CHAPTER I.

The German Building — A Combination of Numerous Styles of Architecture — Nearly a Quarter of a
Million Expended — A Home of Many Gables, Balconies and Towers — Reproduction of a Rural
Chapel— Collection of Bismarck Souvenirs — Historical Documents and Copies of Treaties —
Tapestry, Furniture, Bronze, Statuary and Paintings from German Factories and Studios — Some
Beautiful Work in Carved Oak — Handsome Carpets and Rugs — The Pavilion of the Norwegians —
A Type of Architecture which Originated Eight Hundred Years Ago — Timbers from Christiana —
The Swedish Building — Modern Brick and Terra Cotta from Prominent Manufacturers of
Sweden — The " Venice of the North " — Many of the Products of Sweden Represented— Exquisite
Embroideries and Needle Work — Panorama of Swedish Landscape.

ESIDES being the largest of all foreign buildings, the German
Government building is the most substantial and much the
handsomest on the lake shore. Next to the Spanish build-
ing and near the British, its variegated roof, airy bell tower,
minarets, pinnacles and solid brick walls contrasting strangely
with its neighbors, it is yet the richest, largest and most pre-
tentious building in the group. Occupying a frontage of 150
feet and a depth of 175 its main height is 78 feet, while the
overtopping tower is 150 feet from the ground. The building
is a combination of several styles of architecture, being a
transition from the renaissance to the Columbian period,
embodying in the whole a composite of the Gothic, Nurem-
berg and German school of to-day. The outer walls are deco-
rated after the manner of the old German houses with the imperial eagles and
allegorical figures. At three different corners of the structure are three lesser
towers, in which are hung three bells which were presented to the commission by
the ten-year-old Crown Prince of Germany. After the Exposition these bells are
to be sent back to Europe, and placed in a church which is to be erected as a
memorial to the old Emperor William, and called the Church of Peace. The
rather steep roof is covered with shining glazed tiles. The roof corners, water
spouts, etc., down to the large lantern in front of the tower, are of shining brass or
mellow-hued bronze. The center is in the form of a chapel, rich in decorations.
Bay windows, projecting balconies, turrets, etc., lend the structure a most pict-
uresque appearance, one closely resembling that of an old German "Rathhaus" or

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HISTORY OF THE WORLD'S FAIR. 511

city hall, such as may be seen even at this day in Nuremberg or some other ancient
town. The massive walls are decorated and frescoed in South German style.

Over the main entrance, in Gothic lettering, the following characteristic Ger-
man motto in ancient rhyme appears:

Nahrhaft und wehrhaft,

Voll Korn and voll Wein,

Voll Kraft und Eisen.

Klangreich, gedankenreich.

Ich will dich preisen, Vaterland mem.

Which in English would be:

Fruitful and powerful,

And full of grain and wine,

Full of strength and iron,

Tuneful and thoughtful,

I will praise thee, Fatherland mine.

But the interior is even more impressive and finer than the exterior. After
passing through the magnificently decorated rotunda, a second hall is reached.
This, in fact, is a separate wing, some forty feet high and divided by an arched
passage of considerable width and height. This inner wing, with the exceptions
noted, extends over the entire space in the building, covering an area of about 2,000
square feet. The pillars everywhere are heavy, short and solid throughout, and
the arches are semicircular, the style being early German renaissance. Balconies
rise in tiers on all four sides of this vast interior space, and heavy timber and cast-
ings used in their construction being richly painted and decorated. Subdued color
effects, such as dull reds and blues and yellows, are every where visible, and the
niches and corners show poetic paintings made by Max Seliger, a talented art-~t
sent by the German government.

The chapel is a reproduction of a private chapel in one of the German castles-
It is on the west side of the building, the nave being a large bow-window of stained
glass. It is eighteen feet wide by thirty feet long and around the sides are placed
images carved in wood and stone illustrative of church decorations. The walls are
painted a subdued tint and many texts are illuminated and placed around. Here
a large collective exhibit is placed, some fifty firms in Munich, Berlin, Heidelberg,
Crefeld, Carlsruhe, Aix-la-Chapelle, Cologne, Wuerzburg, etc., being represented
in it. Appropriately enough this exhibit is one of modern church art — or rather art
applied to churches. Some very fine stained and painted windows and oriels;
magnificent church vestments of silks, velvets, linens, brocades, etc., embroidered
or embossed; costly and artistic vessels for sacred use, fashioned of gold or silver;
handsomely illuminated missals and prayer books and Bibles; and, lastly, plastic
church art, such as statues and statuettes of saints, etc., crucifixes, etc., all form
part of this highly interesting exhibit. On the altar is placed the silver communion
service. It is very massive and hand carved. This service is destined for the same
church as the bells donated by the young crown prince.

512

HISTORY OF THE WORLD'S FAIR.

The German publishers have arranged a comprehensive general exhibit of
their wares — the art of printing being above all well illustrated by a large assort'
ment of magnificently bound volumes of every kind — rare scientific works especially'
But in cartography, lithography, photography, chromography, engraving, etc., and
all their cognate branches, the art is thoroughly represented in thousands of beautr
ful specimens. And this fine collection — which ultimately is destined to enrich some
American institution, perhaps a public library or a university — is placed on the
upper galleries or balconies of the building, arranged so as to easily afford instruc-
tion and an intelligent ap-

j preciation of its treasures.

A reading room for the
public is also provided, in
which students may in-
dulge the privilege of
feasting their minds on
some particular tome that
has engrossed their fancy.
Adjoining the library is a
large room decorated in
imitation of an old castle
hall. It is used as ar. ex-
hibit room for the pres-
ents which have been
given to the different
members of the royal
house. The collection of
Bismarck souvenirs is
very large. It consists of
addresses paid him by dif-
ferent localities, many ar-
tistic silver and gold cases
holding the freedom of
various cities, a drinking
cup from the residents of
Frankfort and the spurs he had when at the head of the German army. The
Von Moltke heirs have also sent many relics of the stern old warrior, includ-
ing his baton, decorations and various addresses. The exhibits made by the royal
house are much the same in character, embracing many historical documents and
copies of treaties which have figured prominently in changing the geography of
Europe.

The front part of the building is devoted to offices and Commissioner
Wermuth's reception room, which is quite as artistic as any in the palaces of his
king. It is twenty feet square, with three broad plate glass windows looking out on
Lake Michigan and the broad shore promenade. The ceiling is covered with

NORWEGIAN BUILDING.

5H HISTORY OF THE WORLD'S FAIR.

carved oak made in two-feet squares, and from each corner of each square depends
an ornament which is gilded to relieve the dark color of the wood.

In the center is a painting representing a sunrise which was done in Germany
for this special room by a member of the Royal Academy, who denoted it on the con-
dition that the painter's name should be kept a secret. Around the walls runs a
wainscoting of carved oak, seven feet high. It is surmounted by a hand-carved
panel, with figures representing the history of the empire. From the wainscoting
to the ceiling the walls are frescoed in floral designs in bright colors, which offset
the dark color of the oak. On the north side of the room is a porcelain fireplace
which runs to the ceiling. The color is dark blue, and over the grate is a single tile
four feet long by one broad, representing a wedding party in winter in the olden
times.

The furnishing of the room is old style. The carpet is made in keeping with
the woodwork by one of the famous German factories, and the upholstered furni-
ture is of the style now long out of vogue. Scattered about are several desks made
to correspond with the same period as the furniture.

Between the windows is a gilt hall clock, ten feet high. It is one of the most
artistic bits of furnishing in the room. Four feet above the base rams' heads are
set in each corner, and from that point to the top, the design is after one of the
spires of the Strasburg cathedral. The dial is unique, in that each of the
numerals is painted on an oval piece of ivory cut in a triangular shape, the point at
the center.

Right here it may be mentioned that a portion of the material used in the
construction and in the inner decoration of the German building itself has been fur-
nished by German firms for purposes of exhibition. Thus, the tiles on the roof —
quite new of their kind in this country — of which there were used fifteen car loads
alone, are an exhibit in themselves. So are the beautiful windows, the antique
furniture and the ornate wooden ceilings in the reception-room of the commissioner
and in the anti-chamber. So, too, are the handsome carpets and rugs that are
spread on every floor and staircase in the huge structure — all contributed by large
manufacturers in Wurzen, Saxony, in Schmiedeberg and Dueren, Prussia.

The top floor is cut up into a score of small rooms of all sorts of shapes by the
many gabled roof. They are all utilized though as living rooms by members of the
commissioner's staff, royal guards care takers and others whose constant presence
is required about the building.

Costly as is the building — $150,000 — it is by no means out of proportion to the
appropriation, as the German Government has furnished the munificent sum of
$750,000 for her display at the Columbian Exposition.

The land of the fiord and the Norsemen erected a curious structure, dis-
tinctly Norwegian in its idiosyncrasies. The pavilion is what is known as the Stav-
kirke style and is copied after the church houses they have been building in that
country ever since the twelfth century.

There is a high lower story and a low upper story ana, over all, a high
gabled roof picturesquely irregular in design. A fine flagstaff tops the whole. But

HISTORY OF THE WORLD'S FAIR. 515

what most gives a Norse aspect to this little building, which is but 26x40 feet in
size, are the decorative figures projecting over the gables, heavy beams that curve
upward and which are graven in grotesque shapes like the heads of dragons or
serpents. These resemble more than anything else, the ancient prows of battle
ships.

That is exactly what they are intended to be like. When the "Stav-kirke"
type of architecture was originated, the Norse were the boldest navigators in the
world. Their high penned galleys, with hideous figure-heads, ventured where
none others dared to go. Those were the days of the vikings. So the Norsemen,
being more at home in ships than in houses,patterned their houses after their ships.
In effect the edifice portrays a quaint old church, a maze of gables, on which decora-
tive figures represent the defiant ornamentations of the bows of viking ships. The
whole composition is most romantic in its conception. The material used in the
Norwegian pine wood, and the cost in the neighborhood of $10,000.

The timbers were all prepared at Christiana and brought to Chicago in framed
cases. The building is chiefly used for the offices of the commissioners and as a
rendezvous for Norwegian folks. All of the exhibits are in the main buildings and
if it had not been that they were stirred up by all this Columbus hubbub to the re-
membrance that America was discovered by their own Leif Ericksen more than 800
years ago, they would probably have had no headquarters at the Fair at all.

The Swedish Government building is located to the northeast of the
Fisheries not far from the Brazilian structure and between the lake and the lagoon.
The space alloted to Sweden was triangular in shape and the building was made to
conform to the space in order to utilize it to the utmost. A hexagon was inscribed
at the center of the space and there the main hall was located.

The design of the building is partly the product of the architect's personal
taste and fancy, but in working out the drawings he has to a great extent allowed
himself to be guided by the style of Swedish churches and gentlemen's houses of the
sixteenth and seventeenth centuries. As far as possible the characteristics of old
Swedish architecture have been retained.

The building was constructed in Sweden, where it was temporarily put to-
gether. Afterwards it was taken apart and brought to Chicago, making twenty-one
carloads of material. It cost $40,000 of the $100,000 appropriated by the Govern-
ment. In the three corners are rooms of considerable size. Galleries run around
the building. The main hall is sixty-five feet across, and the pitch of the cupola,
which rises above it, is seventy feet, and above the cupola is the spire. The Swedish
flag flies from the flagstaff above the spire, 150 feet from the ground. The entire
area of the floor is 11,000 square feet. The lower part of the front wall of the
building forms an exhibit of its own, consisting of modern brick, terra-cotta, and
cement work from the most prominent manufacturers of Sweden. Exhibits of steel,
iron, clay, cement, wood pulp, porcelain and wick are shown in the building also.
The remainder of the building is entirely of wood, all the work being done by the
Eskelstuna Iraforadlingsaktiebolag in Sweden. Following the old Swedish fashion,

516 HISTORY OF THE WORLD'S FAIR.

the whole of the roof and the walls are covered with shingles. The outside of the
woodwork is impregnated with a preserving liquid to prevent decay.

The inside of the pavilion is painted in light colors and richly decorated
with bunting, coat-of-arms and crests. A fine exhibit of the world-famed Swedish
iron ore is made. A display of the manufactured products of iron, china goods,
and glass products are well represented in the pavilion. There is also a liberal
space for gold and silverware and wood pulp products. A further attraction is the
excellent representation of a genuine Swedish home with beautiful suites of fur-
niture and highly artistic drapery.

Exactly opposite the main entrance of the building is. a large picture of the
capital of Sweden, "The Venice of the North," with its famous royal castle. Wax
figures stand in front of this picture dressed in the picturesque garb of the Swedes,
and to one side is a panorama of Swedish landscapes, while the other side is oc-
cupied by a Swedish peasant's cottage.

The outdoor sports-exhibits are skates, snowshoes, sleighs, canoes and yachts.
A carefully executed bust of Gustavus Adolphus II. has also been placed in this room.
In the galleries are gathered exhibits illustrative of the school system, which are
admittedly of the first rank. Embroideries and needle work displays attract lady
visitors, who also have seen the Swedish women's work in the Woman's building
u''ier the patronage of Her Majesty the Queen of Sweden and Norway.

The Swedish cafe people have brought with them a pleasant old-world cus-
tom of setting tables for their guests around under the trees on the green turf,
where the cool winds of heaven may fan their fevered brows and frappe their soup
before the waiter gets around with a spoon to eat it with — for of all leisurely
creatures under the sun the Swedish waiter takes the lead. A couple sat down at
one of these out-of-door tables one day, and after due deliberation a waiter ap-
peared and took their order; then he disappeared. Just as the two were giving up
all hope he came back with part of the order and set it down. After an inter-
minable wait his nature prompted him to bring bread. The knives and forks ap-
peared next, the order of procession impressing his charges with the idea that eat-
ing a Swedish meal was like reading Hebrew, and it was necessary to begin at the
end and work forward. When everything was on the table, and in response to re-
peated tearful entreaties he had even brought beer, he made another disappear-
ance that threatened to be final. The couple finished their meal, chatted pleasantly
for awhile, had a quarrel and made it up, talked in a desultory fashion about the
Fair and the weather, and looked for the waiter high and low. Finally the man
caught another waiter and tried to send him after the first. After the man had
minutely explained what he wanted the waiter said he didn't speak English. Then
the woman came to the rescue. "Let's just get up and walk off, then they'll chase us,
and you can pay," she suggested. "All right," said tne man, who was becoming
desperate. They walked off a few hundred feet and not a soul moved. Then the
man came back, and as he was returning caught sight of his waiter around a corner
of the cafe. "Ah," said the waiter with a beaming smile, after the man had in-

HISTORY OF THE WORLD'S FAIR.

formed him in a vindictive manner that he wished to pay his bill. "Ah, I thought
you had gone; I thought you would come back to-morrow, eh?" "Well, you've
got a heap of confidence in human nature," said the man as he fished around his
pockets for an extra dime. "I want to give you that," he said, "and I want to im-
press it on your mind what it's for; it's for your inattention."

LEARNING— BY IDA J. BURGESS.
Decoration of Reception Room of Illinois Building.

VICTORIA HOUSE.

HISTORY OF THE WORLD'S FAIR.

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