CHAPTER II.

THE MAMMOTH MANUFACTURES BUILDING.

The Greatest Exposition Structure Ever Known — It Covers Nearly Forty Acres of Ground and Contains
Forty-four Acres of Exhibits Valued at Fifty Millions of Dollars — Three Million Feet of Lumber
and Five Carloads of Nails in the Main Floor— It is 1,687 Feet Long and 787 Feet Wide— Many
of the Foreign Pavilions Built After Designs of Famous Palaces — Rare and Costly Wares, Fabrics,
Watches, Jewelry, Musical and Mechanical Instruments and Professional Implements Amaze the
Beholder on Every Hand — The Great Central Landmark an Alabaster Clock Tower, 135 Feet
High, Erected by the American Clock Co. — A Chime of Nine Bells — When They Ring it Sounds
Like the Music of Heaven Reverberating Through the Immense Space — The Pantheon-like
Pavilion of the Meridian-Britannia Ware — Tiffany's Costly Structure — :A Dazzling Aggregation of
Gems — Splendid Display of Watches and Jewelry — Elegant and Spacious Booth of the Waltham
Watch Company — Stem- Winders by the Ton — Palaces and Temples Filled with Laces, Rich
Chinaware, Porcelain, Statuary, Silverware, Textile Fabrics, etc. — Silver Statue of Columbus at
the Gorham Pavilion — Dolls that .Talk and Walk — Petrified Wonders from Arizona — Dazzling
Displays by Forty Foreign Countries — Reproduction of Hartfield House— Concentrated Splendor
of the Siam Exhibit — Magnificent Displays by all the Leading European Countries — Sketch of
James Allison. Chief of Department of Manufactures.

ERHAPS the object the most eagerly sought for by a ma-
jority of sightseers is the mammoth structure known as the
Manufactures and Liberal Arts Building; — or, by a shorter
term: — the Manufactures Building. This is because it is
the largest in the group of most extraordinary buildings and
also because of the extensive distribution of countries which
make exhibits and the generally diversified and interesting
nature of the exhibits — for within this immense structure
are myriads of booths and pavilions where wares of every
clime and country and of every description and value are to
be seen. The Manufactures Building is the largest in the world
and the largest under roof ever constructed. Its dimensions are
1687 by 787 feet and it has an exhibit area of 44 acres and covers
30}^ acres. A central hall 380 feet wide runs its complete length and is spanned by
single arches, without supports; 12,000,000 pounds of steel were used in these 22
trusses, each of which weighs 125 tons, and it required 600 flat cars to bring them
from the iron works to Chicago.- There were 17,000,000 feet of lumber used in
construction and with this five car loads of nails were used; while there are over
2,000,000 pounds of iron in roof of nave. There are n acres of skylight and 40
car loads of glass in the roof. The building is 100 feet longer than the Brooklyn
bridge and it is claimed that the iron and steel in the roof alone would construct

210

HISTORY OF THE WORLD'S FAIR.

two such suspension bridges. It will seat 300,000 people, and there would be room
for the full standing army of Russia under its roof. It is three times as large as
St. Peter's cathedral, and the largest church in Chicago could be placed within the
vestibule of that great church at Rome.

The building is rectangular in form, and is surrounded by a spacious colon-
nade, which affords a splendid promenade on a warm day, getting the lake breeze
and water view on all sides. It is in the Corinthian style of architecture, its classic
outlines and stupendous length being broken by the four entrances 40 feet wide
and 80 feet high and the eight domes. The exterior is covered with "staff" and in
its columns, arches, sculptured bas-reliefs and panels, presents the appearance of a
magnificent marble palace. The walls are 66 feet high, the four central pavilions
122, the corner pavilions 97 and the greatest height of roof 437.6 feet. The plans
of this architectural wonder were drawn by George B. Post, of New York; their
execution cost the Exposition $1,800,000.

When one enters the Manufactures Building, say by the south entrance, his
impression will be that he is in fairyland, or at least that he is visiting a city of
palaces, temples, castles, arches, monuments, and hanging gardens. All that is
graceful in outline and entrancing in color will salute his senses at the same time.
But his eye will necessarily be drawn toward a beautiful structure in the center of
the building, where the two main highways intersect, and where they have been
enlarged into a circle for its accommodation. The best thing he can do, if he expects
to make any progress in taking in such a wilderness of attractions, is to make for

this center and then branch out from it
at his leisure. The great central land-
mark, looking like the spire of a cathe-
dral in alabaster, is the clock tower, 135
feet high, of the American Self- Wind-
ing Clock Company. It is arched on
all four sides, of course, or it would
block up the thoroughfare. In addition
to a clock-dial on each side, it has a
chime of nine bells. The largest, oh
which the hour is struck, weighs 3,700
pounds, and the whole chime 7,000
pounds. When they ring it sounds like
the music of heaven reverberating
through the immense spaces of the
building. Clocks are scarce in Jackson
CHIEF ALLISON. Park, but visitors to the Manufactures

Building, no matter in what remote corner of it they may be hid, are reminded in
notes of the sweetest music of the flight not only of the happy hours, but of the
happy halves and quarters as well.

The space on the ground floor of the building is alloted mainly on the basis
of nationality, and apparently on the principle of placing the greatest nations

HISTORY OF THE WORLD'S FAIR. 211

nearest to this striking central feature. Standing at this point, where the building
is exactly quartered, one will observe that he is surrounded by the great powers of
the earth. In the northeast quarter is the United States, in the northwest quarter
Germany, in the southeast quarter France, and in the southwest quarter Great
Britain. If he will climb the clock-tower and look again, he will see that
the United States takes the entire northeast corner of the dome-covered por-
tion of the building. In the northwest corner, however, he will see, over the head
of Germany, the exhibits of Austria and then Japan. In like manner, looking to
the southeast, he will see, away beyond France, the exhibits of Belgium, Russia and
Norway, with China away off to the east. Then, looking to the southwest, he will
see, adjoining Great Britain on the south, Canada, and beyond that Denmark,
Brazil, Italy and Spain, while off to the west are Jamaica, India, and New South
Wales, and to the southwest Switzerland, Mexico, and Persia. The smaller na-
tions he may locate gradually.

Looking again to the northeast, the visitor will be struck with the fact that the
United States exhibits, unlike those of other countries, are not nationalized by any
kind of general inclosure. He will also be struck with the fact that it is not exactly on
the same scale of expensiveness or grandeur as the neighboring national exhibits. In
place of a national pavilion it has at the angle nearest the clock tower the booth of
Tiffany, however, which entirely redeems it. This triple-arched entrance, with a
saffron-colored doric column 100 feet high, surmounted with a globe and golden
eagle, is certainly beautiful. To the north of it, and in striking contrast with it, is-
the pantheon-like booth of the Meriden Britanniaware Company, built of rosewood
with curved plate-glass windows. North of that again is the elegant and spacious;
mahogany booth of the Waltham Watch Company. The rest of the space is cut:
up into comparatively small portions, but which contain many interesting and;
creditable exhibits, although they may not make so great an impression amid suchi
i wilderness of magnificence.

The articles classed under manufactures and displayed are so numerous as!
to bewilder the mind. They are divided into thirty-five groups, each group;
divided into ten or more classes, and each class into about twenty or more smaller'
departments; and even these smaller departments are so general as to convey but
little idea of the almost infinite diversity of articles displayed. It may assist the'
imagination, however, to mention as included in the groups chemical and pharma-
ceutical supplies, paints, colors, dyes, varnishes, paper, stationery, upholstery, artis-!
tic decorations, ceramics, mosaics, stone, monuments, musical instruments, china, por-!
celain, glassware, furniture, stoves, bronzes, paintings, statuary, watches and jewelry,'
clothing, silks, satins, cassimeres, serges, velvets, laces, draperies, linens, cottons,
woolens, firearms, dolls, iron, copper, brass, nickel and tin ware, and many tens of
thousands of things that need not be enumerated, but which include nearly all kinds
of machines and implements and other articles of handiwork not used in mining,
agriculture and transportation. More than thirty foreign governments are repre-
sented, among which are Algeria, Argentine Republic, Austria, Belgium, Bolivia,
Brazil, British Guiana, British Honduras, Cape Colony, Canada, Ceylon, Chili,

14

212

HISTORY OF THE WORLD'S FAIR.

China, Colombia, Costa Rica, Cuba, Curacao, Denmark, Dutch Guiana, Dutch
West Indies, Eucador, France, French Guiana, Germany, Great Britain; Guatemala,
Hawaiian Islands, Hayti, Honduras, Italy, Japan, Jamaica, Korea, Madagascar,
Mexico, New South Wales, Netherlands, Nicaragua, Norway, Orange Free State,
Paraguay, Persia, Peru, Porto Rico, Queensland, Russia, Salvador, San Domingo,
Siam, Spain, Sweden, Switzerland, Trinidad, Turkey, Uruguay, Venezuela, Zanzi-
bar.

Many of the foreign pavilions are built after the designs of famous palaces.
Germany's pavilion is a wonderful piece of work, the French section is magnificent,
and the English hardly behind its neighbors. The value of the exhibits in the
Manufactures Building is more than $50,0x30,000 and they include rare and costly
articles of every kind that are the fruits of skilled labor as well as many more that
are in constant demand and use. Far away India shows rich embroideries,
brocades and silk textiles; quaint carvings in sandal and teak woods, ivory and
bone; gold, silver and amber jewelry; art pottery and other curious workmanship
Japan's bamboo and lacquer ware' porcelain, faience, cloissonne, and art metal

wares; delicate ivories,
gumma, tapestries, and so
•forth, are much admired.
This country exceeds all
others in number of ex-
hibitors, there being 2089
in all. Norway, Denmark
and Sweden display about
the same line of goods,
jewelry, carvings, em-
broideries, furniture, etc.
Siam has 63 exhibits.

Skins, inlaid pearl work,
enameled articles, rattan
and bamboo woods,
needle work, preserves,
candied fruits, etc. The
renowned Swiss watches
and carvings are shown
in this section. Chronom-
eters for old and young,
rich and poor, useful and
ornamental, turn their
shining faces up from row

upon row of cases. The Italian section displays a world of marbles, mosaics and
bronzes; Venetian glassware, laces, artistic furniture, Roman silks, Neapolitan
corals and cameos; filigree work, tapestries, lamps and other exquisite goods
caure much admiration and covetousness on the part of the visitor. Great Brit-

WEST SIDE OF MANUFACTURES BUILDING.

HISTORY OF THE WORLD'S FAIR. 213

ain occupies a large space in the center of the huge building and displays a great
variety of manufactures, particularly Irish linens and laces, Scotch worsteds and
woolens; china, glassware and pottery decorated in every imaginable style; per-
fumeries, silks and all the ordinary articles such as yarns, cutlery, sporting guns,
combs and brushes, clothing, and many, many more.

Belgium has brought over her Brussels handkerchiefs and point veils and
Chantilly flounces and Valenciennes edges, and fans and collars and parasol covers
in every known lace and for every use, bronze vases and ceramic tiles, costumes,
cathedral glass and many other beautiful things. As all the world knows, Belgium
prides herself on her laces, and there are some on exhibition that are marvelously
delicate and beautiful. There are Mechlin round point, Valenciennes, black
Belgian thread, dentelle, Louis XV., Venetian point, point de Bruges, point ap-
plique, duchesse and as many other kinds of lace as ever were known to the
modern world, made up in collars, handkerchiefs, trimmings, covers, fans and even
a bride's veil. It is a sufficiently explicit description of the last to say that its price
at home is 75,000 francs, or $15,000 dollars. Next in importance is its exhibit of
porcelain, of which there are numerous beautiful specimens. Much attention is
given to the display of native marbles. In one exhibit there is shown an entrance
to a hall, a staircase, mantel, dado, paneling, semi-Corinthian pillars, an elaborate
inlaid floor and beautiful chimney pieces. The white marbles are good rivals of
the celebrated Parian marbles, and the blocks, delicately carved and remarkably
pure in color, are rare specimens in this part of the world. Austria has over two
hundred beautiful displays by her merchants. France keeps ';p her reputation as
producing the most exquisite silks and velvets, and rivals if not excels other coun-
tries in her china, laces, artificial flowers, costumes, millinery, bronzes, and Parisian
novelties. The United States, producing and manufacturing everything, exhibits
•everything. Whatever the foreigner can design, the American artisan can im-
prove, so through the full line of exhibits, this country reflects great credit in what
is shown in the Manufactures and Liberal Arts Building alone.

The German exhibit, including the pavilion and the great lordly-looking iron
fence, is grand and wonderful. Immense bronzes, tile painting, antique silver,
•carvings, fine art wares, artistic interior decorations, and thousands of inviting
objects too numerous to mention are seen daily by tens of thousands of people.

The following is a list of the principal articles contributed by the emperor of
•Germany:

Golden goblet, enameled, with jewels; dedicated to his majesty Emperor
William II. Among the articles dedicated to his majesty Emperor William I. are
a medal of the Royal Academy of Arts; congratulatory address of the city of
Berlin on the occasion of his majesty's return from the war of 1866; addresses of
t^e province of Silesia, city of Munich, on the occasion of their majesties' golden
wedding of 1879; congratulatory addresses of the city of Cologne, cities of Silesia,
women of Cologne, subjects of the empire on the occasion of his majesty's ninetieth
birthday.

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HISTORY OF THE WORLD'S FAIR.

215

Articles dedicated to his majesty Emperor Frederic III., congratulatory
addresses of the province of Saxony, city of Nuremberg, and city of Berlin on the
occasion of their majesties' silver wedding in 1883.

Silver bowl presented by the nobility of Schleswig-Holsten to his royal high-
ness Prince Henry of Prussia on the occasion of his wedding.

MERIDEN BRITTANIA PAVILION.

Gifts oi honor and addresses to his highness Prince Bismarck, silver table
service, shield of honor, silver; bowl dedicated by German students, copper tankard,
patents of honorary citizenship to the cities of Berlin, Bremen, Cologne, Dresden,
Druisberg, Hamburg, Hanau and Lauenberg.

Gifts of honor and addresses to Gen. Count von Moltke, field marshal staff
patents of honorary citizenship of the cities of Hamburg, Munich and Mersburg.

2i6 HISTORY OF THE WORLD'S FAIR.

Shrine of addresses, ebony and silver, shield of honor, votive tablet.

Prizes of honor awarded by his majesty the emperor of Germany for army,
hunting, races, and regattas, silver ships and goblets, bust of his majesty Emperor
William II., silver; silver bowl embossed; silver clock, silver cup with socle,
enameled and gilded; silver dollar platter, silver dollar cup.

Silver table service in the shape of a sleigh, enameled; silver goblet, shield
of honor, casette, ebony with silver; enameled silver table service, shells and
alabaster; bronze group, "The Daily Press; "glass goblet, polished; stone vase,
set in bronze; portraits of their imperial majesties the emperor and empress of
Germany, bronze, with frame of gold bronze.

Galvanoplastic imitations of old German goldsmith work, mostly from the
silverware property of the city of Luneburg at present in the Museum of Industrial
Art Berlin; cups, cans, and basins of the fifteenth and sixteenth centuries.

In the room of Gabriel Seidl are exhibited red marble vase, rich bronze
mountings; reliquiarium, ebony, with lapis lazuli, enameled and with silver work;
figure of St. George, gilded bronze; table service; casette, ebony with silver; silver
globe; stag clock; scenting bottle; cup in the shape of a thistle, silver; wine pitcher;
aquarium, glass and silver; crucifix, silver and crystal.

Property of the emperor of Germany, exhibited as a part of the exhibition
of Baden, wrought iron screen for stove, enameled, Schwarzwald clock.

Property of his royal highness the hereditary Grand Duke Frederic, of
Baden, grand silver table service, small table service, chandelier, and case for
reception of documents, gilded silver dish, silver cup, clock, fans, casette, carved
in wood, and other personal ornaments, silver plate, decorations, and an infinite
variety of other articles, worth millions of dollars.

Away out at the extreme north end of the German section, in a little nook
all by itself, is an exhibit which possesses a wealth of attraction to all who chance
upon it. There is not a minute of the day but what this charmed corner contains
scores of delighted little ones who literally feast their eyes upon the pretty things
displayed. The display is that made by the allied doll industries of Sonneberg and
Ohrdruf, in Thuringen, Germany.

Never before were so many different types of dolls displayed. There are
white dolls and black dolls, cute little pickaninnies and oblique eyed Jap boys and
little maidens; tiny dwarf dollies and big dollies; diminutive Uncle Sams in frock
coat and fluffy beaver, and a host of other things. If the young tot? are fascinated
by the wonderful exhibit their elders are none the less interested. It is a unique
exhibit. It is more than unique; there is originality and art, both in the conception
of the rosy-cheeked little misses that look down at you with eyes of liquid blue, and
their execution.

From time immemorial a little town in Thuringen, almost on the border of
the Black Forest has been manufacturing toys. This town is Sonneberg. The in-
dustry has been carried down from father to son for generations. 'Everybody who
can work takes a part in the production of these trifles which seem to bring heaven
nearer the heart of the average toddler. Grandfathers work beside little girls

HISTORY OF THE WORLD'S FAIR. 217

barely strong enough to stand up. Each does a part and does it well. The result
has been to bring the perfection of toy-making almost to its highest notch.

There is a suggestion of the "Crystal Slipper" coach, and one expects to see at
almost any moment the powdered wig and sweet face of Cinderella peep out of the
coach doors. But instead of that there are the most quizzical looking punchinellos
any one could possibly imagine; gaily bedecked and embroidered young lackeys,
footmen, and a vast retinue of attendants. Fat and rubicund little German misses
smile down at you or shake their dainty fingers. A shaggy St. Bernard tramps
haughtily and independent alongside the coach. It all looks like a merry outing
where clown and child have gone out to amuse and be amused.

Along the three sides of the room thousands of other dollies smile quizzingly
as you watch them. They are either on shelves or in dainty cases. The shelves
have been built low purposely so that the youngsters who come into the Sonneberg
display may peep all by themselves into all these glories. Ladies of rank may be
seen here with long-trained robes and fluffy blonde hair. Little white rabbits there
are with eyes like a sunset. If the keeper is in good humor he will take the bunny
out, and after winding up some invisible spring, bunny will hop out and trot lifelike
on the floor. There is a big-eyed heifer who will bellow just like the genuine dairy
article, and a little lamb that gambols and bleats ever so cutely.

These things are for the little boys. Also a regular farm, with tiny plow and
harrow, a tiny wagon drawn by pretty horses, and tools of all sorts — carpenter, ma-
son, architect, surveyor, etc.

The little girls can have much else to choose from in case the dollies don't
meet exactly their desires. A dainty china tea set is there complete, also a minia-
ture kitchen, where Bessie or Maude, or whoever the little girl may be who gets
the set, can treat her friends to a repast as generous and bountiful as any lady of
the "40x3" can do. Besides all this, she can have a parlor set with the prettiest up-
holstered baby chairs imaginable.

Of course, every one who visits the Manufactures Building has seen the Tif-
fany pavilion, with its tall, eagle-tipped tower. You can see almost any example
of the gold and silversmith's skill at Tiffany's, from a six-shooter with richly graven
silver handles to a toilet table worth $9,000. This toilet table, by the way, is a
thing to be admired. It is exceedingly dainty and fragile and is made of the pre-
cious amaranth wood, brought from South America. Very little of this red-grained
wood is visible, though, for the table is pretty well encrusted with sterling silver.
This little trifle has been sold to a European patron of the Tiffanys. Near by it is
a remarkable piece of work, being an incense burner in the shape of a duck which
is being strangled by a rattlesnake. The snake is of silver, its scales are Queens-
land opals, and its head and rattles are American pearls. There is a bit of a fur-
nace in the duck's bill, where the incense sticks are to be put, and the snake's head
has a receptacle for the storage of incense sticks. There is a match-box, too, con-
cealed within the serpent's interior economy.

Some of the finest ware shown is in a tea set of seven pieces with salver, the
"flower set," for each piece of it being decorated with a different variety of Ameri-

EXHIBIT OF JAMES S. KIRK & CO.

HISTORY OF THE WORLD'S FAIR. 219

can flowers. This set is worth only $22,000. There is another set, a silver table
service, containing 570 pieces, all elaborately decorated. An Indian chrysanthe-
mum dinner set consists of about 600 pieces. Of vases, tankards, loving cups, trophy
cups, clocks, spoons, bonbon boxes, thermometers, coffee pots and the like there is
a dazzling variety.

But it is in diamonds and other precious stones that this display is riotous.
The central gem of all of course is the gray canary diamond, set at the apex of a velvet
pyramid and revolving slowly on a gold pivot, so that many hued fires are always
flashing from its yellow depths. Scattered about it are 10,000 other diamonds and
nearly $400,000 worth of pearls. These pearls are in three necklaces, one being
the finest strand of pearls ever brought to America. It is worth $200,000. The other
two are worth $100,000 and $85,000 respectively. There is a woven arabesque
girdle of gold with twenty large canary diamonds in it — only $25,000. There is one
diamond necklace of forty-two stones, aggregating i ,000 carats, and still another
with pendants, it holds 550 rose diamonds. Another jewlery set consists of tiara,
necklace and pendant. It contains 147 splendid aquamarines and 1,848 diamonds.
A companion set is of pink topaz and diamonds. Of the lesser precious and semi-
precious stones there is a bewildering display. An especially interesting feature of
the pavilion is a case of pearl oysters and unpolished pearls, wherefrom most visit-
ors are able to learn something. The Tiffany Glass and Decorating Company has
not so costly an exhibit, but it is quite as artistic and beautiful. Louis Tiffany has
his section of the pavilion cut into three rooms. The largest one is fitted as a chapel
with a superb altar set under triple mosaic arches. The floor of the sanctuary, too,
is of the most intricately wrought glass mosaic, as are the chancel steps and the
front of the altar itself. The heavy columns, too, are of iridescent mosaic. The
lectern is of the same exquisite work, as is also the font, which has a finely wrought
cover of glass. The central window of the chapel is "The Descent from the Cross,"
designed by Louis Tiffany. On one side is shown Christ giving his blessing to St.
John; on the other a reproduction of one of Bocatelli's windows. There is another
smaller window, " The Good Shepherd," which is really the finest bit of color in the
chapel. There are exhibited here some surpassingly fine Vestments, an altar cross
spangled with jewels, and some fine candle sticks of Connemara marble. The en-
tire effect of this little chapel, which is in the byzantine style, is exceedingly rich.

Conspicuous among those not already named are the solid silver statue of
Columbus, exhibited by Gorham & Co., and cast at Providence, R. I.; petrified wood
in blocks and mantels and tables, from the Petrified Forest of Arizona; rugs and
carpets from Turkey, Persia, Bulgaria, Arabia, Pennsylvania and Massachusetts;
pianos and organs from as many makers as there are states and territories in the
Union; colognes and other perfumeries and fancy and other soaps from a hundred
makers; dolls that talk and walk and cry from Paris and Vienna; toys from Nurem-
burg, China and Japan; stoves and stoveware from Providence, R. I.; queenly
dresses from La Bon Marche and from Felix and Worth, Paris; sewing machines
from all the great makers in America.

220 HISTORY OF THE WORLD'S FAIR.

The statue of Columbus is six feet high, standing on a pedestal one foot
high, the whole of solid silver and containing 30,000 ounces of the metal, 925-1,000
fine. It was modeled in Paris by the sculptor, and the model was shipped to the
Gorham foundry in Providence, where it was cast at a cost of $50,000. Its prin-
cipal value, however, lies in the artistic strength of the figure. The great naviga-
tor is pictured as a man of determination of rough vigor. The pose shows him
standing, with anxious brow, pointing toward the horizon, as if to question the path
that lay before him. Associated with the figure as suggestions of his calling are
the navigator's instruments. The composition is of the simplest, and the figure has
been left with all the lines of the first casting untouched — a tribute to the mechani-
cal perfection that brought the model forth with lines that needed no finishing.

On either side of the statue and beyond, covering considerable area, are the
cases of wares that represent the best skill of American designers and artisans.
There are great trophies, magnificent silver services, bronzes, inlaid and repousse
work and new designs innumerable in the pieces that go to beautify the homes of
the wealthy.

Conspicuous among the trophies is the Century vase which won a gold medal
at the Centennial and was one of the first great pieces of its kind to demonstrate
the advance of American workmanship in the metal-working arts. On either side
of the vase are sixty-four pieces, composing what is called the "rose" dinner set,
valued at $25,000, and said to be the finest service ever made in the United States.
The rose is used as a central motive of decoration and the design is wrought out
w'th marvelous perfection of detail.

Down the central aisle of the pavilion are groups of ware that attract crowds
continually. In one case are two plates worth $950 and $1,150 each, and a pitcher
that cost $1,150. A quaint design in the group is the "creation" cup — a small affair
with symbolic decoration typifying the epochs of creation since the period of
Genesis.

A novelty in the same exhibit is a collection of translucent ware which is in
effect a silver filigree design filled out in the interstices with translucent glass of
varied hues.

Next and perhaps the finest of the purely domestic production is the group-
of Rockwood designs with a superficial covering of silver deposited by a process
but little used until recently in this country. Some of the vases in this pattern are
almost monumental in size, and all of them subjects of favorable comparison with
the best work in any of the foreign sections.

Along the south frontage of the pavilion are sets of a ware that is an innova-
tion on the conventional without transgressing the most rigid canons of art decora-
tion. These are made in combinations of glass, gold and silver, but instead of
molding the metal about the glass design, the process is reversed and the glass
blown into the silver after the figure is complete. Following an original and recent
fashion, the glass is ruby-tinted and the combination of color is remarkable effec-
tive, either in strong sunlight or in the clear glow of electricity.

HISTORY OF THE WORLD'S FAIR.

221

Hippolite Taine, the great French philosopher, asserts in his work on the
Philosophy of Art, that the characteristics of a nation are always seen in its art prod-
ucts. In no exhibit at the Exposition is this theory more plainly shown than in
the beauty of the exterior of the French pavilion which is a triumph of Esthetic
Art, with its beautiful entablatures upheld by Titanic figures bending gracefully
beneath their self-imposed burden, or gazes at the great dome above shedding a

ENTRANCE TO FRENCH PAVILION.

golden radiance upon the sitting Statue of the Republic beneath — that symbol of
fraternity between the two greatest Republics of the world — the mind sense drinks
in the full beauty of its perfection. In comparison how cold and gloomy seems the
Russian pavilion beyond, with its round arches, suggestive of prostration and prayer.
And yet it screens so many rare and costly things that one can spend many valua-
ble hours in this exhibit and depart thence, feeling that the soul in its search for the
exquisitely beautiful has found satiety.

222 HISTORY OF THE WORLD'S FAIR.

Italy makes a dazzling exhibit of marbles, bronzes, mosaics, paintings,
majolica, laces, jewelry, bric-a-brac and tapestries. About the walls and in cases
are displayed specimens of every variety of Venetian lace and needlework. There
are cobwebby fabrics ranging in price from two cents to $400 a yard. There are
great pieces of rose point as soft and delicate as a spider's web, scarfs and veils oi
old Venetian point fit for the bridal of a Princess, and fans and lace handkerchiefs
which would drive a woman to frenzy. A novelty in lace work is the polygram
pattern, done in many colors with the most delicate shadings and used most ex-
clusively for screens and banners. One great case is entirely filled with lace bed-
spreads. Some of the more expensive are valued at $1,000 each, and are done in
rococo point laced with blue and gold ribbons and embroidered by hand in gold
and silver. • A single firm now employs a thousand men in this line of work alone.
A remarkable thing about the lacemakers of Venice is that the women who do
•even the finest and most difficult pieces are content to work for 15 or 16 cents a day,
and the retail price made by the lacemaker is based on the estimate of 20 cents for
•each day's work on the piece. In this way it is easy to tell just how long it has
taken the patient lacemakers to complete a given piece. Thus if a lace scarf be
sold for $25 by a reputable dealer in Venice it may be estimated that 125 days' labor
has been given to its construction.

The contents of this lace-house in the Italian section are valued at more
than $40,000, and from the splendid veil patterned exactly after that worn by Maria
Louisa, Empress of the French, to the most modern and inexpensive bit of edging
it interests and excites the attention of every woman who come within sight.

That which will attract the most attention in the Italian section is its statuary.
Italy's entire space is not so large as the commissioners had hoped it might be and
it has been found necessary to put a great deal into the rather small section. But
the work of arrangement has been artistically accomplished, so that all who visit
it may see to good advantage /the things of beauty made in the sunny Italy of
modern times.

Passing from the statuary around the section, the visitor may indulge in the
luxury of other things not less beautiful or wonderful. On one side are artistic
specimens of wrought-iron work 'made into all sorts of happy combinations and
pretty designs. In one portion, of the section is a bedchamber furnished with
antique furniture and rugs and portieres of polished and embroidered leather. In
another corner is a room fitted with a set of furniture made of ebony and inlaid
with ivory. Two tables in this section attract special attention. They are of antique
pattern and the tops are inlaid with ivory in designs depicting battle scenes. At
another place the visitor is transported within the walls of Pompeii, whose treasures
none have before beheld save in the immortal work which describes her last days.
But here are the real things, or, rather, reproductions of them, which decorated
the sideboards and mantels of the homes in that famous city, the very memory
of whose existence was effaced for centuries. Gold and silver vases, jewelry,
bracelets, ornaments of rare coral and jewels, all reproductions of articles found

HISTORY OF THE WORLD'S FAIR. 223

in the subterranean ruins, are seen in endless profusion. Some even are genuine
and taken from the museum and school of Alexander Castelani in Rome.

Besides, there are tapestries of modern design and others which, made long
ago, have stood the test of three and even four centuries of decay, yet seemed to
have come fresh from the hands of the makers. Filigree work in silver and all
sorts of toilet articles fashioned from tortoise shell are seen in abundance. All
these things, with chandeliers, laces, mosaics, mirrors, hand-painted glass orna-
ments, vases almost priceless in value, with hundreds and even thousands of other
articles fashioned with the characteristic art of Italy, keep a constant stream of
visitors pouring into the section long after it daily becomes necessary to turn the
current into the great coronas to light the scene.

It would require more than one long chapter to invite brief attention to a
tenth of the beautiful objects in the French exhibit. The display of household
decorations, images, fine arts, laces, jewelry, silk dresses and cloaks is unsurpassed.
At one point these garments are displayed on wax figures, with that delicately artistic
arrangement so prominent in all the French exhibits. The material shown is of
the most expensive and the styles the newest. At another point there is a rich and
rare display of furs. The floor of the space is carpeted with 135 river otter
skins. A single mantle is made of eighty-five Russian sable skins. On the
rear wall ' hangs the skins of a polar bear, a lion, a tiger and leopard. There
is a profusion of otter skins, some of them made up into garmets. The lining
and trimming of one cloak is of blue fox. The windows in front of these ex-'
hibits, which are the first approaching from the south, 'are crowded with men and
women each day.

Nothing in the Austrian exhibit will attract greater attention than the
display of armor, divided between the genuinely antique and imitations from
existing specimens, offered by a Vienna firm. Faded from its pristine bright-
ness in the lapse of centuries, the armor that protected Ludwig II. of Hungary is
placed midway between that of Heinrich von Ranzow, with its queer spiked plates
of steel on the shoulders, and that of an unknown who left to the world in his visor
the form of his countenance. With the armor is a, rosebush of wrought steel, the
petals of every blossom crisped and curled as in the living flower, the work of cun-
ning hands. To the last detail thet.work is a faithful copy, and the result is a mar-
vel of delicate workmanship. Austria excels in her Bohemian ware, which is ad-
mired by vast crowds daily. An exact reproduction of the famous dining-room at
Hatfield house, the home tof Lord Salisbury, may be seen in the British section.
Of all the famous houses in England Hatfield house is considered.,the most famous,
as it is acknowledged to be the best specimen of Elizabethan architecture extant.
The dining-room is the most attractive room in the house, for it tells in its carvings
the history of the Cecils from the 'tenth century. Beneath its richly paneled ceil
ing Henry VIII. and Queen Elizabeth took their daily meals, for both these rulers
at one time made Hatfield house their residence. In the reproduction one 'side of
the dining-room is left open. On the other side is the old iron fireplace with the
date 1657 on it and the huge fire-irons and dogs. Above this is the huge tapestry

HISTORY OF THE WORLD'S FAIR. 225

which represent the present owner's ancestors at the crusade; on either side is a
full stand of mail which is also figured to protect some heroic Cecil during that
holy war, and above all is the full coat-of-arms of the house.

At the upper end of the dining-room is the minstrel gallery, with a carved
lattice-work balcony surmounted by six lions rampant, each holding a shield with
the six primal quarterings of the family, and at the other end is rich carving of the
old oak of which the entire interior is made, the great folding doors, on either side
of which hang life-size paintings of Queen Elizabeth and Mary Queen of Scots.
Directly under the minstrel gallery are six winged busts in carved oak which form
truss coves, and these busts are likenesses of the six branches of the house whose
coat-of-arms is held by the lions directly over them, and above all is the coat-of-
arms of the Cecils. Around the ceiling are more truss coves made by lions, each
holding the coat-of-arms emblazoned shield, showing the connections of the house
to other families by their quarterings, and the softly faded heraldic colorings are
faithfully shown.

The following is an analyzed list of the number of British exhibiters in the
Manufactures Building: Chemical and pharmaceutical, 30; paints and dyes, 9; type-
writers and stationery, n; upholstery and decoration, 16; ceramics and mosaics, 12;
marble, stone, and metal articles, 2; art metal work, i; glass, 2; stained glass, 4;
carving, i; gold and silver ware, 4; jewelry i; horology, i; silk, 7; vegetable and
mineral fibers, i; woven cotton, yarn, and linen, 19; felted goods of wool, 20; cloth-
ing and costumes, 16; laces, fans, and flowers, 9; toilet articles, 3; traveling equip-
ments, 2; rubber, gutta-percha, celluloid, and zylonite, 3; war material, 6; lighting
appliances, i; heating apparatus, 4; and vaults and hardware, 3. Total, 178.

The unassuming booth of the Royal porcelain Factory of Worcester cost
$10,000 and that of the Doulton Pottery company, $25,000. There is a service made
for the Prince of Wales, who afterwards became King George IV., that will prove
a stumbling block to somebody's economical intentions. It is of silver gilt, and con-
sists of a tea-kettle and a coffee pot in addition to the usual full tea service. The
tea-caddy, which, like the other pieces, is severe in outline and unadorned, is
furnished with a lock and key, a significant reminder that when it was made tea was
worth something like $40 a pound. The service bears the date 1792-1795. A Nor-
wegian "peg" tankard made in 1683, a lemon strainer of the time of good Queen
Anne, old Irish bowls, with mask-head handles, made in 1707; sauceboats that once
belonged to Queen Caroline, way back in 1782, are among the many quaint things
in this exhibit.

A costly piece that is especially rare is a little square waiter engraved in a
conventional scroll design by Hogarth and made in 1720. The price of this is $500,
and that notwithstanding it is only four inches from edge to edge. A large chased
silver rosewater dish, made in 1683 and valued at $800, is also regarded with re-
spect by those who have it in charge. Another remarkable piece is a Spanish wine
"nef" or ship in silver exquisitely chased with figures of sea nymphs and tritons.
The top of this massive piece of plate lifts off and so transforms it into a wine cup.
The date is uncertain, but the ship plainly belongs to the fifteenth century. Not of

226 HISTORY OF THE WORLD'S FAiR.

least importance in this display of Wells Brothers is the great silver gilt crown
worn by the Duke of Sussex at the coronation of Queen Victoria.

In striking contrast to the old ware are the "Exposition Clock," the "Colum-
bian Shield," and the "Shakspearean Casket" exhibited together. The Exposition
clock is a remarkable bit of workmanship, as the price set up it, $5,000, indicates.
It is octagonal in form, and is composed of finest American walnut, with elegantly
chased, richly gilt ornaments, the cotton plant and flower being the principal sub-
jects. It bears eight panels, representing the sports: swimming, running, yachting^
cycling, base-ball, trotting, and jumping, with a view of Brooklyn bridge. Each
panel is surmounted by a portrait of a President — Washington, Lincoln, Grant,
Jackson, Franklin, Harrison, and Cleveland. There is also a medallion portrait of
Queen Victoria. The clock has four dials, showing English, American, French, and
Spanish times. Round the clock are twelve figures, representing players in cricket,
rowing, shooting, polo, racing, lacrosse, boxing, running, tennis, football, and
wrestling. Four columns support brackets with vases, between each two of which
are figures signifying progress in art, science, industry and engineering. At each
hour English and American anthems are played, the time being denoted by a
chime of eight bells, the Westminster chimes on four gongs and the hour on one
gong. All can be repeated at will. The figures revolve in procession as the clock
strikes each quarter.

The shield is made entirely of silver, with panels modeled and chased in nigh
relief, representing various schemes in connection with the discovery of America.

Unique as a specimen of the art of damascening as practised in England is
the Shakspearean casket, which illustrates in gold and silver the works of the
poet and playwright. The center obverse gives the portrait of the poet and play-
wright, as he appears in the bust in Stratford Church. The reverse medallion
gives a view in gold repousse of Shakspeare's birthplace. The principal damascen-
ing portrays wreaths in different colors, a medallion, escutcheon, Tragedy, Comedy,
hunting trophies, bees, anchors, boat-hook and trident, the Caduceus, scales of
Justice, boarhorn and spear, helmet and sword, scroll and pen, mace, fasces, and
crown, Cupid's bow, the torch of hymen, the nuptial ring, the scepter and sword of
Justice, fruit-laden vase, the poisoned bowl, hissing snake, cap and bells, and the
skull and crossbones of Death. There are on the body of the casket fine enamel paint-
ings of scenes from a "Midsummer Night's Dream," "The Tempest," "Two Gentle-
men of Verona," "King Lear," and "Romeo and Juliet." The lower moldings of
the casket illustrate quotations from "Measure for Measure," "Comedy of Errors,"
"Troilus and Cressida," "Merchant of Venice," "King Henry IV.," "Timon of
Athens," "Twelfth Night," "Macbeth," "As you like it," and "King Henry VI." The
casket stands upon four feet in gold and damascened, and is surmounted by the
Shakspearean crest, the falcon holding the tilting spear in rest. Its value is $3,000.
The caskets which were presented, one to the Emperor of Germany in 1891,
one to Gladstone in 1881, together with the freedom of the City of London, are in-
cluded in the collection, having been loaned by their owners. Another imposing
piece of plate is the "Waterloo Cup" for 1892, shown by Mappin Bros.

15

228 HISTORY OF THE WORLD'S FAIR.

To women who visit the exhibit nothing will so appeal, however, as a toilet
service, including forty-seven pieces, all mounted in silver richly gilded. Who uses
this, however, must have a substantial bank account at her disoosal, as $3,000 is its
value.

Plainly the pride of England, so far as its exhibit in the World's Fair is con-
cerned, is the pottery and porcelain, arranged in attractive groups and lines of
color along Columbia avenue. If one walks down that thoroughfare toward the
British section from the north, Royal Worcester, in delicate tones of ivory and gold,
Pompeian green, and Rose du Barry greets the eye. Just what in the beautiful ex-
hibit of this exquisite ware best deserves notice it is difficult to state. Most people
are attracted, however, by the long tables spread with gorgeous banquet services.
Rose carol and gold are used in the ornamentation of plates, vases, and fruit dishes,
flower jars, menu cards, lamps, and candelabra, the total value of which is $5,300, a
figure which will not encourage the average giver of dinners to purchase the set.

Although the service, with its scrolls and lace-like edges and delicately
painted figures, is one of the most elegant pieces of work in the collection, what is
known as the rustic table is by no means without admirers. The sense of being
out of doors, of hearing brooks murmur and birds sing, is what the designers of this
service desired to indulge in those who used it. The centerpiece, filled in with ferns
and grasses, is surrounded by a fence in gold and ivory and pink, in which
impossible little shepherds are seated playing impossible little flutes. Rabbits,
puppies, and a varied assortment of other small animals jump around
in the grass, or would jump if the power of locomotion could be put
into Worcester ware and the plates, vases, fruit dishes carry out as nearly,
as possible the idea of rusticity and country delights. Whoever purchased this set,
for it has been sold since placed on exhibition, paid the round, comfortable sum of
$700 for it.

Altogether the most beautiful vases in the collection are of pierced work, in
ivory tints, ornamented with delicate filigree of gold work. This is remarkable,
not only for its delicate beauty, but for the way in which it is produced.

There is only one man in all the Royal Worcester factory that can make it.
His name is Owens and he has been for years taking the vase as it comes from the
moulders unglazed and unfired, -cutting out the delicate patterns with a knife and
designing as he goes along. The elaborate pieces it takes sometimes years to make.
It is not wonderful, therefore, that the values placed upon them should be large.

Figures in soft, stained ivory are a specialty of this exhibit. They are ex-
tremely graceful and effective in every instance, whether hqlding a lamp, serving as
the base of a great vase, posing on candelabra, or being purely and simply statuettes.
The largest vase ever made at the Worcester works may be seen in Chicago. This
fine specimen of porcelain is nearly five feet high and is Italian in style. It is ovi-
form in shape, the neck, shoulders, and foot being richly embossed with strap and
scroll work in high relief. The handles cpnsist of vigorously modeled griffins' heads
a Bacchante cupid surmounts the cover, while the foot is of richly modeled dolphin
heads and Italian panels, and carries on either side cupids in full relief, forming a

HISTORY OF THE WORLD'S FAIR. 229

powerrm and decorative base to the whole vase. The decorations consist of elabo-
rate pilasters and scroll work in raised gold and festoons of painted flowers typify-
ing the seasons. The idea of summer and winter is still further emphasized in the
cupid groups occupying centers of the pilasters that connect shoulder and base.
The pilasters and scroll work are also in modeled gold of the Italian style, a canthus
foliage and scroll work being freely used to add to the massiveness of the compo-
sition. The general scheme of color is low in tone, the ware is ivory porcelain, the
modeled mounts, handles, and foot are richly finished in Pompeiian green and
tortoise, relieved with bronzes and gold. The same low tones of green and rich
bronze are relieved by the delicate colors of the natural flowers composing the
festoons.

Versatility is one of those things upon which those who have the display in
charge congratulate themselves. Besides the many beautiful varieties of purely
ornamental ware that is as remarkable for expense as for artistic quality there are
plenty of useful cups, plates, tea services, and even dinner sets in Royal Worcester
that are comparatively cheap. From 60 cents to $6,000 the scale of prices slides
according to the article purchased.

Doulton ware, because it shows what beautiful effects can brought from
coarse material, is one of the most interesting of the English potter exhibits. It is
given a conspicuous place on Columbia avenue and represents perhaps a greater
monetary value than any other collection. Some remarkable vases are included in
the ware which the Doulton people have brought to Chicago. The booth is divided
into two arcaded pavilions draped with dark green plush curtains and painted in
shades of light green. The architectural enrichments of caps, frieze, spandrels,
cornice, and lantern with which it is made beautiful were all specially molded at
Lambeth. As seen from the avenue the pavilion on the right is devoted to the
Burslem exhibits and the central hall and left ~avilion to those of the Lambeth
works.

What most attract attention in the Lambeth exhibit are naturally the large
pieces. Prominent among them is George Tinworths' "History of England" vase.
This remarkable piece of pottery stands four feet four inches high. Around the
widest part of the body is a succession of niches twenty in number containing little
groups representing leading incidents in English history, and around the neck is
another series of twenty single figures that are faithful portraits of English
monarchs. This is quiet in coloring, the old Doulton blues and browns predomi-
nating.

Rather remarkable as being the work of a woman is a beautiful vase two
feet in heigth, finished in the familiar glazes peculiar to Lambeth ware. The cen-
tral part is left in uncolored brown stoneware to display Miss Hannah B. Barlow's
etchings of rustic life. Her sister, Miss Florence Barlow, exhibits numerous pieces
decorated with charming slip-paintings of birds.

Jugs, tankards and vases all decorated with quaint figures, masses of color,
and occasionally flowers, all of them effective and beautiful, are included in this
portion of the display.

250 HISTORY OF THE WORLD'S FAIR.

In Lambeth faience there are some uncommon things, among them two
vases with model feet and tops finished in colored glazes. The bodies are painted,
Ohe having a treatment of cactus on a background of turquois shading into orange,
the other decorated with orchids on a shade of yellow ground.

The most beautiful and most valuable vases, however, appear under the
Crown Lambeth section. These are especially important as being in several in-
stances the first appearance in public of this exquisite ware. Most striking among
them is a pair of large vases designed by John Eyre. The body of one has an ex-
quisite painting upon it, representing the legend of "Perseus and Andromeda."
The scene represents a rocky coast. In the foreground stands the nude figure of
Andromeda. Through the clouds just discernible in the purple that veils the
horizon may be seen the winged steed, Pegasus, bearing the hero. On the opposite
of the vase Perseus, armed with sword and shield, does battle with the dragon. In
the "Ariadne" vase the daughter of Minos is shown in gilded red drapery standing
alone on the seashore. The feet and upper parts of the vase are treated with
groups of mermaids and all manner of strange sea things. On the cover is a
statuette of Neptune.

A remarkable group of great vases consists of those known as the Colum-
bus, Diana, Dante and Chicago vases. To the first of these the place of honor
should be given. It is nearly six feet in height. Columbus stands on the submit
of it, his feet resting on an emblematic arrangement of anchors, ropes and other
ship's tackle. The condition of America at the time of its discovery and the present
is contrasted. The vase is divided by a curtain of tapestry, and two pictures
painted by M. Labarre represent Cupid on the one side asleep and on the otherside
awake and full of jollity. The Diana vase follows in style the renaissance; the
goddess of the chase is represented in a sitting posture on the summit, holding a
spear in her right hand and shading her eyes with her left. Cupids and nymphs
wait upon her in pictures painted upon either side of the vase, and her hounds
crouched at her feet. On the pedestal of the Dante vase sit four finely modeled
figures of Dante and Beatrice, supported by poetry and fame. The vase is deco-
rated in ivory and raised in chaste gilding. The figures are delicately painted a
dark bronze and old ivory. The Chicago vase is also in the renaissance style.
Fruit and flowers are painted upon it, and the model surfaces have been treated
with much delicacy in pink, upon which a gold sheen has been added.

Copeland, Minton, and Wedgewood ware are grouped in one pavilion under
the general management of A. B. Daniel & Sons. It is easy to see what in the eyes
of those who have charge of it is of the greatest importance in the collection. It is
the specimens of the Pate-sur-Pate process that are first pointed out. The process
is of Chinese origin, consisting of the application to the surface of the vase of thin
layers of liquid white china clay, in which a subject is drawn. The whole of the
work is completed when the vase is in an unfired state. The effect is much the
same as that of cameo work. All of the vases exhibited are the work of Mr. Solon.
The largest is a reproduction of the famous Jubilee vase presented to the Queen on
the occasion of her jubilee in 1887. Mr. Solon describes his own work thus:

HISTORY OF THE WORLD'S FAIR.

I • .- >'.'-•
"Nymphs are bound to the rock of wisdom at the foot of Minerva's altar.

Cupids approached from all sides, unfettering the captives and destroying the god-
dess' emblems. The value of this artistic piece of porcelain is $5,500. Besides the
Pate-sur-Pate ware there are some beautiful reproductions in Copeland of Spode
Swansea, and old Worcester dinner service. In Minton ware there are vases-
plaques, and cups and saucers in elegant designs and beautiful colorings. The
sculptured glass made by Webb of Stourbridge is one of the most unique features
in this room. It also is cameo light in effect and costly in the extreme, single
plaques being valued at $1,200."

Wedgewood ware shows the usual dancing girls and cupids, Grecian maid-
ens in white against delicate blue, green, brown, and pink backgrounds. An old
piece of ware that has found a ready purchaser in this country is a head of
George Washington outlined against a black back-ground.

Longfellow's "Evangeline," pictured on twelve plates by A. Boullemier, is
the glory of the Cauldon exhibit. The borders of the plates are treated in raised
gold work and the scenes are exquisite in color. These are valued at $2,000. A
Shakspeare vase fired in twenty-two pieces and beautiful in color is next in point of
wonder. E. Sieffert, formerly at the Sevres manufactory, has some beautiful ware
in old ivory coloring painted with delicate little French scenes. Landscapes by
Ellis, game sets painted with great faitfulness by J. Birbeck, and dainty figures by
T. J. Bott are included in this fragile art display. A striking vase has painted
upon it Columbus before Queen Isabella, after the original in the Metropolitan
Museum. This was produced with an infinite amount of pains and faithful work,
in view of which $2,000 does not seem too much to ask for it.

From a purely feminine and domestic point of view the gem of the collection
is not, however, a vase, but a dejeuner service painted by Boullemier for the Duchess
of Sutherland. The pieces are ivory-tinted and ornamented with gold. On each
is a little scene that is essentially French and mischievous in character. The price of
the service, it may be of interest to know, is $500.

Russia makes a splendid exhibit of furs, lapis lazuli, malachite, onyx, and
shows off handsomely in ornamental woods. The exhibit comprises a full repre-
sentation of all the manufactures of the country. Most prominent among these,
and probably most typical, is the fur exhibit. The Russian bear occupies a con-
spicuous place in this department, and other fur-producing animals abound in great
quantity. The display of manufactured furs is probably the finest in the building,
although several American furriers have exhibits that are fine in quality and com-
prehensive in their range. -Russia takes the lead as a fur-producing country, and
it is only natural that a great deal of attention should be directed to the manu-
facture of this article into wearing apparel. But Russia also has an exceptionally
fine exhibit of all the articles of household use. There is a fine, display of furniture,
covering both the cheap and expensive grades. Of the latter class there is an ex-
ceptionally fine exhibit of carved work in oak, mahogany, and other fine woods. It
is of the product of their looms that Russian manufacturers are especially proud.
There is a fine display of both cotton and woolen fabrics, and the prices of the

HISTORY OF THE WORLD'S FAIR. 233

same are exceedingly low, as compared with the products of the United States or
even European countries. In the line of crockery and porcelain there is also a
fine exhibit. Some of the paintings on this material are of the finest sort, both in
design and execution. Then there is a display of papier mache articles which are
unique in design and decoration. But the exhibit which attracts the greatest atten-
tion is the display of silver and gold manufactures. In the former line particularly
the display is unusually fine. There are articles for use and ornament in filigree
work, beautifully enameled of every imaginable design. Then, too, there are a
great profusion of precious stones from the mines of Siberia. In the government's
contribution to the exhibit there are samples of the paper currency of the country,
the postage and engravings of the coin of the realm. There are also portraits in
oil of the present royal family, and engravings of the czars from the time of Peter
the Great. There is also a collection of all the forms of public documents in use
by the government. Russia also claims the honor of being the first country to put
aluminium to use in the arts, and to support this claim has an exhibit of horseshoes
made of this light and durable material. Altogether the exhibit is one which
reflects credit alike on the government and the individual exhibitors.

Bulgaria makes a neat exhibit, mostly carpets and silks. It makes a special
exhibit of its famous attar of roses, made from the petals of a rose which grows in
only one valley, near the Shipka Pass in the Balkan mountains. The women and
girls go down early in the morning into Rose Valley, as it is called, and gather the
flowers while the dew is still upon them. In no other place will this delicately per-
fumed rose grow to such perfection. Another interesting exhibit is the Bulgarian
silver filigree work, which is really only a survival of an ancient craft and is com-
parable to the work produced by the Hindoos and the Japanese. The manufac-
ture is entirely in the hands of a few families in Widin on the Danube, with whom
knowledge of the work and skill in executing it becomes an hereditary gift, handed
down from father to son. The work takes generally the form of silver cups and
dishes, in which the coffee and sweets are offered to visitors after the manner of
Eastern people.

For concentrated splendor and condensed costliness, the Siamese pavilion
and exhibit excel anything in the Manufactures building. The pavilion is only 26
feet square and 32 feet high, and its contents are estimated to be worth $300,000.
They are therefore well worth a careful inspection. The pavilion is itself a more
than usually interesting one, as it was made in Siam, is an exact reproduction of
the garden house of the King, at Bangkok, and is the identical Siamese pavilion of
the Paris Exposition, a little rusty in some places, but almost as good as new. Its
floor is elevated four steps above the dais on which it stands. It is supported
by several slender pillars, and is open all around. On each of the four sides the
roof is a sharp gable, and in the center is drawn up to a sharp point and loaded
with ornament. The material is wood painted red and yellow, and inlaid every-
where with bits of glass of various bright colors. The effect is excessively bizarre,
and the structure almost looks like a huge piece of jewelry. Entering the gorgeous
building, one notices first the native Siamese matting on the floor, and next a large

PAINTING BY MACHINERY

HISTORY OF THE WORLD'S FAIR. 235

display of photographs of the Siamese royal family and of scenes in the Siamese
capital. Standing around on every side are enormous screens, used to produce the
semi-privacy of a warm climate. They are four feet high and three feet wide and
are embroidered in solid gold with a lavish richness and beauty that have no equal in
the Exposition. The embroidery represents grasses, vines, flowers, fruits, and birds,
all raised in bas-reliefs. On one of them the coat-of-arms of Siam and on another the
arms of the United States are embroidered in an inimitable manner by the King's
sister. Embroidery seems to be the ruling passion of the Siamese, and in a large
perpendicular show-case there is an assortment of pillows, cushions, foot-rests,
sashes, girdles, smoking jackets, and tea cozies, used to clap over a tea-pot to
keep it warm, all of which are dazzling object lessons in the Oriental passion for
luxury and display. Most of these articles are of a size equal to two cubic feet,
and all of them are constructed of the richest silks and satins and then embroidered
with the divinest skill in pure gold, until they must be almost too heavy for practical
use. Among the rest is a girdle of white satin six inches broad and several feet in
length, which, in addition to being gold-embroidered, is thickly studded with rubies
and garnets, and is held to be worth $300. The display of gold and silver articles
is even richer still. Rice is regarded as a plain diet, but it costs a good deal to eat
it out of such a rice-bowl as is on exhibition here. It stands two feet high, with its
arched cover, is made of solid silver, elaborately chased, and sells for $3,000.
There is a full line of table articles in solid gold, curiously inlaid with blue enamel.
Betel trays, for the enjoyment of the betel nut, made of pure gold, and in one case
studded with diamonds, stand around, waiting for customers at $2,400 each. It
seems that cuspidors are necessary in Siam as well as in Chicago, though consider-
ably smaller, and these also are of solid gold, studded with diamonds. One can
buy one of these nice spittoons for $240. Of course one finds here a wonderful
display of ivory and ivory goods. One of the entrances is flanked by a display of
elephant's tusks, and Mr. Hicks, who is in charge, delights in pointing out a pair
of tusks, one of which he affirms is the largest piece of ivory in America. It is
9 feet 6 inches in length, and is so long that it evidently embarrassed the elephant
that bore it. It dragged on the ground until at least a foot of it must have been
worn away, and the poor beast must have been compelled to elevate his head
constantly in an unnatural and painful manner in order to walk at all. In a show-
case near by is a collection of ivory carvings, some of which are useful, such as
paper-knives, and some merely ornamental, such as decorated tusks. One of these
tusks has been carved until there is only a shell of it left, and that in a form as
airy and beautiful as a piece of lace. Although labor is pretty cheap in Siam the
price of the tusk is $1,250. Around the pavilion is a sort of out-door exhibit. Here
are some beautiful hatracks, made of antlers, and a set of alleged musical instru-
ments, which includes gongs, drums, chimes of bells, and a bona fide xylophone.
The office of the pavilion, a small closet on the outside, is decorated with the skins
of Siamese animals, such as the leopard, tiger, otter and minx.

The Danish pavilion ranks well with Germany, France, and Austria. Even
in the exhibit proper the two most interesting displays are those commemorative

236 HISTORY OF THE WORLD'S FAIR.

of Thorvaldsen and Andersen. At the southeast corner there is a reproduction in
miniature of the museum of Copenhagen built by Bertel Thorvaldsen and presented
to the city, containing miniature casts of all the works of art contained in it, which
includes nearly all the original work of the great sculptor. In a case alongside of
it are personal relics, including the hat worn by him at the triumphal entry into
Copenhagen in 1838, the medal of the order of knighthood conferred upon him by
the King, his favorite pipe, cigar cases, match boxes, autograph letters, and some
of the tools used by him. There is a portrait of Thorvaldsen by Horace Vernet,
the famous French artist, showing the sculptor standing before the bust which he
had made of Vernet.

Hans Christian Andersen, writer of fairy tales and equally popular in all
civilized countries of the world, is brought to memory by the large collection of per-
sonal relics. The full manuscript of his autobiography, along with several of his
tales in the original occupy a case. There is a fire screen made by Andersen from
clippings from pictorial papers containing views of Denmark and of contemporaries
of his, including members of the royal family and brother artists and authors. All
of the furniture in the space is from Andersen's home and was used by him. There
are the desk on which he wrote, the last inkstand he used — an elaborate affair in
silver enameled in a fanciful and artistic design — a sofa with pillows and embroidered
covers, a big hall clock, chairs, pictures, a pair of spectacles, pens, and little articles
of personal use, all from the royal museum in Copenhagen and loaned for the first
time for this exhibit. " Picturesque America," presented to him by American citi-
zens, is among the other articles shown.

At the extreme west end of the exhibit and over the west entrance . is a
.ceramic display designed by Prof. Lorenz Frolich and executed by Prof. Herman
Kahler. The painting is on tile six inches square and the entire work occupies a
space six feet wide and eighteen feet long. The title is " The Daughters of Aegir
Drinking to Him." The king of the sea is represented standing on the sea coast
with his mermaid daughters about him, and on either side of the painting proper
there are two figures of mermaids, one playing a harp, the other blowing a sea
shell.

Just in front of this, inclosed in a glass case, is a model of the free port of
Copenhagen, which is soon to be opened. This model is surmounted by a map
of the world, showing the routes of the various lines of commerce, including those
across the Atlantic Ocean.

The summer residence of King Christian IX., known as Rosenborg Castle,
built in 1604, is shown in a model made entirely of gold and silver. There are
1,700 pieces used in its construction. Several cases are filled with gold and silver
work from the larger jewelry manufacturers of Copenhagen, and there is an exten-
sive exhibit made of wares from the royal porcelain works.

King Christian IX. is represented in an equestrian statue of silver and gold,
the horse shown being his favorite animal. This stands three feet high. The pot-
tery exhibit is one of the interesting features. A number of black terra-cotta figures
which look like iron or bronze are shown, the color of which is obtained entirely

HISTORY OF THE WORLD'S FAIR. 237

through the burning. There is a special clay which is found nowhere else used in
its making. There are two spaces filled with furniture exhibits and samples of work
from the schools of Copenhagen which form another interesting feature. Aksel
Mikkelsen has made a model of a Danish manual training school showing the work
benches, the tools and machinery used, and with models of pupils at work.

One of the most beautiful characteristic booths that adorn the Manufactures
Building is the oriental building of the Persian section. Though begun much later
than most of the buildings it was finished with American push and enterprise and
is one of the most beautifully equipped treasure houses of the great fair. Besides
curiosities of ancient Persia and rare and costly gems of eastern ingenuity sent over
by the Shah of Persia himself, the exhibit presents the fullest display of the antique
art of the eastern loom. The Persian section is the fruit of the energy and enter-
prise of a young Armenian, H. H. Topakyan, who through the commission of the
Shah was appointed imperial exhibitor for the whole Persian section. Mr. Topak-
yan is a native of Turkey and came to this country five years ago from Constanti-
nople.

Besides the ordinary collection Mr. Topakyan has on exhibition six immense
silk rugs belonging to the shah and valued at $50,000 each. At the close of the
exposition one of the rugs will be given to the United States government.

Mexico's exhibit is in the extreme southwest corner of the Manufactures
Building and occupies 6,000 feet of floor space inclosed by a partition of mahogany
and glass. There are twenty-one cases of bronze with glass sides which hold ex-
hibits and about the walls are wood carvings, cabinets, bronzes, statuary and other
articles of a similar nature. The balcony which overlooks the exhibit is covered
by full length oil portraits of prominent officers in the Mexican army and Gen.
Diaz is represented by a bronze bust, another carved from parafine and a third cut
from a solid block of sterine. Along the west wall of the partition are some fine
specimens of sixteenth century church carvings in wood, the work of the early mis-
sionaries from Spain and the Indians, who were taught to do this class of work.

The woolen and cotton mills of Mexico are represented by their varied
products, which fill several cases at the southeast corner of the exhibit. The Com-
missioners point to these exhibits with great pride as showing the material ad-
vancement in manufactures which has been made in the last few years. Some of
the prettiest patterns shown are those of the zerapes, worn by men, and the repozos,
or scarfs, for women. Further along in the cases are samples of lace work, both qf
hand and machine make, embroideries, paintings on silk, and table scarfs, with
raised flowers worked by hand in silk thread.

One case is filled with sombreros, the huge hats worn by the peons of
Mexico, embroidered in gold and silver thread and having bands and cords of the
same material. There are also shown high hats of the latest fashion, which the
Commissioner says are becoming popular in the City of Mexico. Canes carved
by Indians fill another case, and opposite is the exhibit sent by President Diaz o£
cannon, swords, and cutl?^es, all made in the government armory.

238 HISTORY OF THE WORLD'S FAIR.

Bronzes, all the work of native artists, fill another case. The exhibit of
pottery, almost entirely the work of Indians, of bone cooking and eating utensils,
lacquer work on wood is an extensive one. The fiber of various Mexican trees and
plants is shown in the natural state and in manufactured articles. The cordage
exhibit includes rope, matting, hammocks, and the Indian mattresses, principally
from the State of Yucatan. Copper and brass utensils for household use of all
descriptions has a case, and next to it is one filled with perfumes, soaps, toilet
preparations, and drugs. The stationery industry is shown, including the output
of paper mills, blank book manufactures, writing paper, wrapping paper, inkstands,
and office furniture.

James Allison, chief of the department of manufactures, may rightly be called
the Director General's first lieutenant. Mr Allison has command of the largest
exposition building ever erected, and the manner in which he has handled the vast
range of exhibits comprehended in his department demonstrates the wisdom of his
appointment to the most important division of the Fair. His success as President
General Manager of the Cincinnati Exposition of the Ohio Valley and Central
States at Cincinnati, the largest and most comprehensive of its kind since the Phil-
adelphia Centennial, also demonstrated his ability to fill the position to which he has
been called. Mr. Allison was born at Frankfort, Pa., June 30, 1843, and is°t Scotch
descent. When 12 years of age he removed with his parents to Jefferson County,
Indiana, and until he was 17 his life was that of an ordinary farm lad. At an early
age he developed a taste for mechanics which drove him from the peaceful life of
the farm to seek the natural outlet for his energies in mechanical employment.
This he found in Cincinnati, but the breaking out of the war of the rebellion inter-
fered somewhat with his plans. In 1861 he enlisted as a private in the Sixty-seventh
regiment volunteer infantry and served with credit to himself until the close of the
war. He participated in all the engagements of the regiment, receiving meritorious
promotion and honorable discharge. Returning to Cincinnati he completed his
trade, that of a plumber and sanitary engineer, and was soon made a partner in
the leading house of the west. For the past fifteen years he has been a recognized
authority on sanitary matters. For two years in succession he was elected Presi-
dent of the National Association of Master Plumbers of the United States and a
member of the American Health Association. For many years he has been a di-
rector and the President of the Ohio Mechanics' Institute, and Cincinnati House
of Refuge. Having served as a member of the Board of Commissioners in former
Cincinnati Industrial Expositions under appointment of the Ohio Mechanics' In-
stitute, he was again reappointed and on organization of the board in 1888 was
unanimously elected its president, and in his official capacity was untiring in his
efforts for its complete success. Early in the summer of 1891 he was appointed
chief of the horticultural department of the fair, and subsequently organized and
became the chief of the department of manufactures.

HISTORY OF THE WORLD'S FAIR. 239