Chapter XXIV: Appendix: 3 (2)

The Government of Denmark, while making no appropriation for a participation at the Louisiana Purchase Exposition, appointed William Arup as commissioner-general to look after the interests of the Danish exhibitors. At the same time the Government appointed a committee, consisting of the following-named persons, to assist him in his work: Charles Ambte, director of State railways; Mr. N. Anderson, councilor of state, P.D.; Arnold Krog, professor in arts, P.D.; Admiral Richeleu St. Kors, of D.; Philip Schon, councilor of state. Of these gentlemen only Admiral Richeleu visited the fair.

Commissioner-General Arup personally bore the total expenses of transportation and installation, which amounted approximately to $25,000.

Denmark had no official building on the grounds but confined her space to the principal exhibition palaces. Her principal displays were installed in the Palace of Varied Industries, where she occupied about 5,000 square feet of space.

Twenty exhibitors displayed goods in the Palace of Varied Industries. Their displays consisted principally of porcelain, silverware, art pottery, cabinet works, embroideries, photography, ship models, and a ship model of the free port of Copenhagen. The last-mentioned model was subsequently donated to the Chicago Municipal Museum.

In the Palace of Electricity, the Agricultural Building, and the Palace of Fine Arts Denmark occupied smaller spaces, but her exhibits attracted general attention on account of their universal excellence.

EGYPT.

The amount of Government appropriation for Egypt's participation at the Louisiana Purchase Exposition was approximately $50,000. The principal exhibit made by the Government of Egypt consisted of a representation of antiquities in the Anthropology Building; an exhibit by the Sudan Government in the foreign section, comprising ivory, gum, rubber, various cereals, and a variety of ancient weapons and curious articles in use by the natives of Sudan. In the same section were exhibited some heads of wild animals including hippopotamus and the buffalo. In the Liberal Arts section was displayed a large relief map showing the system of irrigation in use in Egypt with the canals clearly marked. This exhibit was made by the administration of the Daira Sanich, which forms part of the Government, and in the same section the public works department of the Government exhibited various models of the Delta Barrage and other irrigation works existing in various parts of Egypt.

In the Agricultural Building, through the Khedivial Agriculture Society and the Produce Association of Alexandria, a complete collection of cotton and cereals and every kind of agricultural product grown in Egypt were shown, in addition to which the Campagnie des Sucreries of Egypt had a very fine display of sugar, and the Port Said Salt Association sent samples of various kinds of salt.

The commissioners appointed by the Egyptian Government were Herman E. Lawford and Abdel Hamid Abazza. The latter was in charge of the agricultural section. He is connected with the Khedivial Agriculture Society of Egypt, and was requested by the Government of Egypt to make a report on the cotton industry in this country, particularly with regard to diseases of the cotton plant. Mr. Lawford has resided in Egypt for several years and has been connected with various land and industrial companies. Mr. Quibell, who was attached to the commission, is an inspector of antiquities in the employ of the museum at Cairo, and has been in Egypt for a number of years, his time being devoted to scientific researches.

FRANCE.

The French Government, at the time when the general commission to the Louisiana Purchase Exposition was appointed, appropriated a sum of 600,000 francs for its expenses and a sum of 600,000 francs for the participation of the fine arts. Later on an appropriation of 350,000 francs was made for the educational exhibit and several other exhibits over which the Government had immediate and direct control. The entire charge of putting up the French commercial exhibits in the various palaces, except Fine Arts and Education and National Pavilion, had been granted, in April, 1902, to a permanent committee on foreign expositions, which worked under the supervision of the French general commission. The committee raised from private sources a sum of 5,000,000 francs.

Aside from the above sums, an appropriation of 100,000 francs was made by the department of the colonies for the participation of the different colonies at the exposition.

Another appropriation of the same amount was made for the social economy exhibit.

The approximate amount of money spent by France for its participation in the Louisiana Purchase Exposition was 7,750,000 francs. The contract for building the French Government Pavilion was let to a general contractor in Paris, who undertook to build it for the sum of 500,000 francs.

In addition to the above sum, an appropriation of 100,000 francs was made for the painting of the building; 10,000 francs for the statuary over the roof. An appropriation of 150,000 was made for the gardens.

The commission appointed by the Government of France was as follows:

Mr. Alfred Picard, special envoy of the French Republic; Mr. Georges Gerald, commissioner-general; Mr. Jules Boeufvé, assistant commissioner-general; Mr. Felix Lamy, secretary of the French commission; Mr. Robert Delaunay-Belleville, private secretary to the special envoy; Mr. Max Ferlaud, private secretary to the commissioner-general; Mr. Emile Heurteau, private secretary to the special envoy; Mr. Marcel Estieu, attaché; Mr. André Artoine, attaché. French commercial section: Mr. Ancelot, president; Mr. Gustav Kester, vice-president; Mr. Perdoux; Mr. Maurice Estieu, treasurer. Fine arts section: Mr. André Saglio, commissioner; Mr. Horteloup; Mr. Delestre, attaché.

The National Palace of France, as erected at the St. Louis World's Fair, was a reproduction of the Grand Trianon, at Versailles. It was located at the west end of the Louisiana way, one of the main avenues on the fair grounds; at the other end of the avenue was located the United States Government Building.

The French Pavilion consisted of three rectangular buildings bordering on a main state court. Large pilasters of white and pink marble were arranged as the frame work for high windows, topped with decorative arches. An outside flight of stairs and porphyrolite sills of imitation marble gave that impression of luxury and good taste which is characteristic of all productions of the Louis XIV period.

Two large wrought-iron brackets supported lanterns in the same style and gave a more animated appearance to the main entrance at the end of the court. Part of the arch decorations were reserved for the entrances; the balance of the arches used in the arrangement of windows with balcony were fitted with wrought-iron balustrade railings, in the general style of the palace.

Only one change was made in the otherwise exact reproduction of the Grand Trianon. According to documents published in the seventeenth century, and especially to the tentative drawings made by Lepautri himself, the Grand Trianon architect, that monument was originally to be decorated over its high balustrade railings with some artistic devices and groups of children, each to be found in the present French monument. The architects of the St. Louis Palace, Messrs. Gustave Umbdenstock and Roger Bouvard, conceived the happy thought of making that restoration complete, and thus contributing a more lifelike appearance to the whole palace.

On the other hand, a large allegorical medallion was arranged over the central decorative device, which was indicative of the national character. The medallion bore the coat of arms of the French Republic topped with the "Phrygian" cap, being flanked on either side by two allegorical female figures, one of which was symbolic of the Armed Peace protecting herself with a sword, and the other was intended to represent French trade. Over the allegorical medallion was the mainmast used to display the French flag. Owing to the arrangement of the palace itself the flag was thus displayed in the continuation of the center of the main monumental avenue of the fair.

From the entrance to the French Concession, which covered an area of about 150 meters in width by 250 meters in depth, a large monumental grill in the style of Louis XIV covered the entire front of the grounds separating the garden from the avenue which bounded it at the right corner. The grill included three large gates supported by four metal towers which were topped by lanterns and decorated with allegorical panels, producing the finest effect. The grills were devised on the same lines as those exhibited at Versailles and on the Place Stanislas, at Nancy.

A large garden, laid out in French style, was arranged in a border on the central path leading to the palace. The latter, with flower beds in the border, was ornamented with vases and statuary on pedestals.

The interior arrangement of the palace was such that the public would visit it regularly in its entirety without the necessity of passing twice through the same rooms. Double doors were provided so as to permit a continuous circulation for entrance and egress.

The building at the farthest side of the state court was devoted to the large state room, the decoration of which was intrusted to the National "Garde-Meuble," or "Historical Furniture Depot." The size of the room was 30 meters in length by 9 meters in width, and it was lighted by seven large windows; its height was 7 meters to the ceiling. The entrance stairs on the outside and the entrance hall were paved with imitation marble of pink and white. The carved ceiling was arranged as a framing for three large decorative paintings executed by Mr. George G. Roussel. The subject selected by the artist was Liberty, Equality, Fraternity. The Liberty allegory represented France placing her sword in 1772 at the service of America for the conquest of the latter's independence.

In "Equality" the figures were personifications of the commerce and industry of both nations.

"Fraternity" represented America receiving the France of 1904 in a symbolic group.

In the corner of the ceiling were a child uniting the flags of both nations and goddesses personifying Fame hovering over a globe representing Earth in glorification of that cordial understanding.

The large state room contained fine Gobelin tapestries reproducing scenes of the reign of Louis XIV, as follows:

(1) Audience of Cardinal Chigi (July 29, 1664). This was a tapestry woven of wool and silk set off with gold manufactured at the Gobelin factory in the seventeenth century. It was one of a series illustrating the history of King Louis from Van der Meulen et de Charles Le Brun. It had a very rich border by Yvart.

(2) Entrance of the King into Dunkerque (December 2, 1662). A wool and silk woven tapestry set off with gold, made at the Gobelin factory in the seventeenth century; one of the series of the history of King Louis XIV from Van der Meulen et de Charles Le Brun drawing. A rich border by Yvart.

(3) The Siege of the City of Douai (July, 1667). A wool and silk woven tapestry with gold, made at the Gobelin factory in the seventeenth century; one of the series of the history of King Louis XIV from Van der Meulen et de Charles Le Brun drawing. A rich border by Yvart.

(4) A piece of tapestry. This was woven from wool and silk and made at the Gobelin factory in the seventeenth century; one of the series of hangings (portieres) of the Triumphal Chariot and bearing the coat of arms of France and Navarre; made from the drawings of Charles Le Brun (the final drawings).

The right wing of the palace was used first by the National Factory of Sevre, with a room 12 meters by 8 meters and a hall in front which measures 8 meters by 3.50 meters.

The decoration of this room was subdued to enhance the appearance of the vases and bisques exhibited. The walls were hung with watered silk to a height of 4.50 meters, the tone of the silk being well adapted to set off the whiteness of the china. Above this hanging a painted frieze was decorated with gray and blue leaves set off with medallions of crystallized pink stone work. The application of ceramics to decorative purposes was again found in the trimmings of the portieres in the shape of pendentives.

The objects exhibited in these rooms were especially selected with due consideration to the place they were to occupy and with a view to making up a complete decorative whole.

In the main room the place in the center of the longest sides were occupied by Houdon's bust of Lafayette, with a small statue of Liberty by Aube in front, and by a Puech's bust of President Loubet, with a small statue of De la Paix by G. Michel in front.

On either side of these busts were seen four pink vases of the so- called "Cleremont" class and four vases of the "Chelles" class representative of the four seasons in floral decorations.

At the corners of the main room in niches especially provided for them were four Blois vases, decorated with hollyhocks, Chinese lilies, and magnolias. On either side of the window were two d'Auxerre "Flambets" (signed) vases.

The city of Paris occupied three rooms in the right wing of the National Palace.

There were in the exhibit many statues, pictures, objects of the Paris municipal council and of the council-general of the Department of Seine, the insignia of councils, engravings, reproducing the most important decorative works in the Paris Hotel de Ville (city hall); also work done by pupils of the professional and industrial art schools, such as the Germain Pilon, Bernard, Palissy, Dorian, Diderot, Estienne, Boulle, etc.; such work includes ceramic pieces, modeling, bookbinding, furniture, chasing work, pottery, etc. The architectural service was represented by plans and drawings illustrating some types of the main edifices in Paris, such as the Sorbonne, Palais des Beaux Arts de la Ville de Paris, the barracks, mayoralty buildings, professional schools, primary schools, etc.

The departments of public highways, public lighting, water and health exhibited some graphical and statistical information in reference to their undertakings.

The Metropolitan Underground Railway sent most complete information covering its most interesting work.

The department of public charity exhibited water colors which gave useful information in reference to its various branches and modes of operating.

The department of historical work and the committee of ancient Paris showed a collection of publications covering the history of the city and of its several transformations. The general decorations included views of Paris, public gardens, and two large panels by de Grinberg, showing the Notre Dame Cathedral and the Pavilion de Fiore, in the Tuilleries.

There were also frontispieces and escutcheons by the master decorator Jambon. Elaborate middle pieces and a beautiful chandelier in the middle of the main room attracted considerable attention.

There was a small horizontal show case containing a collection of objects employed by the teacher in lecturing on civic instruction. These objects included various kinds of tickets, stamps, tax bills, receipts, official postals, etc.

Agricultural education occupied an extensive area, showing the importance attached in France to that department. A very remarkable collection, filling seven volumes, showed the really wonderful result that an inspector of the Brittany region was able to obtain in a district consisting of some hundred townships. There was also an "experiment case," which was to be found again in the normal school graduate's outfit, and a set of small instruments made by the country teachers.

The series, drawings, samples of manual work, of sewing, etc., showed how republican schools in France care for the workman's interests.

Other superior schools were represented in adequate manner through the aggregate exhibits. That at Onzain showed a few peculiarities of the rural type.

Superior primary schools for girls only showed a few specimens of several collections of work. The department of technical education, as represented by practical, industrial, and commercial schools, gave a fair idea of what is done in France in that branch.

The aggregate display gave a fair idea of what is going on in France in the normal schools, where teachers of both sexes are being prepared for their work.

Attention was particularly directed to manual work, especially to the scientific training that the girls of the normal school receive on leaving school.

A show case in one of the compartments contained a complete collection of documents relating to primary education in France. Several displays of that kind were attached to the walls, such as the six graphical tables made by Levasseur, which are summaries of statistical documents.

The Museum of Pedagogy had collected in similar summary form the most important results obtained for the past twelve years in the work done in promoting special work as a complement to school education.

Enlarged photographs representing scenes of school life were placed practically everywhere throughout the exhibit of French primary schools. They were prepared by the school administration as a reproduction, on a smaller scale, of the exhibit which proved such a success at the Paris Exhibition Fair in 1900.

The exhibit of higher education included displays from universities and scientific institutions, the leading ones being the College of France, the Museum of Natural History, the Practical of Highest Studies, the School of Charters, the School of Living Oriental Languages.

An inquiry was instituted in 1883 in academic councils and faculties in reference to drafting a plan for the constitution of universities that should administer and manage themselves under the supervision of the State.

Many had been impressed with the inconvenience caused by a lack of cohesion in the work. Attention was called to those many common interests of which the faculties should have been the guardian, but of which they could not take care on account of their isolation. Inquiry, begun in 1883, made the necessity of a reform obvious. It ended in the rendering of the decrees of July 25 and December 28, 1885. These decrees may be divided into two distinct parts--one covering the interior life of faculties, the other providing for a grouping of faculties established in each academic center and the general council of faculties to be the representative organ and executive power of the new faculty life created.

Appreciable results were derived from these reforms. However they were incomplete, and it was thought, in consequence, that genuine unity should be given to a superior education. The establishment of the new universities had been a legal consequence of that express wish.

The law of July 10, 1896, gave the name of university to each body of faculties, substituting the university council for the general council of faculties, the duties and powers of such university council being regulated by the decree of July 21, 1897. The rector of the university is president of that council by right, and is the legal representative of the university before the courts.

In the Department of Machinery the French exhibit included according to the general classification groups, steam engines, various motors and engines, sundry general machinery, machine tools, and shipyard machinery. All of these several groups and classes were united in order to form a collective exposition for the whole department.

To the above groups there were added the following: Spinning and rope-making machinery and weaving machinery and materials. The latter groups included machinery that could also have been placed in the department of general machinery.

In compliance with a suggestion made by the head of the engineering service at the fair, all machines and mechanical appliances exhibited in the Palace of Machinery were distributed, not in accordance with the nationality of exhibitors, but in accordance with the character and nature of the machinery.

French manufacturers had nothing to fear from the fact of their machinery having been placed in the immediate vicinity of other similar machines made by foreign manufacturers. On the contrary, a closer contact only resulted in setting off in a better light those particular qualities that have made France so successful in that branch of industry on previous occasions.

Outside of the Palace of Machinery there were exhibited in the boiler buildings five steam generators made by French manufacturers. These boilers contributed to the generation of the steam required for the power houses of the fair.

The distribution of exhibits all over the Palace of Machinery has made it impossible to arrange any decorative devices for the whole group of French exhibitors.

Another manifestation of the French mechanical industry was found in a pavilion which was built on ground between two of the main gates leading to the main entrance to the Hall of Machinery.

The French department of electricity was located on the left of the main entrance to the Palace of Electricity, occupying an area exceeding 2,000 square meters. In the center of the exhibit there was a space 350 square meters in area, used as a resting room for visitors. There were to be seen in a circular arrangement the show cases that made up the retrospective and modern exhibits sent by the French department of commerce, industry, post, and telegraph.

The decorative frieze arranged around the room bore, between laurel wreaths, the name of the most illustrious French physicians or electricians from the eighteenth century to this date.

The French exhibit in the Palace of Agriculture occupied an area of nearly 2,800 square meters. It was located in the northern corner and next to one of the main gates, fronting the French National Palace.

The French exhibit extended along the front of the palace on the northern and eastern sides.

The French exhibit of social economy occupied an area of 700 square meters in the Palace of Education. The main entrance formed one of the largest avenues in that palace, giving access to a main hall 50 meters in length by 12 meters in width, both front sides of which were subdivided into a score of small rooms 3 by 5 meters. The front sides of these small rooms were made up of partitions 4 meters high, decorated with mural paintings, and topped with a decorative frieze that bore the titles and subtitles belonging to the group of exhibits represented in the room. A shelf 0.50 meter wide, with a ledge, was arranged all along the rooms at the height of 1 meter from the ground, and supported all pamphlets, books, and other documents that supplemented the information supplied by the exhibits on the walls.

A show case and bookcase were put in the center of each room, containing the documents placed in view by the several exhibitors who were represented through publications only.

The individuality of each of the several groups was evident by titles or medallions of a decorative character, which also included a subtitle and index, arranged with as many particulars and in as methodical manner as possible, of all exhibitors, in order that the visitor might be saved as much labor as possible in his inquiries.

GERMANY.

_Members of commission._--Dr. Theodor Lewald (privy councilor), imperial German commissioner-general; Dr. Eugene Wagner (superior Government councilor), vice-commissioner; Mr. Otto Zippel (imperial councilor), treasurer; Mr. Heinrich Albert, assistant commissioner; Mr. Paul A. Zilling, commercial attaché, department of arts and crafts; Dr. Fritz Kestner, attaché; Dr. Hugo Hardy, attaché; Fritz Von Bardeleben, attaché; Dr. F.C. Rieloff, imperial consul; Baron von Reden, imperial vice-consul; Count Limburg-Stirum, general commissioner education department; Dr. Leopold Bahlsen (professor), substitute to the general commissioner education department; Mr. Herman Albert, commissioner mining department; Mr. Alard Scheck, commissioner of forestry department; Dr. Ludwig Wittmark (privy councilor), agricultural department; Dr. Hugo Kruss, scientific instruments; Dr. Johannes Breger, hygienic department; Dr. Otto Zwingenberger, chemical exhibits.

By order of the German Emperor, the German House (das Deutsche Haus) was erected on a prominence in the center of the World's Fair near the Cascades. It was a replica of one of the German castles most celebrated in history and art, and the most prominent German architects reproduced it in St. Louis and equipped it with the best products of modern art industry.

In the year 1902 the great question arose as to what kind of style and which building should be erected in America as a symbol of Germany. The Emperor decided that Charlottenburg Castle should be used for this purpose, as one of the most aristocratic and characteristic monuments of the first epoch of the Prussian Kingdom. The location of the German House on a towering hill and its purpose called for a different architecture from that of the Charlottenburg Castle, which is situated in a plain and which at the same time serves as a dwelling house. So the two wings of the Charlottenburg Castle were omitted, one of them to give room to the Pergola and the German Wine Restaurant. The place of a court of honor was here taken by the massive stairway and there were new ideas produced in the cupola, the exterior ornamentation, and in some of the interior apartments. The erection of the building was awarded to Prof. Bruno Schmitz, of Berlin, who in Germany has built some great monuments, and who is no stranger to the American public.

The equipment of the interior rooms was awarded to a number of the first German manufactories in the line of art furniture, the art of weaving and illuminating, and was finished by the most skillful artisans. The German House was on the same level as the Palace of Fine Arts and Festival Hall. Its base was 47 feet higher than the Mining Building. From the State buildings in the southern divisions of the World's Fair a wide path led through artistic garden spots to the rear entrance of the German House and from the Mining Building large stairs led up to the German Restaurant. Ascending the hill of the German House, the first impression was that of a castle front. The dimensions of the castle were: Length, 150 feet; depth, 69 feet; the height of the building to the apex of the cupola was 160 feet; it covered an area of 10,000 square feet, while the complete site with the terraces amounted to 174,931 square feet.

The castle consisted of a two-story gable, the front of which was almost exclusively occupied by the high windows and two by-parts with four axes, each with three-quarter Corinthian columns. Of the three stories, the uppermost--the mezzanine story--served only as a storeroom. The gable above the center part bore in large letters the inscription "Das Deutsche Haus." Groups at the corners of the gable represented Power and Wisdom. The capitals of the columns were molded from the original and the balustrades of the cornices were made from designs. The roof of the house was a platform like the original in Charlottenburg, surrounded by a cast-iron balustrade.

As at the prototype, in front of the German House the two Borghesian gladiators with sword and shield kept guard. The death masks on the sentry houses were Schluter's work and were erected after models taken in Charlottenburg. The dark color of the building and the patina of the roof accentuated the historical character of the building.

Around the building on the broad terraces, surrounded by a balustrade in modern Baroque, were long rows of laurel trees and rhododendrons which were brought over from Germany.

In the lower story was a circular center hall, the flat ceiling of which was supported by 8 columns, a true copy of the entrance hall of the Charlottenburg Castle. In the two wall niches, between high laurel trees, were placed busts of the Emperor and Empress. The pedestals were done in gray, specially prepared oak wood. Behind the busts were two stucco reliefs molded from the originals in Charlottenburg, representing scenes from Roman history.

A room with modern escritoire equipment served as reading and writing room for the members of the German press.

Off the center hall and facing the front was the extensive reading hall, likewise a copy of the room of the Charlottenburg Castle.

Noticeable in the room was a picture of the capital of the German Empire, Berlin, showing the bridge across the Spree, with the renowned statue of the Great Elector; behind this the great Royal Palace; also a picture of the "Hohkonigsberg," in olden times a mighty castle in German Alsatia, which for centuries has been a desolate ruin, but now is built anew in its old pomp and splendor. The series of pictures was concluded by a view of a plaza in the Hansa Town Lubeck.

In addition to these views, around the hall were the busts of eminent scholars, artists, poets, musicians. Besides other pieces of ornament, the reading room contained choice pieces of the royal porcelain manufactory, as well as a series of artistically finished groups representing the different countries of culture. Finally, to symbolize the character of the reading room, on the right table a bronze figure was placed showing the greatest German historian of all times, Theodore Mommsen, who only a short time ago died in extreme old age.

In the rear of the reading hall a broad terrace led down to the garden plots, embellished by the group by Professor von Uechtritz, Berlin, "The Crown is the safeguard of peace."

At both sides of the reading hall the office rooms were situated; to the right a large office room of the imperial commissioner or his representative, very tastefully equipped in modern style. The walls were wainscoted in oak and had capacious book shelves. From the ceiling, the beams of which were ornamented, numerous lamps and large candelabra were suspended. The room was completed by a comfortable fireplace, and to the left side of the room, or reading hall, were office rooms.

The upper center hall, with its eight columns, was a copy of the center hall of the Charlottenburg Palace, and in its quiet dignity highly characteristic of the Prussian development of the art of the Baroque.

In front of the nether window, between two columns, was placed the bust of the German Emperor in the uniform of the Gardes du Corps, with the eagle helmet, from the royal porcelain manufacturer in Berlin.

Another interesting feature of the German Building was the Gobelin hall. The rich ceiling in its pure plastic was modeled after the Elizabeth hall in the royal palace of Berlin, the stucco figures, as well as the decorations of the ceiling, likewise the golden medallions at the four corners, representing a procession of bacchantes, while the rich door panelings were modeled in the royal palace and placed here. The walls all around were wainscoted with palisander. But the main interest in this room centered in the four mighty gobelins. These gobelins were, by the charm of their colors and the delicacy of the composition, a source of enjoyment to every lover of art.

The Gobelin hall was laid out with a gorgeous modern carpet from the carpet works at Barmen. Of surprising delicacy were the curtains and the golden hangings above the windows, all masterpieces of the modern art of weaving, as were those all over the house made by the concern Hertzog in Berlin. The great candelabra of bronze and mountain crystal were lighted by wax candles.

Off the Gobelin hall was one of the richest rooms of the castle, the Bradenburg chamber. This red-velvet chamber was used for one of the most brilliant ceremonies in the royal palace, the solemn decoration of the Knights of the Order of the Black Eagle.

Adjacent to this rich room was the main hall of the Deutsche Haus, the famous oak gallery, 115 feet long and 20 feet broad. The oak gallery forms in Charlottenburg the most important apartment of the castle and is characteristically German. The combination of the simple oak wood with the delicate gold carving produced a most original and most restful effect. The wonderful dimensions, the beautiful material, the harmony of colors, and perfection of artistic details all combined to impress the observer. The entire length of the long wall was divided into niches by pilasters. Each niche contained a mirror and over that a picture from the ancient classics. Along the walls of the hall were placed on marble pedestals the busts of former Prussian rulers.

The series of state rooms was concluded by one of the very finest rooms, the Tressen Saal (galloon room), also a copy from the Charlottenburg Castle. In contrast to the substantial splendor of the oak gallery, this apartment showed the whole delicacy and refinement of the Baroque. The name "Tressen Saal" was given to this room in consideration of the gold interwoven bands (tresses) which were sewn on to the red damask.

The harmony of the oak carvings, of the gilt stucco, the red damask, and the gold galloon composed one of the most delicate decorations of Prussian castles. This was finished by the ceiling, where were seen allegories painted and mounted on linen in imitation of the Tressen Saal in Charlottenburg Castle.

There was no special act authorizing the German exposition. In accordance with the general principles of the German constitution, the sum required for this purpose was entered in the budget. After an approval of the budget by the Bundesrath and the Reichstag the participation of Germany became a law. The fire insurance of the combined German exhibits covered $4,000,000, and this sum may be regarded as the approximate value of the exhibits. The aggregate cost of the organization, installation, and transportation paid by the Government was $1,300,000, of which the Imperial Government paid $900,000, the Prussian government $250,000, and the other Federal States $150,000.

GREAT BRITAIN.

_Members of commission_.--His Royal Highness the Prince of Wales, K.G., president of the royal commission; the Right Honorable Viscount Peel, chairman of the royal commission; Col. Charles M. Watson, R.E., C.B., C.M.G., commissioner-general and secretary of the royal commission; Mr. J.H. Cundall, general superintendent; Mr. Edmund H. Lloyd, general superintendent; Mr. Lucien Serraillier, secretary to the commissioner-general and for juries; Mr. C.D. Barrett, accountant; Mr. Herbert Langridge, in charge of correspondence and catalogue. Clerical assistants: Mr. R. Grant Dalton, Mr. S.G. Hutchinson, Mr. J. Perrin Harris. Department of education: Capt. P.H. Atkin, representative of the education committee; Mr. C.E. Down, assistant superintendent. Department of art: Mr. R.S. Hunt, representative of the art committee; Mr. Alfred A. Longdon, representative of the applied art committee. Department of liberal arts: Mr. J.E. Petavel, scientific manager of low temperature exhibit; Mr. H. Payne, assistant. Assistant superintendents of exhibits: Mr. J.F. Barrett, mines and metallurgy; Mr. John E. Blacknell, manufactures; Mr. J.T. Christie, liberal arts; Mr. Harold Darby, transportation; Mr. Joseph Devlin, agriculture, fish, and game; Mr. Edward Dixon, electricity; Mr. H. Werninck, liberal arts; Mr. W.C. Forster, Queen Victoria's jubilee presents; Mr. W. Brown, in charge of the British Pavilion garden; Mr. Arthur Smith, general foreman.

On April 23, 1903, the royal commission of King Edward VII was issued at Whitehall under His Majesty's royal sign, appointing the following commissioners to the Louisiana Purchase Exposition:

The Prince of Wales; Arthur Wellesley, Viscount Peel; Victor Albert George, Earl of Jersey; Richard George Penn, Earl Howe; Bernard Edward Barnaby, Baron Castletown; George Arbuthnot, Baron Inverclyde; Richard Barnaby, Baron Alverstone; John, Baron Avebury; Horace Cruzon Plunkett; Charles Napier Lawrence; Sir Charles William Fremantle; Sir George Hayter Chubb; Sir Edward John Poynter; Sir Charles Rivers Wilson; Sir Edward Maunde Thompson; Sir William Henry Preece; Sir William Turner Thiselton-Deyer; Sir Herbert Jekyll; Sir Lawrence Alma Tadema; Sir Caspar Purdon Clarke; Sir George Thomas Livesey; Henry Hardinge; Samuel Cunyghame; Edward Austin Abbey; Charles Vernon Boys; Thomas Brock; George Donaldson; Clement Le Neve Foster; John Clarke Hawkshaw; Thomas Graham Jackson; William Henry Maw; Francis Grant Ogilvie; William Quiller Orchardson; Boverton Redwood; Alfred Gordon Salamon; Joseph Wilson Swan; Jethro Justinian Harris; Teall, and Francis William Webb.

Col. Charles Moore Watson was appointed secretary to the commission. Subsequently, on the 6th of June, 1903, Sir John Benjamin Stone, M.P., was appointed additional commissioner.

At the first meeting of the royal commission, held at Marlborough House on the 28th of April, 1903, His Royal Highness the Prince of Wales, K. G., made a speech showing the interest that was felt in the exposition generally throughout Great Britain.

The interest taken in the exposition by Great Britain was exemplified strikingly in the amount of space which she occupied in the various exhibition buildings, amounting in the aggregate to no less than 206,642 superficial feet, of which only 8,000 feet was occupied by the Royal Pavilion. An idea of the vast scope of the exhibit may be learned from the following table, which gives the amount of space in each of the various exhibit palaces occupied by Great Britain's display:

Superficial feet. Education ...................... 6,500 Social economy ................. 810 ------- 7,310 Art .................................... 20,872 Liberal arts ........................... 35,500 Manufactures ........................... 58,000 Electricity ............................ 5,960 Transportation ......................... 33,500 Agriculture ............................ 20,400 Horticulture ........................... 500 Forestry, Fish, and Game ............... 3,900 Mines and Metallurgy ................... 11,700 Physical Culture ....................... 1,000

In making choice of an interesting type to be followed in the British Royal Pavilion at the Louisiana Purchase Exposition, it was felt that the Orangery of the Royal Palace of Kensington would be representative of English domestic building at one of its happiest periods, and a tribute also to the memory of the great architect, Sir Christopher Wren. In the Orangery of Kensington was found a building that could be strictly reproduced to its real size. The Orangery was 170 feet long and had a range of sash windows uninterrupted by doorways, the central and end windows having stall boards under them, making the entrances. The long line of roof was broken only by the three brick parapets or pediments, the center one being carried on half-round columns and pilasters of gauged brickwork. The walls were of red brick and stock brick spaced out with design, imitation white stone being sparingly introduced in cornices or keystones to give a note of white in the color scheme. The long hall ended in circular anterooms. In the replica, at St. Louis, of Wren's building, the only departure from the original was the introduction of an enriched plaster ceiling, such as would be found in a house of the period; the real Orangery was left bare and whitewashed.

The architects used the Orangery as the principal front to a quadrangular building, the necessary offices and accommodation for royal commissioners and executive staff being provided in wings that led from the two circular anterooms. The fourth side of the open court was made by a colonnade, the royal arms being above the central opening. The character and details of the Orangery were carried through as far as possible, so that harmony and unity was given to this pleasant composition.

In the garden surrounding the pavilion an attempt was made to reproduce on a small scale the style of garden that was generally attached to the mansion residences in England during the reign of William III and Mary, in the latter part of the seventeenth century, and at the time of Queen Anne, in the early part of the eighteenth century. The old-fashioned garden with characteristic features of shady terraces of "peached alleys," as they would be called, inclosed by hedges clipped into shapes and embellished with topiary work with the forms of animals and birds cut out of yews and boxes attracted much attention. The garden was filled with old-fashioned flowers. A water basin and fountain, typical of the old English gardens, were there, as also were stone statues and lead urns and vases. The garden became one of the sights of the exposition and was usually crowded with interested and delighted sightseers.

His Majesty King Edward VII was graciously pleased to lend the Queen Victoria jubilee presents to the exposition. The valuable and unique collection was placed in the upper story of the Hall of Congresses, one of the permanent stone buildings, now a part of the Washington University, and, according to the terms of loan, admission was free to the public. The royal presents included in the collection chiefly consisted of gifts made to Her Majesty the late Queen Victoria on the occasion of the jubilee celebrations of 1887 and 1897. Of these, the greater number came from India, where native princes of all grades and representatives of all nationalities and religions vied with each other in offering to her majesty the splendid tribute of her Indian Empire.

These Indian presents were of great interest, not merely on account of the precious metals and rare woods in which they were worked, but as showing how in recent years European ideas have influenced native Indian art, which, in many instances, was represented in its most characteristic and unaffected form.

The remainder of the collection included gifts offered by the representatives of the British colonies, many of them richly illuminated addresses, inclosed in caskets handsomely worked in metal or in native woods, or, as in the case of Cape Colony, which was represented by a magnificent screen of ostrich feathers, by objects recalling an important industry of the colony. These presents formed only a small proportion of the thousands sent from every part of the British Empire.

The presents were guarded night and day by members of the constabulary force of the city of London. Policemen from the same body patrolled the British Pavilion and grounds. The uniform courtesy of these men and their patience in answering the many questions put to them by a curious public spoke well for the corps which they represented.

The grant voted by the British Government for participation at the Louisiana Purchase Exposition was £150,000. Private exhibitors bore all the expense connected with the collection, installation, and maintenance of their exhibits.

GOVERNMENT OF GUATEMALA.

The small but artistic pavilion erected by the Government of Guatemala was situated at the extreme northern end of the World's Fair grounds, just east of the Administration Building and beside the pavilion of the Argentine Republic. It was intended as an exhibit palace, with the object of installing all the Guatemalan exhibits, as well as being a bureau of information.

In its exterior facade appeared an extensive, semicircular peristyle, sustained by columns of the renaissance style, and in front two doors leading to the two rooms into which the building was divided. In the upper part of the middle of the doors was placed the national shield, with the American flag on the right and the Guatemalan ensign on the left, both surrounding the bust of Extrada Cabrera, the present President of this wealthy and prosperous section of Central America.

The salon to the left was decorated with pictures by Guatemalan artists and had other artistic features, such as native pottery, statuettes, etc. Here every afternoon the coffee for which Guatemala is so justly famous was served to visitors. In the same room also were placed an extensive collection of newspapers and a series of literary works, scientific and didactic, by Guatemalan authors.

In the department to the right, arranged very tastefully and skillfully, were samples of valuable products, demonstrating the agricultural and mineral wealth of Guatemala. Among the exhibits was a collection of specimens of all classes of coffee, arranged in 160 receptacles and two small crystal columns. A magnificent collection of 186 specimens of cabinet work wood, beautiful in construction and coloring, attracted much attention by its wonderful variety.

The mineralogical section was not so extensive as that devoted to wood, but it showed magnificent specimens from the gold mines, also samples of silver, copper, lead, isinglass, coal, marble, kaolin, etc. Another installation showed some samples of native beer of excellent quality. There were also samples of rum and brandies, distilled from sugar cane and native fruits, among these products being the "banana whisky," a delicious liquor, exhibited for the first time to the public. The manufacture of this whisky is a new industry, and promises an excellent future.

The cereal and grain section was notable for the great variety of corn, frejols, wheat, barley, etc. The famous cocoas known by the name of "Socomusco," and which since the earliest time have been recognized as among the best produced on the continent, were also represented in this section, as well as sugar, which is being produced in the country in respectable quantities. The attention of visitors was attracted by the silk (or "ceiba") cotton, installed in the same section. It is remarkable for fineness, softness, and special color. It is locally known as "Algodon de Cajeta."

The extensive and variegated collection of roots, barks, and medicinal plants constituted a special section. Among them were different kinds of quinine, sarsaparilla, ipecacuana, and other herbs. Elastic or "india rubber," stearin, gums, vanilla, etc., made up an interesting exhibition of native products. Tobacco, similar to the kind grown in Cuba, which is produced in great abundance in Guatemala, was presented in its various processes of development, from the native leaf to the finished cigar or cigarette. Samples of fibers, grasses, flowers, roots, and palms were shown in abundance. From the palms of Guatemala are manufactured the so-called "Panama hats." Visitors were much interested in their extreme lightness and the uniformity of tissue of the Guatemalan hand-made straw hats.

The building was erected at a cost of $10,000. This sum included ornamentation and the landscape gardening. The cost of the exhibits, freight, and installation was approximately $10,000, and the expenses of the commission extant during the exposition was estimated at $5,000. This brought up the expenditure to the amount appropriated by the Guatemalan Government for the expenses of the exhibit.

The exhibit was authorized by a decree issued by the President of Guatemala appointing the commission to represent the Government at the St. Louis Universal Exposition, dated the 7th of April, 1904, which reads as follows:

The constitutional President of the Republic has resolved that the official representation of Guatemala at the Universal Exposition of St. Louis shall be in charge of the legation of this Republic at Washington, D.C., and designates Mr. Carlos F. Irigoyen as special commissioner to be in charge of the exhibition, and appoints Mr. Manuel M. Jiron as attendant to the commission and to have charge of the degustation of our coffee. Mr. Jiron shall receive orders from the special commissioner, who in turn shall receive his instructions from the minister of fomento.

HAITI.

_Members of Haiti commission._--Mr. J.N. Léger, president; Mr. Edmond Roumain, commissioner-general; Mr. Joseph Duque, commissioner; Mr. Price Mars, commissioner.

The participation of the Government of Haiti in the Louisiana Purchase Exposition was decided by the deliberation of the ministerial council, presided over by the President of the country. The decision was taken previously in 1901, under the former government of Gen. Tiresias Simon Sam, and maintained by the actual government of Gen. Nord Alexis, in February and March of this year. The amount of the appropriation by the Haitian Government spent in its exhibit was $50,000.

Haiti unfortunately arrived too late at the fair to construct a special building, but installed excellent exhibits in the Forestry, Fish, and Game Building and in the Palace of Mines and Metallurgy.

The Haitian exhibit at the World's Fair was located in the southwestern section of the Forestry, Fish, and Game Building, next the California exhibit, and covered a space of 30 by 75 feet. In the center was a beautiful pavilion in which the following species of native woods were represented: Mahogany, Santa Maria, tacha, rosewood, and tavernon. The woods most used in the construction were mahogany and Santa Maria. Most of the panels and all of the columns were made of these two woods, and they blended in such a manner that they looked as if they were one and the same wood. The other varieties were used in the smaller decorations. The object in making the pavilion was to show the native cabinet woods of Haiti, especially that of Santa Maria, a wood which very much resembles mahogany. Four columns of the pavilion were made of Santa Maria, one of mahogany, and one partly of each. In the pavilion were served coffee and cocoa, native products.

Just at the rear of the pavilion was a display of imported liquors and sirups from the land of Haiti, including anisette, maraschuino, repikes, creme de menthe, sirup d'orfeat, sirup de granadine, and crême de cocoa; also triple-distilled bay rum and rum of good quality from four distilleries in Haiti. On either side were glass cases in which were shown other interesting exhibits. First a collection of cigars and of beeswax in molds. Next a sectional case containing, samples of cotton mapon, used for the filling of mattresses and pillows. Then the cocoa bean; also coffee taken from the cherry, peanuts, sugar from the sugar cane, and bottled honey. In the next case were hides, leather, and a collection of fine shoes made in Haiti. Next to this case was a display of coffee beans and an interesting exhibit of hats made from palm leaves and corn husks. The chairs were made from the osier, or water willow. In the rear was a cabin made from the natural woods imported from Haiti. The roof was covered with palm leaves. The entrance was draped with an American flag on the, left and the red and blue flag of Haiti on the right. This Haitian; flag was made entirely by hand. In the interior was a fine collection of hand-carved vases, pedestals, mortar and pestles, bowls, urns, and tobacco boxes.

HONDURAS.

_Members of Honduras commission_.--Mr. Salvador Cordova, commissioner-general; Mr. Howard S. Reed, executive commissioner; Mr. Alejandro Bauer, assistant commissioner.

In the Palace of Agriculture, surrounded by a tropical bower of graceful palms and thousands of yards of long gray Spanish moss, was shown a collective exhibit of the wondrous and little known country of Honduras, Central America. Upon all sides the visitor was confronted by most curious and interesting samples of its varied resources. Crowds were constantly gathered about the rubber tree with its white, milk-like sap, and everyone seemed interested in the great bales of dried raw rubber, while questions, opinions, and discussions were many regarding this little known raw product. Even the great scarlet and blue macaw, from his high perch overhead, joined in with wild screeches when the crowds got too noisy.

Curious bales of sarsaparilla wrapped in white cowhide, great clusters of cocoanuts in their thick hulls, long tables with hundreds of specimens of dug plants and medicinal barks and roots, attracted curious crowds. The banana bulbs and stalks, 20 feet high, eleven months' growth, with the fruit which they had produced, gave the visitor an idea of what is possible by systematic culture, as a banana plantation with the proper care will produce fifty-two crops a year, which means a cutting every week. The consumption of the banana has increased with greater rapidity than any other fruit, and it occupies a position second to none as a food and fruit. The sarsaparilla in its original packing case was unique, and it represented its share in the country's exportations. Honduras sarsaparilla has taken the highest award at the last five expositions.

The cocoanut in its fibrous hull was a surprise to many, as the market shows them only clear of the hull. It is said that each cocoanut tree in Honduras averages about 365 nuts a year, or a nut each day. Brazil nuts were shown, with their hard outside shell, in which some 15 to 20 of the nuts are closely packed.

Of the 400 specimens of cabinet woods which were displayed, only about 100 are known to commercial uses; the rest are awaiting development. In this exhibit were the woods which neither burn nor float. Lignum-vitae, which is one of the heaviest woods known to science, and used extensively in the manufacture of mallets, etc., was displayed; also the San Juan wood, which has lately been discovered, and is found extensively on the coast. This wood is practically non-combustible, and is said to be the coming wood for car building, furniture, and interior finishing, being susceptible of a high polish. The mahogany, for which Honduras is noted, was shown in many varieties, as were rosewood, redwood, hard pine, cedar, etc.

The exhibit of native drug plants received special recognition. Among other herbs were the Peruvian and cinchona-bark quinine, rhubarb, vegetable wax, and many others unknown to science. Sugar planters were astounded at the cane only three months old and 12 feet high, grown without cultivation, and stalks were exhibited 24 feet high of twelve months' growth. At present there is not a sugar refinery in the country.

The ores exhibited were many specimens of quartz and placer gold, silver, lead, copper, and magnetic iron, of which there is practically an inexhaustible supply. The work of the natives was shown in hats, baskets, hammocks, etc., being of a high order of perfection. Many of the finest panama hats are made by the Indians in Honduras. The different kinds of sisal and hemp shown were pronounced by manufacturers to be of the very highest grade.

Many people, when the name Honduras, Central America, is mentioned, think of a far-away land untrodden by man. As a matter of fact, it was pointed out that it is not as far from New Orleans to Honduras as it is from St. Louis to either New York or Boston.

HUNGARY.

Several causes prevented an appropriation by Parliament for Hungary's participation at the Universal Exposition held in St. Louis; consequently the royal Hungarian minister of commerce, anxious that Hungary should be represented at the Congress of Nations in St. Louis, decided to furnish a sufficient sum out of funds at his disposal to make this participation possible.

Acting upon this decision, he appointed George de Szogyeny, LL.D., at that time commissioner of commerce, and accredited to the State Department in Washington, D.C., as commissioner-general, and commissioned the Hungarian Society of Fine Arts and the Hungarian Society of Applied Arts to arrange the exhibits in the Fine Arts Building and to arrange for the exhibit of applied arts.