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MO UNT SAINT-MICHEL
THE
BURTON HOLMES
LECTURES
Wit/3 [/[mtrafimzs from P/wtograp/Js
By #96 Hut/.701"

q
COMPLETE IN TEN VOLUMES
VOLUME TWO
NEW YORK
McCLURE, PHILLIPS & CO.
MCMV
Copyright, 1901, by E. Burton Holmes. All rights reserved.
ROUND ABOUT PARIS






F ALL European capitals perhaps Paris is the one best
known to Americans. Every one has heard the saying
that “good Americans when they die go to Paris, ” but fewer
have heard the flippant remark of one of our younger wits,
that “the bad ones get there while they are alive I ” \Vho~
ever celebrates the famous things of Paris cannot but repeat
what has been said a thousand times in praise of her museums
and her monuments, her treasures of art, her incomparable
avenues, and her splendid decorative spaces. Therefore
in our ramble about the city we shall not seek the celebrated
202322
6 ROUND ABOUT PARIS
sites familiar even to those who have
never been in Paris, but instead We
shall turn aside from the imposing
thoroughfares into the byways I
of the city. We pass the port— '
als of palaces and


galleries to enter
quaint cafés or
aabarets; we are
to seek, not the
beautiful and the artis-
tic, but rather the queer

[a


TOWARD THE OBELISK AND THE ARCH
and the eccentric feat-
ures of the French
metropolis.
Our starting-point
shall be the Place de
Concorde. The
Place lies at the inter-
section of the grand
boulevards, Champs-
E [y s é e s ,
Rue de Ri-
volz', and the
guaz's along
the river. In
the distance
rises the Eif-
fel Tower.
Like a steel
n e e d1 e , it
pie rc e s the
ROUND ABOUT PARIS 7
downy summer clouds, a frail connecting link between earth
and heaven, a ladder by which angels might descend to this
earthly paradise. Who can resist the charm of Paris? I
confess that I cannot. To me it is a pleasure simply to be
in Paris. I can sympathize With the feelings of Du Maurier’s
hero, “Little Billee," with his joy at being “in the very
-midst of Paris, to live there, and learn there, as long as
he liked." With
every recurring
visit, lfind that,
like him, I gaze
on it with a sense
of novelty, an in—
terest and a pleas-
ure for which I
can find no ex-
pression in words.
Like Du Maurier,
I, too, exclaim,
“Paris, Paris,
Paris I The very
name has been
one to conjure
with, whether we
think of it as a mere sound on the lips and
THE PLACE OF PEACE
in the ear, or as a magical written or printed word for the
eye." We may, it is true, look askance at the people as
typified by the Parisians of the cafés and the boulevards ; we
may be repelled by many sights and sounds, by many of the
customs, habits, vices of the French; but Paris, the city
itself, is dear to us because of the subtle sympathetic charm
which it possesses. The life of Paris is a continuous per-
formance in which the actors, trained in comedy and farce,
are now and then tempted to make essay in tragic roles.

8 ROUND ABOUT PARIS

L1: '
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THE TERRACE OF THE TUILERIES
But even in the tragedies of Paris there is always the dis—
cordant note, an echo of the farce. ‘What more appalling
spectacle than Paris grinning through the Reign of Terror, of
enacted here
the Place of
its mobs laughing at the horrors


upon this very stage now named
Peace ! Who is not familiar with ,--
the features of this square? Here is
the silent Egyptian obelisk, a sister
shaft to those which rise in New
York, in Rome, and in London,—
all three compelling our thoughts to
that far-distant but inevitable day
when the abandoned
sites of cities now
great shall be as drear
and silent as the sands
which mark the place
where in pride of life
stood Luxor, thou—
sands of years ago.
STRASBURG
ROUND ABOUT PARIS 9
The boisterous fountains strive, vainly or successfully, accord—
ing to our mood, to teach forgetfulness of the inevitable,
and seem to sing that Paris, having been, will ever be.
Around the squares, in statuesque impressiveness, sit the
heroic figures representing eight great cities of the French
Republic. \Vith calm, almost contemptuous mien they look


3;‘
vgd'i'o'inofl'
* u ', '.

FRANCE CANNOT FORGET
down on the pomp
and gaiety of the envied
capital. But Paris regards with indifference all
save one—the one that represents the captive sister, Stras-
burg. To her each year the various societies whose mission
it is to nurse the lusty patriotism of the French, bring
mourning-wreaths and funeral-offerings, and with these deck
the monument in memoriam of the great loss of Alsace and
IO ROUND ABOUT PARIS
Lorraine, in proof of the oft-voiced and bitter cry that
France will not, cannot forget.
Frequently in early morning I crossed this square, bound
for a cycling spin in the Boz's dc Boulogne. No lumbering
sprinkling-cart here turns to anger the joy of the blithesome
cyclist, yet the Parisian substitute is quite as effective in ren-
dering pavements slippery. An employé in uniform calmly
promenades about the square, dragging in his wake what
a
n



EARLY SPRINKLI NG
appears to be a many-sectioned snake on roller-
skates, a tubular reptile that writhes across the street
laying the dust of Paris with its hissing breath and barring all
wheel traffic as effectually as if it were a Wall of stone. The
man in charge serenely transforms the perfect, cleanly pave-
ment into a shallow lake; cab horses slip and fall ; cyclists
dismount in despair; but still the sprinkler sprinkles, for
the dust of Paris must be laid before the fashionable
driving-hour.





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But
let us begin
our wander-
ings. Cross-
ing the river,
we loiter along the
shaded quai. We
have resolved that we are not here in Paris to
A BOOKSTORE TWO MILES LONG
visit one by one the things which Baedeker has marked with
double stars in his red books——those useful little guides
3 which tourists feign to despise


while knowing that they
are invaluable. Rather
are we here as
returned travel-
ers ; and, know-
ing our Paris,
we are at liberty
to turn aside
f r o m t h e
g r a n d a v e -
nues and the
\‘VHERE LITERATURE LL'RKS
I4 ROUND ABOUT PARIS


W . h" v G.— V" 1“ . . .‘l‘s't ‘
1w - "cw-‘- --8v--1--~~
GOING TO FIRST COMMUNION

famous monuments to seek other things, less beautiful per-
haps, but also less familiar. We may spend delightful hours
at the book-stalls on the quais where an outdoor bookshop,
two miles or more in length, stretches from the Chamber of
Deputies to the Church of Notre Dame. Many a youth in
the course of daily wanderings along the quai, dipping in
dusty tomes and thumbing portfolios of prints, has absorbed,
almost unconsciously, a liberal education, paying for it no
more than the idler pays for an aimless ramble. This is a
7'; 7 ii . .
he .__ -.
_ .
‘.5:
.


I
LE MUSEE CLUN \’
ROUND ABOUT PARIS 15
public library, not only free but most accessible, where he
who walks may read. The dealers lease sections of the
parapet at so much per metre. A second-hand book usually
begins its experience in the aristocratic five-franc box; then,
as time passes and it is not sold, it begins a series of east—
ward migrations, finding itself with each succeeding change
of residence among volumes rated at more modest prices.



EVOLUTION OF A NEW AVENUE
At last the two-sou box is reached, the ultimate abiding-
place of richly bound tomes on theology and by-gone history;
while Zola, Daudet, and de Maupassant rarely get below
the two-franc box before their tattered yellow-paper covers
attract some willing purchaser.
Old Paris now and then peers out upon its modern self
on this historic left bank of the Seine. Nowhere does it
more boldly show its noble, timeworn, restful face than in
the narrow street where the structure raised by the old monks
of Cluny welcomes the traveler to its open door. ‘Within is
I6 ROUND ABOUT PARIS
a museum which tells of the past, of medieval times, or of
antiquity. Upon this site the Romans built a palace sixteen
centuries ago ; here, in the year 360, the Roman legionaries
made an emperor of Julian ; here was the early seat of Frank-
ish Monarchy, when Paris was but a Walled island in the river,
and the teeming Latin Quarter of to-day was a green country-
side, its only houses being dwelling-places of monks and kings.


THE " BOWERY “ 0F PARIS
ROL'NI) ABOUT PARIS I7



PREPARATIONS FOR THE FETE
While lingering here we may Witness a pretty parade of
innocence. Like a sweet passing vision of the days that
were, a procession of little girls flit swiftly by. Their robes
are as white as their souls, their veils are fluttering as softly
as their little hearts, for to them this is the day of days, the
day of the “ First Communion.H Behind them two women,
black-robed and serene, scarcely relieved against the high
somber wall, are treading in shadow; but where the white
slippers of light-footed maidenhood touch the rough street,
there the sunshine has turned all the pavement to gold.
From these peaceful side-streets, brooding places of the
spirits of dead years and centuries, we may turn into wider,
busy streets, where Old Paris, like an ancient belle, strives
by the aid of paint and ribbons to make herself look young
again—with the same sad result that always follows an
attempt to masquerade before the world. Paris shows her
wrinkles in spite of daubed facades and the multi-colored
2
1 8 ROUND ABOUT PARIS
1 awnings. This tawdri-


j ness grates upon the
senses of those who ex—
pected to find all the
' streets of Paris as stately
and refined in aspect as
the Rue de la Paz'x and
the Avenue de Z’Opéra.
But the creation of elegant
new avenues, pierced in
grand, straight lines right
through the labyrinth of
the Paris of the olden
‘ times still goes on; the
demolishing fury let loose
‘N THE SEWERS by Baron Haussmann
under Napoleon III half a century ago has not yet spent its
force. The condemnation of. property, demolition of old

musty buildings,
and opening of
fine new streets
proceeds uninter-
ruptedly. Afew
years more, and
all the scars re-
sulting from op-

erations of this
nature will be
concealed behind

long rows of uni-
form apartment ‘
buildings with
monotonous fa-
qades and grace-

BAn'ri-lorm‘s LION
ROUND ABOUT PARIS 19

THE CATACOMBS
the air we breathe is
not more heavy than
that of the narrower
waterways of Ven-
ice; the cool damp-
ness and the mysteri-
ous darkness of the
place, the flare of
torches, and the
sound of flowing
waters, help the im-
agination to trans-
form the tunnel-walls
into foundations of
old palaces. There
are seven hundred
miles of those dim

ful balconies. But
the work of Paris is
not always done for
display. Far under-
ground, unseen, un-
noted, vast schemes
for the welfare of the
city are being carried
forward to comple—
tion. Though the
comparison may
seem a profanation,
a visit to the sewers
of Paris has almost
a Venetian charm.
We glide in boats
between dark Walls ;




OSSEOUS WALLS
20 ROUND ABOUT PARIS
corridors, curving and meeting beneath the streets of Paris.
Those swift, invisible canals, if connected end to end, would
form a waterway so long that on it we could perform in
the boats a journey as long as from the Palace of the Louvre
by the Seine to the Doge's Palace by the Adriatic.
A visit to the sewers will suggest another and more grew-
some subterranean excursion,—a visit to the Catacombs of
Paris. Not far from the challenging presence of the noble


A SEA OF EDIBLES
lion of Bartholdi, a monument dedicated to the idea of
National Defense, we find the gateway of an unseen city of
the dead, vaster and more populous than any of the cata—
combs of Italy. Originally limestone-quarries dating from
the Roman days, these Catacombs received the bones disin-
terred from old cemeteries in I 786. Then, when the Reign
of Terror came, it hid the bodies of its victims in this same
labyrinth of death. Later, by order of Napoleon, the bones
and skulls of nameless thousands were arranged in orderly
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LES HA LLES C'BNTRA LES
Ola.
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ROUND ABOUT PARIS 23
embankments, so that to—day the visitor may walk for miles
between unbroken walls of human bones, between intermin-
able triple rows of skulls bereft of lower jaws. \Ve note that
not a few of the skulls exhibit evidences of a violent death,
a tiny bullet-hole or a crushed frontal bone. How many
bodies have contributed to the building of these ghastly walls ?
How many bony faces stare at him who traverses all these
winding corridors of death? \Ve are told that these name-




AFTER MARKET-HOURS
less dead number at least four millions. The sleeping popu-
lation of these labyrinthine quarries outnumbers, almost two
to one, the waking population of the upper city.
There is an interesting quarter of Paris which is wide-
awake, while all the rest of the great city sleeps its soundest
sleep, during the small hours of the morning. It is what
Zola calls the “stomach of Paris,H the Hallcs Cenfrales,
the largest, liveliest market in the city. The vast market-
building has a floor area of more than twenty acres, and
24 ROUND ABOUT PARIS



THE ENTREPOT DE BERCY
through it run five broad streets. Every morning in the year
customers pay into the cash—drawers of the wholesale dealers
about one hundred thousand dollars ; yet this is but a fraction
of the daily food-bill of Paris, for the great city spends for
food six hundred thousand dollars every day. Throughout
the night and the early hours of the morning long rivers of
produce, meat, and fish empty into the surrounding square,
until at sunrise this sea of edibles overflows into the neigh-
boring streets, and every inch of sidewalk and of pavement
within a radius of half a mile is flooded four feet deep with
garden-truck. Amid the waves of green the licensed porters,
the famous “strong men " of the market, bearing baskets on
their backs, navigate like ferry—boats between these isles of
food and the retailers’ wagons ranged like a row of docks
around the shores of this gastronomic gulf. \lVhen the tide
has reached its height, turned and ebbed away, influenced
by moonlike gleams of big round silver coins, the bed of this
ROUND ABOUT PARIS 25


emptied gulf is strewn with rejected vegetables and worthless
greens, a mass of refuse six inches deep and a half mile
across. In an incredibly short space of time this disappears
before the systematic advance of a well—drilled army of scav-
engers, and when the merchants or the bankers come at nine
or ten o’clock to open shop or office, they find the streets of
the entire quarter as clean as if no market had been held.
The transformation is complete ; the kitchen-garden becomes
a dignified, well-ordered business thoroughfare. Two hours
later, at n’éjczmer in one of those well-managed, inexpensive.
excellent hotels of Paris, we see the eggs and chops and
lettuce purchased by our steward at the Halles, served (2 [a
table d’lzéfz", the eggs disguised in dainty, Frenchy costumes,
the chops tricked out with spotless paper frills and ruffles,

v; I.
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AU BON MARCHE

26 ROUND ABOUT PARIS
the lettuce dressed as only a Frenchman can dress it, the
" all-together " perfectly delicious, thanks to the skill of one
of those white-crowned and white-robed benefactors of the
human race, a Paris clzcjf. For who will deny the civilizing
influence of the Paris chef, and who will dispute his right to
bear, consistently, without shade of incongruity, the title
“artist ”? As for the wine served free at luncheon and din-
ner, it is good wine ; not costly, but so good in quality that
no one thinks of asking for a better. Much of it comes from
the Entrejldt de Bercy, the principal reservoir for the
drinkables of Paris. Curiously enough, in France we pay so
much for a good dinner, and the wine is given us free of
charge ; while in America we pay so much for a little glass of
firewater, and the food is given us under the charitable title
of “free lunch. " Turning from wet goods to dry goods, We
find that in Paris “dry goods " on feminine lips translates
itself “Au Ban [liarc/zé, ” literally “ At the Good Market,”

v l
15.‘ ' f
V ‘ , M‘R“
NO LACK OF CABS
ROUND ABOUT PARIS 27


1 iii.‘ ‘ .


VENUTE DU BOIS DE BOUL’OGNE
more properly, the place where things are sold “an 6012
marc/zé," or at the lowest, fairest price. Because of the
phenomenal development of the department-stores in our
own cities the Bon Marché does not impress the American
to-day as it did thirty years ago. But this is the original
Big Store, the parent of our bigger stores, and therefore
justly famous. Famous, too, because three generations of
American mothers have spent there the hard-earned dollars
of our fathers. For superhuman politeness, commend me to
the clerks of this establishment. It is upon these poor unfor-
tunates that nearly every one of our straw-hatted, shirt-
waisted American girls, fearless of the consequences, essays
her untried Gallic vocabulary. Yet, with a face that spells
attention and respect, the Frenchman listens, and when the
inevitable hesitation comes, supplies the needed word, for

28 ROUND ABOUT PARIS
from long experience he knows precisely what the foreigner
Wishes to say.
The cabman of Paris is the travelers best friend and his
worst enemy. There is no lack of cabs in Paris. To be
convinced of this attempt to cross the Champs-Elysées at
the hour when the tide sets toward the Bois. It is war to
the death between the innately stolid cabby and the pedes—
trian, who (necessarily) is nimble. The fencing-master does

I e ‘u . I u \ l ‘ \ k/ - '-. .al 0
‘1'. ‘ t3 "
r
‘l
BLOOMERS
not ply his foil more skilfully than does the cabby with his
shaft lunge at the breast of his sworn adversary, the man
who does not ride but tries to walk, and when the cabby,
like Cyrano, exclaims “je toxic/26 / " his victim is— arrested
on the charge of interfering with the “circulation " ! In
earlier days a wise old law held the jehu responsible for such
hurt as was inflicted by the front wheels of his vehicle, but if
it were proved that the victim died under the hind wheels of
the cab, the driver was acquitted of all blame.



AU 3015 DE BOULOGNE
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ROUND ABOUT PARIS 31
The summer season is not the time to visit Paris if one
cares to see the rank and fashion of the capital. The gor-
geous pageant of well-appointed traps that may be witnessed
here in May or early June has been succeeded by an endless
river of cabs filled with delighted strangers doing Paris to
their hearts’ content, and hired coaches with parties of
Americans en route for Versailles or St. Cloud. No splendid
turnouts, powdered lackeys, and grander; drmzes! They,


have for
the present left
this Stage to play scnannss FOR carcmngeous
their parts at Trouville or some other fashionable resort.
The annual foreign invasion has commenced. In 1870 the
Prussians captured Paris; but the Americans have captured
and occupied it annually ever since. And every company of
the invading army brings bicycles ; for the charms of cycling
life in the Bois de Boulogne have been sung throughout
America. The Bois is a paradise for cyclists. Certain ave-
U)
IQ
ROUND ABOUT PARIS


on, LISTEN TO THE BAND‘.
nues are now reserved for them, and many cafés and restau-
rants cater exclusively to those who ride the wheel. In Paris
there are daily papers devoted to the interests of cycling, while
the Touring Club, which every visiting lover of the wheel
should join, is working wonders. This club is compelling
railways to accept and carry wheels as baggage, and to provide
proper racks for their safe transportation, simplifying the an-
noying formalities at every Continental custom-house, forcing
the proprietors of inns and hotels in the country towns to keep
their houses clean and fit for visitors of a class that did not
patronize them until the advent of the Wheel brought back a
semblance of the old post-road days. No cyclist touring on
the perfect highways of the continent can afford to be with-
out a card of membership in the Touring Club of France.
It assures him a discount of from ten to twenty—five per cent
ROUND ABOUT PARIS 33


. T—Dul on almost everything
9,3,5‘ 'l-
l he buys, from tire-tape
‘it’? . I to dinners at a village
l
.' fable d’lzéfc’. Ladies
._ I also may join the club,
‘ although the constitu-
tional clause regarding
them demands that
every woman shall
send in with her ap-
plication the written
‘ consent of her hus-
band or of her lawful
' guardian. There is a
.A. L. L L a‘.
RELIEF FOR THE FOOTSORE notable lack Of ladies’


drop-frame bicycles, for Parisiennes wear costumes that per-
mit them to bestride the ordinary wheel. A wheeling—costume
comprising a skirt would attract much attention, so generally
has the knickerbocker been adopted by the French women.
A visit to the Fair in the neighboring suburb of Neuilly is
a picturesque experience. The Avenue dc Jl-Tcm'lly is a


THE FOL'RTEENTH OF JULY
3
34 ROUND ABOUT PARIS




‘ J7 ' 7 -¢",', ‘
- I ,, 4 .
ALL PARIS A BALLROOM
suburban pro-
longation of the
Champs-Elysées. It is
transformed every sum-
mer into a Gallic “Midway,” an
interminable fair, a place of recrea-
tion for the bourgeoisie of Paris and the
surrounding towns. Every imaginable de-
vice for catching pennies is there in operation. The public
at every turn is assailed by mountebanks, showmen, and
peddlers, or tempted by the gingerbread, the waffles, or the
cakes, of which vast quantities are daily consumed. Merry-
go-rounds, roller-coasters, and automatic swings dispose the
passerby to dizziness. The latest inventions of the day are
here on exhibition, and the French pay a willing tribute to
‘the inventive genius of the Yankee, listening with delight to
the squeaking of the phonograph. We may stroll for almost
two miles between unbroken ranks of side-shows, tiny cir—
cuses and canvas theaters, tents or booths of fortune-tellers
and clairvoyants, and counters for the sale of food and
ROUND ABOUT PARIS 35
drink and merchandise of every conceivable variety.
Vl'hen footsore with much walking, relief may be had at
modest cost. One franc entitles you to treatment by
a "professor" of chiropody, who meantime lectures on
your case to an interested if uncomprehending clinical
audience. Business with him thrives best upon the eve of
the National Fete of France, the 14th of July. You know


I Hi?‘ - ‘ _ f’ I Q ' ' ' '
,- l'fpi .
no'niL-j ~
'f‘fffflijmwmlifi‘l’ '
i I - . “ft-Er.‘
A " coLoNxE “
36 ROUND ABOUT PARIS
"7‘"

A GALLIC TYSON
how it is celebrated—with the feet-—upon the pave of
Paris. From morn till morn comes round again, all Paris
dances in the street. Every precinct has its local gathering
where music of the most atrocious kind is furnished. The
passing cabs and busses do not interrupt the dancing, but


MODEL THEATERS
ROUND ABOUT PARIS 37
frequently dancers in the Latin Quarter will mob cab-drivers
who attempt to force their way through the open—air ball—
room. Sometimes a dozen men and women will seize the
back of a Victoria, and jounce the occupants up and down
so furiously that they are glad to turn about and try another
street. In a comprehensive drive, during that festival night,
to the many centers of celebration, we found the population
dancing with equally evident enjoyment on the asphalt of
broad avenues and the rough cobble-stones of narrow
by-ways. The dancers were as various as the pavements.
Paris has solved the problem of the bill—board nuisance,
as she has solved innumerable municipal problems, artisti-
cally and well. At frequent intervals along the better class of
streets we find little “COMM/lee," or columns, the notices on
which will tell us plainly all we wish to know about the plays
and players on the local stage. The theaters being scattered
far and wide, we find in almost every quarter an agency for
theater-tickets, a much bepostered institution. Of course a

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CAPES CIIANTANTS
38 ROUND ABOUT PARIS


premium is charged on tickets pur-
chased through the agencies, but
this is compensated for by the
time and the cab—fare saved.
In fact, an extra charge is
made at the theater box-
office if we desire to re-
serve seats in advance.
The "arm-chairs of the
orchestra," as parquet
seats are called, cost ten
francs each, if we take
them “en location,” that
is, if we engage them in ad-
vance; while if the seats be
. purchased on the evening of the play,
"m SACRED HEM“ '" ‘89° the price is nine francs ; but in this
latter case we receive only a card of admission to the orches-
tra, and are at the mercy of the old woman usher, who
assigns to us such seats as may not have been “loué,”
“rented," according to her will and to the size of the fee
which we bestow upon her, ostensibly in payment for the
programs. In selecting seats we refer, not to a diagram,
but to a little model of the auditorium. Sometimes, as I
have had good cause to know, seats, which in the model
appear to stand out in bold relief, are found to be located in
reality behind fat posts whence one may View the stage only
at the cost of a stretched and twisted neck. In summer
the Parisian theaters are insufferably stuffy, whence the
great popularity of those out-of-door temples of vaudeville,
the “ Cafés C/zazztanis” of the Champs-Elysées. The
“Café of the AmbassadorsH is perhaps the brightest of
them all. At night these cafés glow like monster creations
of pyrotechnic genius, the glare from countless gas-jets
ROUND ABOUT PARIS 39
giving to the trees an unreal, stagy look. \Vithin, people are
dining on covered balconies, or sipping cordials and coffee in
the parquet chairs below, while on the stage inane buffoons
and talentless soubrettes kill time and harmony, and kick
until the one bright star of that dim constellation rises and
Yvette Guilbert appears. She sings; we listen, wondering
at the art which can make poetry of that which is not fit for
the ears of innocence. The native home of the Cafe’
Chantant is not the fashionable Champs—Elysées, but that



THE BUTTE MONTMARTRE
4O ROUND ABOUT PARIS
Bohemian height, the Butte Montmartre, which is crowned,
inappropriately enough, by the grand new Cathedral of the
Sacred Heart. When completed, that splendid edifice will
be the most conspicuous object in Paris, the first structure on
which the traveler’s gaze will rest as he approaches the
French capital. Five million dollars was the estimated cost.
One million has been spent on the foundations, the body of
this hill having been filled with a mass of cement, probably
the largest such foundation in the world. Formerly the
most important building on Montmartre was the Church of


I‘ - {,f ——"' i J,‘ St. Peter, an an-
' "1 ‘ ' ' cient pile of which
a part dates from
the earliest ages
' ‘i " i of Christianity in
France. It has

the aspect of a
. ruin, and its crum-
bling walls would
i‘ not long survive
‘ _ were it not for the
311W“ ,1?" p‘ r o p addition of solid
‘.‘_ 1 ' '_-~ ‘ 1 props and braces.
h i i The contrast be-
tween the oldest
h
k=a~ ~ ~
'.
A and the newest
church in Paris
is accentuated by
3 their proximity;

for the superb
. granite walls of
the yet-unfinished
‘ Sacred Heart Ca-
‘ thedral rise not a
on THE “ BUTTE SACRE "
ROUND ABOUT PARIS 41

hundred feet distant from the
sanctuary of St. Peter, which
has looked down on Paris for
seven hundred years and, itself
unchanged, has witnessed all
the marvelous transformations _ "
of that wonderfully change-
ful city.
Far better known than its churches are the windmills of ‘_ Montmartre, and they are
nearly as ancient. The two '
weather-beaten mills near the summit are said to date back .
more than six hundred years. 1""
Their days of usefulness are ‘
past, and now with idle wings ‘ _.
they beckon idle crowds to a .
gaudy dance-hall. Another
mill, a modern one, stands at the base of this historic hill.
It has achieved world-wide celeb-


rity under the name of The
Red Mill or L0 fliozllz'iz
Rouge. It is one of the
special landmarks of
the American in Paris.
He _may look blankly
at you when speaking
‘i of Zllusée dc Clzmy
or of Carlza'z'alvf, or
even of the Pant/1650”,
but when you ask him if
“I he has seen the Moulin
.._ g _
_ Rouge, he will reply, “You
.' \f‘ j '
SELLING SACRED SOUVENI RS
42 ROUND ABOUT PARIS
bet I have ! " By day the
famous ballroom serves as -
a cycling school, and those
who have seen it only in
the glare and whirl of2
night will scarcely recog- ‘ ’
nize the place. Hither come every night scores
of our compatriots, dig- , *
nified family groups from :
our most eminently re-
spectable circles, and
hang wonderingly on the
periphery of circles which,


SACRED HEART
to say the least, could not
IN 1900
be squared to transatlantic
principles. But we cannot find it
in our hearts to blame our fel-
low-countrymen be- cause, being in
Paris, they pretend to do as the

Parisians do, while all
the time they are but

looking on to see 120w
'_ _ it is done.
‘" In the garden stands
7, > the grim old elephant,
ff}; ' I by day as huge and life-
, M J like as by night. The
elephant is a hollow sham,
hollow as the life led by
_ the pleasure-seekers who
\ nightly sit beneath his gaze.
In fact, the elephants interior
is furnished as an Oriental
IDLE WINGS
ROUND ABOUT PARIS 4.3


THE NE“? UALETTE
theater, whence during
the hours of the per-
formance come sounds
which conjure up vague
visions of the Midway
at Chicago.
By night the Moulin
Rouge glows like a vol— _ , , .
Cane of eviL It red- MuULIN DE LA cALErre
dens the sky and steeps the surrounding streets in fire. Into
the blazing door the laughing crowds are swept by the ruddy
blast, for the mills of the
evil gods grind with hope-
less rapidity. A word of
explanation is demanded
by the illustration* show-
ing the Moulin illumi-
nated. It is taken from
a photograph which was


made at night. The huge
A BR EEZY POSTER
‘ See tail-piece, page n2.
44 ROUND ABOUT PARIS
‘v
-- round thing, like a chafing-dish
\ in conflagration, is a carousel,
its wooden horses circling


7 " round so fast that they
' 'If V i ' 11;", left no impression on
. " ' the plate. The lights
upon the revolving
wings traced those
concentric circles in
the air, and the curi—
' .1 ous curved lines of light
traced by the twin lamps
upon the countless cabs,
which during the long expos-
ure of the plate drove up to the
LE MOULIN ROUGE
doors of the Red Mill.
In this very eccentric
m 1
quarter are the curious
cafés and cabarets, which
have made the outer bou-
levards famous. The
“ Cabaret des 2am-2-
Arz‘s,” the “Tavern of
the Four Arts, " exter-
nally is not unlike an ordi-
nary café. Here are the
same round tables on the
sidewalks, and the same
type of g‘a 7101: , who
from the rising of the sun ‘
to the extinguishment of y-"
the gas is ever on the

A MONSTER OF MONTMARTRE
ROUND ABOUT PARIS 45

BALL-ROOM AT THE MOULIN ROUGE
alert to supply customers with coffee, absinthe, liquors, cigars,
or the inexpensive bot/c. Within, however, we find evidences
of eccentricity in the mural decorations and the furniture.
Sketches, water-colors, and posters adorn the lower portion
of the walls ; above may be seen the fantastic creations of some
painter more or less famous. A large room in the rear serves
at night as a concert hall, where songs are sung and verses

THE PLACE BLANCHE
46 ROUND ABOUT PARIS


TAVERN OF
THE "FOUR ARTS"
recited by the musical and artistic celebrities of Montmartre,
whose name, by the Way, is legion, for there exist scores of
these artistic taverns and every one boasts its corps of celeb-
rities. These “geniuses " are curious types, ranging from
the old-style long-haired Bohemian, with his flat-brimmed
hat of “ high form," to _ a -
the more modern dandy
in loud checks, straw
hat. and monocle. The
names of these cafes,
cabarets, and restaurants
are largely drawn from
natural or unnatural his—
tory. There is the “ Red
Mule, " the “Black
Dog,”the “Elephants,”
and the “Dead Rat. "
One is called “Para— |"-’


dise," the decorations
s“ i ~ .
being all blue and Wl'llte, THE NEW HIPPOIJROME
ROUND ABOUT PARIS 47
with silver clouds. There, waiters robed in white with long
blonde wigs and graceful angel-wings hooked to their backs,
dispense an earthly nectar brewed from hops and malt.
Next door to “Paradise" is “The Inferno," where red
demons serve flat beer to suffering mortals. Across the way
is the “Café of Death." It is called by the French “Le
Cabaret d2! Miant," “The Tavern of Nothingness.H A
green-glazed lantern over the door produces upon every face


AUX QUAT-Z-ARTS
a deathly pallor. The walls are hung in black, the waiters
who welcome us in sepulchral tones are dressed exactly like
the croguc-morls, or assistants of local undertakers, the
tables at which we sit are coffins, the cups in which the wine
is served are made from human bones. hollow skulls with
slots in the cranium are used as receptacles for waiters’ tips,
and in the corner stands a new pine coflin, bearing the cheer-
ful legend, “ Lodgings to Let Immediately! ” \Vhen a visi-
tor arrives, the waiters announce the coming of a corpse, and
48 ROUND ABOUT PARIS
then say to the astounded new arrival, “ Bring in your bones
and choose your coflin." And then follows the question,
“What poison, M ’sieu'?” Those who survive the shock
of this reception are begged to look on the marvelous paint-
ings round about them. The “Dream of the Absinthe-
Drinker ” is commended to our attention, and to our horror
the drunkard is transformed into a horrid skeleton, round
which is _ hovering the weird specter of
" l a Zlfusc’ Verz'c, "who is the
\ “Green Goddess,” the
spirit of insanity-in-


spiringabsinthe. In
turn every picture
THE DREAM
OF THE
ABSINTHE-DRINKER
in the room un-
dergoes transfor-
mation. Groups
of gay dancers at
the Moulin Rouge
b e c o m e m e r e
fleshless packs of
b o n e s , portraits
of local celebrities ‘
fade away, and
give place to hide-
ous forms for the
GLOOMY GAIETV
can
‘U...
‘I
3110
III
\.‘
on.‘
i
_. 422,, .
. a,
22% ,_

. lid-“r...
“HEAVEN" AND THAT OTHER PLACE



'IOO.
ROUND ABOUT PARIS 51
graveyard. In every possible and
impossible way, death is solemnly
suggested and then turned to ridi—
cule. Overhead hangs a chande-
lier that is unique in ghastliness.
“ This work of art, " announces the


chief-mourner, “is composed of the
bones of visiting cadavers who failed
to fee the undertaker who deigned to serve
f them with the draughts of forgetfulness. ”
A placard on the wall announces that the
funeral-tapers, brought with every glass,
lighted and placed on the lid of the coffin
at which the visitor is sitting, will cost us
BEFORE two cents extra. Another placard requests
us in consideration of the rapid decomposition of our fleshly
forms to pay for our refreshments on receiving them.
The assembled “ élus do 10 flfort” are soon requested
to proceed to the dungeon where, on a stage


at the end of a dark and narrow corridor, we
see an erect, open coffin. An old man in
monkish robes asks for a volunteer to make
a journey beyond the grave, it being under—
stood that a return trip is guaranteed. A
willing one having presented himself,
he is placed in the coffin, and a shroud
is draped about him. Then, while
the sad old monk plays gloomy dirges
upon an organ, the visitor in the
coffin is seen slowly to decompose,
the shroud dissolves, the flesh dis-
integrates, the very bones appear.
For a moment the man retains a
semblance of his former self, yet AFTER
52 ROUND ABOUT PARIS
for a moment only;


for soon, to the horror
of his relatives or his
friends among the
spectators, nothing re-
mains of him save his
osseous frame. After
a moment of suspense
the man gradually re-
covers all that he has
lost—flesh, clothes,
and shroud. The
traveler returns in
safety from the other
“ AU CHAT NOIR"
world, but he brings
no message, nor can
he tell where he has
been, nor how he
went and came.
All this is curious
enough, but it is very
brutal, crude, and in-
artistic ; therefore we
turn with pleasure to
another cabaret, in
which, though origi-
nality has been forced
THE CHIMNEY—PIECE BY GRASSET
ROUND ABOUT PARIS 53




THE LAIR OF THE BLACK CAT
to the verge of the fantastic, there is a certain redeeming
from vul-


grace, an artistic quaintness that redeems it
garity. Unfortunately, the “C720! Jvoz'r,” the
pure, original “Black Cat, ” is now "1* ;'~
no more. Nine lives it had, like (f5? 1?;
other cats ', but what are nine}: i. ‘v _v \
Simon-
poor lives on this hilarious hill of Montmartre? It
lived and lost them all in
a few brief years,— years
first of prosperity, then
of decline, curtailment, ‘
and disaster. The pla-
card to the right of the
entrance exclaims : “Pass-
erby !——-pause! ” Then it
explains that by the will of
RODOLPHE SALIS AND THE SL'ISSE
54 ROUND ABOUT PARIS
destiny this edifice is dedicated to Pleasure and the Muses, and
concludes with the injunction : “ Passer-by lqbe modern ! "
Another placard tells us that we may “be modern " at no
greater expense than fifty centimes for a double bode of
Munich beer, while for the hungry there is a table d’hote
at “ two-francs fifty ; " and blue posters tell of the most
worthy entertainment offered in the Black Cat Theater.
Let us “be modern; " let us enter.
By day the tavern is far less interesting than by night,
when we should find the crowded tap-room resounding to the
laughter and the songs of a Bohemian assembly. Wherever
possible, feline motives have been introduced in the scheme
of decoration: cats perch upon the mantel, cat—heads look
down from every point of vantage; on the walls are paint-
ings representing myriads of cats; the room, the house, the
neighborhood, seem to mew and purr. In the depths of this
quaint little paradise of Toms and Tabbies, we find the


A COZY COR- NER AT THE CHAT NOIR
ROUND ABOUT PARIS 55




J,’
*1“:


ll
‘l


,_v_ w
it‘ I'll ';
' v f '
I,"
in
THE BLACK cAT‘s THEATER


father of this tribe of dusky
cats. This unique asylum
for stuffed or carved felines
was born of the fantasy of
an unsuccessful artist, Ro-
dolphe Salis, who did not
long survive his nine-lived
cabaret. Rodolphe Salis
confesses frankly that, as he
could not make his painting
SILHOL‘ETTES
pay for his daily bread and
cheese, he resolved to become tavern—keeper and yet remain,
at heart, an artist. The Chat Noir, as we see it, was the
growth of his idea. At first a meeting-place for painters,
men of letters, and musicians, who met to talk, recite their
verse, and play their compositions, it soon attracted the great
world of Paris— “It? 10111‘ Paris'l—for here was some-
56 ROUND ABOUT PARIS
thing new, something unique. To mock the world, Salis
then dressed his waiters in the ornate garb of members of
the French Academy, a conceit which greatly pleased his
humble customers, those who had dreamed of fame, and
had waked to find themselves—not on Olympus, but on the
Butte Montmartre. It was Salis who crowned his loved
Montmartre with his exclamation, “Montmartre, it is the
Brain of the Universe! ” The dainty shadow-plays of the
Chat Noir were presented in a little theater near the roof.



THE REL HAUNT OF THE BLACK CAT
The auditorium, although not vast, will contain a hundred or
more. Between the acts of the shadow-plays, poets and
singers, informally introduced by Salis, amused with their
most Frenchy selections an appreciative crowd. The stage
itself is only four or five feet wide; a white linen screen is
stretched in the proscenium, and on it are thrown from
behind a series of tableaux in silhouette. The credit for
these unique productions is due to Caran d’Ache and Henri
Riviere. They discovered the secret of perspective in sil-
houette, and invented wonderfully clever mechanical devices
and light-effects to heighten the interest of the performances.
ROUND ABOUT PARIS 57

_ . in'iligaiit '
*uuamsun,
4.0.
THE “ TRUE TREE OF RoBINsoN ”
Salis, the manager, acted the part of antique chorus, and
striding up and down the aisle in a most extravagant fashion

WAITERH— DUMB AND OTHER‘NISE
58 ROUND ABOUT PARIS
recited in thundering tones the story shadowed forth upon
the screen. Or sometimes a sort of opera was given, the
composer at the piano singing all the parts.
One of the favorite shadow-dramas is the “ Epopée de
jVapoléolz " in which scenes from the history of the great
emperor are thrillingly presented, the “graude armée "
defiles to the sound of stirring music, the shadow of the
modern Caesar passes across the screen amid the tumultuous
applause of those behind the scenes and those in front, bat-
tles are fought and won to the accompaniment of a most
realistic roar of musketry and cannon, the flashes and smoke


DINNER IS SERVED
ROUND ABOUT PARIS 59



IN THE CRUSOE TAVERN
being plainly visible. And all these effects are produced by
three or four clever men shut up in a box hardly bigger than
a Punch and Judy cabinet.
Behind the scenes we find a novel assortment of instru-
ments. Above, at the right, is the lantern for projecting
light upon the screen against which hangs a shadow scene
representing the Crucifixion, for one of the musical plays
presented is a Passion Play. Yet the subject is treated so
delicately and so reverently that we can forgive its presenta—
tion even under auspices so incongruous as those of the Chat
Noir. The foregrounds are cut from plates of zinc, as are
also the lifelike figures which are made to move and to act.
A piano, an organ, drums, pistols, trumpets, whistles, and
the voices of the artists in charge of the figures furnish the
6o ROUND ABOUT PARIS
noise, while lightning and cannon-discharges and great explo-
sions are produced by numerous devices very curiously con-
trived. The smoke of battle belches from a harmless
cigarette.
Eccentric cafés and restaurants are not confined to Paris
proper; the suburban caterers to the gaiety of nations are

I‘ ‘ .‘r.’
h-‘
.,
A A" . t
.L _
i it
-.~,>l_
l

CHEZ M. WEEKS
awake to the value of an original idea expressed in such a
way as to impress itself upon the jaded public mind. Around
the legend of our childhood friend, Robinson Crusoe, a
suburban village has grown up; its name is Robinson; its
mission is to slake the thirst and satisfy the hunger of the
gay Parisians. It cannot by any possibility be called a desert
isle, rather is it an isle of plenty, an isle of mirth and music,
ROUND ABOUT PARIS 61

'
A STUDIO AT ECOl'EN


floating amid a sea of
country calm. Paris
comes to Robinson
to breath fresh air,
eat wedding—break-
fasts, sing, dance,
dine in couples or
in companies,
and other-
wise make
m e r r y .
There are


_ AT WORK
Innumer-
able garden restaurants named
after Robinson Crusoe or good Man Friday, but we patronize
the original “ Restaurant of the True Tree of ROblflSOn, ” in
which “true tree " three dining-rooms are hung between the
62 ROUND ABOUT PARIS
earth and sky amid cool leafy branches that, swaying in the
breeze, perform the office of Oriental punkahs. Dumb-
waiters, simple in design and operation, expedite the labors of
waiters who are not dumb—least of all when disputes arise
about the bill. Every time I saw one of the baskets swing
upward to the hungry guests, I thought of far-off Thessaly
where, curled in a net at the extremity of a long rope, I was
hauled from the base of a gigantic cliff up to a Greek Monas-
tery in the air more than two hundred feet above, and there
received by the hungry monks of the wonderful Convents of

. ’ "'_5'FF:;“‘ a" .
‘ s
~ m






AT ECOL'EN
ROUND ABOUT PARIS 63
the Meteora. It is a far cry from the Parisian suburbs to the
cliff-bound plains of Thessaly, but half the joy of travel is in
the suggestion now and then waked, of something far away,
dissimilar, yet in some vague mysterious way related in sensa-





" SUNSET RAYS ASLANT THE wooo “
tion. To see Robinson at its best we should come on a Sun-
day, when the village overflows with merry Bohemians from
Paris, and the tree-tops are alive with students, models, and
artists.
The artist-life in Paris is a subject rich in interest and
beauty, a subject of which I hope some day to treat. Suf-
fice it now to take a hasty peep into the studio of an artist
whose work appeals to the traveler with peculiar force, for
Edwin Lord \Veeks is not only a painter, he is a traveler, an
explorer, and an enthusiastic Alpinist. He has revealed to
64 ROUND ABOUT PARIS



QUIET E'COL'EN
us in all the glory of its color and its sunshine the Indian and
Persian East. Into Morocco he has traveled, the deserts and

THE HOME OF MILLET
ROUND ABOUT PARIS 65


the far-off islands of the world he
has brought near to us, the
sublime terrors of the higher
Alps he has expressed in
quick, vigorous strokes
while finding a precari—
ous foothold on icy pin-
nacles. He may call
one little room his studio,
' A, 4 - / but his true studio is the
i i wide world; its height is
T marked by mountain-tops,
its breadth by Orient and Oc-
cident. His home, in an aristo-
mmzr Aw) Rovssfiw cratic quarter of Paris, is such as
a man of his tastes would naturally be supposed to have.
- Rare Oriental belongings brought together from the endsv
of the East give it an exotic atmosphere, while his pictures
lead our imaginations into far-off lands, and hint at the
intensely interesting life that he has led.
How different the life-work of another painter, into
whose peaceful studio in the village of Ecouen I was one
day introduced by an artist friend from Paris. His subjects,
homely and commonplace, are treated with a feeling and a
gentle art which make his pictures poems on canvas, pas-
torals in frames. He has, it is true, wandered as far as
England in search of peaceful landscapes, and in his fascinat—
ing, broken English he becomes enthusiastic over the beauti-
ful effects produced by ripples on the placid Thames, or, as
he quaintly puts it, by “ze little frizzles on ze Tamise.”
\Vhen days are fine, his little garden becomes a studio, his
peasant servants, models. The house and garden have in
their time belonged, first to a favorite of a king, then to a
poet, then to a musician. Here, then, has been the abode
5
66 ROUND ABOUT PARIS
of love, of poesy, and of music; and now the master is a
painter whose pictures are romantic and poetic, whose com-
positions are color symphonies.
“Ah, you should come here later, when my house is cov-
ered with wistaria blossoms ! ” he exclaims ; “for then, then
it is so sweet that it is like -— what shall I say 3 Ah !—like
living in ze pomade pot! But come and see my village.
Fcouen is beautiful. There are pictures everywhere.H

IN THE FOREST OF FO-NTAINEBLEAU
ROUND ABOUT PARIS 67

ON THE TERRACE, BARBIZON
And, opening the garden gate, there is in truth a pic-
ture—a lovely composition of sheep and shepherd, village
lane and crumbling wall, and vague green boughs against a
summer sky. Yes, Bcouen is beautiful ; happy the painter
who thus can find inspiration at his very door. \V e wander
through the town and out along a green—arched road where
twilight overtakes us, the sun first throwing across our path,
aslant the wood, bright rays of gold in warning that the day
is done. Sweet days indeed are those of men whose mission
is to be interpreters of beauty. \Vho would not be a painter
and dwell in quiet Bcouen, fixing its calm loveliness on can-
vas, forgetful of the strife and jealousy of the great roaring
city—at peace with all the world and best of all at peace
with self, that ever-present tyrant?
From Bcouen to Barbizon the distance may be long in
miles, but it is short in spirit. In Barbizon, upon the edge
of the Fontainebleau Forest, have dwelt artists whose names
68 ROUND ABOUT PARIS
now stand for all that
is best and highest —
painters whom the
world is p r o u d to
honor, now that all
are dead and can-
not know that the
triumph of which
t h e y dreamed has
been at last accorded
them. While they
lived, the world was
blind, and in its own
blindness mocked at
genius, and d r o v e
‘ t h e s e prophets of



WHERE THE OLD GUARD SAID FAREWELL

THE COURT OF THE ADXEFK
ROUND ABOUT PARIS
69

as a.

AT FONTAINEBLEAU'
true art, heartbroken, into poor men ’s graves. We cannot
pass the house of Millet Without feeling a pang at the

TH E LONG GALLERY
7o ROUND ABOUT PARIS
injustice done to that great soul. The same world that
refused him bread-paid three quarters of a million francs
for “ The Angelus " only fifteen years after the death of him
who painted it. Not far from his home in the forest that he
loved so well, we find a memorial tablet set in the rocks of
Fontainebleau as firmly as admiration for his genius is now

FONTAINEBLEAU
set in the hearts of all men who think and feel. With
Millet’s memory, that of his sincere friend Rousseau will
ever be associated ; and it is therefore fitting that the faces
of Jean-Francois Millet and Theodore Rousseau should
together greet the wanderer here in this forest which was their
world, the beauties of which both have immortalized on canvas.
There is no lovelier forest in all France. Moreover, it
is both forest and park. Within a grand circumference of


THE PRISON OF A POPE—-liUN'l'AlNEBLliAU


ROUND ABOUT PARIS 73
fifty miles, long leagues of road and pathway cross and
recross, so that the traveler is constantly tempted to
change his course, to explore mysterious forest aisles, or
to lose himself in some delightful shady labyrinth. Hotels,
chalets or rustic cafés are found in every corner of
the wood. The walker and the cycler find in this wood good
.i L .. / v i.iiiikwtx p.- .—M _ii _.i _


MUS]; A FONTAINEBI-EAU
roads, good paths, good cheer; the artist finds that which
he seeks, peace, picturesqueness, and inspiration born of the
thought that this gentle wilderness has been the nurse of
genius. The traveler, too, finds that which he seeks—his-
torical associations, housed in a palace that in sumptuousness
is not surpassed by any other palace in the land. King
Francis I built Fontainebleau in 1547, great Henry of
Navarre completed it. Louis Philippe and the Napoleons
spent millions for its restoration. The course of the world vs
74 ROUND ABOUT PARIS



\

S f.
wawoum
e
bapfiwr
6 tb
ch 5 e
n winner
0 ait
mmg %
a
ngretl
anrmrne
hmmeoh
4.. ll
scene was perhaps
th e saddest and
most theatrical of
a
S
all, Napoleon
farewell to the
Old Guard in the
"Court of the
Adieux."
But as we enter,
thoughts of earlier
centuries will at-

I tend us. We see
\
IN THE WOOD 0F COMPIEGNE
ROUND ABOUT PARIS 75

WHERE KINGS AND EMPERORS HAVE DANCED
King Louis, the Magnificent, destroy the broad and noble
work of Henry of Navarre by the pen-stroke which revoked

76 ROUND ABOUT PARIS
the Edict of Nantes, plunged France into religious civil-
war, and turned back many pages in the book of progress.
As we pass from the long gallery into an apartment which
is furnished, like all the rooms of Fontainebleau, with an
artistic lavishness that gave no thought to cost, we see the
figure of a captive Pope, the representative of a power to
which emperors once did homage, held prisoner by a little
man who not a score of years before had been an obscure
young soldier doing only petty military duty in a remote
village of his native Cor— sica. And at Fontaine-
bleau the sunset of Napo- leonic day began. Less
than four months after the v release of Pius VII, Napo-
leon, in yonder palace, ‘ ’ signed away his title tothe
European world. Here, too, the afterglow which

burned scarce a ' . hundred days,
1: within
Immi'i.‘ '7
I’ "GI-$5" ) 'l
A
\
HOTEL DE VILLE AT COMP‘IEGNE
ROUND ABOUT PARIS
\1
\l


" RUmED CYLINDERS 0F NmsoNRv"
lighted with its brief glare these palace walls; for here
Napoleon, returned from Elba, reviewed his faithful troops
before he marched to triumph in his regained capital, and
thence to black defeat at \Vaterloo. Another home of kings
and emperors graces another forest region, that of Compiegne.
The Chateau was a creation of Louis the Fifteenth, and later
it became the favorite resort of Napoleon the Third. The
forest is almost as beautiful as
that of Fontainebleau. The
palace of Compiégne is an


echo of the splendor of
the older royal dwelling.
Within we find bewil-
dering suites of gor-
geous rooms, corridors
and festal halls, all of
which still breathe an
atmosphereof life. H
The many kings and l 'i'
78 ROUND ABOUT PARIS
Fontainebleau are dead and gone; but the last mistress of
this imperial pile, Eugenie, Empress of the French, still
lives. How strange the thought that she should be to-day
among the living—a sad, proud woman, widowed, childless,
still surviving, after thirty years, that gilded fabric of which
she was for so many brilliant years the brightest ornament,
that magical creation of the grandson of poor Josephine,
the Empire of Napoleon the Third!
From Compiégne the traveler may tour on bicycle or in
automobile through the forest, over perfect roads, to another ‘
great chateau, a restoration of a feudal castle, one of the
most imposing structures in all France. But first, before we
visit Pierrefonds, that we may better comprehend its mean-
ing and history, we should diverge into the open country and
ride on until there rise above us the ruined towers and the
donjon-keep of Coucy. For Coucy’s ruined cylinders of
masonry record an early chapter of
French feudal history which should
be learned before we read


the peroration expressed in
architectural periods upon
the restored walls of Pierre—
fonds,— walls that are elo-
quent of feudal lavishness
and splendor. In Coucy,
feudal strength and warlike
might are typified. Built
early in the thirteenth cen-
tury by the king ‘5 great vas-
sal Enguerrand, the most
formidable lord of France,
Coucy for many years defied
the crown itself, and once
its master almost succeeded ' Tire bemoan,” 0,. Coucy
-. 6 . .. n " .mDZOhwzZMZ;


u a - -..
m-A-KZZZ-fihfifilikh





ROUND ABOUT PARIS SI
in wresting the Sceptre from the pious grasp of France ‘s holy
king, St. Louis. The motto of the lords of Coucy was a
proud one, “ King I am not, nor Prince, nor Duke, nor even
Count; lam the Lord of Coucy.” And long after Coucy's
lords had ceased to be a menace to the monarchy, this mass-
ive donjon—keep continued to defy the enemies of that great
mediaeval feudal system to which it had owed so many years
of proud supremacy. By order of the king, Louis XIII,
men came in I652 charged to destroy this then abandoned
and defenseless pile. But all their efforts were in vain ; their
heaviest blasts of powder merely caused the tower to shrug
its battlemented shoulders, and the outer walls, thirty—four

TURRETS AND TOWERS
82 ROUND ABOUT PARIS


feet thick, to crack into a smile of
pitying disdain. So the des-
troyers went their way, leav-
ing old Coucy dismantled
but triumphant in its in—
destructibility.
Everything is colos-
sal in this fortress ; there
is in it a rudeness and
hugeness of construction
which belittles the man
of the present. The in-
habitants of this feudal abode
must have belonged to a race
of giants. After its fall the vil- “es.
lagers used this mass of masonry as a a
A ROMANCE IN STONE


free quarry, and,
with these stones
heaped up in feud-
al times to form
this stronghold of
oppression for the
mighty war-lords,
they built them-
selves peaceful

1 dwellings in the
‘ quiet streets of the
neighboring vil-
lages. The castle
v is now the pro—
tected property of
the nation, its last
lord having been
the ill-fated Prince


FEUDAL SPLENDOR
ROUND ABOUT PARIS 83


ALHD THE TL‘RRETS
Philippe Bgalité, the prince who
voted for the execution of King
Louis XVI, and later met his
death upon the guillotine.
Having seen what time


and royal vandalism have
made of one medieval
stronghold, we may now
visit the Chateau of Pi-
errefonds and see what
the genius of a modern
architect, backed by Im-
perial generosity, has been
able to evolve from the ruins
FRO!“ THE LOOK'OUT TON/Ell
84 ROUND ABOUT PARIS
of a castle which, like Coucy, dates from the feudal epoch.
Above the calm, still, little town of Pierrefonds towers the
magnificent chateau, as perfect, as imposing, as when half a
thousand years ago, it stood a noble menace to the throne of
France. It was late in the fourteenth century, in I 390, that
the walls of Pierrefonds first loomed above this modest vil-
lage. Louis of Orleans, builder of Pierrefonds, was a




I
f a
It?
#3
q Q—l't
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B ‘1
. r ' i g
e ,' _' ‘.‘4
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at ~ ~ 1
_ i J... t '


, .
e‘;slyr
‘WALLS, PALACES, CHURCHES, AND TO‘vVERS
ROUND ABOUT PARIS 85
brother of King Charles the Sixth.
He willed that his chateau
should be at the same time
the most sumptuous resi-
dence of his epoch and a




fortress so constructed as
to defy all possible at-
tacks. That it could
Well do so we must grant
as we gaze upward at its
splendid towers. But no
prince in those days was
sure of his position unless,
like the builder of this pile, he
possessed fortified abodes in many
m»: cAUsEwAY TO THE Rocx places. Louis of Orléans
therefore purchased the castle of Coucy, and thus became
owner of the two finest specimens of feudal architecture
in the Whole land of France. And yet, in spite of all his
towers, he at last fell victim to assassins hired by the


a
. A!
ST. AUBERT'S CHAPEL
86 ROUND ABOUT PARIS
Duke of Burgundy. Then, after Pierrefonds had stood two
centuries as an ideal expression of medieval dignity and
power, Louis XIII ordered the destruction of this “ Romance
in Stone, " fearing to leave intact so formidable a refuge for
his enemies. It remained a shattered ruin until 1858, when
Napoleon III began the amazing restoration that is now
pleted. As we step into the
splendid courtyard, we
FORTY-FIVE THOUSAND
Shall VISITORS EVERY SUMMER

confess that it is indeed an amazing accomplishment,— this
bringing into our modern century out of the vanished past
one of the noblest of feudal structures, so huge, so formid-
able, so truly typical of its distant half-forgotten age. The
splendid halls, corridors, and chambers have been reproduced
in all their impressive elegance of decoration and adornment.
We cannot understand why Pierrefonds has been neglected
by American travelers ; few ever find their way to it. Never
for me has the reality of the past, its rudeness and its splendor
been more vividly made manifest than here at Pierrefonds.
ROUND ABOUT PARIS 87
Left for a moment alone in one of its vast halls, I felt myself
put back five hundred years. It seemed as if the castle had
been deserted but temporarily by its inhabitants. It seemed
as if at any moment the knights would come striding in,
fresh from a battle or a tourney, talking in quaint old French
of things now history, then only rumors of impending wars
or whispered reports of bloody deeds which since have echoed
down the centuries.

ARRIVAL AT THE ISLAND
Mounting to the summit of one of the lookout towers,
and standing there amid the many turrets and pinnacles of
restored Pierrefonds, we ask, to whom is due the credit for
this miracle, this magical reconstruction of the castle? To
a man whose name is not so widely known as it should be,
to a man whose life was devoted to the careful restoration of
the neglected reminders of the glorious past of France, to a
man who needs no monument other than the grand structures
he has recreated —-to Eugéne Viollet-le-Duc, the restorer of
88 ROUND ABOUT PARIS
Notre Dame in Paris and of Pierrefonds, an architect to
whom the world owes a great debt of gratitude. Thanks to
his exhaustive study of the past, to his wise use of the five
million francs furnished by the third Napoleon, Pierrefonds,
after centuries of decay and neglect has risen from its ruins
and has resumed its primitive appearance.
Another medieval structure, one that rivals this chateau
in picturesqueness and impressiveness, and at the same time
surpasses it in architectural beauty, in the interest of its his-
torical souvenirs, and, above all, in the strangeness of its sit—I
nation, is the Abbey of Mont Saint-Michel, which rises from
its rocky islet in the waters of the Bay of Brittany Gazing
seaward from the Norman coast, we behold a mighty rock,
crowned with monasteries, churches, palaces, and towers,
outlined against the evening sky. The upper extremity of
—__——“— " ’ ' this bay is but a sort

of estuary—a vast
plain of sand, which
every day is twice
covered by the sea
. and twice by it aban-
doned. The tides are
phenomenal. On this
‘ bay at Granville a dif-
erence between high
t and low water of over
fifty feet is frequently
a recorded. The tides
of March and Septem-
.' her have wiped out of
existence many a sea-
‘ side farm. It is said
‘ that at times the sea
mm m the watts“ ' ' rushes in across the
ROUND ABOUT PARIS 89


sands with such rapidity that the fieetest
of horses could not outstrip the waves
in the race for life and safety. It has
been proved that before this region be-
came a part of the bay, it was a forest,
extending far beyond Mont Saint-Michel
to other islands, then only hills, which
now lie far out from the shore. For cen-
turies the northwest coast of France has
been undergoing a gradual subsidence.
Recently there was discovered at a depth
of ten feet or so beneath these sands a
portion of a paved roadway, as well as a
l‘y J
ll
ill‘!
I
I \“l
' .f'
MADAME POULARD human skull and
I




three skulls of a species of wild oxen,


the aurochs, an animal which as early


as the time of Caesar had ceased to
exist in occidental Gaul. Entire trees
perfectly preserved have frequently
been found. These facts prove the
existence of the an-
tique forest and the
profound transfor-
mations which this
region has passed
through. Only Mont
Saint-Michel and a
few minor islands
have still survived,
thanks to their rocky
bases. From earli—
est recorded time
Mont Saint-Michel
has been surmounted
EvERvBoDv‘s FRIEND
9O ROUND ABOUT PARIS

by a fortress or a tem-
ple. The Gaulsthere
founded a school of
'druidesses, the R0—
mans there raised al—
' tars to the Almighty
‘7 i Jupiter, the Franks
there consecrated the
' . ,- first Christian oratory.
In 708 a holy man,
‘ St. Aubert, Bishop of
‘ Avranches, dedicated
umqguumnmr'vrh ; a»;
l a modest chapel on
i the rock to the Arch-
‘ angel Michael, thus
_\
fixing for future ages
the name of Mont
Saint-Michel.
, ' There is a legend of
_‘ St. Michael and the
LL Demon told by the
people of lower Nor-
mandy. St. Michael, to protect himself from the machina-
tions of the Devil, built amid the waters this habitation
worthy of an archangel. As a further precaution, be spread
roundabout it miles of moving sands, far more perfidious than
the sea. The Devil lived in a humble cottage on the shore,
but possessed marvelously fertile lands. These the saint
greatly coveted, for in spite of his fine home the latter was
poor as a saint should be. One day he called upon his
evil neighbor, saying, “I come to make you a proposition.H
“Proceed," replies the Devil. “You love repose; I love
hard work; cede me all your lands. The labor shall be
done by me, and you shall receive one half the harvest.H
arr-gar



THE HOTEL POULARD
ROUND ABOUT PARIS 91
Satan instantly agreed. The saint then offered to let his
partner in this farming-enterprise, choose which half of
the produce he would take—that which should rise above
the soil or that which remained hidden in the fertile ground,
and Satan chose the former. A few months later the vast
domain brought forth a splendid crop of carrots, radishes,
and beets. The Devil, according to the contract, was forced
to content himself with the stalks and useless greens.
The next season the Devil, remembering how he had
been outwitted, reversed his choice, saying that he would
take the portion of the crop that remained hidden below the
surface. But the Devil found himself in no better luck
when the crop was harvested, for the wily saint this time

planted grain, and
gave the Father of
Lies only the withered
and useless roots.
The advantages of ‘
being a saint are ob—
vious.
It is in a lumbering ‘ I ‘
omnibus that travelers '
make the journey of
ten kilometers from '-
Pontorson, the rail-
way terminus, to the .
portals of the island.

A broad dike or cause- ‘ _ 7:7
way half a mile in i -
length curves seaward
from shore. Com- ‘4'
paratively few Ameri-
cans visit this most "

wonderful place, but
EVERYTHING IS UPSTAIRS
92 ROUND ABOUT PARIS



.. alw- a I» ,1‘ ,
FROM THE STEPS
forty-five thousand European tourists come annually. Arriv-
ing under the shadow of the grim fortifications, the omnibus
is taken by assault by an army of Amazons from the hotels,
even scaling ladders being brought into use by eager serving—
maids. Of course we intend to patronize the “ Hotel Pou—
lard," an establishment as famous as the Mount itself; but
each servant shouts the name of a different Poulard!—
“Poulla-rrl Az'né," “Poulard fezme,” or “ La Veuz'e
Poulard ,' ” for the entire Poulard tribe has gone to keeping
inns upon the island. Thus it is in a state of doubt and
uncertainty that we hasten through the gate into a narrow
street, and there we are greeted by a smiling dame who in a
sweet but authoritative voice remarks, “_/6 suz's Aime. Pou-
Za'rd ,' " and without question we accept her as the mistress
of the original Hotel Poulard. She is unique, a landlady
unparalleled in the annals of innkeeping. I defy the world
to produce a traveler who, having visited the Mount, does
RoUND ABOUT PARIS 93
not carry away with him or her (_ for Madame Poulard is
equally popular with those of her own sex), an enthusiastic
admiration for the hostess. Iwish that I could show the
thousand charming expressions of her face, her smiles of
greeting, her half-sad way of “speeding the parting guest."
Had all my snap-shots succeeded, you might have had to
listen to a lecture on Mont Saint-Michel entirely illustrated
with portraits of Madame Poulard. The Hotel Poulard is
the dominating feature of the one and only thoroughfare, and
that no one may be left in doubt, two sign-boards tell the
arriving traveler that this is “the place of the Renown of
the Omelette, the Hotel of Poulard the Elder, " or, rather the
nucleus of the hotel, for the establishment comprises many
buildings, some in the narrow village street, some perched on
the rocky slope a hundred feet above. Madame’s system of
management is unique. vWhen after a sojourn of several
days, I asked for the accounts of a party of three, Madam
smiled and said, “ Sit down and tell me what you have had.


THE " LITTLE BREAKFAST"
94 ROUND ABOUT PARIS
Let me see, four


days — three peo—
ple — that makes
t w e l v e dinners,
twelve déjezz-
12ers, twelve early
cups of coffee, —
what else, now,
do you remember?
I really have not
time to bother
about these little
THE MAKING OF THE OMELETTE
things ; my guests are always
honest. " Naturally through
fear of abusing the confi-
dence of this trustful hostess
we paid for extras that we
had never had.
One hundred steps lead
from the street to our apart-
ments. But how interest-
ing is the climb! we have
not time to think of the fa-
tigue, for Madame herself
accompanies the ladies,
charming them into forget-
fulness of their effort, short-
ening, with many words of
encouragement, the weary
M. POULARD ET SES POULETS
ROUND ABOUT PARIS 95
way. Far below we see the village, and beyond, the great
plain of shifting sand which within an hour will become a
glittering expanse of sea. The Norman coast lies low along
the horizon. At night this ascent to our abode is a fantastic
experience, for every guest is furnished with a lighted paper
lantern, and when these flickering lights are slowly moving
skyward, the scene suggests an evening picture in Japan.
Upon the terrace every morning we are served with the


POLTLARD ENTERPRISES
French “little breakfast," a cup of coffee and a roll. Un-
fortunately, luncheons and dinners are not served at this alti-
tude, and twice a day we must make the toilsome journey to
the lower town, or else be content to live on fresh air and
lovely vistas.
From the terrace one could almost drop into the street
below. \Ve seem to be living at one and the same time upon
a mountain-top, on shipboard, and among the clouds in a
balloon. In fact, we are upon a mountain, the sea is round—
about us, and at times the clouds and mists of Brittany
96 ROUND ABOUT PARIS
envelop us. At midday from the depths of the village there
comes clanging up the precipice the sound of the luncheon-
bell, announcing that all hands must now descend for
déjeuner. With a zeal like that of fervent pilgrims, we
rush down to the modern shrine of Mont Saint-Michel, the
Poulard kitchen, to witness the modern miracle,—the mak-
ing of the omelette, performed by the patron saint of the
isle, Madame Poulard. The open fireplace is the altar
before which crowds of hungry tourists gather every day to
watch with reverence and awe a high priestess of the culinary
art, preparing with a skill born of long practice an omelette
worthy the table of the gods. Upon this altar have been
sacrificed in one day as many as seventy dozen eggs; for
Madame is tireless, and from eleven to one o’clock may be
found gracefully turning out omelette after omelette, each
' T‘ more perfect than
‘ the last, which
‘ wasperfection.
Of her omelettes
I dare not attempt
to “make the
eulogy,” as the
z _ French wouldsay;
they are the stand-
‘ ard omelettes of

the universe. It
has been asserted
‘ by some probably
‘ dyspeptic traveler
‘- that the famed
“omelette ” is
‘ nothing more than
the “plain scram-

ovsrsns 0F CANCALE bled eggs OI com-
ROUND ABOUT PARIS 97
merce. " Forty-five thousand
annual Omelette-eaters stand
ready to brand this fiippant
statement as a malicious libel.
But the fame of the Pou—
lard cuisine rests not only
upon the delicious, unsub-
stantial Omelette, for, behold,
before the fire are a dozen
delicious chickens serenely
turning on automatic spits.
They are dripping with a sa—
vory gravy; they are moist
and juicy; they are tender;
they are, in a word, Worthy

to receive their browning in
company with Madame Pou- JUST 3°“!
lard's omelette. Success invites competition. The words
“Poulard " and "Omelette " have long been synonyms
for success. Behold how they are repeated over and
over by the signs that greet us as we stroll through the King 's
Gateway into the little street. First the “Hotel Poulard
Junior ” flaunts its sign high above our heads. With com-
mendable originality it proclaims the “ Renown of the Ome—
lette Soufflée, ” thereby honestly avoiding a direct claim on
the “Renown of the old Original Omelette. " Then comes
the inn of La Verne Poulard, the Widow, Whose place
appears more modest and more picturesque; beyond the
‘widows inn are others still more modest, where the peasant
pilgrims are fed and lodged “at prices very moderate."
I dropped in one evening to try the Omelette Souffiée,
and so greatly pleased was the family of Poulard junior
to have a guest of the Poulard sit at their table that I
was not allowed to pay a penny for the generous portion
7
98
ROUND ABOUT PARIS


UNE VI EILLE
of the fluffy delicacy of which
I had partaken. Can I now
do aught but praise it?
The famous oysters of Can-
cale are opened and sold at the
The products of
the sea are naturally the chief
village gate-
resources of the inhabitants.
They catch fine salmon of ex-
quisite flavor renowned along
the coast, as well as floun-
The
family of a fisherman, wife,
ders, soles, and shrimps.
sons, and daughters, mean-
time devote themselves to
gathering a species of bivalve
called the (rogue, which at low tide they dig from the sand
with their sturdy fingers.
Saint-Michel, and absolute poverty is unknown.
grandmothers never outlive their usefulness.
Thus everybody works at Mont
Even the
We often see
quaint ancient dames returning from a foray on the beach,
having been far out across the
Long experience has taught the diggers to avoid
the treacherous 17363, or quicksands, which
have swallowed up so many uninitiated
About one hundred
years ago, when the beach was
roamers.
even less secure than it is to-
day, a ship was stranded on it,
and, being forsaken by the
tide, it sank so quickly ,. '
into the yielding mass
that the tips of its masts
were lost to view within
wet unstable sands.


CLEA N SOLES
ROUND ABOUT PARIS 99
twenty-four hours. In 1780, as an experiment, a pyramidal
block of stone. weighing only three hundred pounds, was
placed upon the surface, and during the space of one night
sank so far that the end of a forty-foot rope attached
to it could not be found. \\'ith a good guide I ventured
to make the tour round the island at low tide. I found
that it was not safe to stand too long in admiration of
the rock, for constant walking is the price of remaining
on the surface. In places the walking was decidedly wet.


-<


-' a‘ .1'
__l__1


A GI IDE INDISPENSABLE
and I found the guide indispensable. He would carry
me on his back over the dampest places, and then return
to rescue the camera. The legs of the tripod would mean-
time have settled into the sand to a depth of two or three feet.
The line of the seaward horizon is broken by the Isle of
Tombelaine, a miniature Saint—Michel, but now forsaken by
all, its monasteries and chapels having long since disappeared.
Re-entering the village we secure the portraits of a pictur-
esque pair, a peasant woman and her little girl, the latter
dressed as soberly as if she boasted sixty years instead of six.
Both wear the neat white caps characteristic of this region,
, n
0 ‘a
l
v‘.
I
‘I
I
100 ROUND ABOUT PARIS
one cap being of Wonderful design,
—a design which might well be
adopted for theater-wear ;
for while the hat is not
restricted as to size, it has


two loopholes admirably
adapted for observation
of the stage. Just be-
side the Wall in the illus-
tration are situated the
two old cannon known
as the “ Michelettes, " left
on the beach by the English
host of twenty thousand, which
attacked the Mount in 1434, but
THREE KINDS OF caps was driven back to shore by the
six score of valiant Gallic knights into Whose charge the
abbey and the fortress had been confided by the monks.
a
>7 ‘- -. 1‘ :l
1 k _~ __ -k v - '
"a , .1
_ - : _ - V‘ ,
t .I:I.‘E~_Il f‘ J ‘
1 k ‘I ' > ‘ i
t I
'1'

'"ii‘ J ll
ROUND ABOUT PARIS 101
These historic cannon called “bombards," which now lie
useless in the village street, were among the first ever fired
in European warfare. The Artillery Museum of Paris has
made strenuous but unsuccessful efforts to secure these relics.
In the unique street leading from the King's Gate up to the
Abbey are crowded the little houses which shelter a popula—
tion of about two hundred, in-

MEDl/‘EVAL MASONRY
cluding fishermen, innkeepers, and dealers in souvenirs both
sacred and profane. In this street the valiant warrior
Bertrand du Guesclin and his beautiful spouse once made
their abode.
Steeper and steeper becomes the way as we advance,
bringing us finally to the thirteenth-century ramparts just
at the moment of the inrushing of the mighty tide. Swiftly,
resistlessly, the blue waters gain on the yellow sands; foot
by foot, yard by yard, the delicate line of foam advances
102 ROUND ABOUT PARIS



THE CAUSEWA‘A' AND THE RIVER
landward, and before we turn away, Mont Saint-Michel has
been encircled by the flood, has for the nonce become a verit-
able island The inflow of the tide is more exciting on the
western side where the diked channel of a river—mouth be-
comes an avenue for the advance of a deeper mass of water
rushing in from the distant ocean with the swiftness of a mill-


THE INRUSHING OF THE TIDE


ROUND ABOUT PARIS 103
race, long before the surrounding sandy plain has been
reached by the broader, shallower wave which overspreads
the sandy beaches. The fishing-boats, borne inward by the
rush of waters, come careering up the river, which shortly
overflows its dike and pours its flood upon the beach. Be-
fore the river outlet had been defined by these embankments,
it frequently changed its course. flowingr at one season to the


AT I'IIIOH TIDE
east, at another to the west of the rock. Thus Mont Saint—
Michel, which once upon a time was part of Brittany, is now
within the limits of the Norman province.* And well may
Normandy be proud of this splendid acquisition. As some
one has said, “ Man and nature have worked in concert to
produce this wonder in piled-up rock and carven stone. The
Mount proves by its appearance its history in adventure ; it
has the grim, grave, battered look that comes only to feat-
ures whether of rock or of more plastic mold that have been

' The river forms the ‘boundary between Normandy and. Brittany.
104 ROUND ABOUT PARIS
carved by the rough handling of experience." As we may
plainly observe, the influence of the military life on the re—
ligious made itself felt in this monastic architecture of the
thirteenth century. The constructions reared by the abbots
of that epoch show forth their political state. Having become
feudal lords, they took on all the pomp and circumstance of
such. It was in the fifteenth century that Mont Saint-
Michel attained the zenith of its grandeur. The Abbots then
possessed not only the little islands close at hand but even


ROUND ABOUT PARIS 105



extended their jurisdiction to what are now the English
possessions of jersey and of Guernsey. The abbey was fre-
quently at war with the English, who were at one time mas-
ters of all the rest of Normandy. But Mont Saint-Michel
was never captured by the Anglo-Saxons even during the long
war of the Hundred Years. As we mount higher, we ap-
proach the building known as “La zllerz'cz'lle,” “The
106 ROUND ABOUT PARIS
Marvel," which has been pronounced the “most aston-
ishing structure in the world." It dates from the first
decades of the twelfth century. It is a series of buildings
superposed rather than a single edifice, yet it is but a part
of the abbey ; the palace of the abbots, the Gothic cathedral
far above, and innumerable connecting structures form an
ensemble at once confusing, beautiful, and grand.



ROUND ABOUT PARIS 107



\ _-

AN ANGLE OF THE ABBEY

Among the guests who have been entertained by the
religious guardians of the Abbey we read the names of Childe-
bert the Second, Charlemagne, Saint Louis, Louis the Elev-
enth (who was not a saint), and Francis the First. Hun-
dreds of the prisoners filled the dungeons of the rock during the
reigns of Louis the Fourteenth and of Louis the Fifteenth;
then the prisoners of the Revolution, among them the three
hundred priests who had refused to take the civic oath.
These times witnessed the desecration of the Abbey, the
103 ROUND ABOUT PARIS

mutilation of its carv-
ings, the destruction
of its splendid win-
dows, the obstruction
of its magnificent
apartments by crude
partitions. Only in
1874 was the splendid
remnant confided to
‘ the Commission of
Historic Monuments
to assure its preserva-
tion.
Small wonder that
the Mount was never
‘ taken by the English,
for in those days the
THE HOlSTING-W'HEEL


art of defense was developed far beyond
that of attack. Five score of men could
hold a medieval stronghold against an
army of as many thousands. Treason
alone could prevail against a fortress .{t~~
such as this. Yet even treason '—
failed here, the traitor losing heart
and confessing his crime before
his clever plan for admitting the
enemy had been put in execu— ‘ .
tion. Itwasin1591. An inmate ,. it _" , ,‘~ ' ,
of the Abbey, Goupigny, by name, 4 ‘
agreed with the Lord Montgomery, I _ . _
a leader of the Protestants, to assure ‘ i N l E
the secret introduction of a band of '
armed men under the command of the
IN DAYS OF OLD
ROUND ABOUT PARIS 109
_ i\\
s. .l/ \\ _ g.‘ I‘.
l
V“
I i m ~1



WHERE THE ABBOTS TROD
latter. These men were to be drawn up the perpen—
dicular cliff by means of the great Windlass and ropes






4» ‘Mn. ~14
A CLOISTER AMID THE CLOUDS
IIO ROUND ABOUT PARIS




AN OBJECT-LESSON IN HISTORY


used for hoisting supplies, provisions, and ammunition from
the shore to this high-perched citadel. But, as the chron-
icler tells us, God did not permit this thing to be done.
Goupigny confessed his plan; and when one night, accord-
ing to agreement, Montgomery and two hundred men ap-
peared at the base of the sea—girt cliffs, the double traitor
gave the signal that all was well ; the Protestant soldiers, in
little companies of eight or ten, were silently hauled up by
means of the great wheel and its stout ropes; but as each
squad with breathless eagerness crept into the dark corridors
to await the coming of the remainder of the force, the Ab-
bey’s knights and monks fell on them furiously and killed
them, sparing none until the officer below, alarmed by the
unlooked~for tumult, refused to send up more men until
assured that all was well. At this the governor bade his
knights spare one of the Protestants, who was offered life
and liberty if he would shout the words of betrayal to those
below. But, being a true man and faithful, the tempted
soldier shouted instead a warning to his comrades. This act
of courage touched the governor heart‘, and he who would
ROUND ABOUT PARIS III
not even for life betray his friends was pardoned, while those
whose lives he had so nobly saved fled from the island, their
hearts bleeding for the four-score of their companions left
‘dead in the dungeons of the Abbey. \Ve are shown the
mighty hoisting-wheel itself, hung in a window of the Abbey
cellar,—a cellar which is hundreds of feet above the garrets
of the village houses. The wheel was turned by gangs of
prisoners shut up in it as in a giant treadmill.
The Abbey as an architectural monument defies descrip—
tion. Lacking ground space, the builders of this \lVonder in
Masonry piled their churches, cloisters, dormitories, and
almonries one upon another, thus creating a mountain of
sculptured stone unique among the religious edifices of the
world. The cloister is of surprising daintiness in contrast to
the somber heaviness of the interiors on the floors below.
All is grace and lightness, elegance and beauty, combined
with strength and durability. The variety of sculptured
design is astonishing; there is no repetition, no monotony.
The columns are arranged in groups of three, thus giving




ADIEL', MONT SAINT-MICHEL!
I 12 ROUND ABOUT PARIS
one of the finest specimens of claustral construction in the
world. It is indeed worthy to be classed among the marvels
of the world, this unique pile of architectural glories. And
France, at last awake to the value of this proud old pile,
has already undertaken not only to preserve, but to restore
it, to make it as magnificent as when its abbots ruled like
feudal lords. The outer ramparts, portions of which have
fallen under the weight of ages, are to be rebuilt; the tur-
rets topped, as of yore, with peaked roofs;—and all the
parapets and battlements are to be raised again. In a
word, Mont Saint-Michel, like Pierrefonds, is to be made
a glorious object-lesson in French history—another proof
that Paris is not all of France.
Yet gladly we shall now return to Paris; for while the
nation with care and forethought is restoring these medieval
monuments, Paris the capital is rearing the gorgeous modern
palaces of the Exposition Universelle, which is to mark the
close of the glorious and never-to-be-forgotten nineteenth
century.


THE PLACE. BLANCHE BY NIGHT



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PARIS EXPOSITION
I

he Paris


Exposition
O SAY that we do not care for expositions is to confess
that we are not interested in our fellow-men. Great
expositions represent the labor and the thought of countless
workers in every branch of human art and industry. Great
expositions are like mile-stones, marking the accomplished
stages along the highroad of Universal Progress.
The greatest exposition of the nineteenth century was
the \Yorld’s Columbian Exposition of 1893.
iut since Chicago reared, amid the smoke and din of
toil, that marvelous \Yhite City of imperishable memory,
I 16 PARIS EXPOSITION



the world has added seven years to its long life ; seven mod-
ern years worth seven medieval centuries.
The Universal Exposition of 1900, held in Paris, was a
worthy manifestation of these seven years of progress.
It was so vast that a hundred days
Even in the space
It was magnificent.
did not suffice for the mere seeing‘ of it.
of an entire summer, it was not possible for one to study
had been produced by
turies of evolution.
to tell of it in two
with the assistance of
and to assimilate all that
years of toil and cen-
How, then, attempt
brief lectures, how save











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THE FORTE MONUMENTALE
PARIS EXPOSITION 117


L PLACIT DE LA CONCORDE
pictures which speak more quickly, more compactly, and
more comprehensively than the tongue?
The Place de la Concorde shall be our starting-point.
From the terrace of the Garden of the Tuileries we look
down on the square and note an unfamiliar aspect and an




THE WORKERS


118 PARIS EXPOSITION


GENIUS OF THE ELECTRIC LIGHT
unfamiliar feature. Apparently, long ropes of pearls hang in
festoons from lamp to lamp, as if this beautiful public place
had donned a festal necklace and assumed a fantastic crown
of gold and purple. The pearls are gas lamps, the crown is
the great portal to the Exposition, the Monumental Gate,
novel in conception, gracefully graceless, and harmoniously
out of architectural tune. Conspicuously soaring above this
spacious parallelogram, it was the object of no end of flip-
pant criticism. The Frenchmen described


it in warm terms, calling it a “ Sala-
mana'rc,” from its resemblance to a
peculiar form of Continental stove.
An English artist on beholding it,
. exclaimed, “ Designed undoubt-
‘ edly to keep away the British pub-
lic. ” Even Gallic gallantry failed
to respect the unhappy lady perched
upon the stove-lid. Her sculptor
THE BINET PORTAL, FROM THE BRIDGE
PARIS EXPOSITION 119

THE PURPLE GATE AT NIGHT
called her the typical Parisienne, welcoming the nations‘ of
the world. Her fellow-citizens disowned her, as unani—
mously as Chicago repudiated her " Christopher Columbus "
on the Lake Front Park. But this monumental gate is in
many of its details admirable. On either side are sections
of a frieze in high relief, showing the workers of the world
bringing to this universal competitive display the fruits of
their industry and study. They press forward even more
eagerly than the crowds who come to see and judge their


THE GERMAN INVASION
. p
120 PARIS EXPOSITION


" vos TICKETS, MESSIEURS ! "
products, for the visitors’ at-
tention is diverted at every
step by some boldly novel
detail or design. Unearthly
goddesses, robed like Rider
Haggard’s “She,” pose in
two niches as the spirits of
Electric Power and Electric
Light. The tiny blue dots on
the walls and panels, arches
and minarets, are incandes-
cent lamps, which at night
soften the outlines of this
weird creation with purple
luminosity. Seen from the
bridge, its royal glow re-
fiected in the shadowy Seine, the “Porte Monumentale "
vindicates its architect.
the entrance to an ephemeral
wonder-city should be, it is
fantastic in a hitherto un-
known way. As an attempt
to give the old world some-
thing new, it is courageous,
successful, and unique, and
the Parisienne enthroned high
above is, like a true Parisi-
enne, much more attractive
in the evening light. We
should not be too hard upon
Moreau-Vauthier, the sculp-
tor, who molded her, be-
cause he gowned her badly.

It wakes not only our astonishment
but our delight and admiration.
Though it is fantastic, as
TICKETS
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PARIS EXPOSITION 123
French sculptors are working in an unfamiliar, uncongenial
field when they attempt to clothe the human form divine.
Among the thousands of plastic beauties assembled at the
Exposition, the lady at the gate is the only one who came
provided with a trousseau. Let those who disapprove the
tendencies of Gallic sculpture, respectfully salute her ere
they approach the entrance wickets, which are designed
.to filter sixty thousand visitors in sixty minutes. To facili-

IIUVING ADMISSION TICKETS
tate the ingoing of the crowds every provision has been
made, save onedthere is not a ticket-office anywhere in
sight. The stranger, unfamiliar with the language, offers
in vain all kinds of money to the gatemen. They will
not take his money, but demand “ T ickct, monsieur,” and
monsieur, unable to buy or find the necessary “ticket,"
begins to wonder how he is expected to break into the Expo-
tion; and in search of information he wanders aimlessly
away. He soon hears a familiar phrase, “ T z'ckvz‘, mozz—
sz'em' ? " but this time the inflection is that of a supplication,
124 PARIS EXPOSITION


BLOCKED !
not that of a command. He sees a woman with a baby and
a tired look—sometimes an old woman, or a ragged boy,
sometimes a pinched old man, offering sheets of pale blue
V0.5- tickets, messz'em's,
mesdames? " “How much?" the stranger asks, and the
coupons to every passer-by, with a
price depends upon the stranger’s accent. If he says
“ com-bee-ang, ” there's no telling what price he may have
to pay. The nominal value of a ticket is one franc, or
twenty cents, but though the price fluctuates from day to
day, it never touches par. We pay on sunny Sundays
about fifteen cents, and on somber Saturdays tickets go beg-
ging at from five to seven cents. Late in the season the
price fell even lower, and on the closing evening tickets could
be had in any quantity at one centime each—— five tickets for
one cent But as we turn into the Champs—Elysées, to seek
another and more hospitable portal to the Exposition, let me
explain that this loss does not fall upon the Exposition com-









HUNGARY AND ENGLAND

PARIS EXPOSITION 127
pany, but on the financial institutions and private individuals
who bought the bonds to which coupons exchangeable for
tickets were attached. In 1896 the Exposition issued bonds
to the value of sixty—six million francs. Each bond, of
which the par-value was twenty francs, entitled its bearer to
twenty admission tickets, the right to a twenty—five per cent





I
THE CHAMPS-ELVSEES GATE
reduction in the entrance fee to every sideshow or attraction
within the gates, reduced railway fares to and from Paris,
and a chance of winning half a million francs in the Expo—
sition lottery. Thus the Exposition realized its gate receipts
and flooded the market with millions of admission tickets
several years before the gates were built; for with these
temptations and advantages attached, it is safe to assume
that bonds were purchased by every loyal Frenchman : that,
128 PARIS EXPOSITION

'
THE CHAMPS-ELYSEES ENTRANCE
should we search the multitude caught in one of the block-
ades here on the Champs-Elysées, we should find in the
pocket of every cabman and every passenger an Exposition
bond and a bundle of tickets. Thus, with intending visitors
supplied with more tickets than they need, and millions of
tickets in the possession of the banks and speculators, it is
not strange that there should be fluctuations in the market
price.


GRAND PALAIS DES BEAUX-ARTS
PARIS EXPOSITION 129

.>‘
I’vn'

NORTH ‘WISH. OF THE GRAND PALAIS
At last, provided with a coupon, the stranger approaches
the Champs-Elysées gate only again to be refused admission.

“ But why? 7’ he asks, in des—
peration. “ Here is a ticket.
‘Why can 't I get in? " The gateman’s answer is that it " is now only half-past nine. ,
“ ‘Well, what of that P ” the
baffled visitor demands, only ‘

to learn that from the open-
ing hour until IO a. In. two
tickets are required for admis— ‘
sion. From ten o'clock till
dusk one ticket suffices. In
the evening the rate is again
doubled, and on Fridays, the
nights reserved for the aristo-
cratic public, four tickets are '
demanded. Until these de-
tails have been grasped, the i



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130 PARIS EXPOSITION
the gates. Let us,
then, buy a ream of
tickets, to be prepared
for all emergencies,
and before long we
shall once more at-
tempt to pass the
ticket-takers.
But first let us in-
quire what is to be
seen of the promised
. land from the Elysian
‘ Fields. A splendid
unfamiliar vista greets
us. The old Palais de
l’Industrie, remnant
of the Exposition of 1855, home of the Salon for so many
years, has disappeared ; a broad, fine avenue now traverses its

A CD LONNADE




PORTICO OF THE GRAND PALAIS
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PARIS EXPOSITION 133
site and leads the eye afar to the gilded dome of the Hotel des
Invalides, the resting-place of the great emperor. On the
right rises the superb new palace, which will be the home of
future Salons, on the left a smaller, daintier structure also
dedicated to the arts. The larger palace, le Grand Palais
des Beaux-Arts, was reared as a monument “ to the Glory of
French Art.” This magnificent construction of stone and
steel and glass is not altogether faultless. The noble facade
and the imposing portico, creations of the architect Deglane,
are dwarfed and dominated by the swelling dome and arches




'
we
. ’ Q ‘
“'EST FALIADE OF THE GRAND PALAIS
134 PARIS EXPOSITION


of the engineers. The scientific overwhelms and crushes
the artistic. The modern structural masses of the colossal
skylight rise like mountains of steel and crystal above the
architectural lines of the Ionic colonnade, where nothing but
the clear blue sky should rest. Between the columns we see
fragments of a mosaic frieze, gorgeous in color, by which
the great epochs of the world ’s art are glorified. Yet despite
the presence of color and the lavish wealth of sculptural
detail, the colonnade retains a grand simplicity and dignity.
ENTRANCE TO THE BEAUX-ARTS
\Vhat is more beautiful in architecture than a row of noble
pillars, be they Ionic, Corinthian, or Doric in design? There
is in every range of fluted columns an evocation of classic
antiquity. As we tread the pavement of the porch, these
columns, even in their youth and newness, seem to breathe
something of the soul of Greece. They inspire vague long-
ings for a breath of the pure air of Athens, for the warm
touch of a ray of Attic sunshine.
The entrance portico, with its nude figures and its effec-
tive groups, brings us back to France. France to-day



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PARIS EXPOSITION l 37


regards herself as the source of all
artistic inspiration; she holds her
art supreme. Nor can we blame
her. Do not even our sculptors
and our painters, like those of
European lands, seek in her
schools and studios the instruc-
tion of her masters? do they not
expatriate themselves to dwell in
the artistic atmosphere of Paris?
do they not send their best efforts to
her annual competitions, to be measured ,N THE ARENA


THE AREN OF SCL'LT’TT'RE
by her standards? Truly, France was
not presumptuous when she reared this
monument to the glory of her art.
The contents are worthy of the
splendid envelope. There are two
separate exhibitions of paintings.
One is centennial. It is an epitome
of French Art of the nineteenth
IN THE ARES-IA
1.38 PARIS EXPOSITION



rom phtograph,copyright 1900.113; Wm. H. Rau, Phila.
IN THE GRAND PALAIS
century, comprising early and late examples of all the famous
painters of the nation. Private collections, churches, and
provincial museums have been drawn upon for the precious
pictures necessary to complete a comprehensive illustrated
history of French art-endeavor from the year 1800 to the
year 1890. The second exhibition, which occupies the main
portion of the palace, is decennial, and illustrates the rapid
PARIS EXPOSITION 139
growth and advancement of Gallic art within
the last ten years. A host of famous and familiar
canvases, although adding to its retrospective
value, take from it the atmosphere of novelty;
in spite of many new compositions, we carry
away a vague sense of disappointment, born of
the fact that we have seen so large a part of this
exhibition before, in other galleries or salons.
More than half the space within the palace is
given to French artists, the rest being appor-


tioned among the art- ists of


all nations. I dare not
A
LA TEMPETE
' |
Photucopyriglit 1900, by Wm. H. Ran. Phila.
lead you into
six’ rooms al-
of the United
casual visit
even one of the
lotted artists
S t a t e s. A
to the Ameri- can Section
s h o u l d oc- cupy a morn-
ing and an aft— ernoon ; a re-
view of the best works w o u l (I
fill an evening’s
lecture. To single


nonm’s “ THE kiss"
out a Vt’histler or a
Sargent would do injustice to the rest. More-
over, photographic reproductions of paintings
are never wholly satisfying to the artist or the
beholder. Therefore we choose the wiser
course, and after casting a hasty glance at this
ghostly assembly of marble person-
ages, each worthy of an hour’s pa-
tient study, we shall resume our
promenade. I do not know how
many pictures and statues there are
within this temple of the arts, nor
THE TEMPEST
Photograph, copyrights-l won, by Wm. II. Ran, Phila.
I40 PARIS
EXPOSITION


STILL THE MOST BEAUTIFUL
along the endless galleries, their
cipitation vividly re-
called the image of a
certain noted piece of
sculpture ——a bronze
conception of “The
Tempest. " Still, We
must ourselves sweep
through the Exposi- ,‘
tion like a whirlwind
if we would see it all
in our allotted time.
However great our
haste, we gladly pause ‘
to pay our homage to
a goddess immemori-
ally old, but ever and


how many miles of
‘canvas and tons of
marble have been
assembled here. I
spent at least three
weeks marching past
leagues of walls, hung
with masterpieces and
‘ mistakes, with loveli-
ness and horrors, with
the creations of sane—
minded geniuses and
of artistic anarchists.
Some people tried to
see it all in only half a
day ; and when we
met them, tearing
pace, expression, and pre-


grv
MARC ANTONY









LE PETIT PALAIS

‘{ PARIS EXPOSITION I43


forever beautiful and young, the Venus of Milo. By
right the Milo Venus claims an honored place in every
' exposition, and we resent the placing of her image—
even though it be but in a plaster copy—outside the
Temple of the Arts.
\Ye turn from this most perfect statue of
antiquity to the most perfect structure of this
If i
modern exposition. The Petit Palais is the
architectural gem of the Exposition. It coni-
tains the retrospective review of French
Art Objects from the earliest ages down
“spam PAWS to the end of the eighteenth century.
Photograph. copyright 1900, by
Wm. H. Ran, I'hila.
The larger palace, as we already know,
being dedicated to the art of the nineteenth century, it is
possible for us to trace the glorious progress of French Art
from the crude naive productions of the early Gauls to the
creations of Rodin and Puvis de Chavannes. France has
sent the most precious of her treasures to grace for a brief
season this marvelous museum.
“ ‘Why, " a friend remarked, “ I spent more than a year

in an artistic ! ‘
pilgrimage all :
through the :
provinces of
France to see


the very things i
which I now " v '1
find assembled ‘ i
in the galleries
of this incom-
parable treas-
ure house. "
Should I
attempt to de-

TIIE " LITTLE PALACE OF FINE ARTS"
I44 PARIS EXPOSITION
tail the contents of even one room, we should find ourselves
at the end of the lecture still lingering in admiration near
the first cabinet of enamels, gems, or chiseled ornaments
of gold. Tapestries more valuable than carpets of pure
gold are lavished on the walls—ecclesiastical riches from
the sacristies of many famous churches fill huge cabinets
with golden jeweled splendor. Vases and plates, the break-
ing of which would be national calamities, are ranged in



COURT OF THE PETIT PALAIS


reckless profusion on the shelves of crystal cases. No
photograph can give an idea of the interior. \Ve seem
to be in an atmosphere surcharged with the wealth and
artistic refinement of more than eighteen centuries. Even
the admirable court, rich in marbles, mosaics, and bronzes,
seems almost poor and simple to one who emerges from the
treasure-ladened halls, saturated with the sight of old—time
riches, dazzled by the gleam of diamonds and rubies. We
feel as if we were emerging from a visual shower-bath of gold
PARIS EXPOSITION I45
and jewels. Nevertheless the court is wonderfully beautiful,
from the blue bordered pools to the superbly sculptured walls
and portals. Yet we have been told that there was nothing
at the Paris Exposition to repay the visitor!
This place offers every lover of the beautiful, weeks of
intense pleasure. But we must hasten out through yonder
vestibule into the broad avenue which bears the name
of Russia’s present czar. The vista across the Alexander

I‘ _ '——--




4 Am — . ‘
PORTAL OF THE PETIT PALAIS

Bridge, which should be the most imposing of the Exposition,
is for some reason disappointing to the eye. The bridge,
though so low as to be almost unperceived, were it not for
its four pylons, rises just enough to obscure the horizon line,
and to give to all the structures on the farther shore a
depressed and insignificant aspect. But the fault lies in the
low point of view, not in the buildings and the bridge. Could
visitors march down the avenue on towering stilts, the
inherent grandeur of the spectacle would be at once apparent.
10
I46 PARIS EXPOSITION
‘ It may well


i be called an
1 Imperial
Thorough-
fare, for this
‘ fine Avenue
1 of Nicholas
the Second,
sweeping
betweenthe
permanent
art palaces,
is carried
across the
Seine bythe
Bridge of
Alexander
1‘ the Third,
and, after
‘.
traversing

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PARIS EXPOSITION I49



TH E LONG VISTA
the Esplanade des Invalides, terminates at the Tomb of
Napoleon the First. The bridge dedicated to the late Czar
Alexander, father of Nicholas and friend of France, was flung
across the Seine as a symbol of the alliance between the
French Republic and the Russian Empire. Superb in every
detail, technically a triumph of engineering genius, architec-





THE FONT ALEXANDRE Ill
I50 PARIS EXPOSITION
turally a triumph of allegoric art, the Alexander Bridge will
ever remain among the attractions of the French metropolis.
Thanks to recent progress in engineering methods
been possible to cre-
join the


and in the arts of metal, it has ate steel arches long enough to
two banks of the Seine, high
above the surface of the river
enough
to


From photograph. copyright 2900. by Wm. H. Ran, Phila.
SPLENDID MASONR"
clear the funnels of all tugs and launches, and low enough
to keep the roadway on a level with the esplanades. Fifteen
of these arches support the Alexander Bridge, and they rest
upon foundations laid at a depth of more than sixty feet
below the water-line.
To counteract the effect of the necessary flatness, two
stately pylons rise at each extremity, crowned by heralds of


PARIS EXPOSITION I 5 I
Fame and winged horses, all in gilded bronze. Four years
of time and five million francs were given to the realization
of this splendid project. Beautiful by night as well as day,
is this brilliant bracelet on the curving Seine; and even
though Parisians are made poorer by the Exposition, Paris
herself grows richer in artistic monuments. The profit of
Paris is represented by the Alexander Bridge and the perma-
nent Art Palaces—surely a generous compensation for four
preparatory years of dirt, disorder, and delay.


Paris was not ready to receive her
guests upon the opening day. On April
14 much re- mained yet undone, and

From photograph, copyright 1900, by Wm. H. Rau. Phila.
EXQUISITE DETAIL
I 52 PARIS EXPOSITION


dirt, disorder, and delay, still remained during April, May, and
part of June the most conspicuous exhibits. True, the huge
palaces of Industrial Arts were externally complete, but the
interiors were choked with unopened packing-cases and alive
with working carpenters. During the first six weeks we
scarcely ventured into a big building, and when we did make
our rare incursions into Chaos, it was only to
- retire in confusion, and, with torn clothes
and dusty boots and hats white with plaster,

THE‘. BRIDGE BY NIGHT
to return to the examination of the promising exterior walls
and decorations. In time, however, order out of chaos
came, and littered labyrinths were ultimately transformed
into a broad-aisled universal bazaar, where all the nations
of the earth displayed their decorative wares. The two
great buildings bordering the avenue, although at first glance
identical, differ slightly in design. One palace is the strong-
hold of the French exhibitors. Foreign nations have pitched
commercial camps in the opposing structures.
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PARIS EXPOSITION
155


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ARCHITECTURAL PASTRY


Should I be asked
what I saw in this
bizarre white city, I
must answer that it
took me just ten days
merely to stroll casu-
ally up and down its
‘ gorgeous aisles and
interesting b y w a y 5.
How, then, attempt
' v to give in a few brief
words even a list of
the objects that ap-
In the
French section behind
pealed to me ?
the frescoed walls

NATIONAL MANUFACTURES
156 PARIS EXPOSITION


there were the G0-
belin tapestries and
also the tapestries of
Beauvais, the pottery
of Sevres, and, admi-
rable above all the
marvelous exhibits of
jewelry and precious
stones—an inde-
scribable glorification
of the daintiest of
arts, grown daintier
in the hands of the
incomparable jewel-
ers and cz'selem's of
France. Turning
from these almost sin—
fully lovely things, we
cross a circular court


THE WHITE CITY OF THE ESPLANADE
PARIS EXPOSITION 157
to enter the Russian section, noting, as we pass along, the
fountain of green tiles in which little cherubim are play—
ing. Russia’s most curious, if not her most artistic of—
fering, was a map of France composed of semi-precious
stones, with gems to mark the sites of cities. This was the
gift of Nicholas to Paris. And as we swiftly pass from nation
to nation we reach the graceful portal to the United States
section. Above is a panel by Augustus Koopman, representing
the Industral Arts. It won for the artist a silver medal. A
hurried survey of this section reveals American superiority in
many lines; notably in artistic glass do we surpass the



TOWARD THE DOME
l5S PARIS EXPOSITION
French. There is
not space to go into
detail. Suffice it to
assert that truly the
American departs as
proud of his artistic
artisans whose ef-
, forts made this sec-
tion memorable, as

of his painters and


-‘ sculptors, who in the
great Palace of Fine
Arts deserved and

‘i won the first place
“' ‘ i V among the foreign-
ers. The space ac-
, corded us in this
TAPESTRIES palace not sufficing,
*— T’" I n." '


A FOUNTAIN OF TILES
read;
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AMERICAN
INDL'STRIAL ARTS

PARIS EXPOSITION 161
American exhibitors constructed in the gardens bordering the
rear wall of this palace, an annex, known as the Pavilion of
the Publishers. The site was granted us on the condition
that the trees which stood at intervals all over the ground be
not disturbed. American ingenuity rose to the occasion. A
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ARTISTIC GLASS
building covered the entire site, and all the tree—trunks are
snugly boxed inside the hollow pillars, while the leafy
branches spread above the arching skylights their sheltering
masses of foliage. Here was published throughout the sum-
mer an Exposition edition of the New York T z'mcs. But
lest we weary of the Exposition by attempting to see too
much in one short day, let us dash away in a motor-carriage
n
162
PARIS EXPOSITION

f
I
be’.
\
to the Bois de Boulogne.
of the Count and Countess de Castellane.
find a happy gath-
ering of theatrical
celebrities indulg-
ing in a fé‘te des ‘
The au- ;
flours.
tomobiles, a r m -
ored with buds
and blossoms, are
manned by ac-
tresses, who wage
a merry war with
floral missiles.
\Ve return to ,
the town by little


FANTASTIC FACADES
\Ve pass en route the new palace
In the Bois we
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From photograph, copyright 1900, by “'m. 'H. Rau, Phila.



FORTE DES INVALIDES
PARIS EXPOSITION I65



THE PALACE OF THE CASTELLANES-
river-steamers, noting as we approach the Tuileries a splendid
unfinished structure on the left bank of the Seine. It is the
Orleans railway station, La Gare du Quaz' d’ Orsay,
erected on the site of the old Cour des Comptes. The
railway line reaches the station by means of costly subways,
beneath the quais along the Seine.

IN THE PUBLISHERSv PAVILION
I66 PARIS EXPOSITION
Another new enterprise is the


underground electric
road called
the M etro-
politan. Its
main line
traverses
Paris from
the Bois de
Boulogne to
the Bois de
Yincennes, running
FIN on sn-icte FE'I‘E n85 FLEURS beneath the ChflIDpS-
Elysées and the Rue de Rivoli. It is, in fact, the only really
rapid system of transit in the city. Until the Metropolitan
was opened, in July, the public had no resource but the
slow trams and busses. To-day the passenger exchanges
those stuffy rumbling vehicles for these swift trains, which
glide through the cool quiet tunnel at terrific speed.
ACTRESSES IN AUTOS




‘L: .11 ‘an me ‘a

From photograph, copyright 1900, by \\'m. H. Rant Phila.
THE ESPLAN'ADE DES INYALIDES FRUM THE EIFFEL TO‘WEI



PARIS EXPOSITION 169

THE ORLEANS STATION
Finding ourselves at the Vincennes terminus, far from the
Exposition proper, let us devote a moment to the neglected
Annex in the park of Vincennes to which the admirable
machinery and transportation exhibits were exiled. The
American Machinery Annex, built by the American exhibitors
themselves, was a credit to their enterprise, and served its
purpose well ; for though the crowds did not come, prospect—
ive buyers found it possible to study our inventions at their
ease. The exhibitors, however, led the life of exiles; so far
as Paris and its Exposition were concerned, they might as
well have been in factories at home. We sought out one
young man, whose friends at home are picturing his summer
at the Paris Exposition as a period of gay frivolity and soft
170 PARIS EXPOSITION
.l.’
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GARE DU QUA] o‘ oRsAv
repose, thinking of course that French workmen could be
found to take charge of the big boilers sent over by his
Company and leave him free to wear good clothes and
worthily represent the firm at fashionable functions and in
gay cafés. But he did better, he represented the sturdy
manhood of the young American, by sticking to his boilers
and making them perform miracles of force and power. He
did not wear good clothes and the names of gay cafés remain
Greek to him. He saw less of the Exposition than the six-
day tourists, but he himself is an exhibit that does credit to
our nation, a type of the American who has resolved to do
his work a little better than the other fellow. On July 3, a
superb bronze of Washington was unveiled in the Place
(1’ Iéna. It was the work of two American sculptors, Daniel
French creating the figure of \Vashington, Potter molding
the splendid charger- The monument, a gift of the women of
America to France, is a token of a sister republic ’s gratitude.
PARIS EXPOSITION 171
\Vith a proud, noble gesture, ‘Washington salutes the nation
that befriended his struggling people in the days of direst need.
On the following day the celebration of the last Fourth
of July of the nineteenth century is made memorable by the
unveiling of the statue of Lafayette, a gift of the school
children of the United States, a memorial of that admirable
Frenchman in whom, for us, French friendship is personified.
Thousands of enthusiastic Americans witnessed the unveiling
and applauded the sentiments expressed by President Loubet,
Ambassador Porter, Archbishop Ireland, and Commissioner-
General Peck; other thousands, unable to gain entrance to
the small enclosure, drowned the voices of the orators and
even the strains of Sousa '5 Band, in a flood of patriotic song.
United States exposition guards, in their simple but
effective uniforms, were conspicuous at all official functions ;
nor were there more of them than were needed for the task
of guarding the fifty—one sections of the American exhibit
scattered in all parts of the grounds and in the distant annex


.-i.\' OPEN STATION OF THE .“ETROPOLITAN
I 7.2 PARIS EXPOSITION
'— wr —-



METROPOLITAN CAR
of \"incennes. Another uniform made familiar to the Paris-
ians last summer was that of the members of Sousa ’s trium-
phant band—a band that set all Europe dancing the


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PARIS EXPOSITION 175
American two-step, to the inspiring measures of “The Stars
and Stripes Forever."
During the hot spell which Paris suffered in July, the city
horses wore straw hats, and even little donkeys from the
country, when they came to town bringing the farmer and
his wife to market, knew enough to don C/uqbeaux dc jmz'l/c,
adapted by means of perforations to their auricular neces—
sities. For two weeks the temperature hovered in the

WHERE THE BALLOON CAME FROM
I 76 PARIS EXPOSITION



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THE AMERICAN MACHINERY BUILDING


nineties. Paris grew dusty, dry, and disagreeable. The
waters of the Seine became so thick and sluggish that when
the Chicagoan looked on the historic river, his bosom swelled
with pride.
The Chicagoan never rides upon his river, but the Seine
is the great central highway of Paris and the Exposition;
and as we speed beneath the Alexander Bridge,
where the bronze Nymphs of the Neva and


Seine salute the passing launches, let me
outline the plan of our second prome-
nade. The two grand divisions of the
Exposition are linked to one another
by two narrow strips along the river
shore. we are, to-day, to “do”
these long connecting links, beginning
with the section on the left bank graced
by the palaces and pavilions of the
AN EXILE AT VINCENNES
PARIS EXPOSITION 177



A “ CROWD“ AT \"INCENNES
foreign nations. The first and most effective of them all
is the Italian Building, a composite architectural paraphase
of those glories of Venice, St. Mark's Cathedral and the
Doge’s Palace. Seated in majesty upon the Grand Canal
of Paris, Italy’s national pavilion dominates, not only in
size but in artistic worth, all the pavilions in the Street of



‘:1. ‘ . F—
" h"*>>u. ‘.i Q”: ‘
ENTERING THE ANNEX

I78 PARIS EXPOSITION
Nations. The exquisite detail of its walls and windows, the
rich coloring of its mosaics bear even the closest scrutiny.
And the interior, although used as a national bazaar, is dig-
nifled and rich in suggestions of Byzantine magnificence.
A marble likeness of King Humbert and a portrait of his


BOIS DE VINCENNES
widowed queen recall the tragedy of Monza, and we ask
again why individuals must be made to suffer for the sins of
a system they are powerless to change ?
The geography of the street of nations is hopelessly con-
fused. To our surprise we find that Italy is bounded on the
west by Turkey, and that Turkey encroaches on the frontiers
of the United States. “ Encroaches” is too mild a word,



UMOFVXZQCZ Owl ‘HIM <<>mI_ZO.HOZ ZOZCHSMZQ,
PARIS EXPOSITION 181
for the sultan's gaudy pile of plaster, with its swelling domes,
elbows our classic construction into insignificance. True to
the traditions of its Oriental land, it enrages the protesting
American eagle on the dome, and annoys the horses har—
nessed to the chariot of progress.



" THE STAR SPANGLED BANNER"
The United States Pavilion has been criticised severely
from the standpoint of art and architecture. Must we join
in that chorus of condemnation? Is our American pavilion
so inartistic as its critics have declared? Given a favorable
location, with space for the development of the projected
wings, and given a point of view permitting some perspective,
would it not elicit praise rather than condemnation? Be-
182 PARIS EXPOSITION
neath the arch we see a copy of the \Vashington memorial
statue, behind it the blue tones of Robert Reed ’s attractive
mural decoration. We must admit that the interior is fear-
fully and wonderfully bad. It was amusing, in a sad sort of
way, to listen to the comments of the discriminating few and
of the uncomprehending many, as they marveled at the mul—
tiplicity of American shields, and vainly sought the meaning



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.Wa-l
READY!
of this ostentatious emptiness, in the midst of which a group
of maddened horses are plunging in frantic efforts to escape.
The horses have our sympathy. True, a model post-office
stands for utility, and an army of leather chairs and sofas for
comfort; but are these things a worthy expression of the
genius of our people?
But let us fall back upon our most prominent exhibit,
the people themselves. They were in evidence upon the





" VIVE WASHINGTON I '"
PARIS EXPOSITION 185
day of dedication. They came as an unclassified exhibit,
which should be marked “ A1,H for they were the best-
looking people at the Exposition. In this eager crowd we

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DEDICATION OF LAFAYETTE MONUMENT
saw more pretty girls and pretty frocks, more handsome,
wholesome looking men, more smiling faces, and more hon-
est courtesy than at any other gathering in Paris.
I86 PARIS EXPOSITION
The French police had orders


to hold the arriving crowds at
i a given distance. To do so
they were compelled to
join hands and form a
living barrier; but
4‘
it, when our “March
King " Sousa lifted
his musical scepter,
his eager subjects
broke through that
chain of little guardians
of the peace, and sweep-
ing the protesting gen—
darmes off their feet, rushed
down the terrace in a demo—
cratic avalanche. Yet this was
From photo, copyright 1900 by W. H. Rau, Phila. done in Such good humor THE STARS AND STRIPES FOREVER!

a


nil:
ITALY, TURKEY, UNITED STATESl AND AUSTRIA

PARIS EXPOSITION 189
even the punctilious Continentals smiled to see the police
calmly reform their line behind the crowd.
The American people found in their pavilion, if not delight
of eye and aesthetic satisfaction, at least an atmosphere of
democratic hospitality, in pleasing contrast to the repellent
official coldness that possessed the guardians of the more
tasteful palaces of many of the European nations.





"on, MR. sot'sA ! ”
I 90 PARIS EXPOSITION

“ c‘ EST MME. PECK our ARRIVE"
A great event at the American pavilion was the official
visit of President Loubet. He is a short, gray-bearded man,
with a face best described as kindly and sympathetic. He is
always accompanied by M. Picard, the commissioner—general
of the Universal Exposition, a tall thin man with sharp
eagle-like features worn to a skeleton by the tremendous



THE UNITED STATES GUARDS

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PARIS EXPOSITION 193
cares that rest upon
him . \Yherever the
official cortege goes,


there go the official
photographers with
their ladders and long
tripods. We see them
a moment later await-
ing the presidential

exit from the Bosnian
Pavilion. Between the
pavilion of the United
States and Bosnia-
Herzegovina rises the
Austrian palace. Its
interior is furnished ac-
cording to the curious
decorative standards of
the Viennese taste.
13
DURING DOG DAYS
194 PARIS EXPOSITION
Following the broad terrace we pass beneath the arch-
way of the Hungarian Tower, and find that another geo-
graphical hyperbole makes England a near neighbor of
Hungary. An ideal home is Britain ’s offering to the Street
of Nations, a dwelling, restful in design, irreproachable in
*taste, and unostentatiously magnificent. It is a replica of
Kingston House, a manor of the seventeenth century. Upon
s! _
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were

From photograph, coyright 1900, by Wm. H Rau, Phila.
A VISTA


{in-‘YO
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.10


SUGGESTIONS OF SAN MARCO
PARIS EXPOSITION 197

ON THE SEINE
the walls of its exquisite apartments hang pictures by Burne-
Jones, Reynolds, Gainsborough, and Turner. In striking
contrast to the sober British gray, is the bright blue of
Persia's mosque-like palace. The terrace on the roof is an
admirable point of view whence to look down on Bel-

l
R IVER N\'.\II"HS
1 98 PARIS EXPOSITION



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From photograph, copyright 1900, by Wm‘. H. Rau, Phila.
ON THE PARISIAN GRAND CANAL
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PARIS EXPOSITION 201
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THE ITALIAN INTERIOR
gium's medieval city-hall, a faithful representation of the
Hotel de Ville of the town of Audenarde. It was in these
things that the Paris Exposition was most admirable. The
artistic fragments of foreign lands were so grouped that one
might travel round the world in half a day and breathe the
atmosphere of a different country at almost every step.

202 PARIS EXPOSITION
From Belgium we skirt the coast of Norway to the
banks of the German Rhine. Norway shows us a huge red
cottage, filled with Nansen 's trophies, and other things that
tell of the North seas. Germany challenges our attention
with a gorgeous structure, lifting an unmistakably Teutonic
tower above the Gallic Seine. Genuineness was the keynote
of every manifestation of the artistic and industrial genius of




From photograph, copyright r900, by \‘v'. H. Rau.
“ HOORAY !‘ "
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ON THE TERRACE
PARIS EXPOSITION 205


Germany. No other nation illustrated
more convincingly its rapid progress in
the last decade. \Vhile glorying in her
past achievements, the Kaiser's land
points resolutely to the future and
dreams of greater things to come.
Not so with Spain, whose palace
rises on the right. With quiet dig—
nity Spain seems to say, "Behold
what I have been! ‘H She bids us
enter a cold, almost vacant court. and
do homage to a statue of Velasquez,
whose pictures are among the most pre-
cious of her remaining treasures. Then she
'* ' leads us
. into high-ceiled halls and
corridors where we may
THE BIRD OF FREEDOM


feast our eyes upon the
loveliest tapestries in all
the world. But the tap-
estries are Flemish, fruits


THE CHARIOT OF PROGRESS
206 PARIS EXPOSITION


FAMILIAR SIGNS


of the Spanish con-
"
quest of the Nether- ‘stag '
lands. She shows us 1 ‘
two or three superb 8'
fragments of chis-
eled, inlaid armor,
and an incomparably
dainty fan, thus evok-
ing with eloquent
simplicity the days '
when Spanish knight- ‘v
hood was the admira-
tion of the world.
Another step and 3
we have crossed the


AN ORIENTAL TEMPLE

From photograph.copyright 1900, by W. H. Rau.
AFTER THE


AVALANCHE
PARIS EXPOSITION 20)


RIVERSIDE RESTAURANTS


frontier of the little principality of Monaco. We are sur-
prised to find frivolous Monte Carlo represented, not by a gay
Casino, crowned with a roulette wheel, and decorated with
portraits of the King of Spades, the Queen of Diamonds,
and the jack of Hearts, but by a somber pile of stone, an
imposing fortified chateau, rivaling in size the buildings of
the largest nations.
It is a replica of the chateau of Albert, Prince of Monaco,
whose kingdom, though apparently only a few square miles
14
210 PARIS EXPOSITION


GREAT BRITAIN

‘ BOBBY "
BRITISH
PARIS EXPOSITION 211
in extent, is in-
finitely broad, for
the bottom of the
sea belongs to


him by right of
scientific con-
quest. Albert of
Monaco is a royal
scientist. His
oceanographic
explorations have
revealed to us
many of the mys-
teries of that al-
m o s t unknown
continent hidden
by the deep wa-
ters of the globe.


THE UNITED STATES DOME
BY NIGHT
S w e (l e n ’ s ‘
brown freak of
shingled turrets
and balconies
and towers serves ,
to throw into
the most pleas- ’
ing contrast the
modest Greek pa- l a‘
vilion in the form of a tiny Byzan-
tine basilica.
\‘v'ithin, alas, we ‘
find exposed noth- '
LA FERIA
212 PARIS EXPOSITION
ing but modern products-ytan shoes and patent leather,
dried currants and cheap wines. A few blocks of Pentelic
marble are the only things suggestive of glorious antiquity.
The Servian pavilion is likewise a church of Byzantine de-
sign. Mexico ’s contribution to this cosmopolitan array of

ON ATTEND M. LOL‘BET
palaces rises below the Bridge of Alma, and there are many
attractive pavilions, notably those of Finland, Rumania,
Bulgaria, and Denmark, ranged in a second row behind the
more conspicuous palaces, which rise in friendly rivalry upon
the terraced shore.
The lower terrace is one long, international restaurant,
where it is possible to make a gastronomic tour around the
GERMANY AND SPAIN


PARIS EXPOSITION 21 5


world. \Ve breakfast to the
music of Hungarian gypsies ;
at five o'clock we take
tea to the tinkling of
Neapolitan guitars; we
(line to the sound of
the Servian tambou- .
ritza or usually amid i
the clacking of Gas-
tilliancastanets. The
restaurant called “La
Feria," beneath the
Spanish building, was by
common consent the rendez—
vous of those who sought good
cooking, gaiety, and noise.
French chefs, mandolin players M. Louaar AND M. mm)
"i i: ‘s


__‘___ _ . of _W i _ . 1L
From photograph. copyright 1900. by Wm. H. Rau, i’hila,
OUR MARCH KING


216 PARIS EXPOSITION


MEXICO
from Madrid, and dancers from Seville, provided delecta—
tion for the palate, ear, and eye. An evening at “La
F eria " was an experience not to be omitted. Next door we



MONACO A ND SWEDEN

IN THE UNITED STATES PAVILION
0.0..
vivbn
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000
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PARIS EXPOSITION 219

g; ' _ find the German
' i’ “it - _ restaurant, more
r ,. ,
nmmmmm sedatedbijjt a1“ ays
crow e to the
water’s edge. In—
terminable rows
of tables stretch
away in two direc-

tions, and at these
tables people of
every nationality
‘ are striving to ap-
pease an interna-
itional appetite.
But if by day we
? find this section
pleasing to the
senses, by night
its fascination:
increased
hundred-


PERSIA
fold. Then thousands of electric lights
outline every palace against the
mystery and blackness of the
sky. The towers of Monaco
and Spain, the Turkish tur-
rets, and the dome and
arch of the United States
stand out in luminous re-
lief. The music of a
score of orchestras comes
to us in a faint universal
cacophony, and the mingled
murmur of more tongues
GERMANY
220 PARIS EXPOSITION

From photograph. copyright 1900, by Wm. H. Rau, Phila.
THE AMERICAN PEOPLE
than Babel boasted is wafted from this ephemeral cosmopolis
across the silent waters of the Seine. But the placid Seine
was not always silent and undisturbed. During the magnifi-
cent Venetian Fétes, in August, processions of illuminated
barges glided and circled and defiled between the banks, fill-
ing the night with glare of torches and lanterns and with the
blare of trumpets and the sound of song and the sudden


mpgz
PARIS EXPOSITION
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GREECE AND SER VIA

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SUNDAY CROIVDS


224 PARIS EXPOSITION
brilliancy of pyrotechnic fires. In the distance loomed the
twin towers of the Trocadéro, and over all, like the ribs of
an incandescent umbrella, revolved the search-lights of the
Eiffel Tower.

earths stare-s serpents
‘ . {PARIS Exrosiriox}

7
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PARIS EXPOSITION
II






RONTING the Seine, between the Bridge of Alma and
the Bridge of Jena, is the long narrow “Palace of the
Armies of the Sea and the Land.H Strangely enough, the
same roof shelters also the section devoted to Hygiene.
From the hall where the bust of Pasteur is enshrined
amid the instruments that served him in his marvelous experi-
ments, we may turn to the exhibits of artillery and warships ;
from the life-saving, health—insuring inventions of that great
benefactor of humanity, to the death-dealing contrivances
used in war on land and sea.
228 PARIS EXPOSITION
Eloquently suggestive of the pomp of oldtime war-
fare is the great central I portal of this staff strong-
hold. Armored sentinels ‘ are posted at the bridge, and
equestrian statues of the "f; brave du Guesclin and the im-
mortal Bayard stand with— ,‘l i in the shadow of the archway;
their presence alone is sufficient to evoke the poetry
and chivalry of battles 1:‘ that were fought by steel-clad
armies long ago. There " is but little poetry and pic-
turesqueness in the war- ‘ fare of to-day. The modern
fortress is constructed - 3-1“ not by an architect but by
an engineer. Armies to-
day are clad in cloth and
khaki—the steel is worn J I‘ _‘ by the forts and ships. The
Creusot . . dome, crimson
stained .; '~ _ - and


but:
I"—-<.---' ~_-- ":x.
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A NVEL ASPECT OF THE EIFFELTOWER
hideous, like a great gory menace, stands strikingly out
amid the palaces of peace, an extremely discordant stain
upon this Parisian Field of the Cloth of Gold, where
a large majority of the nations of the earth are assem-
bled to render unmistakable proofs of universal amity
and love. It is the creation of the firm of Schneider
1.3 31:] SI‘IOIHOIQIA V

,.
_
:|-‘
4
_
n4


5:. this q.
PARIS EXPOSITION 231


8: Company, makers
of the famous Creu-
sot cannon, elec-
‘ trical apparatus, and
Behind
its ugly, threatening
locomotives.
dome runs the ele-
vated moving side—
Iwalk, one of the
‘l most amusing fea-

TH E \VAR PALACE
tures of the Exposi—
The French-
called it a
tion.
men
‘ Plaz‘cfformc zlfobz'le
—there are, in fact,
three platforms, the
first is stationary,

232 PARIS EXPOSITION

ARMORED SENTRIES
A
LE CHATEAU 1)‘ BAD

PARIS EXPOSITION 233


the second moves at
l,‘ a pace equal to an


if; ' '


easy walk, and the
third rolls along about
as fast as a woman in
tight shoes can run.
To step from the im-
mobile platform to
7 one plate-forme mo—
bile, or vice versa,
required little skill;
yet nine women out
of every ten, with
I that innate feminine
impulse to face the
wrong way, found it
FATIGUES
impossible to effect a


SCHNEIDER ET CIE—CREITSOT
234
PARIS EXPOSITION





TH E MOVI NG SI DEVVA LE

.4
i of"; ___J' in‘
ON THE PLATE-FORME MOBILE
PARIS EXPOSITION 235
change of base
' without a stum-
ble and a shriek.
Many of them,
once upon the
moving platform,
remained trans-
fixed, clutching
a post, irrevo-
cably swept 011
until rescued by
some uniformed
, attendant. The
7‘ movable side—

walk 1s continu-
ous, and in the
course of its me-
' anderings, it car—
ries us through
a busy street on
level with the
second-story



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236
PARIS EXPOSITION
windows. Hence
new and tempting
opportunities for
flirtatious French-
men. VVe think
at first glance we
have made a great
impression, b u t
the lady in the \_
window is impar-
tial, she smiles a ‘
waxen smile and
waves an artificial \
hand at the end~
less tide of pass-
ers-by; so without
regret we roll on.



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ROLLING ON THE TROTTOIR ROL'LANT


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PARIS EXPOSITION 239

Iii-I ," Ill
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PALACE OF SOCIAL ECONOMY
A witty suggestion was made by our indefatigable ambas-
sador, General Porter. During the season he was called
upon to make a speech in almost every corner of the Exposi-
tion. “W'hy,H he exclaimed one day in desperation,
"should I write many speeches and deliver them to the
same official audience from various platforms‘? Why not


LA RUE DE PARIS
24o PARIS EXPOSITION
prepare one speech, and deliver it in a continuous burst of
eloquence, from the Plate-jorme [Mobile .9 ”
Another name for this invention is “ Troitoir Roulmzz‘. "
Now the verb roulér means “ to roll, " and when a punning
Frenchman saw a group of English tourists plant themselves
upon the rolling walk, he waved his hat and cried, “All,
bravo .' —R0ule Brz'iamzz'a .' " until Britannia 's subjects
had “rouléd in out of sight.

llfg‘lnuv
‘
if.
i



BABY SHOW’
Having finished sightseeing on the left bank, visitors
may cross a busy bridge and explore the narrow strip along
the right bank of the Seine.
The simple, dignified white building is the Palace of
Social Economy. It served as headquarters of the various
Congresses of wise men and learned women which assembled
in Paris during the summer of 1900.
I fear that few of us attended those meetings of the
sages. The sunny out-of—door attractions offered a tempta—
tion not easy to resist. Among these frivolous and superficial
PARIS EXPOSITION 241



“ LA Lola's " FLYING SKIRTS
242 PARIS EXPOSITION
8-.‘ _


A
. V .\
\
a, l
."i"
‘an
. ,-
Y _\ ‘I
\
a". " features of the inter-
I“ I
" " -. ‘ national kermess, the


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‘


Rue dc Paris was


at first sight rich-
t‘i'Xsrli‘ est in promises of
_ "l merriment. A
. '1‘; "i score of tiny the—
if? 'Wiili‘ aters were here
31-‘; with ballets, tab—
leau vivants, cine-
matographs, and
singers. There was
a house built upside-
down, a disappoint-
ment, by the way, be-
cause the inverted ef-
fect of the interior was
due to mirrors only.
There was an exhibi-
- tion of infants con-
LOIE FULLER
fined in patent incu-
bators. It must be confessed that in attendance the baby-
show had much the best of it, thanks to the magic words
above the door, which even those who knew but little French
could easily translate : “Admission Gratis." But after see-
ing the helpless little packets of humanity in their coffin-
like glass cases, who could refuse to drop a few sous into
the tray extended by a nurse. There were five or six
similar baby-shows, all drawing large crowds and equally
large contributions.
Near by we find an orchestra of costumed Neapolitans.
After the inevitable, but ever-pleasing “ Funiculi-Funicula”
and the song of “ Bella Napoli, " the little boys pass round
a tambourine for pennies.

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:._.IH
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PARIS EXPOSITION 245


“Where do you come
from? Hwe inquire in
French.
‘ ' America,H
replies a boy.
Thinking
this a ruse to
1' E‘ m\.-\.-\M__
' -<----~ _; dd‘m .


l‘ - '
I‘) I_ I
- will "If" -1 ':
loosen our


purse-strings, ,'
we say in En—
glish, “ Well,
then, if you ‘



‘W Y,
come from Amer-
ica, tell us just where yo u live ? ” \-.~ “k
The younger boy pipes
up in a familiar dialect, ARM, AND MW
246 PARIS EXPOSITION
“Sure ting, we all lives in Chicago on de \Vest Side,
corner of Canal and Twelfth."
Another transatlantic feature is the little theater of our
compatriot, Miss Loie Fuller, the creator of those dazzling
dances in which the dancer seems to be an incandescent
butterfly or an animated spectrum. No one could possibly
mistake the Loie Fuller theater; so expressive is the exte-
‘ll __!!lil - ‘ ! Int—"iii...

" THE HOUSE OF THE LAUGH "
rior design that we can almost feel the swish of flying skirts.
- It was the most successful enterprise in all the street, thanks
to La Loz'és luminous personality, and to her wisdom in
engaging for the season that little company of players from
Japan, who last winter astonished American theater-goers
with their marvelous skill in every form of dramatic art,
from grotesque dancing to the tragic drama, with death-
scenes so intense as to be positively painful.
SlSHlHd HILL H03 SEIDNVQI VHSIEID HHLMSH'HAV'IJ HSHNVJVI HILL _ .
uomg Aq qduboioqd

PARIS EXPOSITION 249


FLO‘VERB AND FERNS
Italy, Yacco is the ac—
tress of the world.”
Even the seemingly gro-
tesque dramatic methods
of the Japanese could
not dim the flame of ge-
nius that glows ‘in Sada
Yacco. As for her con-
sort, Otojiro Kawakami,
he is masterly in his por-
trayal of the heroes of
old Japan. His stage
contests in which
he overcomes
so many of his
Sada Yacco con-
quered Paris and won
from even the most crit-
ical of Frenchmen the
acknowledgment of the
greatness of her art.
One famous critic,
speaking of the univers-
ality of her art,—its
independence of lan—
guage limitations,—said
that “while Bernhardt
is the actress of France,
and Duse the actress of



» ‘T mutitil
' “‘ EITEIRBI'
GR ACEFL'L GREENHOUSES
25o PARIS EXPOSITION
enemies by means of “ Jiujutsu " are the most marvelous stage
fights ever devised. The Japanese players made the artistic
success of the Exposition of 1900 ; all other entertainments of-
fered on the grounds were commonplace and uninteresting.
Another interesting section of the right bank is the recon-
struction of the Paris of the Middle Ages. It is as if the
ghost of medizeval Paris had risen from the Seine to look
from its quaint gable windows upon the Paris of the present.
In its streets the people of to-day mingle with the people of
the past; and well may we believe “there were giants in

those days, " as
we observe the
gigantic figure
striding at the
head of a fantas-
tic procession.
The illusion of a

vanished age is
successfully cre-
ated ; the modern
visitors seem out
of place, while
the costumed in—
habitants harmo-
‘3
l
r
4'
~~lllll
a! .- nize perfectly
with their sur-
roundings. In
the streets are
theaters, taverns,
churches, shops,
'-
, and restaurants,
I” and even stroll-
ing clowns and

" OLD PARIS "
mountebanks
PARIS EXPOSITION
251

PEOPLE OF THE PAST AND OF THE PRESENT

IN THE PARIS or: cvnmso's DAY



PARIS EXPOSITION
{l
‘I
performing in the
There is
a printing-office
streets.
whence issues the
“ Gazette of Old
Paris, " which re-
tails in quaint type
the news and scan—
dals of the four-
teenth century.
The architectural
studies for this re-
construction were
made by Albert
Robida, the archi—

MEDIEVAL JOKERS
tect whose magic
pencil has sum-
moned from the
past this vision of
a Paris which had
theretofore existed
for us only in im-
agination. D ‘Ar-
tagnan or Cyrano
de Bergerac would
recognize in it the
Paris of their day.
Below Old Paris
yve pass\ti‘1e large
I; '.. g‘. C I
: i u I
o I o l
o o .
.
" THERE WERE cum'rs IN THOSE mn's "
NULLlSOdXEI SIHVrI HHJ. :H‘) .“HIA I'IAEI‘SIIHIEI







O’d‘.
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0§9DQ
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PARIS EXPOSITION
255


restaurant of the Efablz'ssemelzls Dawn], and soon arrive
gardens
of the Trocadéro.
the exhibits

'ENTRES masmmes’
MESSIEURS! "
are ruled by the
Dutch in the east-
ern archipelago;
that borders our
new Philippine pos-
sessions on the south.
The expositions of the
English colonies are
"nut '
u
The Palace of the Trocadéro, a remnant of
the Exposition of 1878, takes its name from a
victory near the Spanish town of Cadiz in 1823,
when a fort called the Trocadéro was captured
by the French. In this section are found
of Russia, China,
1 Japan, South Africa, the
French colonial pos-
sessions, and of the
colonies of several
European states.
Holland sends a
fragment of a sculp-
tured temple from
the island of Java,
and two very curious
houses from the
Pandang region of
Millions
Sumatra.


j




256 PARIS EXPOSITION




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VIEUX PARIS
grouped around the turreted pavilions of India and of Ceylon.
Canada and Australia display their admirable useful products

‘a
I
i
i
i
i
i

PARIS EXPOSITION 25 7
in pavilions that are utilitarian in aspect rather than artistic.
Even the Japanese, most tasteful people in the world, have
caught the fever for Occidental ugliness. Their tea-houses,
which are no! Japanese at all, retail Oriental beer, and their
shops are stocked with the kind of trash that sells in big
department stores. Even the Imperial Pavilion was built
by European carpenters and lacks that indefinable something
which gives incomparable distinction to everything truly Jap-
anese. Opposite
Canada ’s pavilion
stands that of the "
South African Re— T’
publics. By some -
strange coinci-
dence the site al-
lotted to the Boer
Republic is upon
the very border of
the British colo- ' _
nial section. The
Transvaal brings
to Paris not only ‘
samples of its
gold and its dia-

MARIONETTE THEATER
monds, but also a
complete active illustration of the mining methods used in
obtaining the four hundred million dollars' worth of precious
metal represented by the towering pyramid she has here set
up. The small cube at the base represents a brick worth a
million francs. A veritable gold-mine has been created in
subterranean corridors. lined with genuine ore brought from
South Africa. ‘We closely follow the ore through every proc-
ess, from the first Stroke of the drill or pick to the final
molding into bricks.
17
258 PARIS EXPOSITION


TH E CELESTIAL GLOBE


From South
‘ Africa to Russia is
but a step across
this interesting
“map ” in the
Trocadéro Gar-
dens. Of Russia,



France ’s chief
l ally, much was
expected, and
, amply the czar ’s
government h a s
fulfilled the ex-
pectations of the
F r e n c h . T h e
Russian Palace,
a very imposing
Kremlin, d o m i -
nates this northern section, as Russia herself dominates the




A FRAGMENT OF BORO BODOR


0.0:.‘ F“.


jam ewooarommo o>wom2m
PARIS EXPOSITION 261
lands of the far north. But the one fact most strongly em-
phasized by Russia's comprehensive manifestation is the ap-
proaching completion of the Trans-Siberian Railway. “ From
Moscow to Peking, ” the motto written on the walls, signifies
to jealous powers, “ Eastward the Star of Empire takes its
way. " For just so surely as the Anglo-Saxon star advances
westward, so does the star of the Slavonic race flash like a
comet toward the east. Beware of the rain of fiery meteors
when these hostile planets shall clash!



0! i'-_ i '
‘Mann-1" ’
v -c-¢--—l —
I I
THE FONT D'jENA AND THE TROCADERO
262 PARIS EXPOSITION

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INDIA AND CEYLON
In the Russia pavilion we make a mimic journey over the
Trans-Siberian with the aid of painted panoramas which roll
FivE-o‘cLocK
PARIS EXPOSITION 263
past the window of a stationary train. Suffice it to say that
we lunch in luxurious dining-cars meantime glancing out
upon the flying landscape, noting all the striking scenic fea-
tures of the new railway route from Europe to the Sea of
Japan. On issuing from the cars we find ourselves within
the precincts of Peking. There is a deep political signifi-
cance in the juxtaposition of the Russian and the Chinese

. si-riac ‘ ‘ A
. ‘__‘1_L~
I
NOT AT ALL IAPANESE
264 PARIS EXPOSITION




CANADA
sections. \Ve enter a Russian portal, we sit in Russian
cars, and, without crossing any marked frontier, we sud-
denly discover that our surroundings are Chinese.


THE SOUTH AFRICAN REPUBLIC

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PARIS EXPOSITION 267

Approaching the
French colonial sec—
tion which may aptly
be called the Parisian
“Midway,H we find
the counterfeit pre-
sentments of its deni-
zens portrayed upon a
wall. They are types
of the inhabitants of
all the colonies and
the protectorates of
France. And in the
Trocadéro Gardens
little fragments from
their far-off lands are

THE corn on socru AFRICA S C 21 t t B 1' 6 CI , brilliant
with local color and steeped in exotic atmosphere. Algeria,

,1 1
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i Mi mi
ASIATIC RUSSIA

26S PARIS EXPOSITION

if‘
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IMIISSEBERIEN
,. mail-H"
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mull-m
THE‘. TRANS-SIBERIAN PANORAMA
the largest African possession of France, here lifts its grace-
ful green—tiled minarets and its contrasting snowy domes.

PICTURESQUE CHINA
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THE RUSSIAN ORIENT
PARIS EXPOSITION 271



\Vith a delightful thrill, born of the thought that this is
not the first time that we see it, we enter the Algerian street ;
we even recognize the wily traders who cheated us in the
real African bazaars, six years ago. We hear the sound of
Arab flutes, the chink of metal castanets, and the rhythmic
wailing of the “ Ouled Nayels, " who are dancing impassively
‘
A PORTAL FROM PEKING
272 PARIS EXPOSITION
in neighboring cafés. Near by, the Protectorate of Tunis
offers picturesque attraction to those who love the color
and the quaintness of the Barbary States.
Behind the Trocadéro rises the panorama illustrating
Major Marchand’s heroic march through Central Africa, from
sea to sea,-a march that ranks with the achievements of
Livingstone and Stanley, and yet ended in the inglorious



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‘From photograph, copyright [900,ll)’ Wm. H. Rau, Phil-1.
" INDIGENES “




PARIS EXPOSITION 273
capitulation to
the supremacy of
England at Fa-
shoda. Near here
another panora-
ma tells the story
of the conquest of
Madagascar, now
a loyal possession
of the French
Republic. N or
must we forget
the Asian Empire
of France, for it
rivals the African


in extent and sur-
. . AN ALGI'IRIAN PATIO
passes 1t m popu~
lation. ‘We scarcely realize that France controls vast ter-



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man: M ' '
summon ..

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ALGERIA
274 PARIS EXPOSITION





ALGI'IRIAN STREET
ritories in the East. Her Indo-Chinese possessions com-
prise Annam, Tonking, Cambodia, Laos, and Cochin-China,
~ ~ " while in Siam French influ-
ence is dominant.
The name “Cambodia "
has always suggested to me
a land like those in which
authors lay the scenes of Ori-
ental comic operas ; and judg—
ing from a fragment of that
unfamiliar country, no more
appropriate background could
be selected for an extrava-
ganza. A stairway steep as
Jacob’s ladder, bordered by
fantastic dragons, leads to a
temple in red and gold, sur-
mounted by a yellowish mina-
CLICK I
Photograph by Byron



SADA YACCO IN HER REl‘t-IARKABLE DEATH-SCENE
PARIS EXPOSITION


PICTURES-QUE ATTRACTIONS
ret. As we climb, we hear the music of the tinkly temple
bells, suspended from the angles of the eaves. Below the


r if Iijni fi'fw"i"iff~ ‘ ? i l’ y x .‘.
., ~ ' i‘ v - I
TUN] SIAN BAZAAR
278 PARIS EXPOSITION

temple is a capacious grotto, apparently hollowed in the heart
of a Cambodian mountain. Tremendous visages of unknown
gods worshiped by the ancient races of Cambodia glower
upon the intruder, as he descends the marvelous spiral stair—
way, leading into that sculptured subterranean sanctuary.
Other gods bearing a family resemblance to the buried
deities are found in the surrounding gardens. So perfectly

.a
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FANORAMA OF MARCHAND'S MARCH.’



‘)3.
THE CAMBODIAN TEMPLE
PARIS
281
EXPOSITION
has the aspect of
' extreme age been
simulated that the
trees of the Tro-
cadéro seem to
hold the idols in
a close snake-like
\\'e do
not have time
embrace.
even to glance at
the other colo—
nies, the French
Indies, Marti-
‘ nique, Dahomey,
Sudan,
gal, for we must
INDO-CHINA
or Sene-
hasten on to An-

282 PARIS EXPOSITION
dalusia, if we would see Spain as it was be—


. fore the Moors were conquered and cast
out. We see the cavaliers of King
. ' Boabdil pitted against Spanish knights
in gallant tournaments; we rest in
patios where, confined by lacelike
arches, the famous lions of the Al—
. p, ._ hambra stand at bay ; we drink deli-
‘ cious Moorish coffee to the music of
in
w
‘ Moroccan instruments ; and then, to
wind up the visit gaily, we crowd into
a gorgeous open-air theater and applaud
the dashing Gypsy dancers from Granada,
, and finally, with tired eyes, and ears also
,, "Hummi- LAUCUJN in need of rest, we turn from these pictur—
esque attractions and seek repose in the contemplation of
the fountains of the Trocadéro.
From the east tower of the Palace of the Trocadéro we


may enjoy splen- , ‘."zj'
did views of ‘the _
Exposition. The
Seine curves to-
ward the east,
bordered by the
‘NM Palace and
the Street of Na-
tions on one side
and Old Paris and
the Rue de Paris
on the other. In
the distance a
white line clearly
marks the Es-
planade des Inva- .. . ‘
CAMIIODIAN DI'IITIES
PARIS EXPOSITION 283


licles. Toward the west the Seine
rolls away between the suburbs
of Grenelle and Passy. The
Grands Hotels du Trocadéro rise
I in the middle distance, and the
l Cambodian Temple lies in the
foreground, half encircled by the
right arm of the Trocadéro gal-
lery. Toward the south the view
A STRANGE-R 11* A STRANHE IMO is bisected vertically by the Eiffel
Tower and horizontally by a broad canal-like section of the
Seine. Across the Seine, at the end of the Bridge of Jena,
are the palaces of navigation and the fisheries and forestry
pavilions. Beyond the Eiffel Tower in the Champ de Mars
are the vastest buildings of the Exposition, and far away
upon the right is the Big \Vheel of Paris.
Beyond the wheel lies the Swiss Village. Let us go
thither at once lest amid the multiplicity of things to do we

1,“-
FRENCH INDIES


284 PARIS EXPOSITION


ANDAL‘USIA IN THE TIME OI" THE MOORS
omit a visit to this remote and interesting valley. \Villiam
Tell’s Chapel, in replica, stands on the shore of a tiny lake


h "‘ r 'i in;
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THE LIONS 01" THE ALHAMBRA
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From photograph, copyright 1900, by “'m. H. Ran. Phila.
KING BUABDIL'S CAYALIERS


PARIS EXPOSITION 287
- i-mmm ‘I
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THE GIRALDA
Lucerne, which mirrors dizzy cliffs of artificial rock. Steep
mountain-trails wind up to chalets perched on the verge of
awful precipices, and lovely pastoral valleys nestle in the
embrace of hills and ridges so deceptively realistic that we
cannot believe that just beyond them lies, not another peace—
ful vale, but a wilderness of tenements and factories. Es-
"1
“'IIER E CASTANETS RESOI'ND

288 PARIS EXPOSITION



CASCADES OF THE TROCADE’RO
caping the watchful eye of the policeman, we climb the
fence and wander up this tempting valley, and then, turning,




SUNDAY AFT YER-NOON


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PARIS EXPOSITION 291


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TE BIG WHEEL OF PARIS
we gaze up at the beetling crags, only to find beyond an
Alpine range, a startlingly substantial “ rainbow ’ formed by
the periphery of the Big ‘Wheel. After listening to the yodler,
who is answered by a Swiss horn from the hills, let us go
soaring away above the peaks of Switzerland in one of the
swinging cars of the Grande Rom’ de Paris, a brother
to the Ferris ‘Wheel that once loomed above Chicago.
292 PARIS EXPOSITION
IN THE SWISS VILLAGE
Returning to the Exposition proper, we find the Bridge of
jéna thronged by the Sunday crowds; for Sunday was the





PEACEFUL VALES
PARIS EXPOSITION 293

great day for the Paris populace. During the week the aver-
age attendance was about 150,000 a day ; on Sundays half a
million people usually passed the gates, and spent the day in
elbowing their way along the esplanades, squeezing through
the congested aisles in all the buildings, and finally closed
their restful outing with a long, frantic struggle to get aboard
an omnibus-boat on the Seine. At six in the afternoon, the
WILLIAM TELL'S CHAPEL


294 PARIS EXPOSITION
crowded pontoons were black with impatient, tired, sight-
seers. But on Sundays there was always room in all the
places where admission-fees were charged, for the Sunday
public was not lavish with its money. The frugal folk even
hesitate to sit down on the yellow chairs set temptingly
about, for they who sit, be it but for a second, are liable
to a tax of two cents, which is collected promptly by seedy



I
THE TROCADE‘RO
old women in black. These women would make wonderful
detectives; they seem to know by instinct when any one
sits down within a radius of half a block. On the back of
every chair is the name of the firm controlling the conces-
sion. It is “ A1102 Frr‘rcs," surely an unfortunate title for
a firm whose only desire is that people should stop going and
sit down, for Alla? Frc‘rvs, translated literally, is a fraternal
command to move on: “ Go, Brothers! "



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PARIS EXPOSITION 297

‘We stop a mo-
ment to observe the
Palm's de [a Fem-
me. It is daintily
feminine in style, but
not in intent or scope
a duplication of the

‘Woman's Building at
Chicago. It isaside-
show to which we pay
admission, instead of
‘ a serious expression
‘ of the progress of the
modern woman. An-
other dainty structure

close at hand is a tiny
I
THE RIGHT ARM OF THE TROCADERO
domed pavilion of the
“ Société Genérale,” a banking enterprise which assumed
the complex responsi-

bilities of handling
the gate receipts, not
only of the Exposi-
tion, but also of the
Qw-i-buéw.
l-am-a-it... _. I,
*w-- 4‘ ‘



minor shows and at—
tractions. Its uni-
formed officials col—
lect the cash at every
turnstile. It is the
financial heart of the
Exposition, the organ
which keeps the gold-
en blood in circula-
tion. Next door. the
castle of the tiniest


F I
FROM THE T0? OF THE TROCADERO
298 PARIS EXPOSITION


SHUT IN BY I‘OWERING CRAGS
republic in the world rears its proud battlements; for the
independent state of San Marino, a free state in the heart of
’ ,. ‘~94
q ‘T,’ .. v‘: .‘L ‘I!’
. " y i t'

. @"1fi




A CLIFF OF STAFF
PARIS EXPOSITION 299
monarchic Italy, thus reminds the world of its existence.
There are so many curious attractions assembled in the
shadow of the Eiffel Tower that when beneath that great
spire we scarcely know which way to turn. Towers and pin-
nacles and domes of the most varied and fantastic shapes rise
in this exotic garden of architectural growths. There are the
pointed red and yellow spires of the Siamese palace, the curi-
ous facade and the dull-red Japanese pagoda of the attraction
called the Tom‘ dz! rlfmzde. Particularly pleasing to the
traveler is this panorama of the Tour Around the \‘v'orld.
The exterior of the elaborate structure suggests the joys of


Oriental travel. I , » n p
The pagoda and the entrance-gate
carved in Japan
bear the stamp of
genuineness. It
remained for this
money-making
enterprise to in-
troduce into Paris
the only worthy

examples of the
architecture of
Japan. ‘Within
the building we
find a huge ellip-
tical panorama,
where from a sin-
gle point of view
the traveler sees a
series of the most
charming views


llIZllI greet {IS ATIFICAL ALPS
300 PARIS EXPOSITION

' a , .:;. Lg’?
~ ‘ ‘ " “la
.““"v w \r i


ON THE BRIDGE ("7 J'IENA
he goes around the world. From the Acropolis the eye
wanders to Constantinople, thence passes by Jerusalem to


,
THE Porn 0‘ JENA
PARIS EXPOSITION 301


A PONTON AT FIVE O'CLGCK
the Suez Canal, and so on to the farthermost east, the eye
being led from land to land without a shock. The vistas
merge into one another as naturally as do the real objects in
the foreground merge into the painted scene behind. A
novel feature is the introduction of living people in the fore-
ground. For example, between us and the section of the



A PONTON AT SIX O'CLOCK


PARIS EXPOSITION






SL'NDA Y C ROWDS





\
THE CHAIRS OF ALLEZ FRÈRES
PARIS EXPOSITION 303




" THE PALACE OF THE \VOMAN"
painting where Fujiyama rises, there is a Japanese tea-house
as real as it is dainty,

peopled by a dozen
geishas from Tokio,
dressed in the fabrics
of Japan. The very
atmosphere of Dai
Nippon is there“ the

house, the garden, the

people, and the dis-
tant view are purely
Japanese. There is
nothing in the com- .
position that is not
truthful and satisfying
to the lover of Japan.
Another fragment
of a land I love was
found in the Moorish
section; a gate and


TURR ETS AND T0\\'ERS
304 PARIS EXPOSITION


SAN MARINU
minaret from old Tangier, a narrow street of tiny shops, a

bench where Moorish
coffee may be drunk
amid the babel of
loud cries in Arabic,
and in the bazaar a
cool place of rest,
where we discover

two fine old l‘tloorish
merchants. \Ye can-
not refrain from tell—
ing them that we are
among the few who

have traveled into

Morocco, who know
the gardens and the
streets of their sacred
city, Fez. Then fol—

lows a long conversa—
tion, in the course of
EXOTIC AIU‘III‘I‘IECTIIRAI. GRO\\'THS



“WCZ Z>Z<

P>ZUw
PARIS EXPOSITION 307


A PEACEFUL VISTA
which we learn the most unwelcome news, that our old guide,
the irrepressible and loyal friend of our Moorish wanderings,
Haj Abd-er-Rahman Salama, will never lead another caravan
across the roadless plains, for last year he set out on his
eternal pilgrimage. _
Among the startling novelties at the Exposition, perhaps
the most ambitious was the Palais Lzmzz'neux, a fantastic
palace, made of opalescent glass, Within which the arts of
diamond-cutting and glass-blowing were practiced. By day
308 PARIS EXPOSITION
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~
thorium" mfg/,7“; .

THIL‘ ARCH [)I" THE TOWER
the palace seemed to drink in light through its translucent,
tinted walls, until at nightfall, saturated with luminous rays,
it gave them forth again to make the darkness beautiful. It
then appeared like an enchanted castle of the King of Fire-
flies. The brilliant incandescent marvel mirrors itself in a
_, [sf/[y ‘I, , "i ‘ l. 11‘ I‘ at \r i'\\ \ if
1/'1///1,' ‘ ' '. \ ._
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CARVED IN JAPAN
PARIS EXPOSITION 309
small lake upon'
the other shore of
which is the very
delightful restau-
rant of the Pa—
z'z'lz'on Blezz, with
terraces and bal-
conies, which at
night are bathed
in a golden glare.
Beyond, framed
by the arch of the
great Tower, is
the much-adver—
tised Optical Pal-
ace. Very fortu-
nately, the word
“optical " sug—
gests the word
“delusion " and

11 W l'lll'l
LUMINOUS PALACE
relieves me from
the necessity of
using it. Externally it was rich in promises of interest-
ing scientific revelations, but nothing seemed to work-—
from the largest telescope in the world, which was not in
operation, down to the luminous tubes, which failed to
glow. The one success of the establishment was a long
gallery lined with a score of curved mirrors, in which specta-
tors saw themselves distorted in a score of laugh-provoking
ways. Whenever we felt blue, we had but to take a turn
with the roaring crowd up and down that merry gallery, and
there indulge in comical reflections. As an economy of time,
we will survey this section from the Eiffel Tower. We see
below the long gallery that shelters the great telescope, so large
310
PARIS EXPOSITION


44...; K " a‘. ‘i— _
, '31:.LL
FROM OLD TANGIER


trate like a. cannon
of mammoth propor-
tions, 2. huge mirror
being used to throw
the reflections of the
moon and stars into
the horizontal tube.
Across the Avenue
Suffren we see the
tracks of the Termi-
nal Stations, to the
i left the Cairo Street,
to the right the Celes-
tial Globe. On the
right, just below the
globe, is the success-
PARIS EXPOSITION 311
ful Mareorama, where
we experience the illu-
sion of a trip by sea
from Villefranche to
Constantinople ; next
to it on the left is a
panorama of Algiers,
1 and still farther to the
, left a tiny reproduction
of Venice, a rash at-
tempt to crowd into nar-
row space everything
of interest in Venice
from St. Mark '5 Cathe-
dral to the Grand Ca-
nal. Let us drop into
this mimic “City of the
Doges. " Marvelously
deceptive at first glance

THE PALACE OF OPTICS
3 I 2 PARIS EXPOSITION

is the mass of reproduced detail; we recognize a corner
of the Ducal Palace, the mosaics, and the bronze horses
of San Marco. It is only when we descend to the Piaz-
zetta, and, standing by the column of the winged lion,
gaze toward the island of St. George painted on a canvas,
twenty feet away, that we realize the complete absurdity of
this attempt to apply tight-lacing to the Queen of the Adriatic.


THE EXPOSITION TERMINAL STATION
Once more let us employ the Eiffel Tower as our photo—-
graphic tripod. We find it convenient; for although cam-
eras are admitted free, there is a tax of five dollars daily for
the use of tripods in the grounds. A curious photographic
map of the section round the base of the tower was made
by pointing the camera directly toward the center of the
earth. The vista of the Champ de Mars from the summit,
about 1,000 feet above the earth, is curious, if not inspiring.
A long expanse of grass and gravel stretches between the two
extensive lateral palaces, and terminates at the monumental


PARIS EXPOSITION 313
C/zdfeau d’Eau or the
\Vater Castle, beyond
which we see the roof of
a tremendous building
left over from the Expo-
sition of 1889. The Mili-
tary School beyond looks
like a barrack for toy- _‘ V
soldiers.
Although we may speak
of the Palaces of Agri-
culture, of Mining, and
of Electricity, they are
in reality sections of one
vast palace in the form
of a gigantic letter E.
Far more attractive is the
same view from a lower story of the tower.

THE COLUMN OF THE WINGED LION


.‘L i i _, A
A FRAGMENT OF SAN MARCO
The long fa-
cades of the great
‘buildings assume
t r u e r proportions.
" The fountain begins
j to assert its magni-
tude and dignity, and
crowns itself with a
colossal diadem of
‘ filigree upon which
l the star of light is
‘ balanced like a glit-
tering gem, waiting
. the evening touch of
electric rays ; and the
\ chimneys show their
unrivaled altitude.
314 PARIS EXPOSITION
To study these things at closer range, let us descend to
earth in one of the big elevators that glide amid the metal
network of the Eiffel Tower. Near the “left hind leg " of
the tower stands the entrance to the Palace of Arts, Letters,
and Sciences. It illustrates the modern tendency of Gallic
architects away from the dignified and beautiful toward the
fussy and the frivolous. Masses of delightful detail are

u
A
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a
v
t
' l
. ‘ ~'
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‘ .
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lavished on these portals, which are best described as bubble
buildings blown for a day. The pendant to this portal is at
the angle of the Palace of Mines and Metallurgy. The same
seeking after queer, extravagant efi'ects is manifested here.
But although our artistic digestion is almost ruined by this
overdose of architectural pastry, our palates are continually
tickled by new flavors, and we continue to nibble at this
pretty but unwholesome gingerbread. Another tempting bite
is ofiered by a slice of decorated layer-cake. It is the
., 4 A, mmwwmr
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J;
Can...
PARIS EXPOSITION
317
entrance to the Trans-
portation Building.
Appropriately the in—
terminable balconies
under the higharcades ,
are occupied by res- I
taurants, and on the
ground floor there are
miles of café tables.
Behind us is the en— ‘
trance to the hall of ,
silks and gowns, in
which the art of the ,
weavers of Lyons and
the art of the dress—
makers of the Rue de
la Paix are gloriously
represented. The va-
rious gowns displayed
FUSSY AND FRIYOLOUS
are indescribably artistic, sinfully costly, and almost too



MINES AND M ETALLURGY
318 PARIS EXPOSITION


~ 11mm; BUILDINGS 51.0w», Mimi’
beautiful to wear, but I dare not let you enter, gowns are too
absorbing to ladies—we should not be permitted to resume
our promenade. Moreover, man should not attempt to talk
of dresses, and mere photographs could not do justice to the


4 v vestments of the wax-
\ ‘ ' en goddesses, con-
fined in the glass cases
of Félix, Worth, Pa-
quin, and other mas-
ters of the daintiest
and most ephemeral
of arts.
Therefore we must
drown our disappoint—-
ment in the Agricul-
tural Palace, where
the Temple of Cham-
pagne offers unusual

facilities for submerg-
- ing sorrows in the
ARTS, LETTERS, AND SCIENCES
PARIS EXPOSITION 319
l l a.
‘ {him/mi ‘fiat, ‘
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sparkling vintage of the Province of the Grape par excel-
lence. It may be suspected that the architect of this hilarious
pavilion subsisted on the produce of the vine while working
out the details of his plan. On the main floor and balcony
are grapevines and arbors and plaster figures of sturdy, hard-
working peasants ; these typify the cause. High above are
popping corks, brim- 7"” ' ' '7 7 ‘fi'—'_'
ming glasses, and a
plastic saturnalia, all
of which illustrates
with fearful vividness
the inevitable effect.
50, fleeing from temp-
tation, let us embark

upon a medieval car—
3' “I.
avel, a reproduction
of the vessel that
imported to France
from the Indies the


INTERMINABLE GALLERIES
320 PARIS EXPOSITION


SILKS AND GOVVNS
.first samples of cocoa, and thus gave rise to the grow-
ing chocolate industry.
The greater part of the agricultural section is dedicated to
the bibulous god, Bacchus. Every vine—producing region
has erected here a replica of some chfiteau or castle, the


A HACK-DOOR 014' THE EXPOSITION
PARIS EXPOSITION 321
name of which appears on


every wine list in the world.
\Ve are at first surprised to
learn that Burgundy, Bor-
deaux, Champagne, Médoc,
Margaux, and Cognac are
places, and not merely Wines.
\V e have never fully realized
that there are people who

actually live in Champagne,
bathe in Bordeaux, and go
to bed in Cognac. Beyond

A MUNUMENTAL CHIMNEY
and behind this
aggregation of
quaint structures,
which we des-
ignate “Alcohol-
opolis, " rise the
facades of the
enormous festal
hall, the Salle
des F éz‘es, a mar-
velous triumph of
the structural and



decorative arts.
It is one of
the marvels of the
Exposition. A
Sky Of glass hangs i i CHAMPAGNE
21
322 PARIS EXPOSITION
if over the wooden
‘ ‘ . desert of a floor,
(6 j" _. ‘ Jami



~ yrsmfl I
Nam so vast that we
m ;:
almost hesitate to




venture out upon
it. Fourtribunes,
broad as moun-
tain slopes, rise in
the four corners,
and a stairway
like a terraced
glacier pours a
flood of steps
down through an
intervening val-
ley. The colors
of the sunset and
I a I the sunrise glow
DAIRY PRODUCE in the pictured
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AMERICAN AGRICULTURAL SECTION

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A STRUCTURAL MARVEL '..' v2 2'
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PARIS EXPOSITION 32 5
skies of high-set mural
decorations, and the
glare of noon falls in
a shaft of brilliance
1“ from the crystal zenith.
There are statues and
paintings sufficient to
equip a gallery of art
lost in the vastness of
this Sal/c dc Féies.
Mounting the monu-
mental stairway, the
visitor enters the Hall
of Electrical illusions,
fit throne-room for a
fairy queen. The six
surrounding arches,

supported by translu—
cent, opalescent columns, serve as frames for six gigantic

JAPANESE AGRICULTURAL SECTION
326 PARIS EXPOSITION
mirrors, each reflecting the reflections of the other, until the
illusion of measureless vastness holds the spectator spell—
bound. Every second the colors change. Arches of smolder-
ing blue flare out in fiery red ; the soft green of the columns
turns to golden yellow; or the dim silvery glimmer of the
festooned pearls suddenly bursts into a dazzling glare like
that of molten metal. This is the signal for an explosion of
luminosity that fairly stuns our optic nerves. It is as if a
universe of tiny noonday suns


had suddenly enveloped us.
This magical apartment
serves as a vestibule of honor
to the Sallc dc Féz‘c’s, on the

it.
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TH E CHOCOLATE CARAVEL


PARIS EXPOSITION 327


“ ALCOHOLOPOLIS "
occasion of official ceremonies, such as the Presentation of
the Awards and ' "
Medals. On fes— ‘ ~
taldays troops "unn"
line the broad
a v e n u e of the
Champ de Mars,
and present arms
as statesmen, dip-
lomats, princes,
and presidents ap-
proach th e en-
trance. No less
than 20,000 spec-
tators find seats
within the Salle
de Fé‘tes on these

THE HALL OF ILLUSIONS
328 PARIS EXPOSITION


occasions ', other scores of thousands were kept at a respect-
ful distance by a large contingent of the garrison of Paris.
The crowning architectural feature of the Champ de Mars
is the C/zdtcau 0'' Ban ,' behind it rises the facade of the


W l ‘a’, ‘1'
fi 7 .
LE CHATEAU u‘ mu


PARIS EXPOSITION 329
Palaz's de l’E/ecz‘rz'cz'z‘é, with its diadem of steel and glass,
above which, balanced like the chief jewel of a tiara, gleams
the Star of Electricity. The Palace of Electricity was the
soul of the Exposition ; from it went forth along the myriad,
endless nerves of wire the thrills that gave it life and light
and motion. Yet without water there would be no steam,
no power, and no electricity. The fountain, therefore, is
not wholly ornamental; the waters of the jets, cascades,

i ' .‘R i -_ 'r- 7': - i;
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THE “ \VATER CASTLE "
and pools, flowing in such graceful wastefulness, will return
to serve a serious utilitarian purpose in the boilers of the
great machinery hall. At night multitudes gather in the
Champ de Mars, awaiting the spectacle of the illumination of
the “Water Palace " and the “Fire Palace.n A sudden
burst of brilliance and we behold the apotheosis of electricity.
The terraced pools within the grotto are rimmed with lines
of fire, over which flow cascades of liquid flame. The jew-
330 PARIS EXPOSITION
eled diadem stands out against the sky like a tiara of opals
upon a background of black velvet. The Genius of Elec-
tricity, guiding her snowy horses, appears to have come
rushing through the night, followed by an incandescent star,
until, smitten by a shaft of white light shot from the Eiffel
Tower's top, she has reined in her rearing steeds, and, with
her attendant planet, alighted on the crest of this colossal
.-‘,T§§fi{;
In.
. Illlllli
ORNATE. DETAILS




From photograph, copyright 1900. by ‘Wm. H. Rau. Phila.
THE CROWNING FEATURE OF THE CHAMP DE MARS


.‘QQ
PARIS EXPOSITION 333


CASCADES AND JETS
coronet of fire. But no words can describe these changing
lights and pulsing waves of color. We say that the crown is
brilliant with the glare of rubies; and, ere the words are
said, the rubies are transformed into


sapphires. The emeralds that
a moment since gleamed


TINTED FOUNTAINS
334 PARIS EXPOSITION
rm: cii'KrsAu D'BAU AT men-r

through the green—tinted waters are
become yellow dia-
monds or pinkish ‘

pearls.
But always and
unvaryingly white as
marble, the Electric
Spirit rules her pranc-
ing steeds and holds
the beacon star, like
a fixed planet high
above the chaotic riot
of color. Meantime
the rainbows, arching
in the spray, play
Beethoven sympho-
nies; in the grotto strong color masses '._
build up Wagnerian _
themes; and, high
above, t h e glowing From photograph, copyright 1900, by Wm. H. Rau, Phifa.
ARTIFICIAL GEYSERS
PARIS EXPOSITION 335
harps and lyres are touched by fiery fingers and give forth the
dainty tripping melodies of Mozart. And the eye listens to
this color music, finding in it a new sensation, a new pleas-
ure, and a promise of an art for which as yet there is no name.
But the art of color-music is not new, the western skies have
practiced it for ages. The clouds and mists and the ether
and the sunshine have played an evening color symphony at
THE EIFFEL CONSTELLATION AND A TRl-TAILED COMET

3 36 PARIS EXPOSITION
the close of every day since the old earth was born. The
crowds, however, like children, prefer the artificial to the
real. Spectators, who have looked unmoved upon the
glories of the western skies, turn, with ecstatic admiration, to
those chromatic harmonies, waked by the magical musician
of the future, — Electricity l
We stand upon the threshold of the Age of Electricity ——
the Age of Light.
The Universal Exposition of Paris commemorates the
close of the nineteenth century, the Age of Steam. And as
we look by night upon the Wonder-City of I900, We see the
Eiffel Tower, ablaze with electrical incandescence, pointing
like a prophetic finger toward a radiant futureia future in
which the Light of Science and the Light of Knowledge shall
future which shall
ness upon the


be universal —a
have no dark—
earth, nor shadows in
the lives of men.
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