger bread, and cakes for keeping. That part of the Class which was relegated to the Billy quay, for lack of space and through fear of smoke, was housed in the large pavilion appropriated to Baking and Confectionery, and included ovens, bake-houses, kneading-troughs, compressed bread for travelling and for military campaigns, etc., ship- biscuits, and all kinds of household bread and pastry. These products were exhibited in show cases, and could be tasted. Several great manu¬ facturers had a pavilion to themselves, where they held a joint exhibi¬ tion. M. Lamoureux Mauriol showed an improved bakery in two stories, with ovens and degenerators. M. Datis showed a specimen of the machinery used for the making of crumbless bread. M. Lefevre- sters, and oysters. Vegetables preserved by various methods, and Utile made biscuits in full view of the public. The celebrated firm of Pernot also sent an interesting exhibit. Exhibits of Preserved Meat, Fish, Vegetables and Fruit made up the next class—Class 58. There were shown meats preserved by freez- 16 33 * THE PARIS EXPOSITION. ing, or by any other method, meat and soup tablets, meat extracts, pork butchers’ meat, frozen fish, salt fish, and fish preserved in barrels as well as in oils. Preserved tunny, sardines, anchovies, preserved lob- dried and preserved plums, figs, raisins, dates, and fruit preserved with¬ out sugar. Sugar and Confectionery; Condiments and Relishes composed the displays in Class 59. First were seen sugar for household and other purposes, glucose, chocolate, sugar almonds, bonbons, fondants, nougat angelica, aniseed, preserves and jellies, fruit comfits, and fruits preserved in brandy. Then came coffee, tea, and aromatic beverages, chicory, and sweet acorn coffee, etc., occupying extensive space. Fol¬ lowing these came vinegar, table salt, spices such as pepper, cinnamon, allspice, cayenne pepper, and so forth, and then mixed condiments and relishes, mustard, curries, and all kinds of sauces were to be seen. Class 60 has already been described in this article, in so far as it was contained in the Champagne pavilion. In addition, two large pavilions near the Hall of Fetes were devoted to displays of brewing and cider-making. The French brewery trade had an interesting ex¬ hibit, consisting of the process of making an excellent beer which is rapidly entering into competition with Bavaria and Munich lager beer. The whole pavilion was a masterpiece of skill and good taste. The cider business is a national French industry which has been greatly improved during the last ten years. The brandies made from cider compare favorably with those more famous spirits, twenty or thirty years old, from Charente, Burgundy or Armagnac. The build¬ ing was a rather curious one, with great stacks of copper stills, a large curved staircase, and decorative panel representing a laboratory, with retorts, syphons and other implements for making cider. FOODS AND DRINKS. 333 Syrups and Liquors; various Spirits; Commercial Alcohols; made up the exhibits of Class 61. It included syrups and sweet liquors, anisette, curacao, cassis, and chartreuse, absinthe, bitters, vermouth, and byrrh. Then there were the commercial alcohols, alcohol made from beetroot, molasses, and potatoes, gin, rum, kirsch, etc. The next, and last, Class (62) of the Group contained exhibits of various Beverages. They included cider and perry, beer and other baverages made from cereals, fermented drinks of all kinds, and aerated waters. The foreign exhibits embraced in this group of Foods and Drinks were very complete and interesting. Those of the United States were particularly full and varied, a novel feature being the American Corn Kitchen, in which the conversion of corn meal in various forms of baked food was shown by skilled bakers. The display of California wines was fine, and a surprise to foreign wine-growers. Apropos to the subject of Foods and Drinks, was the food supply of Paris during the extraordinary drain on her. resources while the Exposition was going on. Her markets were a study and a revela¬ tion—a display almost equal in novelty and interest to that installed in the great Palace in the Champ-de-Mars. When it comes to feeding millions, Paris is right in her element. No other civilized city knows as much about handling food stuffs and catering to wholesale hunger as she. Says Emily Holt in the Globe-Democrat: “Her markets are the best arranged in Europe, her restaurants have no parallel for numbers and finely disciplined kitchens, and if any one has the time and the influence to get into a tiny office off the Street Louvre, where the managers of the markets receive reports on every pound of butter and every pod of peas that comes into the city 334 THE PARIS EXPOSITION. limits, a realization may be had of how well the Parisian pantry is pre¬ pared for the entertainment of the strangers within her gates. “In the year 1890, says M. Commissaire, of the huge Central market, Paris ate 200,000 tons of butchers’ meat, 30,500 tons of game and poultry, 28,700 tons of fish, 19,700 tons of butter, and 490,600,000 eggs. Multiply each one of these items by three and you will get the amount of fish, eggs, and butter that are now estimated as necessary to supply the private houses, hotels and restaurants in 1900. “Strange to relate, however, there is no especial effort being ex¬ pended or difficulty anticipated in laying hands on all this extra amount of food stuff, nor are any extra preparations being made for its distri¬ bution over the town. In ordinary seasons France herself very nearly supplies all that the Parisian markets demand. The best beef, mutton, butter and fish eaten in Paris are strictly home production. Normandy sends the juicy roasts and exquisite fresh cheese and other dairy pro¬ ducts, and not a beet or bean is bought outside the limits of the French market gardens. In behalf of the Exposition crowds, however, extra supplies of eggs have been contracted for in Hungary and Western Russia, the Danish dairies have been levied on, Germany is going to sell a lot of her river and North Sea fish, while tons upon tons of beef have been ordered from the United States and South America. “As for the green food and poultry, France can fulfill that contract herself, and to see the admirable way in which the car loads upon car loads of meat and vegetables are handled it is necessary to go to the Halles Centrales or the vast Central market of Paris, to which the pre¬ ponderance of the daily supplies are brought and whence raw materials for millions of meals are distributed to all parts of the city. “By a system perfected through many years the food is all brought exactly to this centre of the city, and it is done between 1 and 6 o’clock AN ANNAM TEA STORE AND VENDORS. POOBS ANB BRINKS. in the morning. At 12 o’clock every night the gates leading into the city itself are blocked by countless hundreds of market carts, long, narrow vans heaped as high as hay wagons with green vegetables picked after the dew has fallen in the afternoon, and every head of lettuce or bunch of radishes so carefully cut, pulled, bunched and packed in the wagons that the appearance of many is as brilliant, dainty and attractive as a cart load of flowers. The wagon drivers in their sabots and blue blouses, and the big Normandy draught horses, harnessed tandem, wait in lines extending sometimes for miles down the turn pikes, for the customs officers must appraise the freight and receive the tolls and duties before they will pass them through on their way to the Central market. “So soon as the gates are open the carters drive direct to the big market, and in this way by daylight the product of all the market gar¬ dens in the environs of Paris is brought into the city. From the near¬ by dairies and poultry farms it comes in the same way, while all the fish, meat and vegetables from the distant provinces are forwarded by rail and the freight cars are run from the station on to the tram tracks directly into the main market of the city and are unloaded directly on to the stalls. By these devices the food stuff, handled but once, arrives almost as fresh as the moment is was taken from the garden or dairy, and the cost of its transportation is thus greatly minimized. “By 4.30 o’clock the market women are on hand, the stalls are prepared and the entire food supply for one day is awaiting its pur¬ chasers. It is ready in the most apple-pie form, too, for if there is a people on the face of the earth who know how to make the uncooked materials of a meal attractive it is the French. Even the stalls where the shell fish, oysters, periwinkles and snails are sold would encourage the most finikin appetite, while the displays of beef are as carefully and St* THE PARIS EXPOSITION, artistically arranged as the costliest bric-a-brac in a museum or a fine flower shop. Where the huge carcasses of beeves are hung whole at the four corners of a stall, crisply starched white linen napkins are tied over the lower half of the body to intercept any rising dust; piles upon piles of trimmed chops are ranged in pyramids with cut white paper cuffs on every clean scraped bone, legs of mutton are hung in folded shells of white paper, and the full breasted fowls, fattened, picked and prepared with the highest art, wear their ugly heads tucked out of sight beneath them. “With such cleverness do the producers of all these supplies calculate the exact amount Paris will consume in twenty-four hours, that when the marketing hours are over, the sewers of the markets flushed and the paved ways and stalls washed down with disinfectant, hardly a let¬ tuce leaf or potato peal is left to cast into the great garbage wagons. Little enough remains to go into cold storage, and the greater quantity of poultry, fruit and garden truck is but two hours from the farms when exposed in the stalls in the morning. For this reason it is safe to predict that during the Exposition season the food of Paris will be daily as fresh and abundant as though any other summer, despite the crowds that will arrive to prey upon her larder and to see this larder in all its perfection a visit must be made to Halles Centrales (Central Markets) about 5 o’clock in the morning. This is the one very large stationary market of Paris. There are dozens of others, but they be¬ long to the excellently planned system of movable markets that are never located two days in succession in the same place, and this is done for the special accommodation of the householder living at too great a distance from the Central Market. “Down at the Halles Centrales, save at the meat market, the women rule absolutely and preside over the most admirably arranged FOODS AND DRINKS. $59 food depot in the world. No other city, European or American, shows anything to compare with that four acres of space, paved with stone, roofed loftily with glass and iron, perfectly drained and kept as fault¬ lessly clean as Paris’ historical Halles. From dawn until late in the afternoon the business of the market is in active swing. At 5 o’clock in the morning the restaurant buyers are there; later come buyers for hotels; later still the proprietors of boarding houses, and then servants of private families. Not very far from the market is the Bourse, or Parisian Stock Exchange, which hardly does a bigger or noisier busi¬ ness than the hundreds of feminine proprietors of the stalls, particularly under the fish shed, where a purchaser can see his lobster, shrimps, cray fish, trout or carp swimming merrily in a tank, if he pleased, to make sure of its freshness, or choose it, prepared for the fire, from the marble slabs over which all day the water rushes in a cold, clear stream. “The noise and the keen bargaining are due to the women in the stalls, the red-faced, white-capped, high-voiced dames de la halle, who are as much a part of the sights of Paris herself as the churches and museums, and who for three centuries have played the part of chorus to some of the most vivid events in Parisian history. “They are powerful, red-faced, large-lunged women, and now justify their occasional interference in the public affairs of the city on the ground that they constitute one of the oldest corporations of Paris. They are never recruited at haphazard, and in many instances theii stalls have descended by will from mother to daughter for two or three centuries. The sons do not inherit, because men are persona non grata in the market. Petticoats rule and swish about authoritatively in every nook of the vast sheds. The heiresses to these valuable stalls get their training for business under the maternal eye, and begin life in very coquettish guise, with their apple-red cheeks, sharp blue or black eyes, THE PARIS EXPOSITION. smooth, high-rolled pompadour head-dress and skirts tucked up care¬ fully out of the damp, and to display slender ankles, rising from feet shod in sabots, often with perilously tall Louis Quinz heels. “Directly such a market girl marries she settles down to business in her mother’s stall, the coquetry vanishes under a hard commercial manner, the down on her lip often develops into a sternly bristling moustache and her one aim in life is to hoard her earnings. With very few exceptions these brisk business women contrive to lay by com¬ fortable sums, in spite of the rent and tolls they have to pay the city, and few of them leave off working until actually too decrepit to make correct change. Living in the open air wielding their huge fish knives and bawling their wares these women are marvelously independent in speech and action, and if nowadays nobody reminds them of what their mothers did in the revolutionary days everybody takes a pride in point¬ ing out the stall of the direct descendant of the famous Mme. Ladon- cette, who left her fish one day, and, calling on Henry IV., frankly in¬ sisted that he must pay greater respect to the wifely pride of his legiti¬ mate spouse, Marie de Medici. Henry showed rank ingratitude for this well-meant advice by fining the market woman and forbidding her to sell at her stall for six months, whereupon the case was laid before the Queen, who, naturally, took the fish wife’s side and checkmated the angry King by making Mme. Ladoncette purveyor of fish to the court. “If Paris is preparing to import ample supplies for her markets during the Exposition months she is no less industrious and resource ful in her schemes for cooking and serving all the meals her visitori will need. She owns between 25,000 and 28,000 capital restaurants* and already the concessions granted to refreshment contractors inside the Exposition grounds has yielded to the management of the fair FOODS AND DRINKS. $41 nearly $500,000. Three of the great restaurants in the Exposition have figured that at their tables will be served during the summer no less than 2,540,000 meals. With all this food to prepare, however, Paris is not in the least flustered, and, saving right in and about the Exposition, no particular preparations have been made. It would, in fact, be hardly possible to add any improvements to the French system of public dining rooms, for even in the humblest little cremarie restaurant to Durand’s or the Cafe Voisin, the food is faultlessly cooked and served in ac¬ cordance with the prices paid. “What will please the novelty-loving Americans at the Exposi¬ tion will be the cheap German penny-in-the-slot restaurant, a mar¬ velous mechanical room with big bulletin boards hung about the walls announcing the menu of soups, fish, breads, vegetables, etc., for the day. None of these are served by the typical white-aproned waitresses, but a nickel in the soup slot spouts a fine stream of rich tomato puree into a basin held under the potage faucet; 2 or 3 sous in the chop machine produces an excellently broiled mutton chop with a crimped collar about the bones, and from a big basket-woven affair fall hot rolls, buttered toast or fresh cakes in accordance with the slot into which the proper number of coppers are dropped.” i Mining and Metallurgy. N all former world expositions, with one or two late excep¬ tions, it had been customary to sever the department of Mines and Mining from that of Metallurgy. This was deemed proper at a time when Metallurgy had not assumed the scientific importance it at present com¬ mands, or rather, when it was deemed a mere branch of chemical science. While in its laboratory processes Metallurgy is still a chemical science, in its results and their practical application it is an associate science with that of Mining, or, as is popularly termed, an allied industry. Hence Mining and Metallurgy were very properly grouped together in the ingenious and intelligent arrangement of the Exposition of 1900, by M. Picard, and became Group XI, divided into three classes, whose numbers began where those of Group X ended: Class 63. Working of Mines and Quarries. Class 64. Metallurgy—Specimens of Metals. Class 65. Metal Working—Mining Utensils, etc. The home of this interesting group was the handsome Palace on the left of the Champ de Mars (Camp of Mars) opposite the Palace of Education, Literature and Arts. Passing from the grounds surround¬ ing the Eiffel Tower, and going southerly, it was also the first of the immense range of Palaces which skirted the left, or east, side of the Champ de Mars, having double facades, one on the Camp and the other on Avenue Bourdonnais. Speaking from a strictly architectural standpoint, it would be better to say that but a single Palace lined either side of the Champ de Mars, and that it was divided into Exposition sec- 343 344 THE PARIS EXPOSITION. tions, rather by internal arrangement than by outside architectural lines and effects. In this sense then the Palace of Mining and Metallurgy was the first section of that stupendous and richly ornamented Grand Palace occupying the left side of the Champ de Mars and stretching from the Eiffel Tower grounds to the Palace of Electricity, the other two sec¬ tions of this Grand Palace being the extended central Palace devoted to Textiles, Tissues and Vestments, and the southernmost Palace devoted to Mechanics—all combined, or each separately, presenting a veritable world of wonders, alike creditable to the Exposition and attractive and instructive to the visitor. On entering the Palace it took little more than an intelligent glance to map in the mind’s eye the interior arrangement and the location of the three classes of the group. To the left was Class 63—Working of Mines and Quarries—and Class 65-—Metal Working and Mining Uten¬ sils. Opposite these on the right, were annexes of these two classes. In the centre was Class 64—Metallurgy and Metal Specimens. Following the order of classes, Class 63 presented a multitudinous display of the working of mines and quarries, and of the plant appliances and products of such working. Among the first of those to be noted were displays of delicate and complicated appliances and processes used in the completion of underground surveys. The peach-rod man and the water-conjurer may not have been there in search of new “tricks of trade,” but there appeared a highly instructive exhibit illustrative of modern scientific ways of going about prospecting for minerals. Fol¬ lowing these came, very naturally, the exhibition of appliances for reach¬ ing underground depths, such as the sinking of artesian and other wells, the boring for minerals of all kinds, and for oils. Next came an exhi¬ bition of works for obtaining natural mineral waters, beautifully exe¬ cuted drawings of a successful plant for such purpose, and the methods employed in sinking shafts. Then followed the plant and methods ARAB PARADE ON STREET OF ALGIERS. (Trocadero Garden.) MINING AND METALLURGY. 347 adopted in driving headings, for excavating and sinking mines and quarries, the hand tools and appliances necessary for the same, and for the introduction of condensed air, both as a power and means of breath¬ ing. There were also the many forms of explosives used in blasting in mines and quarries, their graduation to suit different kinds and hard¬ nesses of rock, and the methods of igniting them so as to secure safety and the best general results. The Retrospective Exhibition attached to this class showed interesting drawings of metal work from the earliest historic times to the present. In still further study of Class 63, one found the plant and methods used for underground transport, the machinery used for extracting ores from mines, and for lowering debris for filling up useless spaces. A most interesting feature was the exhibit of improved machinery and ap¬ paratus for lowering and raising those who work in deep mines, also for pumping, draining and keeping dry and safe all sorts and conditions of mines. Another important feature of underground working was that of ventilation, and here one found everything appertaining to this, such as air-shafts, mammoth fans, etc. Then appeared countless appar¬ atus for lighting mines, in the form of a beautiful array of safety lamps, safety appliances of every conceivable design, safety catches, safety signals, and life-saving appliances. After the ores had been dug and raised to the surface, it was shown how they were handled and trans¬ ported away to be refined. In this showing were mineral railways, inclined planes, loose cables, aerial cables and tramways, loading ap¬ pliances for wagons, cars, boats and other mediums of transport. Then there was an array of special machinery for use in the working of salt mines. Methods of working such machinery were shown, together with those made use of in finding and raising petroleum, auriferous sands and gravels. 34 8 THE PARIS EXPOSITION. Large spaces were devoted to ingenious modern apparatus for the washing and the mechanical preparation of ores and mineral fuels, to the machinery for compressing fuels, and for the preparing of char¬ coals. Here also were numerous exhibits of coke ovens, for the coking • of bituminous coal and similar fuels. Then one found spread out for inspection numerous and interesting displays of ornamental stones, hard stones and stones suitable for building purposes, rough-hewn stones and stones dressed and polished. Close by were stones out of which the limes and cements used in building and paving are made. Again, there appeared huge exhibits of grind-stones, mill-stones, pum¬ ice stones, and stones of all kinds used for sharpening and polishing purposes. Passing along, one came upon enormous exhibits of various moulding sands, and close by, displays of refractory sands. These were followed by exhibits of the various clays, such as kaolins, and of flints and other materials used in the manufacture of pottery and porcelain. Then came exhibits of natural earths and fire clays, boracite, fluorspar, asbestos, meerschaum, graphite and plumbago, slates, and even gems and precious stones. Then appeared fine exhibits of various salts, rock- salt, ocean-salt, salt from salt springs, saltpetre and nitrates, sulphates, alums and other natural salts, borax and boracic acid, raw sulphur and iron pyrites, natural mineral colors, natural mineral manures, such as phosphates and coprolites, etc. An adjoining space was given up to mineral fuels, such as peat, lignite, bituminous and anthracite coals; also to coal gas, rock asphalt, mineral wax and bitumen, raw yellow amber and jet. Following these were metallic ores and native metals of every kind and description. The last section of this stupendous and important class showed geological maps and underground topography, many maps being in MINING AND METALLURGY. 349 relief; and plans for working mines were also given, together with statistics and publications dealing with geology, underground topog¬ raphy, mineralogy, and all things to do with mining. Standing in the midst of all the imposing objects of this Class, one could not help musing on the mighty progressions of the science which made such displays possible. Genesis recounts that Tubalcain was the “instructor of every artificer in brass and iron.” If it had been given to this ancient forerunner of all the metallurgists to return to the earth and go through all the parts of the Universal Exposition of 1900 which belong to the working of mines and to metallurgy, he would have been singularly proud of the progress realized by his pupils. Tubalcain only recognized brass and iron. He did not suspect the multitude of substances that man has since torn from the earth for his uses, and certainly he did not foresee coal. It is since the dis¬ covery of coal and the progress realized in its working that the indus¬ tries of mining and metallurgy have made this prodigious development of which the Exposition revealed the surprising results. Hence it was that the coal mines and their working occupied so important a place in the Palace of Mining and Metallurgy; and hence also that powerful interest, even in the minds of the general public, which at¬ taches to the working of mines led to the establishment of a special exhibit, a veritable “attraction,” in the ancient quarries which extended under the mound of the Trocadero. This interest is fully justified by the important role that coal plays in the economic life of all civilized countries, and which causes it to be truly called “the daily bread of industry.” Immediately within the principal entrance of the Palace of Mining and Metallurgy, at the left under the cupola, was a door of circular form which gave entrance to the galleries of Class 63. This door itself 35<> THE PARIS EXPOSITION. merited attention. It was a sort of trophy, uniquely constructed with the tools and diverse apparatus of labor employed in the mines. In considering the elements of this door and the objects grouped in its neighborhood, it was not necessary to be initiated in the process of ex¬ traction to notice the prominent part played by the cables. They were there of all materials and of every degree of thickness, and the care used in their manufacture gave an idea at once of their importance. As already stated, in the galleries of Class 63 were met all the raw pro¬ ducts brought out of the soil by human industry; also models of all the operations for assuring the economic working of these products, ven¬ tilation of subterranean passages, hoisting and safety of employes, etc. The exhibit of the United States consisted of a mineralogical col¬ lection which was a veritable revelation not only for specialists but also for the general public. This country contains nearly all the rocks and minerals that are found anywhere, and many that are found nowhere else. The specimens in this collection had been chosen with the great¬ est care with a view to instructing and interesting the visitor. In no museum could one find more instructive fragments of turquoises, opals, or garnets in the rock itself where these precious stones lie. The same could be said of the amianths and micas and a hundred other mineral products, some well-known, others novel and all beautiful, all utilized or capable of being so. Here especially was made evident the multiplicity of objects that man derives from the mineral kingdom for his varied needs. It is generally believed that the animal and vegetable kingdoms are chiefly put under contribution, to the diverse manifestations of our industrial activity. It is the contrary which is true. Both in tonnage and in variety of products, it is more and more the mineral kingdom which is the great source of our wealth. . r VIEW UNDER THE CUPOLA. ANIMAL. WOOD AND MINERAL EXHIBIT (Grecian Pavilion.) < Pala “ of Russian Asia.) MINING AND METALLURGY. 353 Certainly it has not always been so, since hunting, fishing, pas¬ toral life, working forests and agriculture were the first occupations of humanity. But from the first attempts of Tubalcain, this occupation has marched with giant strides in the way opened by that old forger, and the exhibition of Mining and Metallurgy rendered evident the great evolution of our customs. It is usually supposed that coal and the commoner metals, iron, zinc, copper, lead, etc., constitute the most important mining industries; but>a visit to the petroleum exhibits of Russia and America revealed the fact that this industry has also attained enormous proportions. Class 64 of Group XI. was devoted to Metallurgy, that is, to the plant, processes and products relating to the manufacture of refractory materials for metallurgical purposes, or, in other words, to every kind of metal work finished and in the rough. Many products of the mines and quarries can be utilized by man immediately or at least without great preliminary preparation. Such is notably, coal, although, as could be seen in Class 63, this combustible must follow certain operations of washing and sorting. Petroleum must be refined; and it gives off a number of other products, of which the United States section presented an interesting and instructing col¬ lection. Salt and asphalt must be purified. Freestone, slate and marbles must be sawed, cut and polished. However, these diverse operations are conducted without making a complete transformation in the material extracted from the bosom of the earth and without great difficulty. The metallic minerals, on the other hand, are not capable of being directly utilized, and must be transformed. There was Tubalcain’s great merit in discovering the means of rendering them malleable, and thereby inventing metallurgy. Tubalcain worked in brass and iron. 354 THE PARIS EXPOSITION. For the brass, of which copper is the base, the difficulty was less. For that reason the use of brass preceded by many centuries the use of iron, dating back even to prehistoric times. Objects of brass, even from the time of the polished stone age, have been found in the mounds. Iron, on the contrary, is the most refractory of all metals, and dur¬ ing the long centuries it has been with enormous difficulty that man has succeeded in obtaining it pure in very large quantities. Consequently, that which would have aroused the greatest astonishment in the mind of Tubalcain would have been the colossal pieces of iron and steel under the dome of the principal entrance to the Palace of Mining and Metallurgy, nearly all destined for the formidable engines of modern navies, armies and commerce and representing a weight, mass and resistance that startled the imagination. At one side was seen a simple table of steel, supported by a beam of a single piece, which had been bent in festoons ninety times, with a perfection which would leave no place for criticism as the work of a dressmaker with a piece of silk ribbon. The work of modern metallurgy is signally exemplified throughout the Exposition itself—the immense buildings, constructed almost en¬ tirely of steel, the machines of all sorts, the dynamos, and especially the Bridge Alexander III., which is one of the crowning triumphs of metallurgy. But one must defer generalization, and make the trip through the Class (64). The display to meet the eye was that of fire¬ bricks, blocks, crucibles, retorts and glazed bricks. After this came gas generators and gas furnaces employed in metallurgy and the appli¬ cation of liquid fuels to metallurgy. Then came the treatment of the ores of iron, manganese and chromium, and the plant employed in iron¬ works and blast furnaces, the blowers, hot blast apparatus, and all that. Next was the plant employed in foundry works, cupola furnaces and MINING AND METALLURGY. 355 blowers, the production of pig iron and casting of iron alloys. Follow¬ ing these were the plant, processes and products employed in the manu¬ facture of iron and steel ingots, in bars, in sheets, or in finished plates, and in the production of steel castings. Here too were puddling, rever¬ beratory and smelting furnaces, power hammers, pressers and rollers, and the general arrangement and plant for producing Bassemer steel by the acid or the basic process, and for producing open hearth steel or crucible steel. Various methods of manufacturing iron or steel direct from the ore, and carburation of iron were also shown. Then came machinery, processes and products connected with iron ware, hoop iron, band iron, rods for wire drawing, iron and steel wire, iron of special sections, tremendous armor plates, sheet iron for commercial and building purposes, corrugated iron, axles, tires, wheels, large forg¬ ings, S’ 1111 barrels, projectiles, welded and weldless tubes, and a host of other things. The production of galvanized, leaded, and nickelled iron and tin plates (lustrous, dull, mottled, ornamented, printed, tin¬ plates, tins for preserves and blacking), were displayed to the eyes of the spectator. Following came the treatment of copper ore by the dry and by the wet methods, the plant and processes employed at cop¬ per work; and there was copper shown and its alloys in ingots, bars and sheets. Next the treatment of various ores was shown, the plant for extracting and refining metals, furnaces for calcination, roasting, smelting, distillation, cupellation and such things, amalgam plant and accessories. Then tin ingots, zinc in ingots, sheet zinc, and zinc white. There was lead in pig, sheet lead, and lead pipes. There were quick¬ silver, antimony and oxides of antimony, nickel in ingots, hammered, drawn or rolled nickel, then also is metallic arsenic, aluminium and aluminium alloys. Precious metals too were there exhibited, and vari¬ ous alloys that are used with them to make them more serviceable. To 35 6 THE PARIS EXPOSITION. end up this class there were the plant, processes and products of elec¬ trical metallurgy, and the plant used in washing goldsmiths’ dust and dust from refiners of precious metals. The Retrospective Exhibition of this Class contained numerous examples or drawings of metal work from the earliest times. In passing to Class 65 of the Group, that class devoted to Metal Working, one may be permitted to say in a general way that the French distinguish Metallurgy proper from Metal Working—and, therefore, Class 64 from Class 65—by calling the former Gross (or Greater) Metal¬ lurgy and the latter Small Metallurgy. Only certain branches of human activity, requiring the employment of enormous pieces of metal, are tributaries to the greater metallurgy. On the contrary, there is no art, science or industry, which does not need to have more or less recourse to the small metallurgy, because metal under some form or other is used everywhere. So that the com¬ plete exhibition of small metallurgy was the entire Exposition itself, for in whatever Palace you set your foot, even in the Grand Palace of Fine Arts, you found the use of metal. However, in Class 65 were grouped the objects and machines which belonged more to the direct work of metal taken in small quan¬ tities. Such was, for example, the nail manufactory, and certainly, when one had gone through the diverse sections of Class 65, it would have been impossible to pretend that the Universal Exposition of 1900 lacked nails. They were everywhere, and attracted attention by the ingenious dispositions that were made of them. There were triumphal arches, gates, fences, balustrades, decorative motives of extraordinary variety, and so much more curious because the unique element of which they were composed was so simple. Moreover, nails were humorously grouped to form the figures of animals. In the Russian THE GREAT STAIRCASE, AUSTRIAN SECTION MINING AND METALLURGY. 350 Section, for example, was a bear with blue-black fur, entirely composed of little iron nails. In the Swedish section, there was a tableau, against the wall, representing one of those gnomes of the mines which play an important part in the legends of Scandinavian countries. From a distance, this had the effect of a piece of tapestry, worked by a feminine hand, and it was surprising to find it in the Palace of Mining and Metal¬ lurgy rather than that of the Palace of Threads, Cloths and Clothing. But on nearer approach, it was discovered that the design was made solely with nails of diverse tints placed flat, one against another, and imitating the stitches of tapestry. In the French section metal pens for writing were being made. The operation was most curious in its simplicity, rendered possible by the perfection of machinery. Next to this, the manufacturing of pins could be seen, complicated, twisted pins and hair pins, but obtained by the simplest machinery. The machinery of small metallurgy has acquired a perfection of which the Palace gave many examples. In the German section, little metal boxes were being made. A band of tin or copper advanced auto¬ matically and the machine cut off disks of the required dimensions and fitted them together with mathematical precision. All these things were seen in detail on the ground floor and second story, and revealed the facility with which metal is adapted to-day to all appliances. As the exhibition of gross metallurgy gave the sensation of power attained by the industry in the production of great pieces of metal, the exhibi¬ tion of small metallurgy revealed the plasticity that has been obtained in all these substances apparently so refractory and incompressible. This plasticity especially appeared in the artistic application of metal. Artistic iron work was admirably represented in all sections of the class, and in the exhibits of every country, especially Germany, 360 THE PARIS EXPOSITION. where this industry greatly flourishes. This exhibit included many beautiful pieces, one door in aluminum bronze being a perfect marvel. The metal had literally flowered under the hammer. But one must again leave off general views, and enter the portals of the Class for a special inspection of its many wonders. It began with the plant and processes used in foundries of bronze, brass, zinc, tin, malleable cast iron and other materials. And here were shown the special tools (other than those included in the machine tools class), by smiths, farriers, bolt and screw manufacturers, wire drawers, nail makers, buckle makers, chain makers, coppersmiths, plate-makers, tin¬ smiths, edge tool makers, ironmongers, locksmiths and other manu¬ facturers and mechanics. The appliances and processes employed in enamelling metals, and metal articles were also on exhibition, as well as those for fine rolling, and for gold, silver and tin beating, and the apparatus for working platinum. Following these were shown the processes for coating metals with a more precious, malleable or durable metal, as well as the great art of electro-plating. The second section in this class was devoted to bells and hand bells, to taps, cocks, and bronze fittings, and various forgings, farriers’ arti¬ cles, horse shoes, and even ox shoes. Here too were shown bolts and nuts, screws for wood and metal, and the products of wire drawing and nail making. Here were French nails, brads, pins, and needles; wire rods were in plenty. There was a great variety of barbed wire shown, and other sorts of wire for fencing, for net and gauze purposes, and the products of fine wire drawing machines. Close by were the products of buckle making, staples, hooks of various kinds, and hinges, products of chain making, and weldless chains. Then came household utensils in copper and tin, and metal plates, flanged, punched, cut, ornamented, perforated, and all that. There were enamelled plates, and castings for mining AMD metallurgy. & building, household and ornamental purposes, metal pots and pans, plain, polished, japanned, enamelled, granited, and lined with porcelain and other substances. There were drawn tubes, and piping in iron, steel, copper, brass, and lead. There were metal caps and stoppers, buttons, and studs, hooks and eyes. A great feature was made of steel pens, and there were spectacle frames, and springs innumerable. Next to these came the edge tools, every variety of article that cuts one would think was gathered under this roof; scythes and sickles, pruning hooks, hacking cutlasses, axes, hatchets, files, in fact, every variety of cutting tools. Next to these were the pulleys and the pulley blocks. Then came flat irons, and still further on builders’ ironmongery, door hinges, window fasteners, door knobs, door knockers, locks, padlocks, bolts, keys, patent and safety locks. From that one passed to metal safes, iron rooms, and strong rooms of all sorts in metal, and having finished the house, one passed into the garden, where were found vases in wrought or cast iron, then again paying attention to the indoors of a house, one came upon stair rails and balusters, railings and balconies in artistic wrought iron, iron beds, and various utensils, painted, enam¬ elled, or japanned. Summer houses and pavilions, too, were shown in iron or in steel. There were aviaries, sheds, iron framework of tem- ' porary structures, shop shutters, iron shutters and Venetian blinds, iron brackets, and a multitude of other things. Then came various products of fine rolling and gold, silver and tin beating, and solder, and many examples of gilding, silver-plating, copper-plating, bronzing, galvan¬ izing nickel-plating, electro-plating, and last of all came the galvanized or leaded iron sheets, and plumbers’ work in lead and zinc. The foreign sections of the Group of Mining and Metallurgy were all fully and finely represented. Mention has already been made of the magnificent display of mineral and metallurgical products made by the 3^2 THE PAkIS EXPOSITION. United States. Italy was represented by steel from Term, and huge motors. Germany sent an exhibit of wrought iron, gas-engines, and safes, and on the first floor a collection of amber. From Russia came iron and steel from Moscow and a large collection of factory engines from every big town. Great Britain, with very little space at its dis¬ posal, sent a collection of Nettlefold screws, electric cables, safes, and steel ingots. The firm of Nobel sent some of its well-known explosives. Norway and Sweden were well represented, while Belgium was repre¬ sented by immense engines from Sambre and Liege, and by different specimens of minerals. Finally Austria and Hungary had interesting exhibits. Decoration and Furniture. OR reasons which will hereafter become plain to the reader, it is best to begin the study of this magnificent and complicated group—Group XII—by presenting at once its classification, under the M. Picard arrange¬ ment of exhibits. Remembering that the numbers of each class began where those of the classes of the previous group left off, the classification ran thus: Class 66. Fixed Decoration of Public Buildings and Dwelling Houses. Class 67. Stained Glass. Class 68. Wall Papers and Paper Hangings. Class 69. Household and Art Furniture. Class 70. Carpets, Tapestries and other Upholstery Materials. Class 71. Temporary Decorations and Upholsterers’ Work—Bed¬ room Furniture. Class 72. Ceramics—Pottery and Porcelain. Class 73. Glass—Crystal. Class 74. Apparatus and Processes for Heating and Ventilation. Class 75. Apparatus and Processes employed for Lighting, other than for Electric Lighting. The visitor to the Exposition of 1900 who stood in the centre of the new Bridge Alexander III, enjoyed the charm of three separate vistas. One lay northward along the new Avenue Nicholas II till it entered the Avenue Champs Elysees. It was not a lengthy vista, but it was ren¬ dered superb by tree and flower effects, and by the two beautiful Palaces of Fine Arts, one on either side. Another lay westward, and it was the 363 THE PARIS EXPOSITION. 364 river Seine—the water avenue of the Exposition—presenting more than a mile of animated view of barge, of quay, and of quay-lined palaces and pavilions. The third was to the south of the river. This was the flower and tree ornamented Esplanade des Invalides. It was not the spacious and decorated Esplanade of old, for it had surrendered a great part of its area, or both left and right sides, and for its full length, to the purposes of the Exposition. Yet it was still beautiful and inviting, and one must enter it now for further view and study. The thought to be kept uppermost now was that one was in a world devoted to manufactures and industries. All the buildings on either side were dedicated to the activity and art of converting materials into useful and ornamental forms, and in their contents they constituted a mighty monument of the crafts that occupy men’s minds and hands in both hemispheres. The Palace on the left, occupying the entire length of the Esplanade, and considered as a single erection, was the National Palace of Manufactures. It was dedicated solely to French exhibits of manufactures and diversified industries, and was divided into suitable sections, or minor palaces, rather by internal arrangement than by out¬ side architectural effects. The Palace on the right occupied a like space, but it was dedicated to foreign exhibits of manufactures and diversified industries, and its sub-divisions were suited to the accommodation of the various competing nations. This entire hive of industry was inviting and instructing to the business world, and especially to the nations who are so earnestly contesting for the world’s trade. Entering the left-hand Palace, or that part of it devoted to French Manufactures, one came almost directly upon the first class of Group XII—Class 66, embracing Fixed Decorations of Public Buildings and Dwelling Houses. Here everything was found most systematically arranged and exquisitely shown. The class began with plans, designs and models for permanent decorations. These were most comprehen- DECORATION AND FURNITURE. 3^5 sive, and furnished to visitors material for study and admiration, no mat¬ ter how often they returned to view them or how long they remained. Then came ornamental carpentry and joiners’ work, models of frame¬ work in great variety, decoration of roofs and timber sides, specimens of doors, windows, panels, flooring, even organ cases and church pews. Another section of the class was given up to fixed decorations in marble, stone, plaster, papier-mache, carton-pierre, and the peculiarly French feature of decorative sculpture. One then passed to a very beautiful display of iron work and locksmith’s work as applied to fixed decorations, such as wrought iron entrance gates and doors, and artis¬ tically wrought railings and balustrades, of iron, steel and bronze. Further on was seen decorative painting in many styles and colors upon stone, wood, metal, canvas and other grounds. And here, too, were shown mosaic pavements ingeniously worked in stone or marble, enamel mosaics for walls, vaults and domes, and terra-cotta and other ceramic work for the permanent decoration of public buildings and private houses. If the visitor were a lady, she would here feel disposed to complete her view of house decorations by violating, for the time being, M. Picard’s comprehensive classification of exhibits, and next entering upon a study of Class 70—Carpets, Tapestries and other Upholstery Materials—a class quite nearly allied to Class 66, and worthy of admir¬ ation. The first sub-division of this class was devoted to special machin¬ ery for making carpets and tapestry, high warp looms, and many ingen¬ ious engines for the preparation of raw materials and the weaving of them into beautiful designs and serviceable shapes. Then came the carpets themselves, moquetts, tapestry, terry or velvet pile, felts, mat¬ ting, and all the comfortable and decorative fabrics that cover floors and walls. Next came furniture stuffs in a great variety of materials—silk, wool, cotton, linen, jute, ramie, plain, mixed, brocaded, printed, em- 36 6 THE: PARIS EXPOSITION broidered. Then appeared fabrics in horsehair, in leather, cloth, mole¬ skins and other materials, followed by leather for hangings and furniture coverings, oil cloths and lineoleum in vast varieties. Indeed Class 70 was in many respects the most important section of the entire vast Pal¬ ace of Manufactures and Diversified Industries. Before leaving the Class, special mention should be made of the ancient and historic industry of weaving the celebrated Gobelin Tapes¬ try. New manufactories at the Exposition illustrated the late progress made in the revival of this antique and picturesque industry. For some years efforts had been made to restore the original style belonging to this art of tapestry-weaving, which was in such a flourishing condition in France during the Middle Ages. Relinquishing the system, which used to result in a labored and by no means first-rate copy of pictures, with its intricate designs and endless gradations of tints, it was there attempted to simplify the design and work with flat tints. This inno¬ vation in the manufacture of Gobelin tapestry gave the exhibition an original character, and it was seen that even in those pieces of tapestry executed from antique patterns care had been taken to follow these principles, to heighten the tones, simplify the designs, and accentuate the outline. On the way to the exhibition of Gobelins, coming from the stair¬ case placed in the corner of the palace to the left of the Place des In- valides, one passed a series of tapestries made shortly after the ex¬ hibition of 1880 in accordance with the old traditions; they appeared somewhat low in tone there, but it was easier to criticise them by com¬ paring them with the modifications introduced into the composition, and the manufacture of those of more recent date. On the right, one saw first of all a symbolical representation of the French Republic. This hanging will, during official ceremonies, be THE STREET OF NATIONS. DECORATION AND FURNITURE. 369 placed behind the seat occupied by the President of the Republic. To the left hung a piece of tapestry representing the “Middle Ages/’ form¬ ing part of a series intended for one of the halls of the National Library, and executed from the designs of M. Ehmann. On one side, in a kind of alcove, the panels of which are decorated with tapestry intended for the Theatre Frangais, worked from designs by M. Gallamet, were exhibited the productions of the various work¬ men attached to the manufactory, works by apprentice tapestry makers, exhibits from the studios of painting, designs by Van der Meulen, chosen from the numerous collection by this master in the possession of the manufactory. On a slightly raised dais to the right were three carpets, two of which are manufactured from models by M. Libert. Along the walls were stretched ancient tapestries lent by the church of St. Remy at Rheims, which illustrate the exceeding skill of the artists at the work¬ rooms in darning Gobelins tapestry. Two pieces of tapestry were ex¬ hibited there, one in front of the other, after having passed through this workroom. A single glance was sufficient to enable one to appreciate the work done by these clever artists on the wonderful tapestries in the store-room. After inspecting a piece of tapestry on the left-hand side intended for the Odeon Theatre, “The Apotheosis of Moliere,” one entered a gallery looking on to the square of the Invalides, where the latest and most valuable productions of the Gobelins were on view. To the left was an immense hanging after Jean Paul Laurens, begun in 1895, finished in 1899. Like M. Ehrmann’s tapestry, the Middle Ages were there represented in quite a different form. Chivalry was the emblem chosen, the representation of one of those tournaments of which the old chroniclers have left us such enthusiastic description. 37o THE PARIS EXPOSITION. The decorative qualities of this tapestry were carried to the highest pitch; the coloring was as vivid and fresh as the miniatures of an illumi¬ nated manuscript, and the border consisted of ornamental designs in harmony with the principal subject. In a second gallery one saw, stretched on a repairing panel, the celebrated tapestry, “Portraits of Marie Antoinette and her Children,’’ ordered by the late President M. Felix Faure as a gift for the Empress of Russia. Two principal artists, Michel and Thuaire, were engaged upon it from 1896 to March 22, 1900. In a centre gallery hung panels intended for the Palace of Justice at Rennes. In another gallery ap¬ peared “The Siren and the Poet,” a remarkable specimen of work by Moreau, intended for the Luxembourg Museum. A collection of ex¬ quisite hangings in the next gallery, after designs by Boucher, showed that the modern Gobelin tapestry artists are as skilful as those of the last century. At the extreme end of the gallery were three superb hangings, intended for the St. Etienne Tribunal of Commerce. They represented coal, glass and silk, and consisted of symbolical designs, by Maignan, in delicate modern style, prettily surrounded with branches of trees and flowers. The Gobelins workrooms and museum constitute one of the his¬ toric attractions of Paris. They are situated on the Avenue Gobelins. The establishment was founded by Henri II., but it was in 1662 that Louis XIV. installed it in the dye-works of the Brothers Gobelins, craftsmen who are said to have owed much of the success of their pro¬ ductions to the special quality of the water of the Bievre, the little tributary of the Seine they made use of in their works. Louis XIV., as a tapestry in the Museum, after a cartoon by Le Brun, the first director of the Gobelins, shows, had not only tapes¬ tries, but the furniture for the royal apartments manufactured at the DECORATION AND FURNITURE. 37* Gobelins. Its products have never been put on the public market, but are still destined exclusively for the decoration of national palaces. Special commissions from private persons are, however, accepted by the director by permission of the Minister of Public Instruction. These, however, are rare, and the necessary permission is difficult to get. Private enterprise has never been able to compete successfully with the Gobelins, nor to produce tapestries as there executed at the same prices (from $1,000 to $1,250 a square yard), even when employing workmen formerly employed at the Gobelins. The establishment in fact could not subsist but for its State subvention. In 1825 the carpet-manufactory known as La Savonnerie was in¬ corporated with the Gobelins. It had been founded in 1604 by Marie de Medici at the Louvre, and was afterwards transferred to a former soap-factory at Chaillot, whence its name. The so-called Savonnerie carpets rival those of Persia. The visitor to the Gobelins begins with the Museum to the left of the entrance. The tapestries exhibited here came from the Garde- Meubles, or from private bequest. Their origin is given on labels. In the case of the oldest pieces it has not always been possible to determine this. Arranged in cases around the rooms of the Museum are found the remains of many of the ancient and historic tapestries that have served to render the establishment, and, for that matter, France, famous. In Room 1, may be seen “A Herma, ,, after a design by Le Brun; “Elijah ascending to Heaven,” after Vouet; “Passage of Molle Bridge/’ after Raphael; “The Air” or “Juno,” after Le Brun; “Louis XIV. receiving Cardinal Chigi,” after Le Brun; “The Marriage of Alexander and Campaspe,” after Coypel; “The Passage of the Gran- icus,” after Le Brun; “Louis XIV. Visiting the Gobelins Factories,” after Le Brun; “The Triumph of Apollo,” after Serembert. 372 THE PARIS EXPOSITION. Other Rooms contain such masterpieces in textile art as “The Flemings demanding Peace from Clovis/’ a Brussels tapestry of the 17th century; “Bulls and Animals Fighting,” after Deportes; “A Blood¬ hound,” after Oudry; “Verdure,” a foliage pattern of the 16th century, an antique Persian carpet which the donor refused to sell for $10,000; “The Death of Joab,” after Cerceau; “Adoration of the Magi,” a Flemish tapestry of the 15th century; “The Annunciation,” also a Flemish piece of the 15th century; “The Kiss of Judas,” a Parisian taestry of the 16th century; “The Months,” after Audrun. The tapestries of the Gobelins factories are executed on looms, several of which date from the 17th century. The craftsman sits be¬ tween the web and his model, the reverse of the tapestry being turned towards him. He is therefore obliged to rise or to pass a mirror through the weft, when he wishes to see the effect of his work. The piece of the pattern on which he is occupied is drawn on the warp, but the workman is obliged to consult his model frequently as he chooses the wools from the basket at his side. A good and quick eye for color is indispensable. It is not sufficient to be able to discriminate between the various shades. The designs of certain modern painters are ex¬ ecuted in large decorative masses, which have to be interpreted. Such interpretation demands artistic knowledge in the workman. Many of the employes belong to families which have worked in the Gobelins since the foundation of the factory. The wages are not extraordinary, but the workmen are lodged in the factory, and have little gardens allotted them on the banks of the Bievre. Two or three workmen are occupied at each loom. The most skilful, called the “Chief of the piece,” executes the most delicate parts of the tapestry, which is signed by him alone. Each workman com¬ pletes on an average about forty square centimetres of tapestry a day, GERMAN SECTION PALACE DES INVALIDES. DECORATION AND FURNITURE. 375 amounting to rather more than a square yard in a year. They cannot work by artificial light. A Gobelins tapestry is worth from about $8,000 to $30,000, count¬ ing the cost of the design, the workman’s labor and the value of the materials, though for these wool is used more largely than silk. Val¬ uable tapestries in process of completion (1899-1900) are “Arrival of Joan of Arc before Patay,” after Laurens; “The Arms of the City o? Bordeaux,” after Claude; etc. Returning now to the M. Picard order of classification one enters the space of the Palace devoted to Class 67, or exhibits of Stained Glass. The art af staining glass, which was so much practiced during the Middle Ages, had almost entirely disappeared since the 17th cen¬ tury. It is owing to the researches made by Viollet le Due and his rivals that this art has, within the last fifty years, become exceedingly prosperous. The fine painted windows shown among the exhibits of this Class are by J. P. Laurens, and are intended for the chapel of the Chateau de Chaumont. The window by Luc Ollivier Mason repre¬ sents “The Pilgrims of Emmaus,” and those designed by Grasset for the Cathedral at Orleans, “Joan of Arc.” Among other specimens the Exhibition included works by Maignan and other distinguished artists. Class 68 was devoted to Wall Papers and Paper Hangings. It em¬ braced many highly artistic exhibits of paper-hangings, materials in their original states, materials used in the printing machines. Brushes and cloths especially suitable to paper-hangings. Papers of all kinds. Imitations of wood and of leather. Painted or printed blinds. A fine exhibition of wall-papers, some in light colors, others in darker shades intended to imitate tapestry, etc. Then one came to Class 69, devoted to Household and Art Furni¬ ture. Those unaccustomed to deal in house decoration in a large 18 37$ THE PARIS EXPOSITION. way can have little idea of the multidinous exhibits that were met with in this section of the Exposition. Only a few need be mentioned, such as sideboards, bookcases, tables, beds, toilet tables, chairs, billiard tables, and, in fact, here was everything that goes to furnish a well- found house, be it a public building or a place of family residence. Special attention seemed to have been paid to grandeur of style and to pure traditional design, with a strong tendency towards the Louis XV. period, and the fresh, graceful, and cheerful taste which marked the reign of Louis XV. But this does not say that modern art did not contain some remarkable exhibits. Class 70 has already been described. Class 71 embraced displays of Temporary Decoration and Upholsterers’ Work. This was a taste¬ ful and brilliant exhibition of all that tends to make the inside furnish¬ ings of a house luxuriant and comfortable. In decorative upholstering there were some particularly rich exhibits by celebrated artists in that line. What was known as the Samaritaine collection showed exclu¬ sively modern articles, at reasonable prices, intended for public and private rooms, staircases, lobbies, entrance halls, etc. Class 72, devoted to exhibits of Pottery and Porcelain, found a home in the Palace on the right side of the Place Invalids, and in the end fronting the Seine. The craze for china and other artistic products of clay, which has been steadily increasing for a decade, not only in France but throughout the world, was surely given additional impetus at the Exposition of 1900. Prosperous manufacturers from every na¬ tion were found in competition in the pavilion set apart for the dis¬ play of ceramics. Skilled artists were there seen to have adopted new ideals and shapes, and to have endeavored to use the ceramic clay, with its rich coloring, for ornamental sculpture, panels, bas-reliefs, porticos, staircases, etc. These innovations were demonstrated in the remark- DECORATION AND FURNITURE. 377 able exhibits of the Bigol Society, the firm of Muller, and the porcelain manufactory at Choisy-le-Roi. The experiment has been successfully made: the beautiful and lasting material, with the varied hues obtained by firing, is admirably adapted to the internal and external house deco¬ ration as an economical method of introducing color into dwelling and business houses. It is not more expensive to decorate the front of a building with these beautiful baked tiles than with sculpture. The National Manufactory of Sevres had a magnificent display. Of the many noticable examples of recent work in porcelain none were more notable than the superb work in “biscuit,” by M. Lache, and among these the chief was his superb “Fontaine en Biscuit” (Fountain in Biscuit). It was regarded as one of the finest examples of the re¬ sults to be obtained in this medium which has ever been shown to the public. The composition as a whole is most spirited, and the modelling of individual figures is beyond criticism. Moreover, the feeling of “style” which pervades the whole work is undeniable, and shows the work to be that of a veritable master. The Royal Copenhagen Porcelain Manufactory and the Royal Berlin Factory had splendid displays of the ceramic art in their re¬ spective pavilions. Of the magnificent displays of Rookwood ware made by the United States, a French critic had this to say: “The originality and versatility of our cousins across the Atlantic are proverbial, and these qualities are serving them to good purpose in their progress in Art matters. The exhibit of the Rookwood Pot¬ tery Company is an example in point. A few years ago Rookwood was almost an unknown product. To-day, no European collection would be considered complete without examples of this wonderful ware. Not content with their laurels already won, the Company are continually making fresh departures. Not so much in the matter of 37» THE PARIS EXPOSITION. fanciful shapes. It is now recognized that there are comparatively narrow limits which bound good taste in this direction, but in the field of method in decoration there is a boundless horizon. '‘The Rookwood Company’s latest departure is in the direction of application of metals to their works, and some wonderfully artistic re¬ sults have been arrived at. In his ‘Mistletoe,’ and ‘Sea-horses,’ the artist, Mr. Wareham, has achieved a remarkable success. The bronze decorations are extremely beautiful. The group by Mr. Daly shows his mastery over simple forms and colors. We note the fine and dignified examples of Faience shown by this firm with great pleasure. Within their self-imposed limits of color, they have produced works of great simplicity in form, which are in the best taste. The beauty of most of these forms is unquestionable, and those selected for illustration being, we hope, typical, will give some idea of the merit of these productions. We predict a still further popularity for work on such sound lines.” It was also in this pavilion of decorative art that one found the displays of Glass and Crystal, which composed Class 73 of the Group. Here, amid a most striking series of exhibits of ornamental and useful glass work, was found, on the second story, the Crystal Palace, with its myriad of reflections, infinite transparency and cross-rays of dazzling light. All the effects in this Class were of a resplendent order. The next Class of the Group, Class 74, found a home on the quay Orsay in connection with the Group (XVIII.), devoted to the Army and Navy. This Class (74) contained displays illustrative of Heating and Ventilation. It will be found described in its place. Class 75, the last Class of this interesting Group, was found in the large gallery of the Palace of National Industries, on the side facing the Street Constantine. It was particularly interesting from technical, practical and artistic points of view. It was devoted to Apparatus and 1 } PAVILION OF SERVIA. PAVILION OF MEXICO. DECORATION AND FURNITURE, Processes employed in Lighting, other than Electric Lighting. Elec¬ tricity of late years has gone ahead with such leaps and bounds, has become, in fact, so all-pervading in the world of artificial light, that it had to be taken care of in a section of a building by itself. But here in this decorative centre were to be seen those various methods of lighting by means of vegetable and mineral oils, petroleum, shale, thick oil, spirits, etc., and the receptacles and accoutrements for these oils, lamps, burners, wicks, lamp chimneys, and all that. There was appa¬ ratus for domestic, industrial and public lighting. The next sub-section was devoted to lighting by means of gas, and here too were lamps in great variety, burners innumerable, chimneys not to be counted, flat flame, Argand, incandescent burners, until one’s head turned dizzy. Fittings covered a vast space, gas lighters and lighting torches as numerous as fallen leaves in autumn, and one saw a magnificent coflec¬ tion of globes in all shapes and sizes, shades in all colors, reflectors, screens, and even smoke consumers. Acetylene had been selected for lighting a portion of the quays on the Seine, and the complete success of the experiment enables one to appreciate this new discovery, which has already met with great approbation in Germany, Austria, Hungary, and America. Lighting by acetylene is nearly fifty per cent, cheaper than gas, and the brilliancy of its light is unequalled. Incandescent spirit lighting was also shown to have been very considerably improved, and that it is quite capable of taking the place of gas for lighting houses, offices, and even streets, at a very reduced expenditure. This group (Group XII.), devoted to decoration and furniture of public buildings and of dwelling houses took up a good half of tKe great building that stood to the left of the Esplanade des Invalides. Close by the portion of the Palace which housed Class 75, stood the small pavilions and cottages which contained exhibitions from THE PARIS EXPOSITION. 382 some of the provinces of France, especially Breton. The entrance to the Breton exhibition was under a triumphal arch, an exact replica of the gate of the Martyrs’ Cemetery, near Landerau. On the second floor of this pavilion the Breton painters, poets, musicians and literary men met and held their enjoyable symposiums. As has been said, the great Palace on the right of the Place In¬ valids was devoted to foreign exhibits of Groups XII. and XV., kin¬ dred groups. The foreign nations exhibiting there, and the character of their displays, will be found described in connection with Group XV., or that devoted to Various or Diversified Industries, which Group oc¬ cupied the southern half of the Palace of National Industries, or that part of it designated as the Palace of Diversified Industries. Threads, Yarns, Textile Fabrics, Clothing. S already in part described, the left, or eastern, side of the Champ de Mars (Camp of Mars) was occupied by a splen¬ did palatial structure extending from the Eiffel Tower grounds to the Palace of Electricity. This magnificent structure was really composed of three Palaces, each with its special facade effects, on both the front upon the Champ de Mars and the rear upon the Avenue Bourdonnais. Each of the three Palaces was dedicated to a different group of Exhibits. The first on the left was the Palace of Mines and Metallurgy; the second was the Palace of Threads, Yarns, Textile Fabrics and Clothing; the third was the Pal¬ ace of Mechanics. One was now about to visit the second and largest of these impos¬ ing Palaces, that of Threads, Yarns, Textile Fabrics and Clothing. It opened in its centre by a vast rounded bay with a vestibule sur¬ mounted by a cupola decorated with paintings in vivid tones, and bor¬ dered by a circular frieze, on which the name of the Palace stood out in large, bold letters of gold. The upper part of the dome of the Palace was of glass and illuminated at night, producing a brilliant and pleasing effect. Indeed all of the domes and cupolas in the Champ de Mars were in fact transformed after dark into gigantic illuminated displays. The interior spaces and halls of this Palace were numerous and ad¬ mirably arranged for their purposes. In them one saw with admiration the ingenuity and perfection of M. Picard’s plan of arranging exhibits with reference to the juxta-position of associate groups and classes. Here, even more clearly than in some other groups, the raw material was 383 3^4 THE PARIS EXPOSITION. seen side by side with the manufactured article, and the entire processes from the raising of products to their completion for man’s uses could be distinctly traced. The group—Group XIII—of Threads, Yarns, Textile Fabrics and Clothing was sub-divided, according to the M. Picard classification, into the following classes, whose numbers began where those of Group XII ended: Class 76. Appliances and Processes of Spinning and Rope-making. Class 77. Plant and Processes employed in the manufacture of Tex¬ tile Fabrics—Woven Goods. Class 78. Appliances and Processes used in Bleaching, Dyeing, Printing and Finishing Textile Materials in their Different Stages. Class 79. Appliances and Processes used in Sewing and in Making Wearing Apparel. Class 80. Cotton Thread and Fabrics. Class 81. Threads and Fabrics of Flax, Hemp, etc.—Cordage. Class 82. Woolen Yarns and Fabrics. Class 83. Silks and Silk Fabrics. Class 84. Lace, Embroidery and Trimmings. Class 85. Tailoring, Dress-making and Clothing for Men, Women and Children. Class 86. Various Trades connected with Clothing. It will be seen that this was one of the most comprehensive classifi¬ cations of the entire Exposition, as it was one of the most interesting of the Groups. As was to have been expected, the classes embracing ma¬ chinery, especially of the heavier kind, and also products of the weight¬ ier and bulkier sort, were found upon the ground floor of the Palace, while those of smaller, lighter and daintier form were found upon the first floor (second story). The general interior arrangement of the Pal¬ ace, for both ground and first floor, was into these grand show halls, THREADS, YARNS, ETC. one running along the right, or Champ de Mars, side, the second running through the centre, and the third running along the Avenue Bourdon- nais side. Class 76—the first class of the group (Group XIII), was found on the ground floor. It embraced the appliances and processes for spin¬ ning and rope-making. These included machinery employed in the preparing and spinning of textile materials in general, an immensely large and instructive exhibit. It was accompanied by exhibits of the appliances and processes used in the operations following that of spin¬ ning, such as the spooling, winding, twisting, throwing and mechanical finishing of goods. The separate parts of a full spinning plant were shown in detail, so that all their delicate and intricate mechanism might be inspected, together with the ingenious and complicated machinery used in their manufacture, and a variety of apparatus for testing, assort¬ ing and numbering materials and products. An unusually fine exhibit showed the special attention that had been paid to the plant used in cord¬ age factories. In the central hall of the ground floor of the Palace were found the exhibits of the next class—Class 77—or the class devoted to the Plant and Processes employed in the Manufacture of Textile Fabrics, that is Woven Goods. Here appeared interesting exhibits of apparatus used * in operations preliminary to weaving, embracing many varieties of warp¬ ing machines and cop-winders. These were accompanied by reading in and repeating machines; hand and power looms for manufacturing plain fabrics; looms for the weaving of figured and brocaded stuffs, and a surprising variety of box looms. The class ended with a line of exhibits of knitting machines for hosiery, and those for making lace, tulle and fancy trimmings. While this class did not cover so much space as some others, its inspection proved to be most interesting and enjoyable. Class 78, or that devoted to Appliances and Processes used in 386 THE PARIS EXPOSITION. Bleaching, Dyeing and Finishing Textile Materials in their Different Stages, was also found upon the ground floor, and in the left-hand hall, upon the Avenue Bourdonnais side of the Palace. The ground floor exhibits embraced the heavier machinery represented in the Class. Four rooms in the second story were also devoted to exhibits of the Class, chiefly those of lighter weight and greater fineness. On entering the space allotted to the Class, one began with views of apparatus for singeing, brushing, and cropping textile fabrics, as well as those used for washing in ley, scouring, washing, drying, moistening the various textile materials in their different stages, and for boiling, and for colors and thickenings. Here, too, were found tools and appliances used for the preparation of patterns for printing on stuffs, and machinery for starching, dying, and printing the stuffs, together with steam apparatus in great variety. All kinds of machinery for finishing was found, rais¬ ing machines, drying machines, and tenter frames, calenders, glazing, watering, embossing and beetling machines, and others for measuring and folding, and all the things needed for the finishing of textile mater¬ ials. There were appliances used for dyeing silks, machines for beat ing, shaking up, stringing, and lustreing. There were scouring bowls, and appliances for speckling and for bleaching by electricity. Laundry work was then shown, and the washing in ley, the rinsing, the drying, ironing, and getting up. Here too were the processes for cleaning by dry process with benzine, and its homologues, as well as for cleaning by wet process, dyeing and pressing. Another section of this class was handed over to specimens of bleached or dyed textile material before being spun. There were specimens of yarn or thread of cotton, linen, wool, silk and so forth, whether these were pure or mixed, bleached, dyed or speckled. Here, too, were specimens of textile fabrics, bleached, dyed and printed. THREADS, YARNS, TEXTILE FABRICS, CLOTHING. 387 There were prepared yarns and threads, specimens of chemical cleaning of textile materials before being spun, or as fabrics. The next Class to be visited in order was Class 79, devoted to Ap¬ pliances and Processes used in Sewing and Making of Wearing Ap¬ parel. It began with a display of common implements of sewing and needle work, and machines for cutting stuffs, skins and leather, and those for sewing, stitching, seaming, and embroidery. Then one found machines for making buttonholes, ingenious ones for sewing gloves, for plaited straw for hats, for leather sewing and boot and shoe making. There was an exhibit of flat irons and stands, of busts and manikins for trying on clothes, and machines for preparing separate parts of boots and shoes, and for sewing upper-leathers and soles, for pegging, screw¬ ing and nailing boots and shoes; and the exhibit wound up with ma¬ chines for making hats of straw, felt, and other material. On the second story were found the exhibits of Class 80—the class devoted to Cotton Thread and Fabrics. Here were found prepared and spun cotton, and cotton fabrics, pure, mixed, plain, figured, unbleached, dyed or printed, cotton velvet, velveteen, cotton tapes and ribbons, and a great collection of counterpanes; and naturally the United States, Great Britain, and other great manufacturing countries of the world, showed up to great advantage in this section of the Exhibition. On the second story, the gallery along the Champ de Mars side of the Palace was devoted entirely to Class 81—the Class embracing ex¬ hibits of Threads and Fabrics of Flax, Hemp, etc., and Cordage in general; that is unbleached, bleached or dyed yarns and threads, and unbleached, bleached, dyed, printed and prepared fabrics. There were shown first the threads of flax, of hemp, of jute, of Ramie and other vegetable fabrics. Then came plain or figured canvas, ticking, damask linen, cambrics and lawns, and these were followed by plain and fancy 3 88 THE PARIS EXPOSITION. handkerchiefs, fabrics of flax or hemp mixed with cotton or silk, and fabrics made of vegetable fibres other than cotton, flax, hemp, jute and ramie. At the end of this class came the fine display of cordage, com¬ prising cables, ropes, and strings of every thickness, strength, and variety. On the same story was found Class 82, devoted to Woolen Yarns and Fabrics. Here one saw in great profusion and neat arrangement combed wool and wool yarns, carded wool, ravelled, unbleached or dyed and carded wool yarn, and the clothes made of combed or carded wool. There were fabrics for ladies’ mantles and costumes, dress ma¬ terials in combed or carded wool, in wool mixed with cotton or silk. There were muslins, Scotch tweeds, merinos, China silks, serges and fabrics of carded wool, in wool mixed with cotton or silk. There were muslins, Scotch tweeds, merinos, China silks, serges and fabrics of carded wool, unmilled or slightly milled, flannels, tartans and molletons. There were knitted stuffs in combed or carded wool, shawls of wool, some pure, some mixed, lovely Cashmere shawls, then ribbons and braids of wool, these also pure and mixed with cotton or flax, silk or floss silk. There were hair fabrics, pure or mixed, marvellous blankets and felts of wool or hair for carpets, hats, boots and shoes of wool. The next Class to be visited was the rich and gorgeous one of Class 83, devoted to exhibits of Silks and Silk Fabrics. The silk fabrics representing French exhibits of this class were divided into three sec¬ tions, Lyons, St. Etienne and Paris. The latter was contained in a cen¬ tral pavilion fitted up in the Empire style. Here one was able to see the silk worm at its work, and to watch its progress through the various phases of its existence, from chrysalis to moth—and to study the many processes of silk weaving. There were gorgeous displays of silk raw, thrown, twisted, of floss silk and silk waste, threads of floss PALACE OF THE CITY OF PARIS. PAEACE OF THE DUTCH INDIES. THREADS, YARNS, TEXTILE FABRICS, CLOTHING. 39* silk or silk waste; artificial silk, too, had shoved its way among the purer goods. There were fabrics of silk, pure, floss or waste, silk or floss silk mixed with gold, silver, wool, cotton, and so forth, and these were plain, figured, or brocaded, some of them unbleached, others dyed, and many printed. Then came velvet and plush and ribbons of silk or floss silk, both pure and mixed, and shawls of silk or floss silk; and these, too, some of them, being pure, and some of them mixed. Class 84—Lace Embroidery and Trimmings—was most compre¬ hensive in its character, embracing a series of exhibits of every known variety of lace, also spangled muslins and gauzes, besides Church vest¬ ments, window curtains, etc. It began with hand-made lace, blondes and guipures, pillow made, worked with needle or crocheted, made of flax, cotton, silk, wool, gold, silver or other thread. Then there were the machine-made lace, tulle, plain or embroidered, imitation lace, blondes and guipures made of all kinds of thread. Next came hand¬ worked embroidery, needle and crochet embroidery, worked with all kinds of thread on all kinds of grounds (fabric, net, tulle, skin, etc.), in¬ cluding cross-stitch on canvas, and also embroidery applique with pre¬ cious stones, pearls, jet, spangles, feathers, shells. There was frame embroidery made by patent machines, with ground retained or with ground destroyed by cutting or burning. In the trimming depart¬ ment were galloons, plain or twisted braids, fringes, tassels and all kinds of ornamental and applique work, made by hand or on the loom for millinery and mantles, clothing, and ecclesiastical vestments, mili¬ tary and civil uniforms, furniture, saddlery, and carriages. There were metal threads or plates, gold and silver, real or imitation, spangles, chenilles and all special articles employed for trimmings. Church em¬ broidery had a special section to itself. Here the visitor found church ornaments and linen, altar cloths, church banners, and draperies of 392 THE PARIS EXPOSITION. fabrics trimmed with lace, embroidery and braiding. Then came lace curtains, guipure, embroidery on tulle or fabrics, all kinds and condi¬ tions of blinds, screens, door and mantel hangings, and many different varieties of draperies trimmed with lace, embroidery, braiding and fringes. Quite appropriately next to lace embroidery and what not was placed perfumery, which really constituted Class 90 of Group XIV., or that group devoted to Chemical Industries. In the manufacture of perfumery, as every one knows, the French greatly excel, and they made this feature of the Exhibition a delightful one. First the visitor naturally inspected the raw materials from which perfumery is dis¬ tilled, such as essences, infusions of flowers in fats, concentrated per¬ fumes obtained by solvents, distilled water, and other things, a special department being devoted to raw materials of French origin, and another section to raw or prepared imported from abroad. Then came the machinery and the appliances that are used in the distilling of per¬ fumery. Here were the crushing and pounding machines, the appli¬ ances for infusion, the presses, pomatum and soap mixers, pestles and mortars, and many curious but useful vessels. Last came the products of these plants and materials in the shape of soaps, toilet waters, scented oils, pomatums, scents, sachets, extracts and perfumes, scented pow¬ ders, dentifrices, toilet vinegars, hair powders, cosmetics, hair dyes, and a thousand and one forms such products take under skilled chemistry and ingenious manipulation. Class 85, devoted to Tailoring, Dressmaking and Clothing for Men, Women and Children, was specially attractive to ladies, since it contained among other things the exhibits of the great dressmakers. The whole of the processes of the making of clothes was there gone thoroughly into. There were the clothes made to measure for men and THREADS, YARNS, TEXTILE FABRICS, CLOTHING. 393 boys, not only ordinary suits, but shooting, hunting, and riding cos¬ tumes, as well as leather breeches, and similar articles of men’s attire. There were costumes for gymnastic exercises and games. There were naval, military, and civil uniforms, robes for magistrates and civic dig¬ nitaries, barristers, and professors, ecclesiastical vestments, liveries, and many different costumes for children. Ready-made clothing for men and boys was also shown, as well as clothing made to measure for women and girls, that is to say, dresses, vests, jackets, mantles (made by ladies’ tailors, dressmakers, mantlemakers). There were riding habits and sporting costumes, and ready-made clothing for women and girls, and in this class there were many artistically shaped models. Connected with Class 85 was an interesting Centennial Museum, full of antique curiosities, among which was the first French sewing machine, made by Thimonier in 1830. There was also a Retrospective Museum, which occupied a conspicuous site in the centre of the Palace, between the two porches of the Avenue Bourdonnais and the Champ de Mars. It was fitted up with perfect taste, and was a complete museum of dress and its accessories from the 18th century to the Second Empire, as shown both in the costumes of the period and by portraits. Rich antique silks were grouped in the reproduction of the Courts of Louis XVIII. and Charles X. It goes without saying that there were many historical costumes, among others, Talleyrand’s uni¬ forms. The collection of Prince Murat’s portraits was worthy of atten¬ tion. The idea was to give a picture of French costume during the century, and provincial costumes were therefore included. Fans, gloves, head-dresses, canes, and umbrellas were grouped in cases. There were among them some curious and rare exhibits. The Museum of costume was decorated by four admirable Gobelin tapestries, and with posters by Cheret and Grasset. 394 THE PARIS EXPOSITION. Class 86, devoted to Various Trades connected with Clothing, was of great industrial and commercial interest. It began with hats made of felt, wool, straw, and silk, and caps and hat trimmings. Then came artificial flowers for headgear, dresses, and for all other purposes. There was an eye-taking display of feathers, and ladies were particularly in¬ terested in the gorgeous spread of millinery, not to mention that which followed—false hair. After this came shirts and underclothing for men, women and children, then hosiery of cotton, wool, silk and floss silk. There was knitted hosiery, and a special department devoted to ties and socks. The same could be said of corset fittings, elastics, braces, garters and belts, and a splendid exhibition of gloves. One then came to. boots and shoes for men, women and children. Here were top boots, ankle boots, shoes, bedroom slippers, goloshes, soles, and other acces¬ sories of boots, and a special display of gaiters. Adjoining these were whips, sticks, sunshades, umbrellas, and a display of buttons of china, metal, cloth, and silk, mother of pearl and other shell, corozo, horn and bone, papier mache, buckles, eyelets; fans and hand screens finished this class, the last class of Group XIII., and one of the most interesting and striking of all the Groups of the Exposition. PAVILION OF GREECE. PAVILION OF DENMARK, Chemical Industries. HE third and last of the three great Palaces whose I icades overlooked the right, or west, side of the Chi k^.p de Mars (Camp of Mars) and whose rears fronted cT Ave¬ nue Suffren, was the Palace of Chemical Industries. While this Palace had its special exterior lines, its gen¬ eral architectural effects comported with those of the other Palaa s on that side of the Champ de Mars, so that the ensemble was that of a sf ngle grand Palace extending from the Eiffel Tower Grounds to the Pala :e of Electricity. Its interior was effectively arranged for the accommoda¬ tion and display of the Chemical Industries of the respective comp iting nations. The group—Group XIV—whose exhibits were shown in this Pal¬ ace, fell, according to the M. Picard classification, into the folia ving classes, their numbers beginning where those of classes of the prior group—Group XIII—left off: Class 87. Applied Chemistry and Pharmacy. Class 88. Manufactures of Paper. Class 89. Leather and Skins. Class 90. Perfumery. Class 91. Manufacture of Tobacco and Matches. Two of the above classes, Classes 90, 91, did not find a home In the Palace of Chemical Industries, nor along with the other classes of the group. With some this might have been regarded as an exception or defect, but it was in reality only another evidence of the skill manifested by M. Picard in keeping nearly allied groups in proximity with one another. Thus, Class 90, or that o f Perfumery, was found on the op- 397 19 39 s THE PARIS EXPOSITION. posite side of the Champ de Mars, in the Palace of Threads, Yarns, Tex¬ tile Fabrics and Clothing, and dedicated to a capacious and showy space therein, lying directly between Class 79 and Class 84, that is to say, be¬ tween the class embracing Appliances and Processes used in the Sewing and Making of Wearing Apparel, and that embracing Lace, Embroidery and Trimmings. A very unique arrangement this was indeed, and especially convenient and pleasing for lady visitors, for it removed for them a favorite article of the toilet out of the unattractive realm of chemistry, and transported it to a daintier realm associated with the articles of ornament and wear upon which it was used. The same was true in a measure of Class 91—Manufacture of Tobacco and Matches— which was found in the Palace of National Manufactures on the Esplan¬ ade of Invalids. With this understanding of the situation one was prepared for an intelligent inspection of the Palace of Chemistry. The first class of the group—Class 87—was devoted to Applied Chemistry and Pharmacy. It was found on the ground floor of the Palace, and on the right centre. At the beginning one found a splendid showing of laboratory apparatus and utensils, enameller’s lamps, blow-pipes, drying ovens, filters and electric furnaces. Then came a variety of curious instruments and appli¬ ances for testing commercial products of chemistry. Following these were appliances and processes used in the production by electrolysis of hydrogen, peroxide, chlorine, hypochlorites, clorides, soda and various other chemicals. Following these came the appliances employed in the manufacture of vegetable essences, varnishes, commercial India rubber, and its sub¬ stitutes, and gutta percha articles. Then there were the appliances and processes employed in treating mineral substances used for light¬ ing, heating, or lubricating. Coal, petroleum, ozokerite, etc., were found here, and further on the appliances and processes used in the CHEMICAL INDUSTRIES. 399 chemical or electrical treatment of waste water for factories, for purify¬ ing them with a view to the return to the river, and the plant used in charcoal works, and in the manufacture of charcoal derivatives, methy¬ lated spirit, acetic acid, and tar, those processes employed for press¬ ing and liquefying gases for manufacturing artificial textile fabrics, and- those used in the manufacture of pharmaceutical products. A second section of this class was devoted to acids, alkalis, and all kinds of salts, refined sulphur, phosphorous, hydrogen peroxide and ozone, sea salt, and products and the treatment of natural or mineral waters, together with the various products of chemical industries, such as wax and fatty substances, soap, candles, glycerine, resin, tar and its derivatives, glue, and gelatine, spirit, varnish, various glazes, printing inks, and blacking. Next followed commercial india rubber, dyes and pigments, by-products obtained from the treatment of mineral substances used for lighting, heating, or lubricating, petroleum and paraffin could be seen. The products of charcoal, burning diluted alcohols for industrial pur¬ poses, liquefied gases, artificial textile fabrics, and simple and compound drugs were in abundance. In connection with this Class was a Centennial exhibit containing a very interesting collection of instruments and original documents bequeathed by great chemists of the past, among them being Pasteur’s favorite microscope. The Class throughout was a very impressive one, reminding one of a great laboratory in which some alchemist had gathered together all his various utensils. The next Class of the Group was Class 88, devoted to the Manu¬ facture of Paper. Tbe exhibits began with a collection of raw materials employed in the manufacture of paper and cardboard. Then came the plant and processes used in the manufacture of hand-made paper. The apparatus and process for making the plup, for sorting, picking, cut- 400 THE PARIS EXPOSITION. ting, washing, ley-washing, rinsing and draining, bleaching and wast¬ ing, refining, size coloring, and loading of rag pulp. Following this came straw pulp, and Esparto pulp, sorting, crushing, chopping, pounding, washing and draining. Then came mechanical wood pulp, and the grinding, purifying, and drying of this was shown next to chemical wood pulp and semi-chemical pulp. Then there were ma¬ chines and endless paper cutting apparatus, glazing rolls and calendars, appliances and processes used in the manufacture of special papers, and those used in the manufacture of cardboard. Extra fine and fancy papers had a section to themselves. Here were shown China paper, Japan paper (real and imitation), vellum, and paper made with enam¬ elled size. Following this, paper for newspapers and posters, drawing and hot pressed paper, photographic paper, and map paper, together with paper for bank notes. Parchment had an exhibit to itself, and close by was paper for stationery, cigarette paper, tissue paper, paper for confectionery, and for artificial flowers. Following this came packing and wrapper paper waxed and oiled, and that used in machine construction, as well as for fireworks and the manufacture of explosives. Then there were tele¬ graph papers, papier mache, compressed paper, millboard and imita¬ tion lacquer, enamelled and bituminous paper, parchment paper for envelopes, and filter paper for use in breweries. Class 89 came next. It was devoted to Leather and Skins. These exhibits began with skins with the hair on, tannins and tannin extracts, and raw materials employed in the preparation of leather and skins. Then came the plant and processes used in tanning, currying, tawing, Chamois dressing, and generally in all operations connected with the preparation of leathers and skins. This was followed by tanned and curried leather, patent leather, Morocco, tawed chamois leather, and PAVILION OF MONACO. PAVILION OF SWEDEN. CHEMICAL INDUSTRIES. 403 parchment. The Centennial exhibits of this Class were found at the end of the Avenue Suffren. They consisted of a very extensive series of machines for the preparation of leather. There was a Retrospective annex filled with collections of banners of Leather Working Associa¬ tions of the Middle Ages, also a superb collection of ancient and mod¬ ern shoes. As already stated, Class 90, devoted to Perfumery, was found in the Palace of Threads, Yarns and Textiles. While the next Class (91), that devoted to Manufacture of Tobacco and Matches, was largely rele¬ gated to the Palace of National Manufactures, still, here remained an interesting exhibition of the cultivation of the tobacco plant, the raw material, the manufacturing appliances, tobacco factories and build¬ ings, laboratory appliances, and manufactured products. Regarding the matches one could see the raw material, match factories and build¬ ings, the laboratory appliances, and manufactured products. Foreign nations were very fully represented in all the exhibits of Group XIV. Various Industries. N the article describing the group which embraced Decora¬ tions and Furniture, housed in the Palace of National Manufactures, situated on the left side of the Esplanade of Invalids, the whole of that side was conceived of as occupied by a single and immense Palace. From an architectural standpoint this was justifiable, for the facade was a continuous one. But in its interior arrangement it was two Pal¬ aces or grand section, the first devoted to National (French) Manufac¬ tures, the second to Diversified Industries. One must now visit this Palace of Diversified Industries, whose front faced on the Esplanade of Invalids, and whose rear overlooked the Street of Constantine, for therein was found the group—Group XV—which embraced the title of this article—Various Industries. And yet this attempt at location had the fault of discriminating too fully between the Palace of National Manufactures and that of Diversified Industries, for in the first place, the exhibits of both Palaces were exclusively French; and in the second place, by reason of the Picard method of intimately associating allied ^ classes of exhibits, the classes of the one Palace were not unfrequently found in the other, in juxta-position with those with which they were allied. Thus it would have proved easier for the visitor to adhere to the conception that but a single and continuous Palace existed on the left side of the Esplanade of Invalids, and that it contained the two groups—• Groups XII and XV—under the general designation of Palace of Na¬ tional Manufactures and Diversified Industries. The above comprehensive title of Group XV signified that the 405 THE PARIS EXPOSITION. 406 group was a large one, as did also the vast proportions of the Palace, or Palaces, which contained it. The conception of the group, as con¬ veyed by the M. Picard classification of it, was as follows, the class num¬ bers beginning where those of Group XIV ended: Class 92. Stationery. Class 93. Cutlery. Class 94. Goldsmiths’ and Silversmiths’ Work. Class 95. Jewelry and Precious Stones. Class 96. Clocks, Watches, Timepieces. Class 97. Bronzes and Works of Art in Cast Iron and Wrought Metal—Repousse Work. Class 98. Brushes, Leather Articles, Fancy Articles and Basket Work. Class 99. India-rubber and Gutta-percha Industries—Travelling and Camp Equipments. Class 100. Toys. The very first class (Class 92) was an instance of associate arrange¬ ment on the basis of kindred or allied classes. It was in juxta-position with Class 68, of Group XII, which embraced Wall Papers and Paper Hangings, and followed this class with its general exhibition of paper making, and its diversified and interesting show of appliances and pro¬ cesses used in the manufacture or preparation of paper articles, such as ledgers, copy books, envelopes, writing paper, paper bags, boxes, and the full category of stationery, in the manufacture of which no people excel the French. There was also a magnificent exhibit of those arti¬ cles incident to stationery, or usually classed as of it, such as materials and articles used in the art of painting, architecture, sculpture and de¬ signing. Class 93, devoted to Cutlery, presented the animated sight ot a complete plant used in the manufacture of cutlery from start to finish, VARIOUS INDUSTRIES. 40? Special attention being given to the grinding and polishing appliances. Then followed a comprehensive display of knives in the finished state pocket-knives, pen-knives, knives with fixed blades, all sorts of table cutlery, as well as cutlery used in gardening, vine-culture, forestry, hunt¬ ing- and in all the varieties of trades. An entire section of the class was devoted to exhibits of scissors and work-box cutlery. Razors of various sizes, shapes, design and quality formed a unique exhibit, and the vari¬ ety of plated goods for table use was infinite. Very attractive and captivating was Class 94, devoted to Gold¬ smiths’ and Silversmiths’ Work. Here French manufacturers and ar¬ tists seemed to be in profound rivalry. The largest establishments of France were in evidence with gorgeously constructed and richly en¬ graved dinner services, goblets, jewel caskets, ornamental vases and classical centre pieces. Articles and designs in tinware and enamel work made handsome exhibits. Religious subjects were largely represented in goldsmiths’ work. In an adjacent section appeared the means of manufacture of all these elegant and costly products—appliances for goldsmiths’ and silversmiths’ work; the large variety of delicate tools that these artists in rich metals use; appliances for casting metals; ma¬ chinery for fashioning delicate fabrics, for electo-plating, and in general for the methods of working artistically and successfully upon metals. To the 93d and 94th Classes were appended Centennial Museums, containing remarkable exhibitions of antique and historic things, illus¬ trative, by their contrasts, of the progress in metallic art. That attached to Class 93 showed a series of collections of antique knives, and among them were some beautiful specimens, such as might have been used by the nobility of feudal times—knives with steel blades and gold handles; knives of gold and silver; dessert knives; knives of the 17th century with carvings on the ivory handles, representing the king, the queen, the princes and princesses; knives of the 16th century; a carved handle THE PARIS EXPOSITION. to represent a woman symbolical of Faith, Hope and Power; forks of the 13th and 14th centuries; antique chisels, surgical instruments, com¬ passes, girdles, saws, stilletos, bodkins and moulds. The Centennial Museum of the 94th Class was, if anything, more interesting in ornamental and rare antiques—a centre piece and its accessories belonging to the Empress Eugenie, and rescued from the fire at the Tuileries; silver flower stands and candelabra of the 16th century; goldsmiths’ designs covering two centuries; enamels and gold work representing religious subjects; seals, caskets and engraved pistols of the period of Louis XVI; tureens and vegetable dishes of the period of the Empire. One now entered Class 95—a Palace of Aladdin in beauty, a King Solomon’s mine in wealth. It was the class devoted to Jewelry and Precious Stones. This exhibition embraced appliances, processes and products, and was therefore as comprehensive as it was possible to make it without importing a Kimberley diamond mine, or a gold section from Klondike. Its first section showed special manufacturing appliances and the methods of working them. Here was a busy and captivating show. There were laid bare to the eye all the delicate operations and gradual metamorphosis of the rough, unromantic, dull-faced, uninter¬ esting looking, mud-stained crystal into the glittering gem, as it appears in ring, pin, necklace, or queenly tiara. Few things were more entertaining than to watch the handling of these gems, and nowhere could this have been seen to better ad¬ vantage than in the French section of this Exhibition. There was a splendid display of stones themselves, cut, uncut, and in various stages between those two states. Diamond cutting, cutting and engraving other precious stones, and engraving hard cameos and shells, all were seen. The commercial side of the jewelry business had not been for¬ gotten, and here were to be seen ornaments in debased gold, which VARIOUS INDUSTRIES. 409 was labelled for export purposes, and jewelry in silver, platinum, alum¬ inium. It is needless to mention that much of the jewelry was set with precious stones. Imitation work was also given plenty of space. Imitation lapidary work, imitation pearls, imitation precious stones, imitation everything in that line that was worth imitating. There was gilt jewelry, imitation jewelry in copper and other metals, steel jew¬ elry, mourning jewelry in jet and in glass, jewelry in coral, amber, mother-of-pearl, and many other precious and non-precious material. France, renowned for jewelry, genuine and ungenuine, had taken care to place herself well before the eyes of the world. No less interesting were the displays of Class 96, or that Class devoted to Clocks and Watches. Every pattern of timepiece that the ingenious clockmaker could hit upon ticked away in the Palace. Not only the timepieces themselves were exhibited, but also the plant needed for the manufacture of them, the processes through which they passed, and the materials of which these many different parts were made. Section 1 of this vast exhibit consisted of special plant for the manufacture of clocks, watches and timepieces, the hand tools that are used, the machinery, steam driving or otherwise needed, the lathes and other machine tools, and also the multidudinous measuring instruments required in this business, in which it is imperative that everything should be precise and exact. After showing the tools, this Exhibition placed before the spectator the preparations through which the various metals employed by watch and clock makers pass. Each separate part of clock and watch was fully shown, the springs playing a great part in the illustration. Then there were watch cases ingeniously constructed of precious metals, and cases that were of common metals; here too were the rubies and other stones that are so extensively used in the jewelling of holes, and beautiful examples of dials in enamel and other THE PARIS EXPOSITION. 4 id materials could be seen in their dozens. Further on were the clocks for churches and public buildings. These, of course, occupied a great amount of space, and there were astronomical clocks, marine chrono¬ meters, electric, pneumatic and hydraulic clocks, regulators, alarms; and, although they were not quite in the clock line, still being of the shape of watches, there was also an exhibition of pedometers, metro¬ nomes, and a great variety of registering instruments. Even the old- fashioned but accurate hour-glass was on view, and all the complica¬ tions needful for the successful working of clockwork chimes were fully illustrated. Besides being a valuable educational section this was one of the most beautiful in all the Exhibition. The Centennial Museum connected with Class 96 contained many exhibits of great value. Here one found many famous collections of antique watches, clocks, precious stones and curios, the Gorge collec¬ tion alone being valued at $57,000. Class 97 was composed of exhibits of Bronzes and Works of Art in Cast Iron and Wrought Metal; also of Repousse Work, that is de¬ signs in relief made by hammering on the back of sheet metal. Here were bronzes and works of art in cast iron and wrought metal, together with repousse work. French decorators have since the beginning of things made a special feature of works in bronze, and no other country can show so many delicate designs in that sort of decoration as can France. In this class were exhibited special manufacturing plants that go to the turning out of those exquisite examples of beauty in bronze. There, too, were patterns and moulds used in foundries, tools for chas¬ ing and repousse work, processes for mechanical reduction, and all that—while another section of this class was devoted to bronzes and works in cast iron and wrought iron other than those specified in Class 65 of the mining and metallurgy group. Here, too, was the art zinc INTERIOR OF THE PAVILION OF FINLAND. HALL OF FETES—THE GRAND STAIRWAY. i VARIOUS INDUSTRIES. 4 i 3 work; and still another section was filled with specimens of repousse, stamped, and damascened metals. The exhibits of Class 98 embraced Brushes, Leather Articles, Fancy Articles and Basket Work. They were embraced in more than twenty sub-sections. In the section of brushes was found every article of the brush description, from the common feather duster and house¬ hold brush to the finest toilet production. Leather work had a con¬ spicuous place in the Class, and every conceivable article of leather and morocco was in view. The basket trade was fully represented, from the coarsest hamper to the fancy articles for the confectionery and drawing room. The Centennial Museum of this Class (98) con¬ tained many interesting exhibits, such as a collection of ivory bas-re¬ liefs, by Van Bossnit, 1635-1692; a great many articles in carved ivory, combs of the Renaissance period; a collection of fifty pipes, an Empire razor-case, Ross’s collection of all kinds of travelling requisites, purses in netted silk, embroidered with pearls, and two antique small hand- machines for crocheting purses. Class 99 was devoted to interesting exhibits of articles illustrative of the India-rubber and Gutta-percha Industries; also to Travelling and Camp Equipments. It was a very diversified Class, yet arranged in ex- lent taste. The travelling and camping equipments occupied an en¬ tire annex. In Class 100, devoted to Toys, one saw every conceivable toy and game, dolls, tin soldiers, dolls’ wedding outfits, furniture, carriages, household goods, singing birds, mechanical toys, hobby-horses and goats, wheelbarrows, sheep, drumming rabbits, scientific and instru¬ mental toys; and lastly, games for grown-up people, croquet, tonneau, skittles, nine-pins, and a regular bazaar of elaborate and expensive toys, games of skill, and billiard tables. The Centennial Museum of this 4*4 THE PARIS EXPOSITION. Class (ioo) contained very amusing and varied collections of toys and trifles. There was a collection of dolls with wardrobes and Lilliputian furniture, from the 5th and 6th century, belonging to the early Chris¬ tians, with embroidered garments and real hair, to the mechanical dolls of to-day; some graceful little figures of Louis XV.’s time; some lead soldiers of 1789 in the uniforms of the period; a collection of toys of all periods, especially those cf the Revolution and the Empire; a balancing toy of the 18th century in carved and turned wood; the games called the People’s Tower, the lurk’s Tower, the Trumpeter sitting on his Camel; a tricolor game, Empire period; a set of mahogany nine-pins bound with brass, belonging to Louis XVI.; the game of goose; a set of chessmen, time of the Revulution, with French and Austrian uni¬ forms. Then there was a collection of ingenious odds and ends, Paris street curiosities; a colored glass pane; Napoleon III. holding a review; the King of Rome’s cartridge pouch, etc. As has been said, the whole of this left-hand building, that which backed on the Rue de Constantine, was taken up with French pro¬ ducts. The right hand building across the Esplanade Invalids was given over to foreign countries, and to be sure these showed a like number of arts and crafts to France herself. Beginning with the end nearest to the Hotel Invalids, one first came upon the space devoted to the various industries of Belgium. She presented very numerous and rich displays of painted china, mantle chimney pieces, tapestries, mir¬ rors, art bronzes, colored glass, articles of Spawood, etc. Russia shared an entire gallery with Belgium, and exhibited her furniture, lapis lazuli vases, china, Byzantine goldsmiths’ work, leather products, etc. Germany came next with her highly ornamented gallery and her rich and varied displays of handiwork in every branch of art and craft. Next came the galleries occupied by displays from the United States. VARIOUS INDUSTRIES. 415 The numerous glass cabinets containing them were framed in a white colonnade entwined with gilt flowers, the arched entrance to the space being surmounted with armorial bearings. Her exhibits of goldsmiths’ work, inlaid with various methods, proved a revelation to foreign ar¬ tists; and in clocks and watches she rivalled the finest displays of France and Switzerland. Great Britain occupied a large space next to the United States, and she had it well filled with rare displays of industrial products. Italy’s place was opposite England. She exhibited beau¬ tiful mosaics, fashionable jewelry, luxurious furniture, crystal and glass- finely represented in her ceramics, silverwork, tapestries, paper hang- work, bronzes, sawed woodwork, church ornaments, etc. Sweden was ings, jewelry, etc. Denmark showed magnificent vases, tapestries, papers, leather work, and other interesting hand-products. Austria- Hungary presented numerous exhibits of Bohemian glass, meerschaum and porcelain pipes, Viennese clocks, goldsmiths’ work, toys, paste diamonds, garnets, bentwood and inlaid furniture, etc. Spain was particularly strong in her furniture and leather exhibits. Switzerland showed no less than 158 exhibits representing her watchmaking in¬ dustry, and numerous others showing goldsmiths’ work, jewelry, china and wood carving. Japan was represented by many and artistic ex¬ hibits representing her taste and industry in bronze work, goldsmiths’ and silversmiths’ work, carved wood, lacquer work, inlaid ivory and porcelain, chinaware, etc. PALACE OF ALGERIA. Social Economy, Hygiene, Public Charitable Relief. T the northern end of the Pont de 1 ’ Alma, and on the right bank of the Seine, is a beautifully laid out square, which, for Exposition purposes, became the site of the Palace of Con¬ gress and Social Economy. It was a large building of rectangular shape, with a plain, heavy front, relieved with decorations of the time of Louis XVI. Its main facade was divided into three spaces, each of which contained large openings, sep¬ arated by two smooth sections of considerable size, forming portals, or entrances. Crowning these portals were two domes of neat propor¬ tions and decided architectural effects. The eastern front, or that facing the Cours-la-Reine, had three large and handsome doors which formed entrances to a capacious and highly decorated lobby. This lobby was really the only specially decorated portion of the ground floor of the Palace, for otherwise the walls of this floor were hidden by the pictures, cabinets, glass cases, and models intended for exhibition. Out of this lobby rose two magnificent staircases, by means of which access was had to the first floor (second story). This first floor, or second story, was reserved for the use of the various congresses, or conferences, which suc¬ ceeded one another, or were in simultaneous session, from May until the close of the Exposition. (See article, Congresses of the Exposition). Here were five large halls, each capable of seating from 250 to 800 pople, for the use of the members participating in the respective congresses. These halls were fitted with every necessary convenience for the business to be transacted within them. The largest of these halls was called the Grand Hall. It seated 800 people, and was specially used for the hold- 20 419 420 THE PARIS EXPOSITION. ing of international conferences, or congresses, though at intermediate times it became the scene of concerts and magic lantern displays. For these purposes it contained a speaker’s platform, a large organ, and ad¬ justable blinds so arranged as to darken the room in daylight sufficiently for the use of magic lanterns intended to illustrate the speeches of the members of the congresses. Besides the halls, on this floor, an immense gallery 325 feet long and 40 feet wide was carried around the whole extent of the building. This gallery was beautifully decorated with busts of celebrated economists, and beside being used as waiting rooms for members of the congresses, it was a favorite spot for the holding of balls and receptions. A pleasing and encouraging incident in connec¬ tion with the erection of the Palace of Congresses and Social Economy was that it was built entirely by a number of the working guilds of Paris, among which were “The Paris Guild of Carpenters,” “The Paris Ma¬ sons” and the “Society of Painters.” The exhibits of the Palace of Congress and Social Economy, or rather of the Group of Social Economy, Hygiene and Public Charitable Relief, constituted grand Group XVI of the Exposition. Its classifica¬ tion according to the M. Picard system was as follows, the numbers be¬ ginning where those of Group XV left off: Class 101. Apprentices—Protection of Child Workers. Class 102. Labor and Wages—Profit Sharing. Class 103. Large and Small Industries—Co-operative Associa¬ tions of Production and Credit—Professional and Trade Associations. Class 104. Farming on a Large and Small Scale—Agricultural Unions—Agricultural Credit. Class 105. Protection of Workers in Factories—Regulations Affecting Work. Class 106. Workmens’ Dwellings. Class 107. Co-operative and Provision Stores. SOCIAL ECONOMY, HYGIENE, ETC. 4 21 Class 108. Institutions for the Intellectual and Moral Improve¬ ment of Working Men. Class 109. Provident Institutions. Class no. Public or Private Movements for the Welfare of the People. Class in. Hygiene. Class 112. Public Charitable Relief. It was evident from this comprehensive classification that the prob¬ lems of social economy held a high place in the Exposition of 1900, and this was proper, for at no time in history had they been so much world- problems, alike interesting to all the nations, and anxiously awaiting solution in all. The first class of Group XVI—Class 101—embraced the subject of Apprentices and of the Protection of Child Workers. In respect of these subjects all the lands had contributed their experiences, customs, methods and laws, and it was interesting to note their variety and contrariety, as well as the profound attention they excited among observers and students. In regard to apprenticeship in the workshops, here were shown the various systems of working, indentures that were drawn up between master and apprentice, and the relations that exist between employers and employees. The very many illustrations of the systems of appren¬ ticeship were, in so far as was possible, attended with a showing of their practical results. Along with these were expositions of the free tech¬ nical instruction extended to children in schools established either by employers or by workmen interested in the proper rearing of the com¬ ing generation of workers. An interesting portion of Class 101 was de¬ voted to training in industrial and agricultural orphanages, in work¬ rooms, in training schools for domestic servants and similar institutions. Then there was a complete list, or digest, of legislation affecting the work of children, and the protection of child workers. In this feature 422 THE PARIS EXPOSITION. one noticed with pleasure the attention enlisted by social economists of every nation, for the matter of juvenile employment comes directly home to all civilized communities, and all are engaged in a struggle to compass it with wise legislation and satisfactory regulations. Class 102 of the group was devoted to objects and teachings bear¬ ing on the problems of Labor and Wages and of Profit Sharing. Here were shown or propounded methods of settling a scale of wages in the matter of day work, piece work, or contract work. Bonuses and over¬ time payment in all kinds of work was gone into. The system of work¬ ing in various lands and under various conditions afforded wide and interesting scope for those interested in affairs appertaining to this Class (102). The respective nations participating in the demonstrations coupled with this entire Group, were represented by able committees, whose mission was to procure and arrange the best illustrative and educational displays possible, and provide the talent necessary to ex¬ emplify and discuss the problems presented. To mention further objects shown in illustration of Labor, Wages and Profit, there appeared those bearing on encouragements to work and to remain long in the same employment, the system of payment of wages, of regulating disputes relating to scales of wages, and the relation between wages and the cost of living. A subsection was de¬ voted to profit sharing. Many and various methods of sharing profits were shown, as were also the proportion and principle of allotment of shares of profits to employees and workmen, and the powers of the employer in regard to the management of his business and the appoint¬ ment or dismissal of a staff, the auditing of accounts, and the methods of applying the share of profits, and their results. Tenant farming, too, had a space to itself. PAVILIONS OF GERMANY AND SPAIN. PALACE OF TURKEY. SOCIAL ECONOMY, HYGIENE, RELIEF. 425 The next Class of this Group—Class 103—was devoted to Large and Small Industries; Cooperative Associations of Production and Credit; Professional and Trade Associations. Here was a vast accu¬ mulation of documents well displayed, giving statistics relating to in¬ dustries carried on in large establishments as well as small factories and even domestic industries. Their comparative facts were displayed, as was also the result of slack and out of work periods. The mode of living and expenses of working-men’s families in many countries were also shown. It must, of course, be understood that the exhibits in this group were practically all on paper. Here were given in figures and letter-press how best to form a workingmen’s cooperative association of production, how the capital should be raised, the proper constitu¬ tion of the managing body, the sharing of» profits, the remuneration generally given to outside societies, and the advantage of such associa¬ tions that accrue to State, country or parish. Cooperative credit asso¬ ciations were also dealt with, starting with the object and constitution; the formation of capital, the number and status of members, and extent of their liabilities; how best the management should be conducted, how the money should be handled, the accounts kept and rendered; how the profits should be shared, the relations that should be entered into with other credit associations, and all facts relating to state grants and banks. After these came professional and trade associations, the federa¬ tion of employers, workmen, and of employers and workmen, legisla¬ tion relating to all these matters, the organization and functions of these bodies, the relations between workmen and federations or em¬ ployers’ federations and non-society men. Following this, of course, came large statistics with regard to strikes, their causes and effects; and the question of compulsory or optional arbitration was thoroughly con¬ sidered. 426 THE PARIS EXPOSITION. Following on in order through this elaborate and highly educa¬ tional group, the next Class—Class 104—embraced the subjects of Farming on a Large and Small Scale; Agricultural Unions; Agricul¬ tural Credit. The question of the world’s food supply is one always uppermost in the minds of nations, and it was therefore to be expected that the last and grandest Exposition of the century should give special attention to agriculture. The exhibits began with objects and demon¬ strations relating to a division of property and working of lands. Land transfer was thoroughly digested, and the laws affecting distribution, arrangement, or transfer of land were all accurately set forth in a way that even the ignorant might understand. The special customs and precedents relating to land and its employments, the conditions of the hands employed in farming on a large scale, or on a medium scale, or on a small scale are shown. The condition of the tenant farmer was gone into, as well as the conditions of the agricultural laborer, and the mode of living and expenses of the working men’s families were there given with a thoroughness that was characteristic of every section. A movement that has attracted weighty attention is that of the rural popu¬ lation to cities. This question affects the Anglo-Saxon, perhaps more than any other race, and the Management of the Exhibition had not overlooked its importance. It was dealt with in this part of the social economy group, as was also the question which has long troubled Euro¬ pean countries, that of their people emigrating abroad. A second section of the Class was devoted to the problem of Agri¬ cultural Unions. In it were shown the services rendered by those bodies in facilitating the purchase of agricultural implements, manures, seed, and live stock, and in the propagation of scientific cultivation, and also in the sale of farm produce and all that. Then Agricultural Credit was taken note of, the mortgages that in so many instances hang SOCIAL ECONOMY, HYGIENE, BELIEF. 427 like a mill stone round the neck of the farmer. The loans on security, the advances on harvest produce in bond, and those on personal security; agricultural banks, mutual loan associations, all were care¬ fully gone into. Then there came in Class 105 a most important and interesting display, illustrative of the intricate matter of the Protection of Workers in Factories, and the regulations affecting their work. To begin with, there was a comprehensive list of accidents and the statistics relating thereto. Then came the subject of legislation affecting hours of work, factory laws and sanitary regulations, regulations for the safety of workers, effects of these laws and regulations on the health and security of workers, on their earnings, the condition of their families, and the cost of production of manufactured goods. These heads of them¬ selves give an idea of the importance of this part of the Exhibition. In Class 106 one was introduced to all things pertaining to Work¬ men’s Dwellings. In this section were seen plans and specimens of cheap and healthy dwellings, of single houses built by employers, or by working men themselves, or by building societies, or philanthropic bodies. The matter of the rent for these houses was thoroughly sifted, as was also the purchase of house property by payments of fixed in¬ stalments in the form of rent, and the advances to working men who build their own houses. There were plans for workmen’s flats, for lodgings, for unmarried artisans, and statistics in regard to State aid, parish aid, savings bank assistance, and every means of encouraging thrift. As further illustrative of the subject of social economy, and still in the interest of the working man, Class 107 took up the very im¬ portant matter of Cooperative and Provision Stores. The arrangement of subjects showed the following: Cooperative Stores and Companies 428 THE PARIS EXPOSITION. for the sale of commodities—especially provisions, bread, meat, sup¬ plies for restaurants, soup kitchens, etc; the original object and con¬ stitution of these Companies, raising of capital, number and status of the shareholders, management, purchase department, manufacturing department, exclusive sale to shareholders, or to the general public; sale at cost, wholesale, retail, or other prices; conditions of payment, shop management, accounts, share of profits, catering for staff organ¬ ized by employers, taxation of cooperative stores and provision caterers, special catering associations formed by railway servants, or for their own benefit; competition with local tradesmen and its effects. ' The next Class—Class 108—was allocated to Institutions for the Intellectual and Moral Improvement of Working Men. It began with all particulars regarding polytechnics and their education, institutions founded by employers, or by their workmen; the lectures that are given therein, the mutual improvement societies, libraries, museums, and collections which they should contain. Another part of this class took into consideration workmen’s clubs, their staffs, administration, finan¬ cial conditions, the games that are played therein, and refreshments that are served through the members, also the rules of admission to the public, and of the member’s family. The class then widened out, and took note of musical societies, shooting and athletic clubs, whether formed by employers or by the working men themselves, and the people’s palaces that have sprung up, and are still springing up in the various quarters of the world, also other institutions of entertainment and education. Next in order came the Class (109) devoted to Provident Insti¬ tutions. In a first section of this interesting Class one was made ac¬ quainted with the general subject of thrift, illustrated by the workings of the International Post Office Bank and Savings Bank systems. On SOCIAL ECONOMY, HYGIENE, RELIEF. 429 the walls were most striking exhibitions of the amount of money which the common people have been able to save; and been tempted by the sound security which is given them to deposit as the results of their thrift with the Post Office Savings Bank. A prominent space on the wall, measuring something like 7 feet by 9 feet, was covered by a strik¬ ing pictorial manifestation of the development of the British Post Office Savings Bank. The British Post Office Savings Bank was instituted in 1861, and since then has been copied in many countries. The United States has not adopted it because it is not deemed compatible with our widely ramified and politically served postal system. Other sections of this class illustrated the workings of school savings banks, savings banks under State supervision, trust societies and systems adopted to encourage thrift, arrangements for the deposit or investment of indi¬ vidual or collective savings of workmen and employees; provision for the families of workmen during employment. Then were exemplified benefit and mutual aid societies; legisla¬ tion, advantages accruing to societies according to their legal status; formation, organization, and management; relations with other bodies; medical assistance and medicine in case of illness; assistance whilst out of employment; assistance in old age, pensions, insurance; assistance in case of death; admission of women, assistance to women during child¬ birth; receipts and expenses. Statistical tables of disease. Finally came the consideration of such provident institutions as pension funds, State and municipal; pension funds formed by employ¬ ers, or by workmen or employees; compulsory or optional subscrip¬ tions by masters and by workmen or employees; deduction from wages for this purpose; conditions affecting the enjoyment and share of pen¬ sions; reversion to widows and children. Life insurance: payment by the State, by societies, or by insurance companies at death or at a fixed 43 ° THE PARIS EXPOSITION. date; deferred and mixed payments. Payment of premiums by em¬ ployers, workmen, or societies formed for this purpose. Tables of mor¬ tality and death statistics. Class no of the Group embraced Public or Private Movements for the Welfare of the People. Here were comprised laws and regula¬ tions drawn up by public bodies, or by institutions founded or sup¬ ported by them for the purpose of completing, controlling, or super¬ seding work commenced by private enterprise#; intervention of these bodies in contracts of exchange and labor; State and municipal social¬ ism. Regulation of work and wages; advances and subsidies granted to working men or their associations; cheap dwellings organized by or with the help of municipal bodies; conciliation boards and arbitra¬ tion in disputes between masters and men, grants to men on strike; Government workshops; construction and working of canals and rail¬ ways; supply of water and light; tax on commodities such as meat or bread; establishments for the supply of bread, meat, etc., instituted and managed by local authorities; steps taken to encourage or to check emigration or immigration, etc. Labor bureaus; their aim and re¬ sults. Museums of social economy. Administration of Trades Unions. Employment agencies with or without monopolies; labor exchanges. Comparison of the social conditions of different countries. Risks at¬ tending various trades were given, and the employer’s liability in case of accident. The next Class of the Group—Class hi— related to Hygiene. This Class was not exhibited in the Palace of Congress, but in an an¬ nex to the Army and Navy Palace, and in connection with Class 121. The last Class of this Group—Class 112—relating to Public Char¬ itable Relief, was relegated to a space in the Palace of Agriculture, upon the Champ de Mars (Camp of Mars). Its exhibits began with SOCIAL ECONOMY, HYGIENE, RELIEF. 43 1 documentary information such as legislation relating to charitable re¬ lief, and practical organization; the methods of relief in actual opera¬ tion by the State, by district councils, hundreds, baronies, and munici¬ palities, by unions, and by private organization, and the ways and means of financing these. In Section 2 the protection of children was con¬ sidered. First there was the general organization for the protection of children, beginning with assistance to mothers before the birth of the child, mothers’ refuges, mothers’ mutual aid societies, lying-in hos¬ pitals, and convalescent homes. Then came the creches, and institu¬ tions for babies, for foundlings, and orphans, also for destitute and morally abandoned children, and help for sick or crippled children. The third section was given up to the relief of adults; mutual aid was considered, also charitable organizations, relief by providing work, night shelters, soup kitchens, and mendicity societies; relief for the sick poor, out-door relief, free dispensaries and hospitals, together with the relief of the aged, family assistance, workhouses, cottage homes, and alms houses. Then came departments connected with the treat¬ ment of lunatics; after that the institutions for the blind, and how to assist them by work and other means; institutions for the deaf and dumb; legislation and practical organizations of pawnbrokers. Among the exhibits of foreign nations to this Group, those of the United States, England and Belgium easily took the lead. PALACE OF INDO-CHINA. PAVILION OF BOSNIA AND HERZEGOVINA. Colonization. HE splendid square, or garden, of the Trocadero, on the northern, or right, bank of the Seine where it is crossed by the Iena Bridge, was a central scene in the Paris Ex¬ position of 1889. The magnificent Trocadero Palace is a permanent legacy of that Exposition. In the Inter¬ national Exposition of 1900, the Trocadero grounds played a different, but still a unique and significant, part, for they were dedicated to a con¬ ception which, while it might be regarded as of French origin, never¬ theless came home to many of the leading nations, and enlisted their hearty rivalry. The time was certainly apropos for such an exhibition as that found in the Trocadero square in 1900-—an exhibition of ’the colonial policy of the colonizing nations of the world. France herself was in the midst of her colonial struggles in Africa, Madagascar and Siam. England was enjoying the fruits of a wise colonization system in Canada, Australia, and Central Africa, but tasting the bitterness of her ambitions in South Africa, India and the coasts of China. Russia had redeemed Siberia, only to confront the grave problem of war with China on the Amoor boundary. Belgium was illustrating on the Congo how difficult it was to civilize her colored subjects. Holland was showing the world the successes of her art in keeping colonies in peace and prosperity. Ger¬ many was proving that her spirit of colonization possesed the germs of success. Italy was showing how she could sow colonization seed only to reap the thistles of failure. Even the United States with its Hawa¬ iian, Porto Rican and Philippine problems on hand, was capable of teaching in the colonial primary school, or if not, of assuming the role of 435 436 THE PARIS EXPOSITION. an enthusiastic and intelligent scholar in the college of nations. The grand group of Colonization which clustered in the Trocadero grounds was Group XVII of the Exposition. Its classification accord¬ ing to the Picard system was as follows, the numbers of the classes be¬ ginning where those of Group XVI left off: Class 113. Methods of Colonization. Class 114. Colonial Buildings and Appliances. Class 115. Special Products suitable for Export to Colonies. Before venturing into the various erections that distinguished this group of Colonization, one found it best to view what was very appro¬ priately called its synthesis or central point. This consisted of what was termed the Pavilion of the Colonial Office, or capital spot of the colonial exposition so far as the same related to France. This was a graceful building from an architectural standpoint, consisting of long galleries, opening into which were two large and four small halls, in¬ tended for the reception of exhibits of the various departments of the Colonial Office. Within the Pavilion was found a full, and in one sense an unrivalled, collection of documents, books and pamphlets descriptive of French colonial history. This was supplemented by a collection be¬ longing to the French Historical Society, exhibiting the most import¬ ant publications illustrative of how much colonial geography is indebted to colonial enterprise, and showing in particular the resrflts obtained through French colonization efforts upon the Niger river, in northern Soudan, in the Sahara region, in New Guinea, and on the French Congo. There was the same wealth of the literature showing colonization meth¬ ods and results in Asia, and in the island of Madagascar. One has noticed that in both houses of the 56th Congress of the United States there were created new committees whose duties related to the control of the Philippines, Porto Rico and other newly acquired insular possessions. France recently went a step further in creating, COLONIZATION. 437 and making a part of her machinery of government, a Colonial Office, which has during its brief existence given striking proof of its energy and of the services it is capable of rendering. This Colonial Office had as a permanent institution at its exclusive disposal, three of the finest halls in the Pavilion. In the first hall was a library of 8000 volumes em¬ bracing latest reports of explorers, chiefs of missions, and many photo¬ graphs of colonial scenes. In the second hall, which was a clerical one, the walls were covered with colored plans showing the concessions of lands in various colonial spheres, and those yet undisposed of, as well as their mineral and other natural resources. The third hall showed specimens of colonial produce. All three halls were richly decorated with valuable collections of works of art, such as busts of the most noted contributors to French colonial development, and also with conserva¬ tories containing exhibitions of the botany of the different colonies. Entering now upon a closer view of the first class of Group XVII— Class 113, or that embracing Methods of Colonization—the exhibits showed, first, the statistical and historic information relating to the polit¬ ical, administrative, industrial, agricultural and commercial welfare and growth of colonies. This was supplemented by information relating to protection, imports, exports, and land tenures in various colonies; also, the means of transfer adopted, the employment of native, emigrant and convict labor in colonies, and societies for the encouragement of colonial enterprise and formation of colonial systems. Secondly, the exhibits showed the best methods of teaching and dealing with natives, with a view to spreading among them the knowledge possessed by civilized nations, and to facilitate commercial relations; also teaching in col¬ onies with a view to developing colonial resources, and for promoting public welfare. Then there were colonial expeditions, explorations, commercial and scientific collections formed by travellers. 43$ THE PA'RIS EXPOSITION. In a building to itself was found Class 114, consisting of colonial buildings and appliances. Here were the buildings, materials, and special systems of construction adopted by the colonies. Here too were native dwellings, palaces, public and religious buildings, bazaars, huts, and thatched huts, commercial buildings, warehouses, godowns, colon¬ ists’ dwellings, bungalows, houses, hotels, and sanatoriums, and de¬ fensive buildings and enclosures. Implements and means of transport by land and water, specially adapted for countries which are being opened up, were also shown. Class 115 consisted of special products suitable for export to col¬ onies. Here were merchandise specially adapted for consumption in countries which are being opened up, goods for export, barter, and ex¬ change, and the means of handling this class of merchandise, also methods for the consignment of goods. Weights, measures, and mone¬ tary systems in use in the colonies could have been studied, together with information concerning the value of exchanges. But interesting as was the Group devoted to Colonization as classi¬ fied in the Colonial Building, it was vastly more so from an objective standpoint as set forth in the Trocadero gardens by means of the separate colonial pavilions. The entire spaces of the Trocadero were, in a measure, devoted to the project of Colonization. Crossing the Bridge Jena, and entering the gardens, one found the left side occu¬ pied by pavilions illustrating the scheme of French colonization, while the right side was set apart for pavilions illustrating the colonization projects of other countries. Because one was on French soil, and in a spirit of deference, one naturally took to the left, and went about the sight-seeing of what France had to present. ALGERIA:—Sight of the Algerian Section of the Exposition suggested the curious and cruel terrorism of the Algerine pirates in / PALACE OF BELGIUM. PAVILION OF THE TRANSVAAL. COLONIZATION. 441 the Mediterranean for a period of three centuries; their renunciation of Turkish allegiance in 1705; the capture of their capital by France, in 1830; the establishment of an Algerian civil administration under a French protectorate, in 1871; the great prosperity of the colony ever since. The Algerian section consisted of two main buildings, or rather of two series of buildings, parallel to each other, and standing on either side of the entrance to the Trocadero grounds, as one passed in from the Jena Bridge. The general effect was that of a street, lined on both sides by Algerian structures and peopled by Algerian people. The right hand pavilion, or series of structures, contained the official exhibits of the colony; that on the left the various character¬ istics. Both pavilions were the architectural creations of M. Ballu, who in the conception and execution of the Trocadero part of the Ex¬ position gave admirable proof of his taste and ingenuity. The main entrance of the official pavilion was approached by a stately flight of steps flanked by a graceful minaret decorated with faiences, a repro¬ duction of the mosque of the Sultan Bacha at Oran. Two inscriptions in faience ran along the facade. The architectural originality of this building, with its balustrades and Moorish cupolas, was worthy of special note. At night, when lighted up by three thousand electric lamps, the effect was magical. The lateral portions of the building were of varying heights, the loftiest, with its veranda and colonnades— the one straight, the others semicircular—being especially pleasing. The great centre cupola, copied from that of the Mosque of the Fish¬ ermen at Algiers, was lighted up at night as if for the feast of Ramadan. Finally, the end of the pavilion was formed by a veranda modelled after one in the Street of State, Algiers. The first thing that claimed admiration on entering this base¬ ment was the exceedingly charming Moorish Court, 400 feet square, 21 442 THE PARIS EXPOSITION. on which M. Ballu had lavished all his artistic skill. It was the repro¬ duction of a hall in the Museum of Antiquities at Algiers, and contained a most interesting collection of historical relics, plaster casts from the ruins of Timgad, Tebessa, and Tlemcen, of statues from the museums of Chercell and of Algiers, and a large assortment of sketches and drawings of every description. In a continuation of the Moorish Court was an exhibition of Algerian wines, and to the left of this an Algerian wine or drinking cellar. One ascended to the second story by a handsome staircase pro¬ fusely decorated with casts from Sidi-Boum-Edhim (near Tlemcen), and the ceiling copied from the “Ma-Brah of the Cadi” in the Mosque of the Fishermen at Algiers. Here the first gallery, effectively deco¬ rated with plants and rugs, led on the right to the Hall of Engineering and Public Works, and on the left to the Hall of Instruction; a small loggia beside the latter was devoted to the Winter Resort Committee of Algiers. Close by was the Press Room, where all the Algerian news¬ papers and other publications could be seen. In the Gallery opening off the right of the Moorish Court was the exhibition of the “Credit Fonder” of Algiers, with an extremely strik¬ ing picture by Noiret of the Baths of Hamnam-Rirha. From this one passed on to the Picture Gallery, where there was a collection of the works of Algerian and Franco-Oriental artists, a room simply alive with light and color emanating from the admirable scenes of Algerian life with which the walls were hung. Next came the Large Hall devoted to the Exhibition of Forestry. Half of this was reserved for the Gov¬ ernment, half for private enterprise. Here the magnificent specimens of one of the chief sources of Algerian revenue could not fail to com¬ mand admiration, more especially the samples of cork-tree, pine and cedar. Then came a charming Little Vaulted Hall, a reproduction of COLONIZATION. 443 part of the Mosque of Abd-el-Kader at Mascara. In the centre was a gorgeous flower-bed surrounded by four others filled with rare and exquisite plants, while the walls were hung with pictures representing scenes of Algerian husbandry: ploughing, sowing—both in the Arabian and the French methods—reaping and threshing; the vintage, wine treading, olive pressing; gathering the date and orange harvests, sink¬ ing an artesian well in the desert, the extraction of phosphates, etc. Samples of the various agricultural products of the country, wheat, barley, maize, sorghum, etc., were displayed on tablets on the numerous stands in the Hall. Then one came to the Hall containing the Collective Exhibition of the Agricultural Societies. To the left were the various tobaccos, to the right, leather and wool. Finally one glanced at the exhibition of native handicrafts;—embroideries, carpets, jewelry, bric-a-brac. After this inspection of the Official Pavilion, one crossed the cen¬ tral avenue, or street, of the Trocadero, and took in the scenes of the left-hand Algerian pavilion. Here one found mingled rest and enjoyment. In a handsome Moorish structure was arranged a Ste- orama, an ingenious invention by means of whose peculiar arrange¬ ment of painted canvas and raised scenery which slowly revolved round the spectator, one could travel at ease and without fear of sea-sickness along the coast of Algiers, forgetting entirely the fact that one was still on the banks of the Seine in the enchanting picture of the Mediter¬ ranean as it faces the beautiful Algerian shores. The journey began in the harbor of Bona; it was early dawn, the first faint rays of the rising sun lightly touched the sails of the little fishing boats, but by the time one entered the magnificent gulf of Bongiah, sea and sky were one dazzle of blue. Presently Algiers appeared in view, blinding white under the blaze of the mid-day sun. As the voyage proceeded 444 THE PARIS EXPOSITION. the waves rose a little under a ruffling breeze; slowly the sun sank to the horizon, the golden shafts of light turned to crimson and.purple as they gleamed upon the heights of Oran. The journey was ended. The Diorama provided by MM. Noiret and Galand was no whit less interesting. Here one saw the ridge of Sfa with Biskra in the distance, and the measureless waste of desert all purple under the set¬ ting sun. Near Sidi-Boum-Edhim one had a view of the famous ravine of Constantine and of the picturesque gorges of the Rummel. In the last three pictures one got a glimpse of savage Djurdjura in Kabylai, the panorama of Algiers seen from the higher Mustapha, and lastly the Port of Algiers, and the starting of the Marseilles mail- boat. One concluded with a visit to the Arab Quarter. It would have been difficult to conceive anything more quaintly original and pictur¬ esque than this steep and tortuous street, its overhanging balconies almost meeting on either side, the houses drawing ever closer as the ground rises. On both sides of the narrow lane were little dim shops in which were native workmen busy at their trades, or merchants eagerly offering their wares. TUNIS:—Further to the left in the French Colonial Section, and parallel with the Algerian pavilions, came the section, buildings and scenes representing the colony of Tunis, which forms one of the most important parts of the French colonial empire. No stint was spared by the organizers of the Exposition to make this section attractive to the public. It covered an area extending over 16,000 square yards, and was a complete miniature Arab town, on which the architect, Saladin, had expended great ingenuity. One could not help admiring the Mosque of Sidi-Mahrez, Tunis; the pavilion of Manouba in the center of the lovely garden; and the bold minaret of Sfax, overlooking the whole. The particular exhibits were placed in the Mosque Sidi- . 7 PAVILION OF HUNGARY. COLONIZATION. 447 Mahrez, which covered an area of nearly 5,000 square feet. Exhibits of the products of Tunis and her local industries were, as far as possible, contained in a special hall. In it one found the oleaginous substances and preparations made from them, such as soaps and dyes, perfumes and essences, uncarded wool, linseed from Soussa, alfas, pro¬ duce of the woods and cork forests, early vegetables and fruit from Algeria, etc. The Committees of Public Instruction, Public Works and Mines exhibited documents containing valuable information, and the repro¬ duction of important works, which were either already finished or in contemplation. The Committee of Arts and Antiquities had a costly shipload of casts, taken on the spot, sent over. Archaeology proper vas abundantly represented. M. Gaukler and his colleagues, who are diligently extracting historical wealth from the soil, had forwarded some interesting exhibits, among which was a Carthaginian tomb in wonderful preservation. On the other hand, private industry had not been backward. Private exhibitors had come forward in large num¬ bers. In the first place were vine growers, for the tasting of whose goods the vault under the mosque of Sidi-Mahrez had been set apart. Then came the manufacturers and producers of oil, both European and native, of carpets and rugs from Kairouan and Cassa, sponge fish¬ ers from Djerba and the Sfax coast, and makers of Tunis wares. Lastly, the Chambers of Agriculture and Commerce had a joint exhibition of the manufactures of the great Tunisian centres, Tunis, Soussa and Sfax. One was much interested in the picturesque reproduction of the “Souks,” a scene of a mussulman merchant’s every-day life. “Souks” were interminable rows of curious little shops and stalls, where the Tunisian workmen manufactured the thousand and one articles o^ local industry. Arranged side by side one found potters from Nabeval, 44§ THE PARIS EXPOSITION. weavers from Gassa, carpet manufacturers and braziers from Kairouan, enamellers from Mokuin, and shoemakers from Beza. Not far off were bonbon sellers, pastry cooks, and purveyors of sweetmeats. Still fur¬ ther on one found a burnous maker, a perfumer, an artist, who deco¬ rates jugs, a jeweler, a goldsmith, a cabinet maker, a fan manufacturer, and a barber, all busily engaged in their various occupations, and as a rule making a dreadful clatter. SENEGAL AND THE SOUDAN:—Senegal is one of the oldest French colonies. The Palace which represented it and the Soudan, stood on the Seine front of the Trocadero, and was modelled from the mosques and residences of the chiefs of Senegal and Soudan. It was very monumental in appearance, and around it were erected models of native dwellings, in which artisans from Senegal, jewelers, smiths, weavers, etc., worked before the public. The various services of the colony appeared in the exhibits in the shape of notices, statis¬ tics, and diagrams. The collections made by different missions showed the resources of fauna and flora of the colony. The products were very numerous— millet, maize, rice, and manioc which forms the principal food of the natives; very white and tough cotton, indigo, a great variety of forest trees, such as baobab, cailcedra or false mahogany, silk-cotton trees, etc. There were also gums, chief articles of export; ground-nuts, oily seeds of the cocoa-tree, India-rubber. Other interesting exhibits showed how gathering, cultivation and harvesting were conducted, together with the mode of transport in the colony. Native industry was fully represented by collections of arms, jewels, textile fabrics, leather-work, pottery, musical instruments, paintings of Soudanese sub¬ jects, manikins dressed in different native costumes, skins of ani¬ mals, etc. COLONIZATION. 449 FRENCH INDIES:—The word India conjures up, in the pro¬ saic and sober mind, visions of sun, perfume and beauty. It stirs the imagination to dreams of pagodas with their open-work carvings, fear¬ ful idols in jade and porphyry, transparent fishponds surrounded by marble balustrades, bamboo-roofed braziers, palinquins and white ele¬ phants carrying on their backs gorgeous howdahs. All these visions and dreams might have been realized in the colonial structures of the French Indies, which stood to the left of that of Senegal and Soudan, in the Trocadero. Here was, first, the official Palace, of Hindu archi¬ tecture, in which Indian products were exhibited, and in which native artisans—goldsmiths, wood-turners, silk-weavers, etc.—were seen at work. Secondly, a large Pagoda arose, which reproduced in its fan¬ tastic architecture and gorgeous ornamentation a real Hindu temple. Thirdly, a theatre was seen, where Hindu artists gave performances of dancing, slight of hand, snake-charming, magic and incantation. Fourthly there appeared a typical Hindu street, lined with bazaars and stalls, and native attendants, and Oriental attractions of every kind. DAHOMEY:—The group of buildings representing the French colony of Dahomey stood next to those of the French Indies, and faced the Delessert Boulevard. The principal pavilion was a repro- \ duction of the Tower of Sacrifice of Abomey. The main entrance to it was through the Tata, with its conspicuous round tower and high porch. Its thatched roof bristled with pikes on which were stuck the actual skulls of slaves executed before the eyes of Bahanzin. Beyond the entrance was an immense hall devoted to the official exhibition of the Colony, and containing an interesting collection of maps, plans, statistics, historical documents, geological specimens, photographs, etc. The decorations of the hall were copied from native paintings and sculptures, and were, therefore, crude. THE PARIS EXPOSITION. 4$a Opening from this hall was one devoted to private exhibits. Around the halls ran wide, airy verandas, for public use. At their farther end was a very interesting museum illustrative of fetichism. Here were thrones of the Kings of Abomey, symbolic figures of strange gods, royal vestments, instruments of torture, and other direful curiosi¬ ties. On certain days one had the privilege of witnessing the rites of fetichism, performed by haggish witch-doctors and priests in their native costumes. Around the pavilion were erected native huts in which the blacks were busily employed in their accustomed occupations, while on a piece of artificial water were a few “pirogues” (boats), from which the natives performed marvellous fishing and swimming feats. IVORY COAST:—Close by Dahomey stood the Ivory Coast pavilion, surrounded by its spacious veranda. It was raised from the ground and ventilated by four large doors. The interior of the hall contained collections sent by the Government of the Colony and other exhibitors. The wall decorations were conceived so as to bring out the nature of the resources and the geographical constitution of the Colony. The collections embraced the precious woods of the Colony, India-rubber and other gums, mineral resources, together with the means of getting them to the ports, and of shipment. Then there were extensive wall-maps, showing how extensively the working of ma¬ hogany, India-rubber, palm-oil and gold have developed every year. There was also a fine ethnographic display, and a magnificent display of native gold jewels. GUINEA:—Adjoining the Ivory Coast, and facing the Delessert Boulevard, stood the Guinea pavilion, a reproduction of two circular native huts, two stories high, and connected by a large open gallery, whose conical roof was thatched after the Sousson style. The Colony’s exhibition consisted of the various products of Guinea and the resources COLONIZATION. 45 1 offered to merchants and colonists. On the ground floor were found the principal products and articles of local industry. A large relief map and numerous photographs gave the latest information respecting the general features of the country. On the second story were the private exhibits, such as Kola-nut, raw caochouc, ground-nuts, various special woods, gold-dust, ivory, baskets and other articles of esparto. Around the building many very interesting and picturesque objects were seen. At the entrance a native police or militia station was con¬ structed of rows of palm stakes backed up by earth. Inside of this fortification stood a native hut built after the model of those of the sharpshooters of Konraki. A garden in front of the fortress contained specimens of native cultivation—manioc, millet, ground-nuts, banana, rice, coffee, cocoa, cabbage, India-rubber, etc. Quite near the Guinea pavilion, stood a smaller one representing the West African Company of France; and another representing the French Alliance Company. In both of these were class-rooms where occasional lectures were giver THE DIORAMA:—Having seen the French colonial section to the south of the Delessert Boulevard, one now crossed it to the north side, and immediately came upon an imposing structure called the Diorama, in which were installed the exhibits of minor French colonies, to which no separate pavilion had been assigned. The first of these colonies were the two islands of St. Pierre and Miquelon. They were represented by a diorama, and by such displays as set forth the cod¬ fishing and other limited industries, and the characteristics of the people. A second of these colonies was the Comoro archipelago, situated in the Indian Ocean, half way between the East coast of Africa and the island of Madagascar. In a hall of the Diorama were displayed the chief native industries of Comoro—colored mats, fine basket work, carved THE PARIS EXPOSITION. 45* tables and stools, artistic pottery, cocoanut fibre ropes, native jewelry and weapons. Here too were the industrial products of the islands— rum, vanilla, sugar cane, rice, yarns, bananas, cocoa, coffee, tobacco, pepper, cloves, etc. On the left of the hall a diorama showed a sugarj factory in operation, the foreground being the appliances and opera¬ tives at work; the background a rocky mountain, the sea, native vil¬ lages, and far-stretching sugar plantations at harvest time. A third of these colonies was that of Somali. Two of its structures stood in front of the Diorama. They contained exhibits of the camp and outfit necessary to a crossing of the desert. Then a fine stone staircase, decorated with elephants’ tusks, led up to a hall containing ethnological groups representative of Abyssinia and Somaliland. Another hall contained an interesting diorama of a caravan march, articles of import and export, picturesque views of Somaliland, dio- ramic maps, and a splendid series of photographs of the colony and neighboring regions. INDO-CHINA:—To the rear of the Diorama came the extensive exhibits embraced under the head of the French colonies of Indo- China. These comprehended, either in groups, or in separate sec¬ tions, the countries of Cochin-China, Cambodia, Laos, Annum, and Tonquin. The Indo-China exhibition, considered as a whole, com¬ prised five principal buildings, or groups of buildings, to wit: I. The grand Palace of the Produce of Indo-China, a reproduction of the mag¬ nificent pagoda of Cho-Lon. 2. The Palace of Industrial Arts, a re¬ production of the Palace of Co-Loa, in Tonquin. 3. A Pavilion of Forestry, a reproduction of a house in Annam. 4. The Pnom, a re¬ production of the hill and royal pagoda of Pnom-Penh, in Cambodia. 5. The Indo-Chinese Theatre. One naturally visited these in the order here stated. COLONIZATION. 453 First, then, came the Pagoda of Cho-Lon, or Palace of the Pro¬ duce of Indo-China, wherein were seen the agricultural and industrial products of all Indo-China, that is, of Tonquin, Annam, Laos, Cam¬ bodia, Cochin China, and the new province of Quang-Tcheon-Wan. These products were such as rice, arack, tea, coffee, cocoa, wax, honey, indigo, sugar cane, dye-woods, cotton, oils, ground-nuts, fish, areca, ivory and bone, various textile plants, raw silk, betel, terracotta, opium, tobacco, matches, mother-of-pearl, tortoise-shell, mats, weapons, all the useful and precious minerals, musical instruments, vehicles, palan¬ quins, junks, feathers, etc. There were also models of large iron bridges and works of Indo-Chinese art. The walls were in places ornamented with native sculptures, and in others with perspective plans of the four largest cities of Indo-China—Saigon, Hanoi, Hue, and Pnom-Penh. The pagoda of Cho-Lon is one of the wonders of Cochin China, and was hardly less a wonder as reproduced at the Exposition. Around this miniature was collected an animated and curious Chinese town, with its narrow streets lined with shops, lit at nights with red Chinese lanterns, and thronged with Celestials carrying their tiny lamps. The next visit was to the pagoda of Co-Loa, or Palace of Indo- Chinese Industrial Arts. It was a complicated, though elegant, struc¬ ture, whose spacious galleries were filled with the industrial arts of Indo-China—drawings, engravings, illustrated books, pictures, paint¬ ings, fans, screens, parasols, articles of worked tortoise-shell, worked silks, embroideries, furniture, toys, carved work, lacquered-ware, orna¬ mental feathers, earthenware, porcelains, gold, silver, tin and bronze- work, basket-work, leather-work, costumes. The visit was next in order to the Pavilion of Forestry, a graceful reproduction of an Annam house, whose pieces were brought all the way from the river Saigon. Here were exhibited the forest products 454 THE PARIS EXPOSITION. of all the Indo-Chinese provinces—rattan, teah-tree, cam-lai, trac, boloi, etc.—a most interesting exhibit in a building of great architectural taste. Then one visited the real centre of the Indo-Chinese exhibition— the curious, picturesque and enchanting Cambodian hillock on which was reared the King’s Pagoda, or Pagoda of Pnom-Penh, a splendid building, all gold, bas-reliefs and statues. A monumental staircase, bordered by coiled dragons, led to the terrace on which the pagoda stood. The staircase was flanked by smaller Pnoms. On the threshold of the pagoda rose an immense golden Buddha 20 feet high. A pro¬ fusion of rich ornamentation, an inextricable medley of allegorical figures and lotus flowers, garlands and fantastic animals, half-monsters, half-deities, gave this pagoda a remarkable appearance of religious art. Rocks and groves protected the approach to the inaccessible deity, whom even the Brahmas and true believers could only reach by climb¬ ing the splendid staircase of over forty steps. Under the hill on which the pagoda stood was the most remarkable piece of workmanship in the whole Exposition. It was a large grotto whose vaultings were sup¬ ported by decorated pillars, and it contained a series of dioramas repre¬ senting magnificent views of Indo-Chinese scenery. In order to im¬ part the appearance of isolation and mystery suitable to the temple, a garden filled with lovely flowers from the Far East wound round the base of the hill of Pnom-Penh, surrounding the house of prayer with a fence of exotic foliage, thereby protecting it from profane sounds. A few authentic architectural ruins from Khmer gave an appearance of originality and genuineness to these artificial and charming spots; while a Cambodian Village, formed of huts built on bamboo piles, im¬ parted an element of life and activity to this Asiatic quarter of the Exposition. INTERIOR OF ITALIAN PALACE. COLONIZATION. 457 Lastly, one came to the Indo-Chinese Theatre, a fine, harmonious structure, whose roof was crowned with a tower, and whose entire facade was ornamented with pleasing designs. It was sumptuously furnished on the inside with accumulations of native weapons, instru¬ ments, bronzes and knick-knacks. Curious performances were given therein, reminding one partly of the performances in the theatre at Phu and Cho-Lon, and partly of the picturesque dances at Norodon. The Cambodian dancers were like pleasing and graceful little dolls, graceful in motion and figure, and quaintly costumed in embroidered tinsel. In passing back toward the.Seine, one came upon the Tonquin Village, somewhat detached from the central group of Indo-Chinese palaces. This village consisted of some ten huts, in which the natives carried on their trades of mat-making, silk weaving, embroidery work, inlaid work, etc., in public and gladly disposed of their wares. GUADELOUPE:—The exhibition pavilion of the colony of Guadeloupe stood to the left of the Cambodian section of Indo-China. It rose simple and fairy-like from a clump of tropical plants, and with its spacious veranda, presented the illusion of a Creole house, sur¬ rounded with lawns, whose walks were bordered with shells. The ex¬ hibition room was elaborately decorated in styles of the country, and divided into four sections. Sugar occupied the first section, in its various colors, qualities and methods of cultivation and manufacture. The second section exhibited coffee, cocoa, vanilla, spices, and count¬ less other native products. It also showed the fruits of the country— pineapples, bananas, mangos, oranges, lemons, etc. The third r^om was given up to industrial products, such as arrack, rum, etc. In the fourth, were displays of photographs of Guadeloupe scenery, of the 458 THE PARIS EXPOSITION birds and fishes, of weapons, primitive and modern, and of various utensils. MARTINIQUE.—Close by Guadeloupe stood the quaint pavilion of Martinique, one of the oldest of the French colonies. It was a squatty building with turrets at its ends, and its three front bay win¬ dows looked upon an interior known as the Hall of Caffes. Back of this was the hall of exhibits, filled with the tropical products of the country, sugar, coffee, vanilla, cocoa, cotton, maize, almonds, bananas; also minerals, and collections of photographs of scenery. The Bam- boula, a famous dance of the country, was represented by groups of wax figures, and a phonograph reproduced for the benefit of visitors a selection of Creole airs, some of which were stirring and full of life, while others were sad and sentimental. LA REUNION:—The pavilion of this little island colony was close by that of Guadeloupe, and strikingly resembled it. Its interior contained a rich display of the agricultural and industrial wealth of the island, such as coffee, vanilla, sugar-cane, cacao, tobacco, spices, edible plants, essences, quinine, and gutta-percha. The vine has been recently introduced into this island. The principal industry of the island is, however, sugar, which has somewhat declined in importance owing to increased wages. NEW CALEDONIA:—The exhibition of the Colony of New Caledonia was in a square pavilion, at the upper end of the Trocadero Gardens. The interior was entered by four doors, and was colored in blue, t-he ceiling being of white. In the centre of the hall was a map of New Caledonia in relief, and the sides were filled with glass cases containing the exhibits—coffee, India-rubber, tobacco, vanilla, oily shrubs, ginger, gums; minerals, such as nickel, copper, chrome, cobalt, and processes of mining and working them; essences extracted from COLONIZATION. 459 woods, and such woods as sandal-wood, rosewood, oak, cork, etc. All the wood in this pavilion was transported from the colony. FRENCH CONGO:—In a corner of the Trocadero Gardens called Swiss Valley, stood the pavilion of the French Congo Colony- It overlooked a piece of water on which floated a curious native pirogue. The lower or wooden part of the pavilion formed an open-work room, in which enormous logs of precious woods were exhibited, either sent by the colony or by private persons. The upper or iron part formed a large room, which, besides three dioramas painted by M. Castellani, contained articles of commerce, products, such as ivory, India-rubber, mineralogical and botanical collections, weapons, native utensils, fur¬ niture of the country, articles and products of import, textile fabrics, etc., etc. FRENCH GUIANA:—The pavilion of French Guiana stood in with those of the old colonies of Martinique and Guadeloupe. Tt was a one-storied structure and a reproduction of a typical building of the country, but was elegantly fitted up within with mahogany furniture. In the Large Room of the Pavilion were installed the mineralogical and forestry exhibits—mahogany, yellow, brown and green ebony, Indian balata, white panacoco, white angelica, rosewood, etc. Among the secondary products of the forest: gums and resins, textile fabrics, vegetable oils, coloring and tanning materials, etc. The exhibition of mineral products in the same hall comprised phosphates, ores, and the products of the gold industry. This group was particularly interesting. Included in it was a collection of gold samples, in natural and purified states, such as ingots, nuggets, quartz, pyrites, and limonites, and authentic specimens of the various rocks that accompany auriferous bearings. In the Glass Gallery separating two rooms were artistically mounted collections of birds, mammals, reptiles, and insects. Finally, 460 THE PARIS EXPOSITION. a small room was reserved for food products: coffee and cocoa, fruit, roucou, rice, maize, preserved fruit and vegetables, rum and tafia, etc. MADAGASCAR:—This large and important French colony had its palace just outside of the Exposition enclosure on the square of the Trocadero. It was an immense structure, of no particular style of architecture, and of three floors. On the ground floor was found a little island, typical of Madagascar, around which was grouped a pleas¬ ing selection of the native flora and fauna. Live birds and monkeys enlivened the depths of this tropical vegetation. The water around the island was dotted with native canoes, whose occupants paddled them about among crocodiles, pretending to fish. In and about the palace were lines of native huts in which were realistically depicted the life of the islanders—their trades, occupations, methods of agriculture, min¬ ing, fighting, their costumes and customs, tribal characteristics. The carpets of the palace were movable inclines, by means of which one was carried to the second story. In one gallery were found the zoological, racial and botanical exhibits, also the products of im¬ port and export—rice, coffee, grain, fabrics of cotton and silk, fibres of various plants. Close by was the exhibition of minerals. Then came artistic objects, costumes, jewels, diadems, souvenirs, all marvels of patient work and good taste. At the end of a footbridge was an orchestra of 35 Madagascar musicians playing their native airs on fantastic instruments. There stood near a model of a native village, inhabited by wax figures provided with all the paraphernalia needed by the explorer, merchant or tourist, of the island—weapons, imple¬ ments, instruments, clothing, food, etc. Then came a caravan on the march; a traveler in his chair borne by natives, and attended by a retinue carrying luggage on their heads. PALACE OF CAMBODIA. GARDENS OF TROCADERO AND TRANS- SIBERIAN PALACE. \ COLONIZATION. 463 Ascending to the third story, one found the exhibits of woods, forest products, public institutions, agriculture, state-works, etc. Here too was a colossal panorama in three sections; the first consist¬ ing of dioramas representing the various phases of the campaign by means of which French authority was established over Madagascar— the landing and marching of troops, the road-building, the battles, the sacking of towns. The second section showed the bombardment of Tananario, the expulsion of the Queen, the arrival of delegates to make terms of surrender. The third section, composed of four dio¬ ramas, showed the development of peace, the entry of the French Gen¬ eral into Tananario, the city and surroundings, forests, mountains, etc. To complete the illusion, a Madagascar cottage stood on the platform, from which the panorama could be viewed. This completes the Colonization Group, so far as France was con¬ cerned. As already mentioned, the right hand of the Trocadero grounds, as entered from the Jena Bridge, was devoted to the colonies of other nations. The first to the right were ENGLISH COLONIES:—The exhibits illustrative of English colonization were embraced in two large structures. One was the Indian Palace, a really magnificent building, and a fine specimen of Hindoo architecture. The lofty and stately fagade was entered by a gateway flanked by two towers. The grand staircase was elaborately decorated. On the left was the Imperial Court, in the centre of which stood an imposing trophy in carved wood. This was in native designs, and cost $150,000. The interior was filled with displays of Indian jewelry, armor, arms and curios. In the galleries and on the ground floor of the Palace was a series of figures representing Indian soldiers in full costume. A large court contained an amazing collection of Oriental ceramics, gold and silver work, tissues, embroideries, carpets, 22 464 THE PARIS EXPOSITION. shawls, etc. In connection with this court was the display of agricul¬ tural of India, and a complete exhibition of her prolific and beautiful flora and fauna. To the right of this Palace was the Ceylon Court, highly decorated and containing an infinite variety of the products of this large and fruitful island—precious stones, jewelry, pearls, etc. Across a narrow street, and opposite to the Indian Palace, arose the second of the structures devoted to English colonization. It was the Colonial Palace, an immense structure in plain architecture. In one of its spacious courts were found the exhibits of Canada—furs, precious stones, fine displays of manufactured articles, cereals of all kinds, statistical and other books, in fact all that tended to exemplify Canadian prosperity and her success as a colonial appendage. To the right in the Colonial Palace was located the Australian Court. Here were immense and rich exhibits, of Australian products— gold, silver, lead, tin and other minerals; oils and woods; wool and cereals; animal products; every variety of display of this productive island continent, and comparatively new experiment in English colon¬ ization. Beyond the Australian Court stood numerous miner courts representing the smaller colonies of Great Britain. There were Gib¬ raltar, British Honduras, Windward Islands, Trinidad, Tobago, Falk¬ land Islands, Sierra Leone, Gold Coast, Lagos, St. Helena, Malacca, Hong Kong, New Guinea. RUSSIAN ASIA:—On the right of the Trocadero, and quite to the rear of the other colonies, was the immense space allotted to Siber¬ ian exhibits and those falling under the general head of Russian Asia. Russia had no national building in the Street of Nations, but here she made up for her neglect to appear there, by a monumental structure called the Palace of Russian Asia, to which were added the Pavilion of COLONIZATION. 4 6 5 the Empress Marie and the Pavilion of the Ministry of War. The grand Palace was an imposing mass of Byzantine architecture, devoted chiefly to Siberian exhibits. It was a gigantic assemblage of towers and battlements, of lofty walls and frowning arcades, recalling the Kremlin. The facade towards the fountains was particularly curious, with its arched doorways surrounded by a band of brick. On this massive foundation were towers, spread out at the base and narrowing at the top. Their pyramidal roofs, yellow, green, blue, set off with gold, were surmounted by spires bearing a double-headed spread eagle. The whole architecture of this place was inspired by the best Byzantine models. The great hall was a marvel to the eyes, with its mixed displays of carpets and stuffs in powerful tones; its walls hung with brilliant arms, multi-colored embroideries, costumes, harness, musical instru¬ ments; chests, vases, ewers; a great multitude of useful and orna¬ mental objects. The eye rested in astonishment on all these multi¬ tudinous objects, thrown together in hap-hazard style, like the booty in the cave of Ali-Baba, and expressive of a new civilization—a strange exotic art and industry in which were blended Persian traditions and Chinese inspirations. But perhaps the greatest surprise of this exhibi¬ tion was the panorama of the great Siberian railway, upon which one mounted in corridor railway carriages. Then the train began to move at a good pace, and the traveller saw unrolling before him the pano¬ rama of a delightful country, with vast plains, large rivers, and thick forests of fir-trees. While the carriages, though stationary, were given a certain movement to heighten the illusion, an endless canvas painted from Nature by eminent artists was unrolled before the spectator. It was an old trick, but presented there in a very ingenious manner. 466 THE PARIS EXPOSITION. PORTUGAL:—The pavilion occupied by Portugese colonial ex¬ hibits had within a vast hall with a spacious portico, having on its right and left a celestial globe encircled by the signs of the Zodiac. The structure was surmounted by a flat dome. The exhibits exemplified with fidelity the policy and success of Portugese colonization. DUTCH EAST INDIES:—Three separate pavilions near the Siberian Palace were devoted to the Dutch East Indian exhibition. In the centre stood the temple of Tjandi Sari, one of the most remarkable specimens of Hindoo architecture in the island of Java. Access to it was gained through two other temples reproduced from the ruins of Prambanan in Java. Inside the temple were grouped the most precious specimens of Hindoo architecture and sculpture. The two pavilions on either side of the temple were types of the native houses of Sumatra, their gracefully curved roofs resting on carved wood supports. The north pavilion contained plans of Dutch colonial fortifications, com¬ ponents of camps, military hospitals, naval establishments, collections of charts and photographs. The south pavilion contained the ethno¬ graphical, mineralogical, and agricultural exhibits of the various Dutch possessions, guarded by a regular Pantheon of Hindoo deities con¬ sisting of 70 richly carved and decorated statues. DANISH POSSESSIONS:—The pavilion devoted to Danish Colonial exhibits contained a Court filled with Greenland displays, such as skins of wild animals, bears, reindeers, seals, etc., and a great num¬ ber and variety of water fowl. Iceland, too, showed its attractions of flora and fauna. PALACE OF RUSSIA. Army and Navy. IDWAY between the Alma Bridge and the Iena Bridge, and upon the left, or southerly, side of the Seine, stood the capacious pavilion devoted to the armies and navies of the world. It was of massive proportions and stern architecture, and bore striking likeness to some ancient fortified castle. Its main hall was approached by an ar¬ tistic staircase. In the background was a large and showy painting representing the armies of France, and as a foreground to the painting stood two immense equestrian statues by celebrated French artists. The general effect was quite imposing. The Pavilion of Army and Navy was devoted to Group XVIII of the Exposition. This was the last group which fell under M. Picard’s system of classification. It contained the following classes, numbered from where the classes of the previous group ended: Class 116. Ordnance and Artillery Equipment. Class 117. Military Engineering and Accessory Services. Class 118. Naval Construction. Class 119. Map Drawing—Hydrography—Various Instruments. Class 120. Administrative Departments. Class 121. Hygienic and Sanitary Appliances. One felt assured before entering the group that there the nations w r ould be found in their greatest pride of rivalry. What impelled to the assurance was the fact that they were in actual rivalry in their respective homes, some as to the size of their armies, guns and equipments and military systems, others as to the number, size and efficiency of their 469 47 ° THE PARIS EXPOSITION. navies. The first department of this ponderous yet interesting Group XVIII, was Class n 6, or the class devoted to Ordnance and Artillery Equipments. Here were found on a stupendous scale the plant and processes used in arsenals and in the manufacture of war material. These embraced the variety of modern ordnance and projectiles used in both land and sea service. Exhibits of this formidable kind excited wonder, but left the impression that the nations were not yet in a mood to accept the peace principles which the Hague Conference sought to inculcate. Supplementing this display of the huger “dogs of war” came those of a keener and subtler character—the death-dealing weapon borne in the hands of the common soldier and marine, the Mausers and needle- guns, and musketry with which contending armies greet one another at a distance of a mile or more. Their display parodied civilization by the claim that it recognized in them the only proper instruments which made wholesale killing a justifiable enjoyment for nations at enmity. Happily these firearms were innocent creations as they stood on exhibition, but they seemed to grow formidable as one witnessed close by them the sin¬ ister display of ammunition. Here were explosives in every conceiva¬ ble form and of every character of celerity, force and deadliness, and even models of the mills that made the deadly powders and fitted them for uses in war. Handsomer to look upon than the firearms, but by no means so deadly except in very close quarters, came the exhibits of swords and side-arms, and following them the artillery equipments, gun-carriages and other military carriages. The last exhibits of this Class embraced naval artillery equipments, such as gun-carriages and other naval vehi¬ cles. There was also an interesting exhibition of motors intended to replace animal traction in the army. ARMY AND NAVY. 47 1 The next Class (117) was devoted to exhibits of Military Engi¬ neering and Accessory Services. In this Class appeared the material used by military engineers for the construction of railway bridges, for laying out and constructing railways in colonies, barracks at home and abroad, electricity and its application to military engineering, tele¬ graphs and telephones, military bridges, and even military ballooning. This was a most entertaining class, even to a spectator unlearned in matters connected with the Army and Navy. Class 118 embraced the demonstrations and appurtenances relat¬ ing to Naval Construction; Hydraulics; Torpedoes. Here were ships of war, hulls and their fittings, machinery for the propelling of ships, the many complicated auxiliary machinery now needed aboard the modern man-of-war. Here also were appliances and products of ar¬ senals, appliances of electricity, hydraulics, torpedoes for attack and defence, naval schools, drawings, photography, and the means of saving life at sea. The spaces devoted to Class 119 were ornamented with a pro¬ fusion of military and maps, and hydrographic maps and appliances. Here also were vast collections of instruments pertaining to military and naval affairs. Class 120 was devoted to the Administration Departments of Armies and Navies. In them one found the modern objects and methods connected with the clothing, equipment, berthing, camping and hutting of soldiers, sailors, and marines, the various appliances and tools for use in administrative departments. The commissariat depart¬ ment, of course, treated of the field bakery, preserved foods, and ap¬ paratus for preserving foods. In this department, too, were shown the musical instruments used by soldiers and sailors, and appurtenances for farriery, making harness, and even for sea fishing. There was, too, 472 THE PARIS EXPOSITION. an exhibition of carrier pigeons used for military purposes, and trials of them were made between the quay Orsay and Vincennes Wood. A complete military encampment with tents, utensils, etc., and dressed figures reproducing the different occupations of soldiers and sailors when in active seryice. The last Class of this Group—Class 121—embraced Hygienic and Sanitary Appliances. These were found partly in the main pavilion, but a large number were exhibited in the immense structure to the rear, in connection with Class 74 of Group XII., and Class III. of Group XVI., the former Class relating to Heating and Ventilating, and the latter to Hygiene. It will, therefore, be proper to limit the description here to those appliances of the Class (121) which were found in the main pavilion, and afterwards to describe the remainder in con¬ nection with the exhibits of Classes 74 and 111 in the building to the rear, all the exhibits therein being allied; that is, all relating more or less to the great question of Hygiene and Sanitation. Those, then, found in the main pavilion, and which were suitable for Army and Navy purposes, consisted of exemplifications of the Army Medical Service in time of peace and in time of war, and the many appliances, and the best methods of removing the wounded away from the field of action or from hospital. The societies for giving aid to the wounded were dealt with, and examples of the filters and other appliances for purifying water were shown. A large section of the Army and Navy Building was given up to materials and plant used in the mercantile marine. There were ex¬ hibits of the raw material, and materials specially used in building and fitting out ships and boats. Then there was a display of the special tools and implements required in shipbuilding yards and in marine engine works. Following these came drawings and models of all kinds ARMY AND NAVY. 473 of sea or river shipping and boats, and specimens showing the fittings and internal arrangements of such vessels and boats. There were launches and small crafts propelled by machinery, sails, or oars, draw¬ ings and models or tugs and towing boats. Then there were drawings of engines and machinery used on vessels and boats, not only drawings, but specimens and models. There were boilers, water heaters, evapo¬ rators, filters for feed water, engines, condensers, propellors, auxiliary machinery to main engines, different kinds of pumps, governors, speed and direction indicators, and engine counters. Then came arrange¬ ments for preventing fire in store rooms, holds, and passages, also tank engines, and machinery for handling goods. After these came the equipment of ships of the commercial navy—the winches, tackle, chains, anchors, hawsers, cables, steering gear, order transmitters, machinery for working, as well as ships’ lights, signals, fresh water condensers, lighting, heating, airing, ventilating apparatus, special apparatus for the production and use of electricity, freezing apparatus, sextants, and other instruments for determining position at sea, chronometers, flags, ensigns, special furniture, and all those things that go to make a staunch sea-going ship. Next pleasure crafts were attended to. There were yachts, and steam or sailing boats, rowing boats, outriggers, skiffs, and their furniture. Visitors were interested to find that a special section was devoted to submarine navigation. There were lifeboats and appa¬ ratus for saving life at sea, and succoring ships in distress, hawsers, lines, pass ropes, cork jackets, floats, life belts, and such appliances. There were devices for pouring oil on the sea, plant for raising wreck¬ age, and submarine operations in recovering sunken property, and this exhibition wound up with statistical information, special maps, charts and publications relating to mercantile or pleasure navigation. 474 THE PARIS EXPOSITION. Foreign nations were very fully and ably represented in the ex¬ hibits found in the Army and Navy Building, the displays made by the United States, Great Britain, Russia, Germany and Italy being par¬ ticularly fine. A chief attraction was the Military Museum or Retro¬ spective Exhibition in the galleries on ihe second story. This was a large and valuable collection of pictures, arms and armor, uniforms, autographs, and personal souvenirs, borrowed from numerous mu¬ seums and private collections. There were also interesting relics, such as a sword that belonged to Marshal Soult, a piece of the blue cloak worn by Bonaparte at Marengo, some of his letters, the saddle, bridle, and glasses used by Napoleon III. at Solferino, etc. Finally, a collec¬ tion of uniforms worn by the different regiments under the Revolution and the First Empire. Leaving this immense pavilion of the Army and Navy, and cross¬ ing a little street to the rear, one came to another very large structure, used as an annex to the main building. This was the main Hygienic and Sanitation section of the Exposition, and contained part of the exhibits of Class 121, devoted to Hygienic and Sanitary Appliances, all of those of Class 74, Group XII., devoted to Heating and Ventilation, and all of those of Class 111, Group XVI., devoted to Hygiene in general. The eastern end of this building contained the strictly hy¬ gienic exhibits. As was the case in all the Exhibitions that went to make up this great Exposition, this class began at the very beginning with an historical sketch, and an able statement of the progress of hygiene. Quite naturally, M. Pasteur’s keen researches into this wide field of science were given a premier position. Here were to be seen applications of the learned doctor’s discoveries for preventing the spread of infectious diseases. Then the laboratories were treated in a thorough manner, and chemistry with bacteriology as applied to hy- ARMY AND NAVY. 475 giene, researches on contagion and infection, and the disinfecting pro¬ cesses and appliances in use, and the methods of obtaining and convey¬ ing drinking water with a view to preventing contamination. The next special section was that of personal hygiene, and hygiene in dwellings. Here were shown the precautionary measures that should be taken against contagious diseases, and the means discovered for gaining immunity from ravages, such as vaccination for smallpox, in¬ oculation for rabies, and all that. The application of the laws of hygiene to the selection of building materials, and to lighting, ventilating, air¬ ing and lighting buildings was shown, and the use of water in baths, and similar appliances was dwelt upon, this special section ending up with the proper means of disposing of refuse. The hygiene of public and large buildings, such as schools, factories, workhouses, hospitals, asy¬ lums, almshouses, lecture halls, and theatres was also treated in propor¬ tion to its importance. The exhibition now assumed a wider range. It took into account sanitary arrangements, proper maintenance of public thoroughfares, deposit, removal, transport, and utilization of manures, and that very important point, the protection of drinking water from contamination. From the country one passed to the towns. Here could be seen the manner in which public thoroughfares are treated, the cleanliness of public roads and streets, the mode of surface draining and sweeping them, the dimensions of buildings (height, num¬ ber and height of stories; dimensions and ventilation of living rooms; size of courtyards and yards). Then the emptying of cesspools, and the untechnical side of the works for supplying towns with water, the filter¬ ing and sterilizing processes through which the water and other sub¬ stances pass; the proper disposal of refuse, the various systems if disin¬ fection of sewage, the scheme for sewage farms, and lastly, the utiliza¬ tion of the refuse of a great city. Still treating of the health of towns. 476 THE PARIS EXPOSITION. it was there shown what sanitary authorities are necessary, how to or¬ ganize and guard against infectious and contagious diseases, the man¬ ner in which infectious patients should be conveyed and isolated, how infected clothing and apartments should be disinfected, the best means of regulating public and private slaughter houses, and the establish¬ ment of municipal lavatories, cemeteries, and crematoriums. Another special section of this department was given to illustrat¬ ing the best means of protecting frontiers against infectious diseases, the medical inspection that should be enforced on the land approaches, and the infirmaries established, and the disinfectants used at frontier stations. In regard to sea approaches, the sanitation of ports, the sani¬ tary regulations in ports, lazarettos, quarentine stations, and the medi¬ cal measures to be taken, and the disinfectants to be used on board the ships were all scientifically dealt with. Then came food stuffs and other commodities, and herein was shown the manner of going about the inspection of these, and examination for adulteration, as well as the methods for preserving foods. The inspection of natural and artificial mineral waters, too, was not overlooked, nor was the progress that has lately been effected in the world from the hygienic point of view. Again, a special section treated of medicinal waters and sanator- iums, the analysis of medicinal waters, the untechnical side of the meth¬ ods of obtaining them, and of working the mineral springs; the various methods of cure by means of mineral waters, and the apparatus em¬ ployed with this object. At this point, swimming baths were dealt with, and the inhaling and massage rooms were described. In regard to sanatoriums and hot water springs, the general arrangement of the premises was shown, with all their covered walks, their dressing rooms, baths, and shower baths. Then followed the use of antiseptics, particu¬ larly in places frequented by consumptive patients, and also the methods ¥. PALACE OF CONGRESSES. retrospective EXHIBITION IN HALE OF ceramics I ARMY AND NAVY. 479 of bot-tling and preserving mineral waters. Lastly, in this building were to be found the statistics of still-born children. Specimens of certifi¬ cates of cases of death, the mortality due to epidemics, and an analysis of the sanitary legislation. The opposite end of this large annex was mainly devoted to ex¬ hibits of Class 74—Apparatus and Process for Heating and Ventilation. It may be taken that it would be quite impossible to gather together a more representative collection of all that goes toward making houses healthy and comfortable. The displays began with the manifold meth¬ ods of heating single rooms or whole buildings by steam, or by hot water, or a combination of these. Here were shown the piping and connections used in the various methods of conveying and distributing steam, hot air and water used, as has been said, separately or in combi¬ nation. Then followed examples of natural ventilation, mechanical ven¬ tilation, and the combination of various methods. One had but to look about him to find appliances and models of warming and ventilat¬ ing devices of every description and kind for public buildings, fac¬ tories, and dwelling houses. Under the heading of apparatus of course came the stoves and furnaces, all with the special features that suit the various varieties of systems of heating used in all lands. Then (one found plans and models of warm and ventilated edifices of every de¬ scription and kind, public buildings, factories, and dwelling houses. Besides these, there were piping of every kind and size, standing side by side, and near at hand, many other means of scientifically distribut¬ ing heat. Here, too, were steam boilers, and tanks for heating water, ranges for steam and hot water, many kinds of piping for heating, and vast numbers of hot air stoves and ventilators. There were many kinds, the up-draught ventilators being in the majority. All the means adopted for direct renewal of fresh air in heated and ventilated build- 480 THE PARIS EXPOSITION. ings were to be seen in many varieties, and there one could compare each with all the others, so that the best was bound to be sifted out. Continuing, one came to the appliances for domestic heating, and the preparation and cooking of food. Fixed or movable stoves or chim¬ neys were shown. Many oil and gas heating apparatus had a place. There were kitcheners, and ranges in large varieties, and stoves so con¬ structed as to be of use simultaneously for warming buildings and for cooking food. There were ranges and ovens for the preparation of special and particular kinds of food, and fixed or movable stoves or appliances for the preparation of food and beverages on a large scale. Connected with these were ventilators worked by wind, and others, most ingeniously, by the difference of temperature. Then sanitation and ventilation of kitchens and small living houses were gone carefully into, and a complete illustration of the various devices was to be found. Another special section was filled with accessory appliances con¬ nected with heating and ventilation. These consisted of measuring and registering instruments, thermometers of the ordinary kinds; ex¬ traordinary fanes, which could be read at a distance; pyrometers, ane¬ mometers, a large assortment of gauges for measuring low gas pres¬ sures, and others indicating the level of water in pipes; appliances for measuring the passage of steam through pipes, and, in fact, registering appliances of all kinds. Then there were governors and appliances for distributing, regulators of temperature, draft and pressure regulators, automatic drip cocks and air cocks, cocks and taps special to heating apparatus. Chimneys came next. Here were samples of draw plates, illustrative of the value of the narrowing of flues, and openings for hot air and for ventilation. There were gratings and plates, iron casing for heating apparatus, special sheet iron, and a myriad of chimney pots, and quite a number of smoke consumers. Fireplaces and chimney pot- ARMY AND NAVY. 481 tery were taken into account. One could see a splendid assortment of earthenware stoves and fireplaces and mantels, and the ornaments that go with these. Tiles, beautiful and useful, and all kinds of pot¬ tery for the proper decoration and protection of fireplaces were shown, and fire bricks, and refractory materials for fireplaces, hot air stoves, and chimney pieces, all occupying a proportionate amount of space. As accessories of what went before, there were fine examples of fenders, fire-irons, dogs, and fireplace utensils, patent fire lighters, and cinder rockers and sieves, and a variety of cleaning implements that would have delighted the heart of any housekeeper. -—-J THE UNITED STATES BUILDING. Pavilions of Foreign Nations. the left, or southerly, side of the Seine, and stretching from the Bridge of Invalids to the Bridge of Alma, was that unique part of the Exposition of 1900, which the French designated as “Pavillions des Puissances Etrangeres,” that is, Pavilions of Foreign Nations. It was known in com¬ mon parlance as the Street of Nations, and also as the Colony of Nations; but if a colony, France could lay no claim to it for other purposes than those of her grand Exposition. The historic quay of Orsay surrendered sufficient of its space for the erection of these pavilions, each of which was typical'of the country to which it belonged and by whose enterprise it was erected. They stood in two rows, be¬ tween which ran the unoccupied part of the quay Orsay, the inside row facing the river, and the outside row the quay. Though the outside row had the disadvantage of situation, it nevertheless contained some pic¬ turesque buildings of this international colony. All the great nations, Russia strangely enough excepted, were rep¬ resented by their pavilions, and many of the minor nations, even to a few which were not independent. Taking first the row of pavilions repre¬ senting the great powers and fronting on the Seine, and beginning at the southern end of the Bridge of Invalids, the first of them was that erected by Italy, and in its erection Italy certainly rose to the full height of the occasion. Her pavilion was one of the largest of the row, and in this respect more than represented the place of the country in the class of nations. In general design it was somewhat fanciful, but its beautiful architecture spoke clearly of the sunshine of the Mediterranean penin- 4?5 25 486 THE PARIS EXPOSITION. sula. Viewed at a distance it was an imposing object and a striking feature of the Exposition. Its interior was a reposeful home for those who chose to rest therein and enjoy the associations of their native land. And so the exhibits it contained were of a character to make an Italian feel welcome, and recall something of the life, the custom, the scenes and the products of the place of birth. The pavilion next to it was that of Turkey. It was a square, heavily proportioned structure, highly suggestive of the Turkish style of archi¬ tecture. Its regular occupants were those of Turkish feature and dress who went about their business with the silent geniality of keepers of an Oriental bazaar. Its main external features were the lofty and beautiful Arabo-Gothic gateway, and the numerous turrets. The windows were of exceptional breadth, and its interior walls were richly adorned with ceramic tiles and gilded wood. It had the honor of being the first purely Turkish structure ever erected in Paris, and it reflected favorably on the zeal and liberality of the Ottoman government that it should be so handsomely and favorably represented. It contained four bazaars where Oriental curios, tobaccos, pipes and smokers’ appurtenances could be procured. On the ground floor was a typical Syrian coffee house in which, while sipping a cup of aromatic Turkish coffee, the visitor could listen to the strains of an Arabian orchestra. Here also a troup of Arabs danced that wierd and characteristic war dance which so delighted the German Emperor when he visited Damascus. At the back of the pavilion, and plainly visible from its windows, was a handsome and en¬ joyable panorama of the Bosphorus. Connected with the pavilion was an interesting museum, called the Museum of the Janissaries. It was a reproduction of the Museum in the square of the Hippodrome at Stambul, and was intended to illus¬ trate religious, warrior, and civil costume in Turkey, from a very early period, until an unfortunate decree of the Sultan Mahmoud IV., in PAVILIONS OF FOREIGN NATIONS. 4»7 1822, suppressed for ever the delightful national costumes which added so much to the charm and interest of Constantinople. The Janissaries were a formidable corps of soldiers, who formed the bodyguard of the Sultans, and who acquired such prodigious influence in the State that Sultan Mahmoud IV. (the actual sovereign, Abd-ul-Hamid’s, grand¬ father) ordered them to be massacred in 1825. Their singular costume surprised many who were probably not aware that it was worn no farther back than seventy-five years ago. On the second floor were a saloon of honor and reception rooms containing objects of value collected in Asia Minor and Anatolia— such as carpets, embroideries, mother-of-pearl, copper work, .brass and silver work, and a hundred other beautiful things which go by the generic name of Oriental, and which recall harems and other Turkish delights. The ceiling of the apartment was most beautiful, being made of wood richly inlaid and carved and painted in the old-fashioned Turk¬ ish style. In a neighboring bazaar Turkish sweetmeats could be tasted and purchased. On the third floor were embroideries, copper and brass work, es¬ sences, etc. A model of Jerusalem and Bethlehem was found in an adjacent room, also views of the Holy Sepulchre, the grotto of the Nativity and the Via Dolorosa, and Mount Calvary, etc. Above this f was a Turkish Restaurant, where pilaf could be tasted, and another Oriental orchestra heard twanging away on all sorts of musical in¬ struments, many of them of the shape and sound which delighted King N ebuchadnezzar. UNITED STATES PAVILION:—The United States Pavilion faced the quay Orsay, and was the third building below the Bridge of the Invalids, the Italian and Turkish Pavilions intervening. This building was, properly speaking, not a pavilion nor a palace, but a THE PARIS EXPOSITION'. monument of great architectural beauty, and the highest of all those on the quay Orsay. It was composed of a massive quadrangle, in the midst of which rose a high cupola, resembling in esthetic lines the dome of the Parthenon, and nearly as large. At the summit of the cupola the American Eagle spread his im¬ mense wings and held in his claws a streamer on which one could read 1 —with good eyes—“United States of America.” In the front of the structure, overlooking the Seine, rose a portico which was a sort of Triumphal Arch, with Corinthian columns, and surmounted by a quad¬ riga representing the Goddess of Liberty in the car of Progress. Back of this arch, and giving access to the interior, a door opened into a vestibule decorated with paintings. On the same plane as the columns, and under the porch was an equestrian statue of George Washington. In the centre of the building, an immense hall, covered by the cupola, was decorated with historical paintings. This hall was sur¬ rounded by balconies on each floor, and flanked by smaller rooms de¬ signed for receptions. On the first floor were rooms reserved for the different States in the Union. Three circular staircases and two ele¬ vators ascended to the three upper floors. In the basement was a lunch room. The building was lit up at night by electric lights, so arranged as to show in silhouette the architectural outlines. All the work to the smallest details was done by Americans with American materials, but the architect was a Frenchman, M. Morin-Goustiaux. The total height taken from the Quay was 170 feet; the dome was 66 feet in diameter, and the quadriga surmounting the triumphal arch was 75 feet in height. The whole building, except the foundation, was of wood, covered on the outside with staff. The interior was plastered PAVILIONS OF FOREIGN NATIONS. and decorated with wall paintings. The dome, with the exception of the decorative paintings, was covered with metal. This national pavilion was designed with special consideration to the comforts and welfare of American visitors. Its very atmosphere was imbued with the genial hospitality of a typical American home. Unlike a great majority of its contemporary national palaces, it con¬ tained no exhibits, the entire space of its interior being devoted to re¬ ception rooms and resting places for Americans at the Exposition. The general impression gained from a view of the interior was one of great beauty and of elegant simplicity. On entering, to the left of the gen¬ eral rotunda was the American post office, where mail could be received in private boxes if desired and where letters written in the general reading and writing rooms could be mailed. On the second floor were rooms devoted to the various State commissioners. The third floor was occupied by the reception room and offices of the Commissioner General; also, by apartments devoted to the Assistant Commissioner General, the secretary and national commissioners. In the general re¬ ception room of the Commissioner General was hung a magnificently executed lifesize portrait of President McKinley, by George D. Peix- otto, the well-known American artist. This work of art was painted from sittings by the President to the artist, and this portrait, after the exposition, will be hung in the quarters of the Union League Club of Chicago, whose property it is. The quarters reserved for the enter¬ tainment of lady visitors were situated on the fourth floor of the build¬ ing and was luxuriously furnished in the style of Louis XVI. Their location on the highest floor was determined upon because of the superior coolness of this portion of the structure during the warm summer months. The other rooms on this floor were for the juries and congresses and the Loyal Legion. There was also a room hung 49° ME MRiS EXPOSITION. with splendid tapestries, which was occupied by the American Cham¬ ber of Commerce of Paris. In the spandrel’s under the dome were sev¬ eral great American coats-of-arms, and in a decorative scheme were tablets bearing the names of all the Presidents from Washington to McKinley. Under the dome was a finely-painted American flag float¬ ing to the breeze, while suspended over the centre of the rotunda was a magnificent cluster of electric lights which brilliantly illuminated the interior of the pavilion by night. At intervals about the balustrades in¬ closing the several galleries' were decorative shields of the United States, while all around gorgeous streamers of red, white and blue depended, rendering the interior a splendid conglomeration of cosmical color. The spacious pylon arched over the international explanade before the American pavilion was one of the most popular loitering places in all this palatial section of the Exposition. Not only did the towering structure insure a delightful cool retreat, but its broad, grace¬ ful portals commanded a singularly beautiful view of the long line of sculptured facades stretching away on either hand, of the majestic river with its marvelous bridges in the foreground and the magnificent palaces of marble, bronze and glass along its further shore. AUSTRIAN PAVILION:—Adjoining the United States, to the west, stood the Pavilion of Austria. This pavilion had a fine ap¬ pearance, in spite of the simplicity of its architecture, a little in the style of Louis XIV. It was a sort of gay hunting-lodge, ornamented with grotesque heads, festoons, and garlands, giving the idea of an abode of folly and merry picnics. On the side of the Seine a portico of double columns with heraldic devices, supported an elegant balcony on which opened out a large bay decorated with mouldings enclosing running patterns of foliage and astragals. At the top of the building was an attic with trophies of arms. Two little ovoid domes at the PAVILIONS OF FOREIGN NATIONS. 49* angles looked like gilded acorns; in front, fountains played in great basins containing groups of cupids riding dolphins. At the side of the entrance from the quay, and upon the ground floor, was a splendid reception room, decorated by a Viennese firm, and intended to receive members of the Imperial family. There was also a room containing Austrian Press exhibits, with a reading and writing room. On the second story was a large gallery, containing part of the Exhibition of Austrian Art. Austrian hydropathic exhibits, with water- color views of all the principal watering-places in Austria. Exhibition of Dalmatian landscapes; ethnographic museum; Post and Telegraph Exhibition; Commissory-general’s offices; Exhibits from Dalmatia; ethnological museum; national costumes, etc., a collection of photo¬ graphs of the most beautiful views of the country; also curious old tapestries, etc. BOSNIAN PAVILION:—Going westward, the Pavilion of Bos¬ nia came next to that of Austria. This pavilion was all blue and white, with pretty balconies of marvellous workmanship on the side of the Seine. There was also a green terrace, overshadowed by a high tower, a kouba, or old Bosnian donjon. To the right of the principal entrance was the Douchen, the workshop of the Bosnian bazaar, where work¬ men could be seen busy on the filigrees and slippers, which they sold. On entering, one saw, on the ground floor, the panoramas of Serajevo, the capital of Bosnia, and on each side the two most beau¬ tiful views in the country, the Yaitze Waterfall and the Source of the Buna, near Monastir. Real water flowed, and a splendid rainbow ap¬ peared over the waterfall, an illusion produced by means of electric light. The walls were hung with Bosnian pictures. The upper story was decorated with compositions by the great Slav artist, M. Mucha. He had traced the whole history of Bosnia, the Roman epoch, the Slav m THE EA'RIS EXPOSITION. invasion, the introduction of Christianity, the coronation of the first King of Bosnia, the Turkish period, the construction of the Mosque of Serajevo. The fine composition at the end of the hall, “The Fruits of Civilization and Art,” was also the work of Mucha, who certainly showed himself to be an historical painter of the highest, order. On the right and left of the entrance, hung with portieres and native stuffs, were respectively a musselman harem and a modern Bos¬ nian interior. The harem was a reproduction of one at Serajevo, and was decorated' with woodwork, having an oriental ceiling of carved and gilded wood. The modern section on the left was furnished by a Parisian firm. In the centre of the hall, workpeople of both sexes in national costume were weaving carpets and embroidering. In the lateral galleries were: on the right, exhibits from the National Mu¬ seum of Serajevo, ethnographic and archaeological collections, and pre¬ historic antiquities. On the left was an exhibit of carpets and embroid¬ eries. On the second story was a platform for a Bosnian orchestra composed of twenty musicians, two being women in national costume. Official exhibits from the Departments of Agriculture, Public Works and Education occupied the side galleries. The great development and rapid progress of the Austrian province was the almost personal work of one of the Austria-Hungarian ministers, M. de Kolley. The cellars were decorated with two paintings by M. Kauffmann, representing woodmen in a virgin forest, and the salt mines of Dolnia Fuzla. There was also an exhibit of mines and forests. A little Bosnian Restaurant was established out-of-doors, on the bank of the Seine. HUNGARIAN PAVILION:—Next to Bosnia, on (the west, stood the Pavilion of Hungary. It was one of the finest in the Street of Nations, and illustrated Hungarian architecture from Roman times until the present. Facing the bank of the Seine was an imposing model PAVILIONS OF FOREIGN NATIONS. m of the old belfry of Komorn, entered by an arched passage, above which was an image of the Virgin under a canopy. The tower passed, the old facade of the Hall of the Knights of Hunyad came into view. It was pierced by small windows flanked by octagonal or round turrets, surmounted by a number of small belfries, with grotesque weather- vanes. At one side was seen the apse of the chapel of Coutorhohely. The Roman style predominated on the side facing the quay Orsay, where was the principal entrance. This fagade consisted of the mag¬ nificent round-arched doorway from the church at Jak, richly decorated with sculpture, and flanked by two curious rose windows. There were also many niches filled with saints, and a gallery with mysterious look¬ ing mediaeval arcades. In the cellar was a room for tasting the famous Hungarian wines, Tokay amongst others; also a large restaurant where national dishes could be obtained. It was fitted up after the model of a Czech house. A tzigane (gipsy) orchestra was attached to the establishment. On the ground floor appeared a large vestibule, decorated with frescoes of scenes in the Middle Ages. Then, several steps below the vestibule, one entered a large hall, decorated with frescoes of great artistic value. It contained many casts of tombs, and various collec¬ tions of weapons, etc. A second hall, handsomely decorated, also con¬ tained collections of weapons, coats of arms, church plate, linen em¬ broideries, manuscripts, etc. On the second story was found the Salle des Hussards (Hall of Hussars), which was the official reception room. It was beautifully frescoed with battle scenes, and contained two ex¬ cellent paintings by Paul Vago. Three other rooms on this story con¬ tained valuable historic collections. PAVILION OF GREAT BRITAIN:—This Pavilion stood west of that of Hungary, and between it and that of Belgium. It was on the 494 THE M'HtS EXPOSItiON. plan of a typical English country house. The north side, facing the Seine, was a reproduction of Kingston House, at Bradford-on-Avon, in Wiltshire, which was built in the 17th century, and regarded as one of the purest specimens of architecture of that period. On the south side was a copy of another house of the same period. The east and west sides, as well as the internal arrangements, were specially designed for the Exposition. The structure was of red brick, with large mullioned windows. It was furnished and decorated by the principal London firms. The entrance to the ground floor was on the south side, and led into a large hall furnished in tapestries. Room 2 of this floor contained an interesting exhibition from the Bath Library. Room 3 was a re¬ ception room, filled with furniture and works of art. Room 4 was another reception room. Room 5 was a large dining room. Then came a series of offices. A curious plan, in relief, of the city of London and suburbs was exhibited. This plan, which was not less than 30 feet in its greatest length, represented with perfect exactitude, bridges, public monuments, squares, depots, palaces, railroads, etc., and gave also a general view in detail of the Capital of the United Kingdom. A fine marble staircase led from the main corridor to the second story. Here was found a long gallery, copied from the cartoon gallery of Knole House, Sevenoaks, hung with pictures of the English school. The best works of Reynolds, Gainsborough, Hoppner, Turner, and others were loaned by the National and other collections. Great in¬ terest was taken in this collection, which really for the first time gave the French people a representative display of the best English art. Reynolds was well represented by his “Collina,” “The Masters Gawler,” “Miss Ridge, “Lady Caroline Price,” and “The Snake in the Grass.” A fine show of Gainsborough included “The Harvest Wagon,” “The PAVILIONS OF FOREIGN NATIONS. 49$ Shepherd Boy,” “Mrs. Russell,” and others. Romney contributed sev¬ eral masterpieces; there were two Hoppners loaned by Her Majesty the Queen, several Raeburns, one or two Morlands, two Constables, in¬ cluding “The White Horse;” one Lawrence, “Miss Croker;” and four fine Turners. The other rooms comprised two magnificent bedrooms, a handsome boudoir and a bath-room. In the cellars was a very com¬ plete exhibition of British fire engines and appliances. BELGIAN PAVILION:—The Pavilion of Belgium came next to that of Great Britain. It was constructed in the Flemish style, and reproduced the best portions of some of the more celebrated town halls and municipal buildings of Belgium. The central tower was an exact reproduction of that of the H. de Ville at Audenarde, whose architect, Van Pede, has been called the Benvenuto Cellini of stone, for by no other artist has the hardest of materials been rendered so delicate and lace-like. The first hall one entered on the ground floor was devoted to the Press exhibits. Here was seen a complete collection of all the news¬ papers, magazines, and other periodicals published in Belgium. In the next department were arranged views and models of all the prin¬ cipal buildings, ecclesiastical and civil, of Flanders, as well as a splendid series of engravings and photographs. In the basement was repro¬ duced a beer-vault, where the visitor could refresh himself with the best Belgian beers, and partake, if he chose, of a cold luncheon at a very moderate price. The second story contained an immense apartment in which was an exact reproduction of the great chimney-piece at the H. de Ville at Audenarde. The walls were adorned with frescoes and tapestries, and there was a splendid exhibit of ancient Flemish furni¬ ture. Beyond was a Reception Room, hung with extremely fine tapestries. 49 $ mn EXPOSITION, NORWEGIAN PAVILION:—The Pavilion of Norway stood next, on the west, to that of Belgium. This building, with its gables and picturesque outline and graceful proportions, was erected in the style of the chalets near Christiania. It was built entirely of Norwegian wood, and was painted red, with an ornamentation of fishes carved on a green background. On the ground floor was a large room given up to the museum of Ichthyology. It contained a collection of all the articles used by the fishermen on the fjords and in the whale fishery. In the centre of the room was a model of the “Fram,” the ship in which Nansen sailed on his expedition to the North Pole. There were also various objects belonging to the Polar expedition of 1893. At the end of the room was a rockery covered with several hundred sea birds, and on the walls hung pictures illustrative of Norwegian life. Facing this interesting fishery exhibit was one of forestry, and of boats belonging to the Life-boat Society. The second story was reached by a handsome double staircase in pine. At the top of the staircase was a gigantic picture, almost a pano¬ rama, by the painter Thorolf Holmboe, representing a most beautiful Norwegian landscape. The left gallery was occupied by the Norwegian museum, which contained models of houses of different periods. In the centre of the gallery were curious fishing apparatus, and in a room at the end various instruments and articles belonging to the Nansen expedition. In the far gallery was a curious reproduction of the Fish¬ ers’ Quay at Bergen, celebrated in the times of the Hanseatic League. At the end of the right gallery was an oil exhibit, consisting chiefly of apparatus for extracting cod liver oil. In the centre was another fishery exhibit, and at one end a collection of vehicles peculiar to Nor¬ way, cabrioles, sledges, etc. The gallery parallel to the Seine was de- PAVILIONS OF FOREIGN NATIONS. 497 voted to sport: toboggans, skis or snow shoes, skates, etc. Norway had likewise various important exhibits in other parts of the Exhibition: Silver and copper in the Champs de Mars, lace in the Palace of Tis¬ sues, preserves in the Palace of Alimentation, filigree work and various fabrics and carpets of novel designs. GERMAN PAVILION:—Next to Norway, going west, stood the Pavilion of Germany. It was a resume and synthesis of ancient and modern German architecture. It reminded one not a little of the picturesque decoration of the Rhenish towns, and of the houses of Nuremberg, and at the same time showed the more modern style of the finest buildings in Berlin and Munich. The fagades were all differ, ent. They had a rich and solid appearance and were divided by gables of various shapes, edged with stone open work. The west fagade was composed of two parts; a high tower, and at the side, the front of an old German house. The building was crowned by turrets and clock-towers. The principal entrance was from the street. On the ground floor was first found a large hall of red marble, the walls and ceiling being decorated with symbolic paintings. These represented the career of man from youth to old age. The young man, full of fire and ambition, was seen starting on his mission, then the old man, cast-down and in poverty, exhausted at the end of life. Then came death, and the re¬ compense in an after life. The windows were filled with fine stained glass. In the centre of the hall was a bust of the German Emperor. On a platform facing the staircase was an orchestra; and above was a superb stained glass window representing “Germany waving the Palms of Peace.” Several rooms on the ground floor were given up to superb exhibitions of German books and photographs. There were also neat offices and reading rooms. 49 8 THE PARIS EXPOSITION. The second story was reached by means of a double staircase of white marble. The balustrade of marble and wrought iron was a marvellous piece of workmanship. First and second rooms at the end on the opposite side to the Seine showed printing and books. A third room, at the end and to the right, contained the exhibit of the National Imperial Printing Works at Berlin. Here were admirable reproduc¬ tions of the works of Holbein, Durer and the German masters; works in rich bindings; the Nibelungen Epic, magnificently illustrated by Sattler, an edition of only fifty copies. A fourth room on the left con¬ tained exhibits of German Social Economy, illustrated pamphlets, plans, stained glass windows from the Royal Institute of Stained Glass at Berlin, artistic dioramas. Three large figures—Religion, Patriot¬ ism, Justice—stood out from a rose-colored back-ground, and attracted attention by the grace of their pose. Rooms six to nine were devoted to Frederick the Great, the dilettante sovereign and friend of Voltaire. These four large rooms were in the purest rococo style of the 18th century, with ceilings of gilded moulding such as are to be seen in the Palace of Potsdam. The first of these was an exact reproduction of the library of Frederick, with a complete edition of the works of this philosopher king who wrote in French. He lived a bachelor life at Potsdam, finding his pleasure in reading, music, poetry, and the society of men of letters—Voltaire, d’Argens, Maupertius—whom he brought to Potsdam. The other rooms, hung with damask and filled with Boulle furniture, served as reception rooms. The great attraction in these rooms was a collection of six French little masterpieces of the 18th century, belonging to the Emperor William II., and loaned by him to the Exhibition. In the cellars on the side of the quay was a cafe-restaurant; on the right was an exhibit of German wines, particularly the famous brands PAVILIONS OF FOREIGN NATIONS. 499 from the Rhine and the Moselle. The rest of the German section was exhibited in the Palace of Diversified Industries, in the Esplanade In¬ valids; in the Palace of Machinery, in Camp de Mars; in the Mercan¬ tile Marine Palace; and in the Bremen Lighthouse. SPANISH PAVILION:—This stood next to the German Pavil¬ ion, and, as a specimen of mediaeval architecture, was one of the finest Pavilions in the Street of Nations. It was square, and had at each angle a small tower, and was moreover surrounded by an internal gal¬ lery of exceeding beauty. The richness of the decoration set off to perfection the severity of the general architecture, and gave one a de¬ lightful idea of a Castilian fortress palace in the days of Spanish gran¬ deur. The ground floor led into an inner courtyard paved with granite, and in many respects resembling that of the royal palace at Madrid. The portico was surmounted by two elegant galleries in the finest style of the Renaissance. Her Majesty the Queen Regent, who had taken a deep interest in the Exhibition of retrospective art here displayed, had sent a great number of objects and had moreover selected from the royal collections of tapestries, considered the richest in the world, some of the finest examples of Spanish and Flemish tapestry. Her Majesty had moreover sent a selection of shrines, candelabra and objects of devo¬ tion from the treasury of the Royal Chapel, and a selection also from the famous collection of armor known as that of “Charles V.” The Mar- queza de Viena had kindly loaned the coat of armor worn by the un¬ fortunate and last Moorish King Boabdilla at the siege of Granada. On the second story were found a stupendous collection of Spanish bronzes, Hispano-Moorish pottery, ancient furniture, etc., generously lent by the Queen of Spain and by the Spanish Government from the public and private museums of Madrid and other cities. 500 THE PARIS EXPOSITION. MONACO PAVILION:—This Pavilion was an admirable repro¬ duction of the celebrated Palace of the Grimaldi which forms one of the most attractive features in the foreground of the magnificent pano¬ rama of which the Casino at Monte Carlo is the all too prominent key¬ -note. The part of the Palace here shown was built in the early 15th century, and consisted of a series of elegant galleries flanked by graceful turrets, and dominated by a square or donjon tower. The internal courtyard was a blaze of tropical flowers, and was surrounded by an ex¬ ceedingly interesting and continuous exhibit of models of the prin¬ cipal fish found in the Mediterranean; of the fruits, and of the woods, polished and rough, which are grown in such abundance in the smallest independent principality in the world.. In the interior the walls were covered with scientific maps loaned by the Prince of Monaco, and were graphic results of the very serious studies he has made, whilst on his numerous voyages in his yacht the “Princess Alice,” of the sea, its cur¬ rents and depths. The galleries of the loggia were decorated by a series of frescoes after those of Carlone, which are among the principal ornaments of the Palace of Monaco. The arms of the principality were conspicuously placed over the principal door. The frescoes illustrated the “History of Hercules,” who was the presiding deity of this part of the world under the Romans. SWEDISH PAVILION:—Next to Monaco stood the Pavilion of Sweden, a curious wooden structure, much carved and ornamented. The roof in particular had a most bizarre appearance, being a medley of domes, towers, and belfries of fantastic design. On entering the ground floor by the door near the Quay, one came into a large hall, with a dome that lighted the whole edifice. To the right was a small room decorated with fine photographs of views in Sweden; to the left, a reading and correspondence room. In the large room, whose walls INTERIOR VIEW OF PAVIRION OF NORWAY. PAVILIONS OF FOREIGN NATIONS. 503 were adorned with rich lace and embroidery and home-knitted tissues, could be seen further on, to the right, wood carvings from the province of Bleckinge. A group of four young women in the picturesque na¬ tional costume were engaged in making lace and woollen fabrics, two of the most flourishing industries in Sweden. On one side there were two peasants from the province of Darlicarlid, on the other a young knitter from Malmo and a lace-maker from Vadstena. At the end of the hall was the royal or reception room, decorated with fine specimens of furniture, a few works of art and tapestries from the manufactory of the celebrated Society of the Friends of Handicraft. On each side of the room were two large dioramas by the painter Tiden. That on the left represented “A Winter Night” lit by the stars, and a splendid aurora borealis. In the foreground a small Laplander was seeing to a reindeer sledge. The second diorama, on the right, repre¬ sented a summer night—“Midsummer Night at Stockholm.” The capital sleeps; the quays are deserted, the houses are lit by a dim un¬ certain light—veiled as it were—which is neither day nor night, neither dawn nor twilight. Behind the dioramas were two more small rooms, one serving as an office, the other as a telephone station. GREEK PAVILION:—Next to Sweden, on the west, came the Pavilion of Greece. It was a central octagonal pavilion with flat, gauf¬ fered, scalloped dome, from which stretched, in the form of a cross, walls with whose red tones of the green and yellow paint created an agreeable contrast. A long covered portico on the south, whose roof was supported by slender white columns, and another semicircular portico facing the Seine, gave the Pavilion a very delightful and clas 1 - sical appearance. The whole of the Greek displays at the Exposition of 1900 were contained in one large room on the ground floor of this Pavilion, for 24 504 THE PARIS EXPOSITION. Greece contributed nothing of moment in the other sections. Facing the entrance was an exhibition of fine arts—painting, engraving, sculp¬ ture, etc. On the right was an exhibition of products of the soil— currants, wines, spirits, oils, etc. To the left was a collection of stuffs, tissues, silks, cottons, leather, tobacco, etc. Near the entrance was a fine showing of the celebrated Greek marbles. SERVIAN PAVILION:—The Pavilion of Servia stood next to that of Greece, on the west, and was the last one in the Street of Na¬ tions to face on the Seine. It was a simple building of brick and grey stone built on the lines of a Servian church, architecture in Servia being as yet in an undeveloped state. Between the two lateral galleries, which had pointed arches enriched with arabesques and an open balcony, was a portico with double columns, the tympanum of which was edged with stone tracery. A rounded arch bearing the Servian arms dominated the whole. A dome and two campaniles rose from the flat roof. The first room was a large hall with three cupolas. The decora¬ tion, though Byzantine in style, was very simple, the tones of color being faded blue and pale grey. Three bays were arranged on either side, between the columns supporting the central cupola. To the right on entering was a mineral exhibit; specimens of gold, lead, and copper. Further on was an exhibit from the Polytechnic and military school of Kragongevatch, consisting of munitions of war. In a second room was an exhibit of public instruction of all grades and scholastic ma¬ terial, maps, plans, etc. In the centre of the hall was an exhibit of Servian tobacco, and at the end a show of jewelry, gold and silver filagree. On the left were three sections, the first containing a model of the interior of a peasant’s house. There are no factories in Servia, all fabrics being made by the peasants in their own homes. They begin PAVILIONS OF FOREIGN NATIONS. 505 this work at a very early age. A girl of twelve years old can be seen working in the Exhibition. The second contained exhibits of tissues and stuffs, brocaded in gold, and enriched by intricate arabesques and designs, all the products of domestic industry. The third exhibited soil products, such as wheat, maize, barley and fruits. There were two annexes to the Pavilion, one containing exhibits of forestry and mining; the other an Ethnographic Museum, illustrating the beautiful and elaborate national costumes. This finished the Pavilions of the Street of Nations, in so far as they faced upon the Seine. Behind them came a street of modest width, upon which faced a second row of Pavilions, also built by and representative of the foreign nations. Though deprived of a view of the Seine, and therefore regarded as less enviably situated, they, never¬ theless, did not fall behind the others in attractiveness. Therefore, crossing the street, and beginning a journey eastward, back toward the Bridge Invalids, one came first to the ROUMANIAN PAVILION:—This building, with its central pavilion crowned by a large dome of green tiles, its wings flanked by two coquetish pavilions, with richly decorated doorways, was a con¬ centration of all the Roumanian styles of architecture in the 16th and 17th centuries, and a reminiscence of that Byzantine architecture which is so striking, so living, and has such a purely Oriental wealth of orna¬ ment. It was encrusted with colored bricks in patterns, circular win¬ dows with gilded arabesques break the line at intervals, and it was fur¬ ther inriched by colored designs, garlands of foliage, and coats of arms. The left side of the ground floor was mostly devoted to a rock-salt exhibit, there being many beds of this in Roumania. Here were also fine exhibits of woods—walnut, chestnut, ash, beech, elm, pine and larch; also, in glass cases, of grains—wheat, maize, barley, etc. There 506 THE PARIS EXPOSITION. were also exhibits of wines, rose-essences, and carpets rivalling those of Turkey and Persia. The main decorations of the Pavilion consisted of garlands of roses interlaced with heads of wheat and barley. Toward the right of the ground floor was the exhibit of Literature, Science and Art, then came coach-making, saddlery, leather and skins; on the right, machinery and metal-working; enameling, glass and pottery. Further to the right were the underground treasures; coal, paraffin, the famous black amber of Wallachia, non-explosive petroleum, the only sort which can be used just as it comes out of the earth, without refining. The second story was reached by a fine staircase. The galleries on the left were devoted to house decoration. A complete set of furni¬ ture, and an ornamental doorway, shown by the Bucharest School of Arts, was worthy of notice. Farther on was an exhibit of military engi¬ neering, a collection of arms, fireworks, maps, equipment, etc. On the right were paper-making, social economy and hygiene, also samples of all the Roumanian mineral waters. The Roumanian Academy showed a series of no volumes of its publications. On the same side, but at the end, was a curious collection of objects connected with agri¬ culture, fishing, forestry, etc. The most interesting portion is a col¬ lection of ancient “objets d’art,” containing the celebrated treasure of Petroasa, superb specimens of goldsmiths’ work, enriched with jewels. It is believed that they belonged to Alaric, king of the Visigoths (5th century). There were also specimens of embroidery; 14th and 16th century vestments, Gospels and Liturgies in Slav and Roumanian, the first printed books of the 15th century, a copy of the Gospels edited and illumniated by the Queen of Roumania (known in literature as “Carmen Sylva”) and a fine collection of medals and coins. PAVILIONS OF FOREIGN NATIONS. 1*7 BULGARIAN PAVILION:—The Pavilion of Bulgaria stood eastward of Roumania. It was very simple in style but very graceful, with a large central doorway and a pylon on either side. These rose into the air like minarets, crowned by pepper-box belfries. Tall white columns, slender and twisted volutes, bunches of flowers and knots of ribbon, admirably arranged, produced an excellent and most cheerful effect. The entrance to the ground floor was half Byzantine, half Turkish. To the right and left were the productions of the soil. Huge trees from the Balkans and the Rhodopian mountains representing all kinds of woods. The second floor contained the offices, and galleries de¬ voted to objects showing the progress made by Bulgaria in various branches of trade. Here also was the “Hall of the Sovereign” with four portraits of the ancient Bulgarian Kings, or Czars, copied from frescoes in the orthodox churches. The most celebrated was the Czar - Assen. A fine tapestry representing Prince Ferdinand I. was sur¬ rounded by gems, triptyches and goblets, which were offered to him on the occasions of his coronation, his marriage and the birth of his children. The very beautiful Byzantine enamels Were particularly noticeable, in which were united the purest ancient jewel-work with the grace of modern craftsmanship. FINLAND PAVILION:—Next to Bulgaria, eastward, stood the Pavilion of Finland. It was a long, low building of only one story, with massive walls at the corners of which were ornaments like fir¬ cones; with its Gothic doors made of red pine, and guarded by fom* brown bears, and its high belfry it reminded one of the rustic granite churches which one finds in marshy and cold countries like Finland, which, at one time inhabited by Laplanders, is now a part of the Rus¬ sian Empire. Inside the belfry was decorated with frescoes represent- S°8 THE PARIS EXPOSITION. ing scenes of the “Kalevala,” the national epic poem of Finland. Above the entrance were decorative panels the subjects of which were taken from Finnish mythology. The friezes round the hall consisted of curious bas-reliefs. At the two ends of the hall were enormous owls made of painted wood. In the centre of the building was a magnificent: black granite basin, in which was a gigantic aerolite, that fell in Finland in 1899. In the cases on the right-hand side of the building, and in the gal¬ lery at the end of the hall, were exhibits from the schools, such as specimens of manual training, of the applied arts and of elementary lessons. In the cases on the left were numbers of the Finnish specimens of woods and minerals, and photographic views of the chief sights of the country. The left side of the building was devoted to Agriculture and Fish¬ ery. Specimens of productions of the soil—rye, oats, wheat and bar¬ ley—to which were added tables of statistics, etc., various kinds of fish from the coasts, fishing rods, tackle, etc. Near the end of the hall was a collection of furniture. Finland possesses rich marble quarries, besides iron and copper mines. Though its industries are not fully developed, its intellectual culture is very far advanced, and the Uni¬ versity of Helsingfors (the capital of Finland) is deservedly celebrated, while the public schools are excellent. LUXEMBURG PAVILION:—This Pavilion came next to that of Finland, going east. It was a reproduction of part of the old Town Hall of Luxemburg, now the Grand Ducal Palace. Its style was Span¬ ish Renaissance 1 —a long building with rounded windows, and a pavilion at each end. A handsome flight of steps led up to the right- hand pavilion, while the left one was flanked by a graceful tower, crowned by a tiny belfry. There were two stories, connected by a large PAVILIONS OF FOREIGN NATIONS. 509 central staircase. The ground floor was occupied by a restaurant. On the second floor the principal exhibits were photographs, maps, elec¬ trical apparatus, agricultural implements, farinaceous products, spirits, metals, stained glass, gloves, church ornaments, china, and mineral waters. PERSIAN PAVILION:—The Persian Pavilion stood between those belonging to Peru and Luxemburg, and opposite the Palace of Great Britain. All pale blue and white, enriched by mosaics of delicate hue, it seemed to reflect a brighter sky and a hotter sun than ours. The principal entrance, forming a wide bay with surbased vault, afforded a glimpse of rows of columns beyond, suggesting a mysterious seraglio. The lancet windows had balconies of wood, painted a light color. On the roof were two open pavilions, where the faithful gathered in the evening for prayer. The Pavilion had three stories, and was sur¬ mounted by a terrace. On the ground floor close to the entrance was the “Saloon of Honor,” reserved for the Shah of Persia, who visited Paris in July. It was decorated with most beautiful furniture from the Imperial Palace, among which were a mignificent divan, and a Kiman carpet, no speci¬ men having been before seen in Europe. On the left was a Bazaar, contained in three rooms. The first con¬ tained a collection of carpets, tapestry and Persian fabrics; the second exhibits of jewelry, comprising wonderful turquoises from the famous mines of Persia, and large pearls, gathered in the Persian Gulf; the third, exhibits of figs, pomegranates, almonds, etc., and a fine show of ancient pottery and china, with reflections of copper and steel, which it is vainly sought to imitate now-a-days. At the back of the build¬ ing, and at the foot of the staircase leading to the upper story, were THE PARIS EXPOSITION. two rooms devoted to food stuffs; the famous Chiray wine, opium, gum, rosewater, and attar of rose. The second story was occupied by a Persian theatre, where a curious representation was to be seen daily. The third story was an exact reproduction of the Palace at Ispahan. On either side was a pavilion supported by columns formed by mirrors cut into' facets, creating a rainbow-like effect. There was a restaurant on the terrace, where the visitor could try the complicated dishes of Persian cookery, and taste drinks perfumed like the rose. PERUVIAN PAVILION:—This building was in the Spanish Renaissance style. On either side of the entrance were two statues by Peruvian artists, representing Comedy and the Fine Arts. This pavilion, which looked as if it were made of sugar-candy, was in reality constructed of iron, and at the close of the Exhibition was sent to Lima, where it was used as a Museum. On the ground floor was a vast hall occupied by a series of ex¬ hibits illustrating the principal products of the country, represented in their raw and manufactured condition. There were extremely beau¬ tiful examples of cotton and flax, said to be the finest in the world. The gutta-percha exhibits were very important, as were also the phar¬ maceutical, among which one saw the cocaine bean, the essence of which has been of such valuable service to modern medical science. The Forestry exhibits of this court were of surprising variety and beauty. One noted the enormous specimens of mahogany and cedar wood, as well as of some absolutely unknown trees, many of which have not as yet received a botanical name. On the second floor in a series of apartments were collected and arranged an incredible number of photographic views illustrating the industries of the country and a model of the celebrated Oroya Railway, PAVILIONS OF FOREIGN NATIONS. S« which passes through the great mining districts to the height of 20,000 feet above the level of the sea; as also the very noteworthy mineralogi- cal exhibit, and another series illustrating the cereal industries in their raw and manufactured condition. At the extreme end of the pavilion was a sort of annex or kiosk where the visitor could obtain a cup of the unrivalled Peruvian chocolate, sip a little Pisco Cognac, and par¬ take of the numerous luscious fruits of the country, several of which were new to Europe at the date of the Exposition. PORTUGUESE PAVILION:—Portugal had a neat Pavilion, surrounded with a pavement of white pebbles brought to Paris for the purpose. Its interior consisted of six large painted panels representing the six principal fishing ports. In the central showcase were specimens of fish preserved in various ways. There was an interesting collection of models of fishing boats. In another room was a forestry exhibit. Stuffed animals, eagles and vultures formed an interesting part of the hunting exhibit. On stages were samples of copper and lead. fThe colonial products were to be seen at the Trocadero. Wines and food¬ stuffs were shown in the Palace of Foods. PAVILION OF DENMARK:—This building was in the style of a country house of the 17th century, a time of renaissance in Danish architecture. It was composed of two principal parts, overlapping one another. The Danebrog, or national flag, a large white cross on a red ground, floated over the door. A wooden tower, crowned with a small bulb-like dome, stood at one of the angles of the building. Inside, there was a large hall with two lateral galleries, divided into several small rooms, fitted up in modern style, where Danes found all the news¬ papers of their country. These were the Pavilions which constituted the Street of Nations. Several of them had small annexes of interest. There were several 5*2 THE PARIS EXPOSITION. other National Pavilions which did not find a place on the quay Orsay, probably for want of space. Among these one of the most interesting was the MEXICAN PAVILION:—This Pavilion found a site also on the quay Orsay, but further west than the other Pavilions, and below the Bridge Alma, by the side of the Press Pavilion, and facing the Naval and Military Palace. It was built in the purest neo-Greek style, sober but imposing, like the modern buildings in Mexico. The prin¬ cipal faqade on the side of the Seine was painted pink and white, and had a loggia. On the side of the quay was a portico, with a flight of steps leading up to it, surmounted by the Mexican arms. The glass roof was skilfully hidden by a high dentelated frieze going all round the pavilion. Inside was a great hall, with light and striking decorations, sur¬ rounded by a gallery forming an upper story. The hall expanded at each end into a large rotunda, the one on the left forming the Recep¬ tion Room, fitted up in Empire style; the other, on the right, contained the main staircase with two turns; the ceiling was formed by vaults painted pink, supported by white columns. The central portion of the hall contained the exhibit of Mexican manufactures. At the entrance was a cigarette manufacturing establishment, with pretty Mexican girls making cigars and cigarettes. Going to the right one found the cloth manufactory of San Ildefonso, the paper mills of San Raphael, etc. At the right end was a reception-room, holding the fine art exhibition of the young Mexican school. Here were exhibited some fine sculp¬ tures and paintings, by Mexican masters. The left side of the hall was devoted to a mining exhibit, the rich products of a country favored by Nature, samples of gold, silver, copper, lead, mercury, etc. The most interesting sections were those PAVILIONS OF FOREIGN NATIONS. 5*3 of the famous silver mines of Boleo, Pachuca and Real del Monte. By the side of the mining exhibit was an exhibit of Mexican cannon, maps, photography and lithography. On the second story were scien¬ tific instruments, embroidery and ladies’ work; also a very important agricultural exhibit—wheat, rice, maize, coffee, cocoa, India-rubber, textiles, plants and skins. Then came the Government exhibit—Min¬ istry of Foreign Affairs, Finance, Public Works, Post Offices and Tel¬ egraphs. Finally came an exhibit of Mexican books and publications. The cellar contained a restaurant in which Mexican dishes were served. Supplemental Palaces and Side Shows. N the Exposition of 1900, as, indeed with all international expositions, the wonders that refused to bend to regular classification were very numerous. The site being Paris, many of them were very beautiful, and all animated and captivating. A full enumeration and description of them would be impossible within reasonable limits, but some t were so noteworthy as to deserve more than passing mention. One of the quaintest of these was Le Vieux Paris, old Paris. It was of exceptional interest from an historic and architectural point of view, and was, moreover, one of the gayest spots of the Exposition. Its site was upon the northern, or right, side of the Seine, just westward of the Bridge Alma, and it extended between the river and quay Debilly for a distance of 300 metres or nearly 1000 feet. It was a reproduction of the Paris of the middle ages, the Renaissance, and of the subsequent cen¬ turies up to the present. The structures were ingeniously grouped so as to produce the best general effect and preserve the historic and archi¬ tectural verities, and it must be said they reflected the past with fidelity in their curious old monuments, picturesque dwellings, ancient taverns and shops, and even in their temporary occupants dressed in the cos¬ tumes of the periods they represented. At the further end was a thea¬ tre, capable of seating 1700 people, where the great actors of Paris ap¬ peared in their turn, and where a grand orchestra of 150 musicians played daily, at matinees and evening performances, the selections of French and foreign music. Popular concerts were given on Sundays, and fre¬ quent performances according to an antique program of songs, mono- 515 5*6 THE PARIS EXPOSITION. logues and dances. In one of the structures representing the ancient church of St. Julien the celebrated singers of St. Gervais gave daily ren¬ ditions of choral music. Musical concerts of a high order were also given at the structures representing the ancient taverns. Old Paris abounded in restaurants, and a daily newspaper, called the Gazette of Old Paris, furnished visitors with all desirable information, including the program of each day’s transactions. Altogether, Old Paris was a show well worthy of a visit, and one quite in a line with French ideals of en¬ joyment and hospitality. THE CELESTIAL GLOBE. Perhaps one of the most remarkable of the side, or special, shows of the Exposition of 1900 was the “Celestial Globe.” This was a spec¬ ially constructed building of immense size, standing on the north, or right, bank of the Seine, and visible for miles around. Upon a terrace¬ like foundation rising to great height was mounted a sphere 145 feet in diameter. Its exterior was decorated with astronomical and mytholog¬ ical figures, which made pleasing daylight decorations, but which at night were illuminated from within in most gorgeous colors, that could be seen from every part of the Exposition grounds. Inside of the globe were elevators run by electricity as well as broad easy stairways, by either of which means visitors could ascend to a second sphere, some no feet in diameter, representing the centre of the planetary system. Here there was room for more than a hundred visitors at a time, and as they traveled from east to west they beheld the sun, moon, stars and even wandering comets, and in the centre of it all the earth revolving on its axis. The phenomena of the eclipses were visible, and one was told that all these intricate and wonderful celestial movements were carried on with scientific precision. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 5»7 PALACE OF COSTUMES. To the left of the Eiffel Tower, as one entered the Champ de Mars from the Jena Bridge, and facing University Street, stood the quaint structure called the Palace of Costumes. It was truly a splendid building with gorgeous contents designed to present a complete his¬ tory of dress at every stage of civilization, from the days of ancient Egypt to the present, by means of costumes fresh and new and vigor¬ ously correct in pattern. In addition to this, the costumes were worn by life-sized figures, instinct with human expression, representing per¬ sons famous or infamous, playing a part in typical characteristic scenes taken from the history of the period and country they illustrate, and set in appropriate “mise-en-scene” generally copied from old prints or drawings. Down the centre of the building ran a broad hallway, and on either side were a multitude of salons, each devoted to a special epoch of dress. Many of these salons were truly wonderful. One set aside for the period of Louis XV. attracted particular attention, as it de¬ picted customs and costumes long since forgotten. In the basement of the Palace was a gorgeous Byzantine Court, whose furnishings were from Antioch. There was a christening scene shown as of the year 1830, being an exact reproduction of the Royal Palace, during the Second Empire, and of the personages and costumery of the occasion. Then there was shown a reception scene of the days of Napoleon III. And so the rich and various scenes ran. The Palace was not only a place of general interest but a superb educational school. TOUR OF THE WORLD. To the left of the entrance to the Champ de Mars, as one passed in from the Jena Bridge, stood a structure which contained the curious THE PARIS EXPOSITION. 51S exhibition of the Tour des Monde (Tour of the World). The exterior of the building recalled the principal types of Chinese, Japanese, Cam¬ bodian and Hindoo architecture. The door of the principal entrance was originally the door of a temple in Tokio. It was of wood, relieved with gilding and carved with quaint dragons and fantastic animals, whose enamelled eyes were set in gold. The doorway, surmounted by a very flat roof curved upwards at the ends, formed a vast portico sup¬ ported by wooden columns. By the side of it stood the Chinese Tower, the high and curious tower of the Garden of Niko, the roofs of which, blue above and red beneath, were piled one above the other. Further on were friezes and panels of lacquer with Chinese and Japanese draw¬ ings and inscriptions. Once in the interior, and seated upon a platform, one fronted the immense Panorama which constituted the attraction of the building, and was ready for a world tour. The start was from one* of the finest spots in Japan, under a dazzling rose-colored sky, the city of Yeddo, buried amid blossoming apple trees, with the rosy peaks of Fusiyama standing out from its midst in the background. To the right appeared the garden of Niko with the tower seen at the entrance of the building. To the left appeared the corner of a Chinese city, Shanghai with its gorgeous gardens. Then passed in succession the cities, land and sea scenes, day and night effects, that an observant traveler would see as he toured the Indian Ocean, the Suez Canal, the Mediterranean, and the various waters and places on the line of his world journey. The pic¬ tures were brilliant and faithful, and the result was a sensation as if one had been a witness of the reality here so ingeniously and pictur¬ esquely portrayed. The Tour of the World was one of favorite attrac¬ tions of the Exposition. . / I THE WATER PALACE. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 52 * THE SWISS VILLAGE. In the angle of the Champ de Mars, where the Avenues Lamotte- Piquet and Suffren met, and connected with the Palace of Agriculture by a covered way, stood the Swiss Village. Among the numberless attractions offered by the Exposition it was one of the most extensive, picturesque and animated, curious and interesting, both for novelty and the immense difficulties overcome in its construction. Under a title all too modest one found not only a village with streets burdened with elegant constructions, the models of which had been brought from diverse cantons, but a veritable Switzerland in miniature, a living, breathing synthesis of the incomparable little country, whose beauties excite the wonder and admiration of thousands and thousands of tour¬ ists attracted annually from all parts of the world. The village had its chains of mountains, varying in height from 50 to 150 feet, though appearing higher, its cascade 115 feet in height, its torrent, lake, pine forests, chalets, pastures, herds and herdsmen, in fact all of the objects, animate and inanimate, that compose a medieval Swiss town. In its Fribourg dairy one could watch the inter¬ esting process of making the celebrated Gruyere cheese. The hospit¬ able inn of Treib, with its high pitched roof, was beautifully mirrored in the waters of a little lake, at one end of which arose Tell’s Chapel, where beer and wine of the country were dispensed by Bernese “Sin- nerinnen” wearing their full white chemisettes and velvet or satin bodices decked with silver chains. One could have dined at the historic hostlery of the Bourg St. Pierre, and at the very table at which Napo¬ leon dined when crossing the Great St. Bernard. Side by side with the quaint old houses of Thun and many-towered Schaffhausen, one came upon the smiling gay facade of the Hotel de Ville or Town Hall of Zug, and national sports and dances took place upon the village green. 25 5 22 THE PA'RIS EXPOSITION. During three years 300 workmen were constantly employed in building the vast skeleton, so to speak, of this chain of mountains at a cost of over $250,000. This leviathan scaffolding was covered in; grass, alpine plants, pines, were all growing in vast receptacles filled with their native soil; the rock that broke through bare and rugged, was modelled after the actual Alpine peaks. On the central heights, whence the cascade took its headlong plunge, stood the marvellous “Panorama of the Oberland,” which in itself was one of the greatest successes of the Chicago Exposition, and there, by its impressions of the Switzerland of eternal ice and snow gave an added charm and completeness to the picture of the Switzer¬ land of pastoral occupations and idyllic pleasures. Thanks to the $600,000 advanced to them, MM. Henneberg and Allemand were enabled to carry out their artistic and consummate re¬ production of Nature with the most pronounced success. Each chalet had its special attraction. Among those in the Berne House one noticed a telephone for speaking and writing, invented by F. Dussaud. Under the mountains to the right was a vast hall, which served as a Restaurant. It was a kind of Swiss “canteen,” where one could taste the excellent wines of Yvorke, Neuchatel, and the mulled wines of Valais. THE PALACE OF LIGHT. In the eastern environs of the Champ de Mars section at the Paris Exposition, midway between the lofty Eiffel Tower and the oriental structure known as the Tour du Monde (Tour of the World), stood one of the most exquisite architectural creations the human intellect has ever conceived. It rose from the summit of a glittering promontory of virgin quartz, beside a miniature lake, half secluded amidst a grove of stately poplars, and was called the “Palais Lumineaux,” or Palace of SUPPLEMENTAL PALACES AND SIDE-SHOWS. 5 2 3 Light. This most enchanting of structures was wrought entirely out of glass and was without a single dim or shadowy corner. It was a vaporish and fairy-like vision, where the lacteal whiteness of the opal, the ardent flame of the diamond, the rubescent glow of the ruby and limpid violet of the amethyst were blended into one ravishing, ineffable symphony of palpitating light and color. It was a palace such as some Titania or Lurline might dream of, and was the chef d’oeuvre of the great artist in crystal, M. Ponsin, who did not live to see the work con¬ summated. The Palace of Light comprised a central pavilion, surmounted by a cupola, above which a glittering figure of Electroyne, daughter of the Sun, was poised on a spherical orb. This figure, modeled from a beau¬ tiful Indian girl, was the work of the gifted young Polish artist, Iza Albazzi, Countess of Albazzi Kwiathoska. The height of this mar¬ velous edifice was 120 feet, and its circumference 180 feet, while the promontory on which it reared stood 40 feet above the surface of the lake. In addition to the outer walls, all its decorations and furniture were made of glass. The draperies and hangings were wonderful crea¬ tions in spun crystal, embodying exquisite floral designs, and finished with fringes of cut-glass pendants. The floor coverings, made to imi¬ tate gorgeous Smyrna carpetings, were strewn with scintillating stars of golden glass, while the divans about the walls were of like material, in various colorings. At intervals about the interior walls tall French- glass mirrors were so placed as to transform the central hall into a vast intricate realm of dazzling brightness, in which the occupants were multiplied into a great concourse of strangely familiar beings. Bewilderingly beautiful as this immense jeweled habitation appeared by day, its weird magnificence was increased yet a thousand-fold by 524 THE PARIS EXPOSITION. night, when myriad electric lights, distributed throughout its walls and hidden in the midst of its regal furnishings, converted the entire struc¬ ture into a blaze of dazzling splendor. Then the wide glass stairways ascending on either side were like unto molten pathways leading to the sun. These wonderful stairs, flanked by balustrades of phosphorescent sea shells, gave access to galleries, the walls of which resembled gro¬ tesque aquariums, peopled by marine monsters with amber scales and emerald eyes, and whose yawning maws emitted myriads of flashing rubies and sapphires. Among the branches of the trees overhead were birds of living fire; and strange, luminous insects darted hither and thither through the golden mist, driven upward by the iridescent vol¬ umes of water that descended in a continuous cascade into the midst of the sylvan lake, from their source among the glittering foundation stones of the enchanted palace above. The motif of this chimerical creation was at once spectacular and educational. The interior of the main pavilion contained one of the most magnificent collective exhibits of jewels and precious stones ever revealed to mortal vision, while in a wierd, cavernous grotto under the quartz foundation, a marvelous glass-blowing plant was installed. The appointments of this subterranean chamber were thoroughly in har¬ mony with the fantastic details of the exterior. Here, surrounded by glittering stalagmites, a colony of glass wizards were constantly em¬ ployed at their mysterious craft, fashioning out of molten crystals, with a deftness that was superhuman to behold, all manner of quaint orna¬ mental conceits, to be carried away as souvenirs by the wondering visitors. PALACE OF WATERS. The Chateau d’Eau (Palace of Waters) was situated in the axis of the Champ-de-Mars. It combined with the palace of Electricity to SUPPLEMENTAL PALACES AND SIDE-SHOWS. 525 form the centre-piece of the superb decorations which surrounded the gardens. In the middle was an immense grotto, 170 feet high and 36 feet deep, and from the interior of this 70 feet below the summit was a basin from which the bubbling water poured. On each side, below and in front of this basin, water flowed in cascades from three niches into eight basins placed one above another. This immense volume of water tumbled in cascades from basin to basin and emptied finally into a vast basin in the midst of the gardens. At the centre of the lower basin, on natural rocks, was an allegorical group representing Human¬ ity, conducted by Progress, who advances toward the Future while overthrowing two figures of Furies who personify Routine. On all sides were scattered groups of chimerical animals throwing jets of water on high from the edges of the basins. The groups in front of the pillars and rotundas also threw water into smaller basins. This mass of water was illuminated by electricity with marvelous effect, the waters rising, descending and falling back in rain, possessing each a color of their own and constantly varied. The grotto and niches were starred with many colored glasses, and all the reflections a thousand times reproduced by the moving waters made an inconceivably mag¬ nificent scene. By a happy innovation which permitted curiosity to be satisfied and made an instructive attraction, the apparatus for this illu¬ mination, under the basins, was open to the public. The Palace of Electricity and Chateau d’Eau as an architectural whole constituted by day or night a picture never to be forgotten, a phantasmagoria and a dream realized. The Chateau d’Eau was not only a decorative idea. It offered to the public porticos and promen¬ ades, some of which passed under the cascades. The entrance of the grotto was marked by two decorated pillars, flanked by two rotundas. THE PARIS EXPOSITION. 5*6 From these rotundas started loggia or open galleries, of Italian style, giving access to domes of the Palace of Chemical Industries on one side and of the Palace of Material and General Appliances of Machinery on the other. PALACE OF THE EMPIRE OF SIAM. The legendary country of the white elephant had constructed on the Champ-de-Mars, east of the Eiffel Tower, an important group of edifices which reproduced the types of national architecture with all their capricious richness. As for all the buildings of Indo-China it is the system of roofs which is of the most importance in the total effect. This disposition is not dictated by simple fancy, it arises from condi¬ tions established by the temperature and meteorology of the country. Exposed to terrible tempests and to the excessive heat of burning summers, the inhabitants protect themselves against the violence of unchained winds and the ardors of a too generous Sun by thick, heavy roofs. These extend almost to the ground to assure stability and at the same time extend the beneficent shade. In order to obey sacred rites as well as in order to offer a free access to fresh air, the dwellings, hermetically sealed on the other sides, open largely on the north side. The question of rites plays a grand role in the questions of construction. Sometimes these rites have been primitively instituted in order to establish useful or hygienic measures; more frequently they only reproduce confused superstitions, which have preserved a considerable influence in Siam. Born of the meeting of two currents of population, coming from the Orient and the Occident, the Siamese have preserved intact the superstitions of the Hindus and of the Chinese in spite of the prescriptions of Buddhism. The rites regulate the site of the edifices, then of the different modes of construction. The Dragon is the emblem of the divine wisdom; SUPPLEMENTAL PALACES AND SIDE-SHOWS. 527 moreover the dragon emissaries of the divine will who run over the earth and govern in his name, are buried in the earth. The mountains represent their spines, the diverging hills of the principal chain are their innumerable claws, and the stones scattered on the ground are their scales. To build in the proximity of the dragon is commendable, but it is not good to place oneself within reach of his claws. The side where his breath blows is a good presage, and the site of the eye is a sign of future royalty. The ritual prescribes the day and the hour suitable for beginning work, and also fixes the age of the builder. For the works of the Champ-de-Mars, these customs were some¬ what altered. The commissary general, represented by M. Picard, played the role of grand dragon and traced the limits of the site as well as the number of workers. Moreover the particular necessities of the buildings destined to enclose the exhibits, compelled modifications for sufficient light. The Siamese Palace was, accordingly, a modifica¬ tion, rather than a faithful restitution. Forms belonging to civil and religious architecture were mingled with great profit to the picturesque. The characteristic of the Siamese art seems to be an exuberant richness in the multiplicity of sculpture and in the brilliancy of colors, which accords with the passion the Siamese men and women, rich and poor, have for show of gaudy treasures. The little covered bridge, which connected the two pavilions of the Palace, was a souvenir of Bangkok, that aquatic city, that is considered the Venice of the extreme east. PAVILION OF THE CITY OF PARIS. The Pavilion of the City of Paris was situated on the right bank of the Seine, near the Bridge of Invalids, in front of the Italian Pavilion. It was in the central point of attraction only a short distance from the Monumental Entrance to the Exposition. THE PARIS EXPOSITION. S2$ In general outline it resembled the Hotel de Ville. Its silhouette was stamped in a marvelous scene. The picturesque river, the fagades of varied style of the foreign pavilions, and the rude outlines of the Palace of Horticulture, formed the frame. The pavilion appeared to be constructed on an immense wharf, the supports and wooden piles having been concealed under a cover of cement and plaster. The frame¬ work of the building was entirely of wood, and the fronts were covered by a coat of plaster. As has been said, the general appearance re¬ sembled the Hotel de Ville, except that the domes were replaced by gables. In spite of its classic style, straight lines and regular form, the pavilion of the City of Paris was not massive or clumsy. The deco¬ rations were very simple. The interior was arranged in an original manner, the idea of the architect, M. Gravigny. It was a sort of traditional Exposition Palace *—the monotonous galleries were replaced by a vast hall occupying the whole Pavilion, and the second floor consisted of a gallery six metres wide opening on the nave. In the middle of the Hall, in a vast basin 1,750 metres square, were placed marvelous bouquets of flowers, skilfully arranged on a carpet of verdure. While giving a gay and springlike air to the Pavilion, they composed the exhibition of the departments in charge of the promenades and squares of the City, and showed the means employed for the decoration of the gardens of the capital. Some marble and bronze works of art acquired by the City in the preceding ten years—evidence of the interest she takes in flne arts—enameled this grassy carpet with black and white spots with happy effect. The spectator was more vividly impressed by this truly fairy-like tableau, because he could at once get a general view of it and sieze the smallest details. The ground had been dug out, making a basin below SUPPLEMENTAL PALACES AND SIDE-SHOWS. 5*9 the level of the floor for the floral display. A monumental fountain rose above the pit. It was supplied by the four waters of Paris: the Avre, the Ourcy, the Seine and the Vanne, each of which had its own reservoir and outlet. Around the gardens, many of the City Departments were repre¬ sented. On one side were shown the methods of lighting, the water department, drainage system, and the vast and complicated question of public health was treated very completely. On the other side, by many drawings, the under-world of Paris was represented. A little farther on, a cinematograph permitted the public to visit the hospitals, work-houses and almshouses under the control of the City. Finally the history of the Police was traced in minutest detail, with the different and successive costumes of the policemen. Above the garden rose two pairs of stairways leading to the upper floor, forming an agreeable break to the regularity of the immense hall. In the upper part of the gallery was placed the Carnavalet Museum exhi¬ bition, comprising pictures and souvenirs of the history of the City. Beside this were the pictures and objects of art belonging to the city. A little farther on was an exhibition of Primary Education. As in all preceding exhibitions, a few interesting documents worthy of notice were lost in a mass of matter which the public passed indifferently by. The modern architecture of the City occupied a small place, repre¬ senting the new Schools of Law and Medicine, the Sorbonne and other Municipal buildings. The remainder of the gallery was devoted to exhibitions of municipal libraries and historic studies. The office of Commissioner of Police had a prominent place in an historic group; and the history of this institution and the portraits of the various functionaries who had occupied the position of Com¬ missioner filled a special room. The Department of Public Assistance THE PARIS EXPOSITION. 53° arrested attention on another side by a comparative exhibition of this institution in former times and what it had become in 1900. “The City of Paris is a world,” said King Francis I.; this world has grown remarkably since the sixteenth century, as one could prove by that pavilion, so ample in proportions yet too small for that which it should have contained. PAVILIONS OF CHINA. Though not a colonizing nation, the pavilions devoted to Chinese exhibits stood in the right of the Trocadero, close by the Siberian Palace. They were five in number, the most striking of them in size and architecture being a reproduction of the nine gates of Pekin. It was four stories in height and built on terraces. On the left, a bridge connecting the Chinese and Russian section was the exact reproduc¬ tion of a famous gate on the route to Siberia, in an annex of the great Wall, 33 miles north of Pekin. It bears an inscription in six languages, one having never been deciphered. A Trans-Siberian train ran over this bridge, and on alighting the traveller found a Chinese restaurant, where, if he felt so inclined, he could taste swallow-nests and other marvels of Chinese cookery. On the second story was a central terrace, surrounded by three buildings with curved roofs, gaily painted in yel¬ low, red and green. The side of the building facing the Trocadero had a tree growing in its middle, the branches piercing through the second story terrace. From one of the terraces of this pavilion, the other buildings of the section could be admired. To the left was a grand monumental gateway, one of three such examples in China: one being in the temple of Confucius in Pekin, another in a temple, and the third in a hunting park in the vicinity of the Chinese Capital. The base was of white SUPPLEMENTAL PALACES AND SIDE-SHOWS. 53 1 marble, and the decoration in glazed porcelain of two colors, yellow and green. The reproduction was the same size as the original. Another pavilion was a copy of one of the six pavilions forming the imperial palace at Pekin. A varanda formed of cylindrical red pillars joined by a very simple green balustrade encircled it. The walls of the pavilion rose above the veranda, and supported a second roof, covered with green tiles. The interior was richly decorated. The beams of the ceiling were uncovered, and formed squares, a painted and gilded rose being in the centre of each. Three other smaller pavilions of Chinese shops completed the ex¬ hibition, which was built in a quaint Chinese garden, having in its centre a miniature lake. Chinese agricultural and industrial products were shown in the pavilions. Among these rice, the staple food of the Chinese (rice fields occupying one-eighth of the whole area of cultivation), was very prominent. In many of the provinces wheat, honey and sorghum are cultivated. Also the cotton plant, potatoes, etc. Above all the tea plant which is an incalculable source of wealth, and the poppy from which opium is made. One could not help being interested in seeing so many Chinese at work in the court, all dressed in native costume. Here were sellers of curiosities who offered with an engaging air statues of Buddha, deli¬ cately carved jade ornaments, antique vases, whose authenticity was in no wise guaranteed, faience and pottery. Then there was an enameller, ornamenting silver and silver gilt articles with wonderful dexterity: painters on rice-paper, illustrating albums with tiny pencils, or deco¬ rating large panels with grotesque figures and fantastic dragons. There were silk weavers, under whose skilful fingers designs of incredible S3* THE PARIS EXPOSITION. variety appeared, and straw plaiters, shoemakers, workers of mother- of-pearl, etc. PAVILIONS OF JAPAN. In the right hand gardens of the Trocadero, amid the palaces and pavilions representing foreign colonization, was the space allotted for the exhibits of Japan, other than those she had placed in the regular palaces of the Exposition. The entrance to this Japanese space led into a large garden in the Japanese style, formed on the model of one of the most splendid gardens in Tokio. Its tortuous avenues ending in kiosks, its little paths edged by shrubberies of exotic plants, its mul¬ berry and camphor trees, fan-palms, mimosa, radoi, or paper tree, and urusi or varnish tree, etc., were planned so as to produce a most curious effect. In the centre of the garden was a piece of water, in which were seen strange-looking fish, among river plants and lotus leaves, over which flamingoes stood sentinel. The climate of Paris did not allow the transplanting of the wonderful cherry trees which are the admiration of the traveller in Japan. But the gardeners, who, by the way, came from the Imperial Garden in Tokio, had managed to bring over gigantic flowered chrysanthemums, iris, and azaleas which conveyed some idea of the floral richea of the Land of the Rising Sun. Round thk garden were erected the various pavilions of the Japanese Court. Ohl Japan was represented by the exact reproduc¬ tion of a pagoda, the temple of Koudo, one of the most curious speci¬ mens of Japanese architecture, situated in the Buddhist community of Korioudgi near Nara, the capital of Japan in the 7th century, now fallen to the rank of a little provincial town. The temple was well worthy of notice. Koudo, which means “golden temple,” belongs to the sect devoted to the worship of ancestors. It is of great antiquity, having been built 590 A. D. The roof, apparently bronze, was really SUPPLEMENTAL PALACES AND SIDE-SHOWS. 533 made of glazed tiles. It was firmly supported by red lacquered col¬ umns. Between the two roots was a large circular balcony, also painted red. The four sides of the temple were ornamented with carving repre¬ senting the Japanese Olympus; there were goddesses playing on various instruments colored by the artist Isayama who lived in Paris. Round the windows were birds of paradise, whose long tails vanished in ara¬ besques. A broad staircase led to three gilded bronze doors sur¬ mounted by panels decorated with lotus flowers. Lotus leaves served as decoration for the circular balustrades on the ground floor. The exhibition of Japanese Art was in this building. The Commis¬ sary-General had succeeded in obtaining a collection of works alto¬ gether unknown in Europe, mostly coming from the private collections of the Mikado and the great Japanese nobility. Even in Japan such a collection is not to be seen. On the right, near this temple, which was the official pavilion, was a tea-house facing the pavilion of Sake or rice wine, both quite modern constructions. The tea-house be¬ longed to a company of exhibitors, especially to the Guild of Tea Mer¬ chants. It consisted of two stories; on the ground floor, the visitor could taste Japanese tea, which is cultivated with great care. The precious plant is protected from sun and frost by straw coverings, and the leaves are gathered in the spring by children wearing gloved hands. At the side of the tea-house was a little gallery in tiers, orna¬ mented with plants and shrubs, and built in European style. It was an excellent place from which to admire, in the evening, the fairy-like illumination of many colored paper lanterns. Parallel to the R. de Magdebourg, at the corner of the Q. de Billy, was a Japanese br'-ar, where the visitor could see all sorts of bibelots, besides the va: ious products of Japanese industry—all sorts of faience, delicate porcelain, 534 THE PA'RIS EXPOSITION. Satsuma ware so minutely decorated by patient artists, lacquer both black and gilded, curiously carved ivories, boxes, fans, blinds, beautiful silks, embroideries, satins, brocades, gauzes, etc. PALACE OF EGYPT. In the rear of the Japan exhibition, on the right of the Trocadero grounds, stood the vast and imposing edifice which represented Egypt in the Exposition of 1900. Its fagades were copied from the most famous buildings of ancient Egypt with their huge porticos, their strange bas-reliefs and hieroglyphics depicting the history of the ancient dynasties of Egypt, their friezes crowded with polychrome designs. There were three distinct divisions: on the right, the “Temple;” in the centre, the “Onakala,” or Arabian bazaar; to the left, the “Theatre.” The front fagade of the Temple was a reproduction of that of the Temple of Dandour in Nubia. The sides were copied from buildings at Philae, Abydos and Karnak. The entrance hall, which formed a vestibule, led to a large square covered gallery in the form of a colon¬ nade, with the atrium in the centre open to the sky. In this colonnade there was an exhibition of agricultural products and manufactured goods, works of art, jewelry, antique and modern carpets, etc. Under the Temple was an extensive crypt divided off into separate vaults, representing the “hypogeum,” or burial chamber of the various royal dynasties, both of the old and new regime. The Onakala, or Bazaar, represented Egypt of the present day disposed around an immense “patio,” or entrance hall—rows of Arab houses with their “moucharabis” and their friezes in mosiac or ceramic ware; their projecting balconies, their moulded buttresses, their fres¬ coed archways and their terraces, and, on the ground floor, the shops for the sale of Arabian articles. At the end of the “patio”—the side SUPPLEMENTAL PALACES AND SIDE-SHOWS. 535 towards the Jena Avenue—was a reproduction of the Salon of the French Minister at Cairo, with its rich mosaics, its curious beamed ceiling, and its beehive cupola. In the third division, or Theatre, the exterior and the entrance were antique in style, like the Temple. The interior was richly deco¬ rated with immense frescoes, depicting in polychrome the life of ancient Egypt, the triumphal progress of the kings, public festivals on the Nile, ceremonies in the temples, etc. The arrangement of the auditorium and the furnishing was entirely in conformity with the Egyptian style. On the stage there were Arabs and Soudanese enacting their “fan¬ tasias” and characteristic dances. The sacred dances of ancient Egypt were also performed; in fact here were gathered together all varied attractions and delights of the mysterious East. THE CINEORAMA. As one entered the Camp de Mars from the Jena Bridge, there was found to the right of the Eiffel Tower one of the most interesting spectacles of the Exposition of 1900, the immense moving panorama, which was called the Cineorama, in which could be realized all the delights of a balloon journey through Europe and Africa. This journey one could there take without danger, fatigue, or much expense, .ex¬ periencing all the impressions and surprises of such a voyage through the unknown, and feeling the astonishing sensation of vast surrounding space above the living panorama of the great city beneath him. In a few minutes one could pass from the grandiose spectacle of the wide ocean in a storm, to the vast horizons of the desert, streaked with caravans, or vibrating to the furious gallop of an Arab cavalcade; from the carnival at Nice, to the furious “melee” of military maneuvres, with cavalry charges, cannon in action, fusillades and assaults; from 536 THE PARIS EXPOSITION. popular markets amidst the Gothic architecture of old Flemish towns, to the excitement and glitter of a Spanish bull-fight, with its episodes of slaughter and its maddened crowds. By the magic of an aerial pas¬ sage which annihilates distance, one could glean a series of lively im¬ pressions such as are only obtained by an ordinary traveller crossing die old continents for several months, regardless of time or money. Such was the result achieved by this new and scientific apparatus, vhich it took years to bring to perfection. On the space it occupied near the foot of the Eiffel Tower, in the very centre of the Exhibition, it offered the most marvellous synthesis of the great spectacles of life and nature. How has this astonishing result been obtained? The process, though complicated and requiring an apparatus of mathematical pre¬ cision, may be easily described. It is produced by a series of cinemato¬ graphs of a new and special type, connected one with another and worked by a single wheel, the cogs of which are so exactly adjusted that they produce absolute synchronism of movement. The pictures, which pass at the rate of from 35,000 to 40,000 a minute in the ten synchronic apparatus placed in the centre, under the car of the balloon in which the travellers are seated, are projected upon the decagonal surface of an immense panorama, the invariable distance of which is so calculated that the figures of the foreground are life-size. Thanks to another new process, by which it has been possible to obtain all the richness and gradation of natural color on the films, the illusion of reality be¬ comes complete, or rather, it is reality itself which is resuscitated, living and complete, round the spectator. EIFFEL TOWER. This unique structure, visible from every point of Paris, stands at the Jena Bridge entrance to the Champ de Mars, and the vista from the BUILDING CONTAINING THE “TOUR OF THE WORLD.’ SUPPLEMENTAL PALACES AND SIDE-SHOWS. 539 Trocadero across the Bridge* and to the southern end of the Champ de Mars esplanade is not interrupted by the high and spreading arches which sustain the superstructure of the tower. The commanding structure was one of the main attractions of the Exposition of 1889, as it is that of 1900. It is the loftiest tower in the world, by the side of which St. Peter and the Pyramids are as mere pygmies to a giant. Needless to say, it is also a marvellous example of mechanical skill, and a complete command of the science of ironmastery. The original idea of its construction emanated from the fertile brain of M. Ruquier, the eminent engineer of the firm of Eiffel. It was built in less than three years, between January, 1887, and March, 1889. Entirely constructed of iron, it weighs 15,760,000 pounds, and is held together by 25,000,000 rivets. Strange as it may appear, the number of men employed in building this second Tower of Babel was nothing like so great as might be imagined—only 250 being engaged in building the three upper stories. Beyond being repainted a pale yellow, the tower has undergone no change since it was first opened. Not less than 60,000 pints of paint were employed upon each coating, as a cost of $20,000. It is illuminated by no less than 7,000 electric lights of ten candle power each. The four new elevators convey without overcrowding 100 persons each ascension, and as they go up and down ten times per hour, it is calculated that 32,000 persons can accomplish the jour¬ ney to the top of the Tower daily. The view from each of the platforms is of unsurpassed magnifi¬ cence, especially on a fine clear day. Not unfrequently the visitor may chance to behold some very remarkable asmospherical effects, such as the trailing of a storm over Paris, or the sudden apparition of a rain¬ bow. In a certain sense, however, as a mere panorama of the city proper, this view is inferior to the one obtained from the terrace of the 26 540 THE PARIS EXPOSITION. Basilica at Montmarte which overlooks the monumental part of Paris, lying stretched at your feet like a map. But the Exhibition with its marvellous palaces and pavilions, its gardens and terraces, is seen to the greatest advantage, and produces an effect of confused architectural magnificence never to be forgotten, recalling in many ways one of these fantastical panoramas conjured up by the vivid imagination of Martin in his extraordinary pictures of ancient Babylon, Rome, and Jerusalem. Far away beyond the Champ Elysee can be seen standing out against the horizon the domes and towers of buildings whose fame is world¬ wide. Notre Dame, the Louvre, the tower of St. Germain des Pres, and St. Sulpice, the dome of the Pantheon and the towers of a hun¬ dred other landmarks celebrated in history and romance. The night panorama from the Eiffel Tower is even more wonder¬ ful than that to be seen by daylight. The Exhibition was then lined in fire. The gardens sparkled with fiery flowers of every rainbow hue, and the tiers on the long avenues sparkled with stars which dim those of the clearest heaven above. The Seine, too, added an infinite charm to the wonderful display. The Pavilions of All Nations reflected their illuminated cupolas and towers in the waters which scintillated with myriad reflections and were traversed incessantly by countless boats, each with a colored light at its prow. Far away against the soft light of the evening sky, the domes and towers of Paris stood out in ebon distinctness, forming an unsurpassed contrast to the glowing scene immediately beneath the spectator. MOVABLE PAVEMENT. A unique feature of the Exposition was the Plateforme Mobile— Movable Platform, or Pavement. It was perpetually on the move round the Exposition, and all a person who wished to go to the various sec- SUPPLEMENTAL PALACES AND SIDE-SHOWS. 54* tions reached by the moving floor had to do was to step aboard and wait until the platform arrived at his destination, when he as freely could step off again. The platform ran above head along the Quai d’Orsay to the Pont d’lena, doubled back, and proceeded along the eastern front of the buildings that enclosed the Champ de Mars and crossing to the south side of the Avenue de la Motte Picquet, came down the western side of the buildings facing the Invalides. In mechanism it consisted of a fixed footway and two movable footways worked at different speeds, the one travelling three miles per hour, the other five miles per hour. The movable footways presented the appearance of endless ribbons, constructed with a short truck with¬ out wheels, supported by the two next trucks, which were supplied with four wheels. Under each truck was fixed a kind of rail, the ends of which were joined to those of the next trucks. The wheels of the trucks provided with them ran on rails, secured by plates screwed into wooden sleepers. Motion was produced by the adhesion of axile powder to moving boards worked by electric trucks placed along the whole length of the railway. The entire arrangement was raised on an iron viaduct supported by wooden stakes, so that the footways were on a level with the first stories of the Exhibition pavilions. The platform was about 12 feet broad, and the footway of the express train 7 feet broad. Hand-rails were placed at regular in¬ tervals on the sliding footways to assist passengers in crossing from one to the other. THE HALL OF FETES. The Hall of Fetes was one of the most remarkable Courts of the Exposition of 1900. It stood in the rear of the Palace of Electricity and between the two immense Palaces devoted to Agriculture and to 54 2 THE PARIS EXPOSITION. Foods. The Court space was about 470 by 550 feet. In the centre rose an enormous glass cupola 300 feet in diameter, and supported upon eight prodigious iron piers, each weighing 33,000 pounds. Al¬ though this magnificent hall was in reality a square, it had internally the appearance of a rotunda, from the peculiar disposition of the seats, which could accommodate 12,000 persons on the ground floor and 2,000 in the boxes and galleries. Four principal entrances admitted into the auditorium—one op¬ posite the Avenue Bourdonnais, the second the Avenue Suffren, the third and principal faced the Military School, and the fourth opened into the Electrical Department. One of the large boxes over the principal entrance was reserved for the President of the Republic. On either side were eight spacious tribunes, intended for distinguished guests and their friends. The decorations of the Hall were exceptionally artistic and elab¬ orate, the paintings being by acknowledged masters. Thus, M. Cor- mon chose for his noble work, Electricity, Locomotion, Mining, and the history of Coal from its extraction from the mine to its consum¬ mation as fuel or conversion into gas. M. Flameng illustrated in his decorative paintings many kinds of industry, such as the making of furniture, the history of costumes, the story of the spinning-jenny, silk weaving and chemistry. M. Maignan dealt with Agriculture and Hor¬ ticulture in a series of superb panels in which forest interiors were shown, as well as richly cultivated gardens. M. Rochgrosse devoted his eminent talent to depicting Social Economy, the Colonies, the Fatherland, Justice, and the Army and Navy. Each picture by these artists was 65 feet in length by 90 feet in height, and the artists were paid by the State $5,600 each for their contributions. / SCENE ON THE MOVING SIDEWALK. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 345 The spaces between the arches which supported the dome were adorned by pictures representing the Four Seasons, by master artists; and also by paintings representing the twelve months of the year. On the lateral vaultings was found a remarkable series of paintings repre¬ senting the manners and customs of the ancients. Over the north tribune was a masterpiece by Motte, representing Snow and Ice; over the southern, the Desert was depicted by Begaux; over the eastern, Laurens depicted Woods and Mountains; over the western was the Ocean, by Courtois. Each of these works measured over 500 square feet. Other artists contributed rich series of panels representing fruits, flowers, etc. The vestibules were elaborately decorated with paintings by Cesbrou, Bonnecourt, and Zarbowsky. In this colossal decorative scheme, sculpture found a prominent place. In the vault were magnificent bas-reliefs, by Barran, symboliz¬ ing Industry and Mechanical Progress as applied to steam and water. Leroux splendidly illustrated in reliefs, Literature, Education, Teach¬ ing and Philosophy; Massiglier, Painting, Sculpture, Architecture and Engraving; Roland, Mathematics, Music, Medicine and Surgery. At the foot of the magnificent staircase, Debrie contributed a group en¬ titled The Sowers, and another on the opposite side representing the Reapers; while Aube contributed two fine companion groups repre¬ senting the Dairy and Harvest. In addition to these there were numer¬ ous allegorical figures representing beer, wine, liquors and cultivated plants. Each of the thirty nations which exhibited at the Exposition were represented in the Hall by statues nearly eight feet high, wrought by distinguished artists. Thus, the United States was represented by the statue of A Working Boy; Mexico, by a Cowboy; Hungary, a Magyar; Germany, a Student; Great Britain, a Sailor; Austria, a Tyrolese; Swit- 546 THE PARIS EXPOSITION, zerland, an Alpine Shepherd; Siam, a Siamese; Corea, a Corean; Swe¬ den, a Swede; Turkey, a Turk; Norway, a Fisherman; Belgium, a Miner; and so of the other countries. Each of these statues supported a lamp. Three very important groups of statuary were also conspicuous in the Hall; one by Perrin, representing A Child Feeding Fowls; one by Dubois, Two Fishermen in a Boat; one by Captier, A European and a Negro. The Hall of Fetes was lighted by 4,500 incandescent lamps. It was in this magnificent Hall that the inaugural ceremonies of the Ex¬ position took place, on March 14, 1900, and in it were distributed the Exposition prizes and awards. THE AMERICAN CORN KITCHEN. On the afternoon of May 17, 1900 the United States agricultural annex building in the quinconce of the Champ de Mars was the scene of one of the most unique dedications that had yet characterized the progress of the Exposition. The occasion was the opening of the Amer¬ ican corn kitchen, located on the upper floor of the annex. Here the United States Commission had established and fully equipped a large kitchen, employing the most approved culinary appliances, with the object of preparing and distributing free to visitors, daily, samples of the numerous articles of diet prepared from maize. The value of corn as a food product has heretofore been unappreciated in Europe, and the purpose of this unique enterprise was to demonstrate to her millions of inhabitants that this great American staple constitutes the basis of an infinite number of dishes, ranging from the cheapest and most whole¬ some bread to the most delicate of desserts. The kitchen was fur¬ nished throughout with every convenience known to culinary science, including an exhibition gas range of marvelous capabilities. Directly SUPPLEMENTAL PALACES AND SIDE-SHOWS. 547 before this base of operations and particularly flanking either side was a typical American lunch counter, appropriately garnished at intervals with glass tureens heaped high with freshly grilled popcorn, and deco¬ rated at each corner with a classical pyramid of heroic Missouri maize— on the cob. Finally the entire section occupied by the kitchen and . lunch space was enclosed within a tall rustic facade, the entrance through which was draped with the stars and stripes, intermingled with the French tri-color. Immediately over the portal was a legend in generous gold characters setting forth the nature of the establishment within. The enormous quantities of corn products necessary for the maintenance of this free distributing agency were entirely supplied by various American manufacturers of the different ingredients. The enterprising promoters who were thus furnishing such substantial sup¬ port to the United States Commission in its unique and practical pur¬ suit of a European market for American corn may some day be credited with having contributed to the Paris Exposition its most valuable exhibit. The idea of an American corn kitchen originated with Commis¬ sioner General Peck, but its successful consummation was largely creditable to the supervision of Director of Agriculture Charles Rich¬ ards Dodge, who in turn was ably assisted by Col. Clark E. Carr, presi¬ dent of the American'Maize Propaganda, and B. W. Snow, secretary of that organization. The operative staff, numbering seven people, included two American colored women, brought over because of their recognized skill in concocting cornmeal delicacies, assisted by two ex¬ pert chefs of the French school. Owing to the limited spac^ occupied by the corn kitchen the guests invited to the recent opening ceremony were almost entirely confined to representatives of the press—much to the embarrassment 54^ THE PARIS EXPOSITION of the culinary force, which had provided a most tempting bill of fare in honor of the occasion. The honor of turning over the institution to Commissioner Gen¬ eral Peck and Director Dodge naturally devolved upon Col. Carr, who was charged with its immediate management. In the course of this procedure the Colonel remarked: “Some months ago Mr. Snow and myself were charged with the responsibility of inaugurating, in con¬ nection with the United States exhibit, a demonstration of the excel¬ lence of Indian corn as a food for man. This involved providing a large amount of corn foods, cooks experienced in their preparation, and also the complete equipment of this corn kitchen and restaurant. It has all been done and is now ready to be turned over to the United States Commission and the Department of Agriculture. “Indian corn has contributed largely toward giving Americans the vigor of mind and body for which they are celebrated. It is wholesome, nutritious and delicious, and, in placing it before the representatives of all lands as food for the table, it is doing them a more important ser¬ vice than ourselves. “There is a disposition among the French people to ‘prove all things and hold fast to that which is good.’ In Paris American pro¬ ducts are generally popular and much sought after, and we are en¬ couraged to believe that a food so popular among the 80,000,000 of inhabitants in the United States will be adopted here, and we hope, through the French cuisine, to reach all the peoples of the earth?” The aims of the American corn kitchen were not restricted solely to cultivating a taste on the part of visitors for maize foods. In addi¬ tion thereto recipes for the numerous substantiate and delicacies, of which corn is the basis were circulated among the hotels and restau¬ rants of Paris, a number of which have in consequence already incor- SUPPLEMENTAL PALACES AND SIDE-SHOWS. 549 porated various maize dishes with their cuisine. While a more exten¬ sive demand and higher prices for Indian maize would create increased prosperity throughout the United States generally, such advantages would prove of especial importance to producers of the Missouri, Mis¬ sissippi and Ohio Valleys, which districts comprise what is known as the great corn belt of the Northwest. THE GREAT TELESCOPE. They have not yet found elephants on the moon. The giant tele¬ scope, in the Palace of Optics, that is one of the chief attractions of the Paris Exposition approaches its perfect adjustment every day, but such is its combined massiveness and delicacy that unavoidable delays are likely for a short time yet to keep the secret of our satelites. What shall we see? The cable, any day, may give the world news that the moon was once inhabited, for the astronomers agree that the new telescope will bring into view any edifice as large as the Cathedral of Notre Dame at Paris. The two other greatest telescopes are the Yerkes instrument that figured at the Chicago Exposition, and the grand equatorial, the pride of the late Berlin Exposition. The object glass of the former was 3 feet 5 inches in diameter, while that of the latter was 3 feet 7 inches. The object glasses of the grande lunette—as the Paris siderostat is popu¬ larly called—are 4 feet each. Now, while each extra inch gained is a marvel in itself, the distinction of the new telescope does not end with the superiority of its object glasses. For the first time in the history of great lenses, full play is given to their utmost focal distances. For the first time it has been decided “not to subordinate their powers to any difficulties of mechanical execution.” S$e THE PARIS EXPOSITION. The Yerkes telescope, 65 feet long and 5 feet in diameter, is like an immense steel cannon pointed to the sky. It moves in a vast cupola 250 feet in circumference, the cupola moving with it, as it slowly draws a bead on this star and that. Its weight is so great that the original flooring yielded. The focal distance of its object glass was curtailed to 65 feet, for fear that a longer, heavier telescope could not be handled. Now in the new Paris instrument the full focal distance of its 4 feet lenses—195 feet—is utilized. Were it to move in a cupola—the cupola would have to be 650 feet in circumference—it would have to be kept going constantly at the rate of 50 feet an hour, in order to keep up with the rotation of the earth on its axis. Three times the length of the Yerkes telescope, with only a foot more of diameter, its weight would bend its tubes. Its foundations would have to be something hitherto undreamed of. The grande lunette could not be pointed to the sky. This new telescope, therefore, lies flat on the earth; and the image of the star or planet is caught by a 7-foot mirror and reflected to the object glass in front of it. The possibility of making such an immense mirror was long ridiculed. The celebrated glass founders of Saint Gobain, after many attempts, threw up its construction as an unpre¬ cedented undertaking of doubtful success. The work, taken up by the Glaceries de Jeumont, was pursued under continual discourage¬ ments—which account, in part, for the present delay. One objection to these stationary telescopes had heretofore been the apparent movement of the stars, which made many precise calcu¬ lations impossible. In the present construction the micrometer with the eye-piece is given a rotary movement which preserves the images in their apparent places. For the rest, the 7-foot mirror—it would take tip the whole side of a room—keeps up with the rotation of the earth SUPPLEMENTAL PALACES AND SIDE-SHOWS. 55 1 by means of clockwork. According to the angle given to it at the beginning of the observation, it can catch any part of the sky and hold it. The mass of glass weighs 7,000 pounds. Its holder and machinery —without the stationary frame—weighs 30,000 pounds. This weight, to be stable, floats in a bath of mercury. Each of the flints of the grande lunette weighs 800 pounds and cost $15,000. Each of the object glass crowns weighs 500 pounds. They have $50,000 worth of glass in them and, polished, are worth $120,000. Any day, now, the cable message may flash around the world, de¬ scribing what this wonderful instrument has discovered on the moon and on the planet Mars. In the meantime, what are we to expect? It is said that the moon will give, at the focus of the grand lunette, an image 23.4 inches in diameter. Up to the present time the greatest en¬ largements of focal images have been 4,000 times. With the new tele¬ scope they may, under certain favorable circumstances, be enlarged 10,000 times. This will be as if the picture of the moon thrown on a screen should stretch out 234,000 inches—or almost four miles in diameter. No one, of course, will see “the moon,” therefore, but only “moon landscapes,” or “moonscopes.” Some say it will bring the moon within forty miles. Others say, “within a few miles.” M. Van- devyver, of Brussels, has put himself on record with the promise that we shall be brought near enough to view the evolutions of a lunar army corps or fleet. The men in charge of the telescope in the great Optical Palace on the Exposition grounds, declare that it will show “any building as large as Notre Dame.” It will, therefore, be a pity if there are, on the moon, no army corps nor fleets nor buildings as large as the Notre Dame Cathedral. THE PARIS EXPOSITION. So- PALACE OF DANCING. On the Street of the Queen, between the Palace of Congress and Palace of Horticulture, stood the Palace of Dancing where, upon the stage of a dainty theatre was seen the history of dancing throughout the ages and in every country. To enhance the beauty of the spectacle, and to do away with whatever might be too didactic in a chronological exposition of the different epochs, three ballets were there organized. In the first, “To whom the Crown ?” were to be seen modern dances— English, Russian, Italian, Spanish, Greek, etc.; in the second, “The Shepherd’s Hour,” came popular dances, the Sabotiere of Brittany and the gay Farandole of Provence; finally, in the third, “The Kingdom of the Dance,” figured the principal dances of ancient times. There was presented the celebrated Wasp Dance of Egypt; the Megarian dances of Greece, in which women, clothed in white gar¬ ments, like virgins of the Panathenaea, were bound together by scarfs which they held in their hands, formed a long row, and balanced five steps back and three forward obliquely. The music was inspired by popular Greek airs. The Greeks, with whom the sentiment of har¬ mony was innate, never considered the dance merely as a spectacle. At the solemn or joyous moments of their lives they took part in the dance, and the vision of Sophocles is never to be forgotten, as he led the chorus of youths dancing the paen around the trophies piled up on the sea-shore, after the victory of Salamis. The dances of Rome offered nothing of the kind. They were all noisy and coarse. The Saturnalia gave a vivid image of a popular fes¬ tival; then the slaves took the place of the masters and were served by them. The Saturnalia, however, rapidly degenerated into orgies, where there was no law but one’s fancy. Processions of grotesque per¬ sonages and masked figures, fauns and satyrs, nymphs and bacchantes, PALACE OF DIVERSIFIED INDUSTRIES—STREET OF GRENELLE FRONT. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 555 intermingled and formed improvised dances without rhyme or reason. In the Palace of Dancing the Orient was revived in the bayaderes of India. Here again the dances, more voluptuous, possessed only a spectacular merit, and, like most of the Oriental dances, could be ad¬ mitted on a European stage only after having been greatly modified. The characteristic charm of the Hindu dances laid in the fact that the body alone had part in them, the head, arms, and lower limbs having no share. From ancient Gaul was given the Dance of the Swords, set in a scene in the center of which was erected a dolmen. The dancers sprang over their swords; then, holding them aloft, they formed rose- and cross-shaped figures, striking their swords together and following the varied cadence of the music. This dance still exists, in a modified form, in Scotland and in the provinces of the Basques. One was next carried back to a dance of the Middle Ages, the Branle. Dancers advanced and turned about, joining hands, and sing¬ ing some one of the old popular songs that have retained their charm in their very^naivete. Each province had its special branles—the Branle of the Horses, the Goose Branle, or the Branle of the Fire-brands. The last still exists in certain parts of France, and is danced about bonfires lighted in the public places or in the forests, either on the first Sunday in Lent or on mid-summer eve. Then were shown, also, modern ballets from the Italian Renais¬ sance. The luxuriousness of costume, the pomp of procession, the harmony of music and verse, the grace of steps and attitudes, united in forming a magnificent spectacle. From Italy, too, came the personages of the eternal comedy, harlequins, columbines, pierrote and pifferari. Pierrot bewailed his sad lot, but laughed and danced. Columbine flirted 556 THE PARIS EXPOSITION. with Harlequin, who smiled triumphantly. The pipes played a thin shrill music, and the couples mingled and intermingled. Then came the modern popular dances. Here was the Gavot dance of Brittany, the same to-day as in the Middle Ages. Here, too, was the Wince Dance of Pagan origin. A troup of Basques reproduced the curious dances of men, one of which drew its origin from the Dance of the Swords of Celtic times. England showed her well-known clowns and jig-dances. Russia exhibited her flat-faced dancers, who leaped and pirouetted, striking the floor with their heels, and, crouching, ran across the stage, while the rest of the troupe sang, uttered screams, and, at times, raised their shoulders in a curious movement. Italy appeared with the Tarantella of the happy borders of the Gulf of Naples, and with a rural dance, the Pecoree, wherein figured shepherds stepping to the sound of rustic pipes. Spain came and tri¬ umphed. The crowd was never tired of gazing at its well-known dances. The Fandango was shown with all its seductive grace; the Bolero was more noble, more reserved; a woman danced a Cachucha on a table; and there was given a Guaracha, to be seen now only on the stage. America did not send her negro dancers, but she triumphed in the inimitable Fire Dance, the boldest and most marvelous invention in spectacular dancing in any epoch. The splendor of the Arabian Nights paled before the sumptuous magic of this body of dancers, about which beat innumerable waves of flame, unceasingly renewed. The Palace of Dancing did not monopolize the dances of the Exposition. They were seen at street corners, in the various pavilions of eastern nations, in the cafes and restaurants. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 557 FALL OF THE BASTILE FETE. The 14th of July, 1900, was a date that will long be remembered in the French capital—that will abide infinitely in the memories of the myriad strangers sojourning within its walls. The oldest denizen of the great festive metropolis can not recall the time when the “Fall of the Bastile” was celebrated with such overwhelming enthusiasm and eclat. In the rosy light of early dawn the awakening city presented a most beautiful and unwonted appearance. For a week previously a mighty army of skilled decorators had been busily employed in dress¬ ing the boulevards, the historic “places” and palatial mansions front¬ ing thereon, and now from cornice to cornice stretched creations of mingled flowers, foliage and bunting, while every casement was em¬ blazoned with the fluttering tri-color of France and the variegated ban¬ ners of her sister nations. Among the latter none were so predominant as the stars and stripes of America, showing how large a percentage of our own liberty-loving countrymen took part in the great festival. The classic bridges that span the Seine and the graceful bateaus on the breast of its gliding current were literally wrapped in the national colors, while even the cab, tramway and omnibus services did honor to the occasion by decking themselves out in the gayest and most patri¬ otic of liveries and caparisons. Added to this the exhibition section lying between the Elysee Palace and the Invalides, the Ecole Militaire and the Palace of the Trocadero—that marvelous region whose fame as the “City of Light” has already spread to the remotest corners of the earth—reflected an increased grandeur that constituted a fitting climax to the imposing spectacle. The various national palaces along the Rue des Nations were all but hidden among streaming banners and clinging draperies, with which embellishments all had combined exquisite floral effects in greater or less profusion. The decorations of THE PARIS EXPOSITION. 55S the United States pavilion were especially noticeable for the magnifi¬ cence and harmony of their arrangement. With the mingled colors of the sister nations festooned about its stately white faqade, were mingled a series of beautiful garlands wrought of deep green foliage, which lent a singular richness to the general effect. But, however vividly the great dazzling city of the Parisians im¬ pressed the millions of gladsome celebrators within its gates that day, the gorgeous scene utterly failed to portend the ineffable splendor of the pageant ushered in with nightfall. All day the vast multitudes had been surging their way through the various thoroughfares leading to the great military review at Longchamps course to the central precincts of the city. All day the air had vibrated with thrilling cries of “Vive rArmee!” “Vive Loubet!” and “Vive la France!” But with the coming of night a strange silence fell, for instead of darkness a mighty effulgence suddenly enveloped the city. From countless gas globes festooned in double lines up and down the broad aisles of the Champs Elysees, throughout the vast area of the Place de la Concorde and along the intersecting boulevards, a weird, opalescent light sprang forth, only to be merged into the white glare of the elec¬ tric arcs above and together flashed upward and about in a resplendent illumination that verily caused the stars in the heavens to vanish into fathomless scintillating space. About the huge sculptured fountains in the midst of the great square were flaming national emblems in ruby, sapphire and dazzling white, and suspended on high were luminous garlands of iridescent hues. Under influences so subtle it is no wonder the crowds gathered spellbound about the gay dancing booths beside the fountains, with their graceful, sylph-like performers and ravishing minstrelsy. And yet, enchanting though all this truly seemed, it was but commonplace SUPPLEMENTAL PALACES AND SIDE-SHOWS. 559 as compared to what lay beyond the great jeweled gateway leading to the empyreal City of Light to the westward. But here the pen falters in its effort to describe, and one is impelled to exclaim with the bard of old— But vain the poet’s or the painter’s skill That heavenly city’s glory to declare! All such can give is a vision fair And gorgeous * * * Passing through the gleaming mosaic portal, arched like an ame¬ thyst rainbow above the way, you found yourself in the midst of a wonderful grove, the trees of which were laden with prismatic blos¬ soms and phosphorescent fruits. Besides the teeming multitudes that thronged this delphic bower, there stood within its foliage a concourse of strange statuesque figures in graven marble and bronze—the per¬ manent habitues of the fanciful region. Then, presently emerging from the further environs of the wood, you beheld before and about you the magnificent spectacle of a city wrought of imprisoned flame. For a space the senses were baffled in their endeavors to interpret the splen¬ did theme in its vast ensemble. Then, gradually the intricate, jeweled tracings resolved themselves into the familiar turrets, pediments and towers of the wonderful castellated city. On the right two resplendent rectangular outlines depicted the symmetrical cornices and transepts of the art palaces, the glazed roofs of which were aflame with translu¬ cent brilliancy. On the left starry causeway, interspersed with dazzling sunbursts, denoted the great bridge of Alexander III., beyond which stretched the scintillating fleur-de-lis etchings above the cornices of Des Invalides’ Palaces. At the further extremity of the broad, white esplanade, dividing these splendid structures, upon a towering shadowy phantom, arose the fiery outlines of a majestic edifice. It was the 27 5 6o THE PA'RIS EXPOSITION. historic Hotel des Invalides, wherein rests all that is mortal of Napoleon, the mighty genius whose memory France honors above all her heroic dead. And this worshipful veneration could hardly have been more fittingly revealed than by thus making the tomb of their illustrious leader the cynosure of gazing millions on this one supreme night of the great international carnival. To the westward from the Invalides the scene presented an unin¬ terrupted blaze of palpitating splendor, through the midst of which, like a flood of mercury, swept the majestic Seine, its gorgeous path¬ way crossed and recrossed by glittering viaducts, and its shimmering surface counter-illumined by the myriad-colored lights borne hither and thither by festive water craft. Along the glittering strands on either side of this marvelous thoroughfare arose the palaces of the nations, radiant from foundation to turret stories with numberless gleaming brilliants. Behind these, from the midst of the Champs de Mars, the colossal Tower Eiffel was defined with startling fidelity, its 7,000 gleaming orbs crowned by a monster searchlight, the fiery rays of which pierced leagues into the night far beyond reach of the con¬ glomerate effulgence of the magical city below. From the immense archways at the base of the great tower, of all the various points of vantage, the effects of the illuminations were most bewilderingly beautiful. Spanning the southern extremity of the en¬ chanting parterre in the immense hollow square formed by the envi¬ roning palaces was the exquisite filigree cornice over the famous Chat¬ eau d’Eau, or Palace of the Waters. The details in the illuminations of this marvelous structure are as incomprehensible as they are entranc¬ ing—the more so because of the constantly changing hues of the myriad lights in its intricate motif. From a cavernous grotto in the centre of this dazzling fagade plunged a great cataract of molten rubies, SUPPLEMENTAL PALACES AND SIDE-SHOWS. 5 6f emeralds and sapphires, while from the midst of a shimmering lake into which they poured volumes of the same prismatic liquid arose high in air, descending in graceful cascades of iridescent spray. To the east the splendid Palais Lumineux, always a centre of at¬ traction, seemed never so radiantly beautiful as on this night, while to the westward of the constellated surface of the mammoth globe celeste glittered and sparkled with unwonted fantasy. Then, looking northward, the superb palace of the Trocadero, beyond the flashing Pont dTena, lifted its resplendent minarets into the starless heavens and spread its bright, crescent-like wings protectingly about the Ori¬ ental district that lay between. Many a brilliant season will the annals of Parisian history record for its great universal exposition. But none will approach in supernal splendor that one night when the empyreal City of Light kindled its sacred fires in Liberty’s name over the grave of the fallen Bastile. THE LAFAYETTE MONUMENT. If July 14, 1900, was the French fete-day of the Exposition, in commemoration of the fall of the Bastile, July 4, 1900, was no less the American fete-day, on which the monument to Lafayette, the gift of 4,000,000 school children, was unveiled and presented to the French Republic. It seemed almost incredible that nearly three-quarters of a cen¬ tury could have passed since the death of one so deservedly near to the hearts of all liberty-loving Americans ere this act of commemoration should be conceived and accomplished. Through all these years Lafay¬ ette’s hallowed clay has reposed in the quiet cemetery of Petit Picpus, near the extreme east wall of Paris, his grave marked only by a plain slab of granite. Close beside it is the tomb of his wife, while scattered S 6 * THE PARIS EXPOSITION. indiscriminately about the sacred plot are the burial places of nearly 1500 martyrs who perished in his day by the guillotine. Although in France the Cemetery of Petit Picpus is revered as consecrated earth and only the descendants of those who sacrificed their lives during the revolutionary period are now interred within its walls, it is compara¬ tively little known in America that here is where the great hero of our own revolution lies buried. This lamentable fact is too clearly shown by the register kept by the concierge of the adjoining convent, wherein are inscribed the names of but a small number of casual visitors. But every year, when Decoration day comes around, it is the custom with Americans in Paris to repair to this secluded churchyard and deposit floral tributes on the granite slab under which rests the “hero of two world.”. The latest of these memorals ceremonies, observed May 30, 1900, constituted a most fitting prelude to the impressive dedication of the Lafayette monument made July 4, 1900. On that Decoration day occasion, by reason of the presence in Paris of so many visiting Americans, a larger concourse of people assembled about the tomb in Petit Picpus than had ever been known since the day of the great patriot’s burial. But the 300 devotees who took part in that beautiful ceremony were not all Americans. Besides some of the most distin¬ guished men and women of our land, there were several eminent Frenchmen present, one of whom was the Marquis de Lafayette, a direct descendant of the dead General. A more comprehensive estimate of Lafayette, as entertained by the average American, was perhaps never before voiced than when Gen. Horace Porter, United State Ambassador, addressed the assembled throng. Said he: “On this, our Memorial day, consecrated to the memory of the heroic dead, we make our customary annual pilgrimage to this quiet J HALE OF CHEVALIERS. (Hungarian Pavilion.) SUPPLEMENTAL PALACES AND SIDE-SHOWS. historic cemetery to lay our tribute of spring flowers upon the tomb of a hero who battled valiantly for American independence, and whose name will remain green in the hearts of American citizens as long as human gratitude endures or gallant deeds are honored. Lafayette was the personification of magnanimity, the embodiment of true chivalry. There is much in his life that enrapts the fancy, appeals to our finer sen¬ timents, and fascinates all who dwell on the story of his remarkable career. “We find him a beardless boy, scarcely out of his teens, with name, family, title, wealth, a charming- home, every hope of preferment in life, a young and affectionate girl wife. In the midst of this happiness he hears tidings which come across the sea of a brave, oppressed people, struggling valiantly for their liberty and right to establish a govern¬ ment of their own. His generous young heart was touched, his sense of chivalry was aroused. He hastened to quit the luxuries of the old world and cast his fortune with the new. He fitted out a ship at his own expense to carry him across the ocean, and on his arrival in Amer¬ ica presented himself to Gen. Washington with the sole request to be allowed to serve in the Continental army as a volunteer, and without pay. He was made a Major General, and equipped the troops of the first command out of his own private means. And when his available funds were exhausted he borrowed more with which to clothe and feed his followers. Ten thousand pairs of shoes were paid for out of his own pocket. Patiently he drilled his patriotic soldiers, and then, with flashing sword, led the devoted band across the bloody fields of New Jersey and Virginia. He generously shed his young blood at the battle of Brandywine, and devoted the best years of his life to befriending a great principle in a land of strangers. Returning to his home, mean¬ while, he cooperated with the sage Franklin in procuring a loan from 566 THE PARIS EXPOSITION. France, and in urging his country to dispatch an army and a fleet to aid the struggling colonies at the most critical period of their strife. “The story of his deeds rises to the sublimity of an epic, the his¬ tory of his career is worthy the contemplation of the ages. We gladly repair to his last resting place to lay our garlands upon his tomb in accordance with a resolve of our people that no soldier who fought for American independence shall lie in a grave undecorated, unhonored or unwept. The flowers will fade, his memory will be fadeless.” At the close of the ceremony the Marquis de Lafayette spoke in grateful adknowledgment of the beautiful tribute performed in honor of his ancestor, and feelingly thanked the assembled Americans for the spirit that prompted their constant devotion to his memory. The solemnity of the scene, with its romantic associations, would at any time have seemed impressive; but on this special occasion it was the more so, immediately preceding, as it did, the long-anticipated event wherein a grateful people dedicated to the memory of the deep-slumbering hero, a monument symbolizing their perpetual honor and devotion. The originator of the Lafayette monument project and its sub¬ sequent promoter is Mr. Robert J. Thompson, a scion of one of the oldest and most honorable families of the State of Iowa. Like many another American student, Mr. Thompson early developed a deep and lasting admiration for the great French champion of the revolution, and as a school boy first conceived the vague idea that with succeeding years has developed into, so magnificent an achievement. In his prose¬ cution of the monument plan, he naturally encountered many obstacles, in defiance of which, however, he pursued his noble purpose with un¬ daunted persistency. One after another he enlisted great minds in his theme, until he eventually succeeded in winning to its support the President of the United States and other leading men of the nation. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 567 At length, on the 1st of September, 1898, the Lafayette Memorial Com¬ mission was formed, the officers and members of which are as follows: Honorary president, Hon. Ferdinand W. Peck; vice-president, Hon. Alexander H. Revell; treasurer, Hon. Charles G. Dawes; secretary, Robert J. Thompson. Associate Commissioners—Hon. William R. Day, William B. Allison, Rev. Edward Everett Hale, Dr. W. T. Harris, Archbishop Ireland, John W. Mackay, Hon. Melville E. Stone, Frank Tomson, Hon. Charles A. Collier. In addition to these the Governors of all the states and territories in the Union were appointed honorary vice-presidents and the Superintendents of Public Instruction were or¬ ganized into an advisory board. But even with this influential representation the grand object in view would never have been attained had it not been for the enthu¬ siastic support of 4,000,000 loyal school children of our land. Imme¬ diately after the organization of the commission Secretary Thompson set about enlisting the schools throughout the United States, including Alaska and Hawaii, in consummating the monument project. In this movement he was thoroughly sustained by the President, who in an open letter commended the commission’s announcement of October 19, 1898, the anniversary of the fall of Yorktown, as Lafayette day, ^ upon which occasion it was requested that patriotic exercises be held and collections taken up among the children. Following the issuance of the President’s letter proclamations indorsing the celebration of Lafayette day were received from forty-two of the Governors, or State Superintendents of Education, of the several states and territories. A representative of the commission, Prof. W. F. Butler, then visited the school boards of the large cities and chief Catholic prelates of the various parochial dioceses of the country in the interest of the move¬ ment. At the same time there were sent out from the headquarters of THE PARIS EXPOSITION. $ 6 $ the commission to every County School Superintendent, every Mayor, newspaper and postmaster in the United States upward of a million circulars and specimen programmes for school exercises, with the re¬ sult that on the 19th of October, six weeks after the organization of the commission, 4,000,000 school children contributed their pennies to the amount of $45,858.30, thus giving a splendid beginning to the fund. Immediately on receipt of these contributions, a receipt from Treasurer Dawes was furnished each school, and later, beautiful and appropriate souvenir receipts, replacing these earlier acknowledgments, were issued. These unique certificates are now hanging in thousands of our schools, a priceless souvenir of the greatest tribute ever laid on the altar of fame by the youth and hope of a grateful nation. On the strength of the substantial nucleus thus established, on March 31, 1899, Congress made an appropriation of $50,000 to the Lafayette monument fund, the amount being issued in the form of a specially designed coin known as the Lafayette dollar. These coins were struck December 14, 1899, the 100th anniversary of the death of Washington, and delivered into the hands of the commission. At the lapse of a single month after their receipt over 22,000 of the 50,000 were sold at $2 each, the price agreed upon by the executive committee. Meanwhile, the negotiations were being carried on with the French authorities relative to the acceptance of the monument, and the site to be assigned it in the City of Paris. These negotiations were most amicable throughout and terminated to the entire satisfaction of the various authorities interested. Not only was the monument accepted with pleasure and gratitude, but the choicest spot in Paris, the court of the Louvre, was set aside as the site on which it should be reared. As a commemorative preliminary to the presentation of the monument, on SUPPLEMENTAL PALACES AND SIDE-SHOWS. 569 February 22, the President of the United States presented to the Presi¬ dent of France one of the first of the Lafayette dollars struck. The President's envoy on this auspicious occasion was Secretary Robert J. Thompson, the author and leading spirit of the project. The coin, which bears the profile of the immortal patriot for whom it was cast, is incased in a handsome and costly casket and its presentation was dis¬ tinguished by the profoundest ceremony. The design adopted for the Lafayette monument involves two principal components, namely, the equestrian statue and the pedestal whereon it stands. The former was executed under the direction of Mr. Paul Bartlett, a talented American sculptor. It is one of the largest figures of the kind in the world, and without exception the richest. The group represents Lafayette in full uniform mounted on a noble war steed and raising his sword, reversed, to the heavens. An alloy of gold and silver, instead of tin and spelter, was used in the bronze cast¬ ing to refine and beautify it, and the entire figure was cast by the lost wax process—an elaborate and expensive, though eminently artistic, method. The pedestal is of colored .marble, Colleoni style, with rich bronze architectural ornaments, elaborate exedra and extensive artistic surroundings. In the adamant sides of this beautiful pedestal is graver? Lafayette's eloquent prayer for the United States of America. “May this immense temple of freedom ever stand a lesson to op¬ pressors, an example to the oppressed and a sanctuary for the rights of mankind! And may these happy United States attain that complete splendor and prosperity which shall illustrate the blessings of our gov¬ ernment, and for ages to come rejoice the departed souls of its founders." The dedication of this monument, conceived and built through the efforts of the young people of America, rendered the Fourth of July, 570 THE PARIS EXPOSITION. 1900, an exceptionally memorable and brilliant occasion. No other country, however glorious its history, could have performed so magnifi¬ cent a ceremony on its national day in Paris. The sublimity of the event inspired the assembled nations with a wondering admiration, and the tribute which will forever commemorate the life and death of Lafay¬ ette was inaugurated amidst the mingled plaudits and tears of an ap¬ proving world. The ceremonies took place in the garden of the Tuilleries, the site of the statue being on the Place du Carrousel, the background formed of the main building of the Louvre, while, at a little distance in front, stands the striking monument to Gambetta. Two of the most famous Frenchmen thus stand almost side by side within this square. The scene within the amphitheatre was most striking and pictur¬ esque. The rising tiers of seats were filled with about 2,000 invited guests, a large proportion of whom were ladies, whose handsome cos¬ tumes greatly contributed to the color effect. General Horace Porter, United States Ambassador, welcomed the guests in an eloquent ora¬ tion. F. W. Peck, United States Commissioner General of the Paris Exposition, and president of the monument committee, presented the monument to France on behalf of the school children of the United States. It was accepted by M. Loubet, President of the Republic, amid shouts of Vive Loubet! Vive la France! The monument was unveiled by two boys representing the school children of France and America, Gustave Hennocque, great grandson of the Marquis de Lafayette, and Paul Thompson, son of the projector of the monument. At a given signal, the boys, dressed in white flannel suits and sailor hats, and wearing tri-colored sashes, pulled the strings, releasing the American flag enveloping the statue. As the flag dropped and the heroic statue of Lafayette offering his sword to the American SUPPLEMENTAL PALACES AND SIDE-SHOWS. 57i cause was unfolded to view, a scene of great enthusiasm occurred. The whole assembly arose, cheered and waved hats, handkerchiefs and American flags. After a few words by Paul Thompson and the reading of a dedica¬ tory poem by Miss Voss, representing the Daughters of the American Revolution, Archbishop Ireland delivered an address, and Mrs. Daniel Manning spoke on Lafayette and the Daughters of the American Revolution. An interesting part of the ceremonies, and one moving the audience to intense enthusiasm, was the reading of the following dis¬ patch from President McKinley: “I will be grateful if you will say how we honor in our national capital the statue of Lafayette erected by the French people and convey my hope that the presentation of a similar memorial of that knightly soldier, whom both Republics are proud to claim, may serve as a new link of friendship between the two countries and a new incentive to generous rivalry in striving for the good of mankind.” Four million youthful voices uplifted in one grand memorial an¬ them; 4,000,000 tender hearts bowed low in devoted veneration; 4,000,000 eager hands outstretched in loving tribute, and the patriot school children of America have perpetuated for all time the remem¬ brance of their country’s noble benefactor, their ideal “knight of liberty”—Lafayette. THE OLYMPIAN GAMES. That feature of the Exposition of 1900, known as the Olympian Games, or athletic contests, took place at the Bois de Boulogne ^Bou¬ logne Woods) on July 14, 15 and 16. Out of twenty-one events seven¬ teen were captured by Americans, three by the Englishmen and the THE PARIS EXPOSITION. 57* discus throw by a Hungarian. It was almost impossible to describe the surprise and admiration of the Frenchmen, for the athletes of their sister republic, and everywhere there was loud praise for the plucky endurance and tried skill of America’s champions. Pennsylvania Uni¬ versity was well to the fore, winning eight championships, eight seconds and three thirds. The sunnier climate of France seemed to put ginger into the muscles of our runners, jumpers and hurdlers, and every man, with but few exceptions, was at his best. The great trio, Kraenzlein, Tewksbury and Baxter, proved a whole team in themselves, going into many events and doing uniformly well in everything. Kraenzlein won four championships, Baxter two, and four seconds, and Tewksbury one championship, two seconds and a third. Orton was the only other man on the team to get first honors. Others to win prizes were Colkett, McCracken and Hare. The first day of the games was Saturday, the 14th, when two championships were decided and* the preliminaries of quite a number of the races were run off. The 110-metres hurdle race went, of course, to Kraenzlein, after a hard race, McClain, of Michigan, beating the gun by about six yards, and giving “Kraenz” the race of his life. The time was given as 15 2-5 seconds, but the English and American watches caught it in 15 1-5 (world’s record), and this was phenomenal, for the turf was poor, and the race run slightly up hill. The hundred metre dash was a great disappointment to Georgetown, for Duffy had a breakdown near the finish and Jarvis, of Princeton, won from Tewks¬ bury by two yards. In spite of all that was said and done by American athletes, games were held on Sunday, and all protests were of no avail. It seems that Mr. Spalding had seen but two members of the French committee about this matter, and, although they had promised him to change the GUARDS OF THE CEYLON EXHIBITION. SUPPLEMENTAL PALACES AND SIDE-SHOWS. 575 date, the whole committee altered this decision, and forced all Ameri¬ cans to go in or lose the championships. A promise on Saturday also was made by the Frenchmen that all participants in field events could contest on Monday, if they did not on Sunday, but this promise was again reversed, and no men were given chances to try the field events, which they had been entered in on Sunday. All kinds of wires were pulled by the American colleges (Georgetown excepted) to prevent Sabbath competition, but to no avail France has Sunday as a national holiday, and they would not recognize American scruples. The French¬ men had been courtesy itself, and had taken their defeats with the best grace, but they did not understand American methods of running games, and there was a conflict. They were right from their stand¬ point and we were right from ours, but the standpoint differed. For the Pennsylvania team itself the question was an open one. We had received no instructions from home, we were not so much responsible to the university as we were to those gentlemen who by their subscriptions had made the trip possible. It was decided, how¬ ever, that the team should not compete as a team, but that the matter should be left to the individual. Such being the case, only four men out of the thirteen competed, and many of the others had to give up their chances. The other teams, Chicago, Michigan, Syracuse and Princeton, were under definite restrictions from their faculties and were thus unfortunately barred. Pennsylvania signed a petition to have the championship field events opened to her sister American colleges on Monday, and did everything in her power to change the program. It was a case of the New York Athletic Club and Pennsylvania indi¬ viduals competing or else of leaving all the championships to the L .ng- lishmen and French. 576 THE PARIS EXPOSITION. As it was, the Sunday competition went decidedly Pennsylvania’s way. The pole vault, high jump, 60 metres broad jump, 400-metre hurdle race and the steeple-chase were victories for the Red and Blue. The great race of the day was the steeple-chase. George Orton, the former champion, had been running in the rear most of the distance, but on the last stretch, by an almost superhuman effort, he sprinted and caught the English champion, winning out by ten yards. It was a wonderful exhibition of grit and endurance, and he was applauded to the echo. Another race of the day was the contest in the 60 metre flat, when Kraenzlein won by the merest six inches from Tewksbury. On Monday the Americans again triumphed, and all jealousy was forgotten in the grand “finale” when the Stars and Stripes triumphed in a tug-or-war competition. The Scandinavians had beaten France in a rather unequal contest, and won the championship, when it oc¬ curred to Mike Murphy that with the two Sheldons of Yale, Garrett of Princeton, Flanagan of the N. Y. A. C., and Hare and McCracken of Pennsylvania, he had a team of brawn and muscle that might give the Swedes a rub. In the first bout, by main strength and steady, slow pulling, the Americans won with ease. However, the next mill was not so easy, and it was nearly five minutes before the Scandinavians had to give way.- It was by all odds the most exciting event of the day, all Americans lining up beside their team and yelling encouragements. At the finish the hurrahs of “Penn!” and “Siss, boom, ah!” of the Tiger and the cheers of Yale were all united in one prolonged yell for America. The Frenchmen, too, were all on our side, and went wild over the result. The other events of the day were the great jumping of Ewry, of the N. Y. A. C.; the 8,000 metre steeplechase, and the 200- metre hurdles. The hammer throw was won by Flanagan with a throw SUPPLEMENTAL PALACES AND SIDE-SHOWS. 577 within four inches of his own world’s record. Hare also gave a great exhibition, hurling the missile 151 feet. The grounds of the Racing Club of France on the Bois de Bou¬ logne were pretty, but were in several ways unfitted for the races. The track, which was but fair turf, ran often in among the trees, and it was impossible in many races to see the men except at times. The man¬ agement of the games improved as they progressed, but the crowd was permitted to wander across the track and gather around the field events, which was very annoying to those who held grand-stand tickets. The shot-put and discus throw were performed with the advantage of an elevation, while the broad jump had a take-off elevation of at least six inches. The starter was entirely unfit for his job, and on Sunday the Frenchmen kindly yielded the gun to Sanford, the Columbia coach, as the frequent steals were becoming tiresome. The starting after that was uniform. The trouble with the French starter v is that there was no time between the “attention” or last word and th< bang of the gun, so that many men started at the word “attention.” Congresses of the Exposition. N 1893, at the Columbian Exposition the expression # “World's Congress" came into vogue. Ever since that time leaders of scientific, economic and religious thought looked forward to the Exposition of 1900, at Paris, in anticipation of the assemblages of learned societies to be held on that occasion, and leading scientific bodies took as much interest in the preparations for the world's congresses of 1900 as for the material parts of the Exposition. When Tennyson dreamed of the “Parliament of Man and the Fed¬ eration of the World," the picture he drew was but little understood by his contemporaries and not even discussed by his critics. But he seemed to have spoken in a prophetic vein, for according to the pro¬ gram of the Exposition of 1900, world parliaments and congresses galore came into being. There were on view at that grandest of all Exposi¬ tions, collections illustrative of the products, industries, social organiza¬ tions and institutions of the nations, but the excellence and instructive value of the Exposition would have been impaired if had been limited to bazaar, promenade and display features merely, and had not been made to embrace also the great truths and golden lessons of life spoken through the lips of learned interpreters to the students of the arts and crafts of the nineteenth century. The organizers of the Exposition fully understood their opportunity and determined that it should not be lost. They wisely and liberally arranged for a series of congresses and confer¬ ences, covering nearly the entire period of the Exposition, at which the world's experts in the vast fields of human knowledge and progress 579 28 580 THE PARIS EXPOSITION. should assemble to discuss the various problems to which they had de¬ voted their time and study. As a consequence, influential committees from all the leading nations took steps to facilitate these conferences. The Paris International Assembly became headquarters of all societies and organized bodies engaged in conference work, and it sought to re¬ cruit in each country members for the various congresses which were held during the Exposition. A welcome club was provided where the representatives of each nation at the congresses met and became ac¬ quainted. In connection with these arrangements provisions were made for the assistance of students who wished to spend part of the time of their visit at the French University. Under the same auspices a depart¬ ment of guidance was created which enabled visitors to see more readily the classes of exhibits. Courses of lectures were also arranged, the sub¬ jects being grouped under the various heads of Art, Industry, Hygiene, Medicine, Political and Social Economy, etc. The congresses held in connection with the Exposition were as fol¬ lows, each one having its own conditions for participation, special fees and its own publications. Their number was conclusive evidence of the scope of work undertaken at the Exposition. AGRICULTURE AND FORESTRY. Horticulture.May 25 to 27 Forestry...June 4 to 7 Agricultural stations. .June 18 to 20 Viticulture.June 20 to 23 Cattle-feeding.June 21 to 23 Agriculture... .July 1 to 7 Agricultural co-operation...July 8 Apiculture ..September 10 to 12 Fruit-culture...September 10 to 12 Aquiculture and fishery.September 14 to 19 ANTHROPOLOGY, ARCHAEOLOGY, AND HISTORY. Numismatics. June 14 to 16 Comparative history.June 18 to 21 CONGRESSES OF THE EXPOSITION. 581 Ethnography. History of religions Basque studies ... Folklore. Americanists. ..August 25 to September 1 .September 3 to 8 .September 3 to 5 .September 10 to 12 .September 17 to 21 ART. Photography.July 23 to 28 Architecture.July 30 to August 4 Teaching of art.August 29 to September 1 Music...August-- Municipal art.August- Stage.August- COLONIAL QUESTIONS. Colonial sociology.July 30 to August 4 Colonies.August 6 to 11 Economic and commercial geography...August 27 to 31 ECONOMICS AND FINANCE. Movable property. Joint-stock companies. Landed property. Insurance . Actuaries. Commerce and industry. Industrial property. Tariff regulations. Gold and silver. EDUCATION. .June 4 to 7 .June 8 to 11 .June 11 to 13 .June 25 to 30 .June 25 to 30 .July 23 to 28 .July 23 to 28 July 30 to August 4 .... September-— Modern-language teaching Higher education. Primary education. Secondary education. Philosophy . Educational press. Stenography. Bibliography. Psychology. Teaching of drawing ..... Popular education. .•.. .July 24 to 29 .July 30 to August 3 ..August 2 to 5 ..August 2 to 5 .August 2 to 7 .August 9 to 11 .August 9 to 15 .August 16 to 18 .August 22 to 25 August 29 to September 1 .September 10 to 13 582 THE PARIS EXPOSITION. LABOR AND CO-OPERATION. Cheap dwellings...June 18 to 21 People’s credit banks.July 8 to 10 Profit-sharing . r.July 10 to 18 Workmen’s co-operative productive associations.July 11 to 13 International co-operative alliance.July 18 to 22 MARINE AFFAIRS. Naval architecture and construction.July 19 to 21 Navigation.July 30 to August 4 Chronometry...July- Maritime law.October 1 to 3 MATHEMATICAL, PHYSICAL AND CPIEMICAL SCIENCE. Applied chemistry...July 23 to 31 Physics.August 6 to 11 Mathematics.August 6 to 11 Electricity.August 18 to 25 Chemistry.September 20 to 29 MEDICINE AND HYGIENE. Professional medicine.. July 23 to 28 Medicine.August 2 to 9 Dermatology.,.August 2 to 9 Pharmacy.August 8 Dentistry.August 8 to 14 Hygiene.August 10 to 17 Hypnotism.August 12 to 15 Medical press.August- MINING, ENGINEERING, AND APPLIED SCIENCE. Mines.-June 18 to 23 Aeronautics .June Automobiles.J u ly 9 Testing of materials.July 9 t° 1 ^ > Thread-numbering.July Steam-engines, etc.July 16 to 18 Applied mechanics.Jnly I 9 to 2 5 Railroads.September 10 to 12 CONGRESSES OF THE EXPOSITION. NATURAL SCIENCE. Ornithology.June 26 to 30 Meteorology.July 23 to 28 Geology.August 6 to 28. Alpinists.August 12 to 14 Botany.October 1 to 7 PHILANTHROPY. Life-saving.July 17 to 23 Poor relief.July 30 to August 5 Blind.August 5 to- Deaf-mutes.August 6 to 8 Anti-slavery.August 6 to 9 Housing.August 6 to 9 Red Cross.. PEACE. September 29 to October 6. TECHNICAL, SOCIAL, AND COMMERCIAL EDUCATION. Agricultural education.June 14 to 16 Teaching of social science.July 30 to August 5 Technical and industrial education.August 6 to 11 Social education.September 6 to 9 WOMEN. Women’s work and institutions.June 18 to 23 Women’s rights.September 5 to 8 { ! k . LL, mm