For a long time the Austrian ministry of railways set itself the task of

drawing the attention of the traveling public to the beauties of the

scenery and the ethnographical charms in which Austria abounds, and thus

inducing them to visit the country. To gain this end the ministry issued

various publications, opened inquiry offices, and arranged exhibitions.

The exhibition "Sceneries and People of Austria" in the Government

pavilion was arranged, with the cooperation of several artists, for the

same object. The exhibit principally consisted of a collection of views

of the most beautiful parts of Austria, especially the Austrian Alps,

and pictures of Austrian national life. Photographs taken by the best

photographers, as well as a number of artistic amateur photos,

representing important traveling districts in Austria (99 in all), were

enlarged and reproduced as pigment prints or linographs. Two series of

photographic prints were exhibited also, one consisting of Austrian

castles and strongholds and the other of various favorite alpine

resorts. Further, a selection of alpine and traveling works in luxurious

editions were shown.

The whole exhibition was finished off with a collection of 14 pictures

of costumes and sport, arranged like a frieze and illustrating special

Austrian national scenes. Four bronze statuettes, viz, "Chamois-hunter,"

"Alpine tourist," "Ski sportsman," "Alpine dairy woman," had been placed

in the room as decorations.

The exhibition of models, plans, and photographs of the existing and

projected canal for deep-draft ships, arranged by the department of the

ministry of commerce for the building of waterways, offered a general

view of the whole network of the Austrian waterways, comprising those of

the Danube, Moldau, and Elbe rivers, together with the system of canals.

The beautiful landscape of the river sides was shown by means of views

of the Danube, contained in an album, while the plans, photographs, and

models exhibited by the Danube Regulation Commission showed the river

courses, the harbor in lower Austria and Vienna, as well as the

construction for regulating the water level in the Vienna-Danube Canal.

A map of Prague showed the harbor and canal construction works, some

finished and others projected, in the precincts of the town. The

drawings and photos exhibited in a corner of the hall by the

Aussig-Teplitz Railway Company illustrated the position and traffic of

the harbor of Aussig, the most important inland harbor of Austria. The

charts, in addition to giving a view of the position of the canals and

rivers, with canals projected, showed also longitudinal sections of the

Danube-Oder Canal.

The exhibitions of the State professional art schools, arranged by the

imperial royal ministry of public instruction, Vienna, gave an idea of

the work done by these institutions. The exhibition was arranged in

three divisions, the first two containing the exhibits of the schools

for arts and crafts in Vienna and Prague (the largest of their kind in

Austria) and the third the work of the other professional art schools.

The decoration of the two interiors of the schools for arts and crafts,

Vienna (Director Felizian Freiherr von Myrbach) and Prague (Director

Georg Stibral), as well as all the objects exhibited in these divisions,

were designed at the above institutions and executed by the pupils. The

organization of the "collective exhibition" of the other professional

art schools was intrusted to the inspector of these schools and Hofrat

Arthur von Scala, director of the Austrian Museum, Vienna. The interior

and the exhibits themselves were executed in the workshops of 46

different professional art schools, with the cooperation of the pupils.

The amount of money appropriated by the Austrian Government for the

participation of the Austrian Empire at the exposition was 1,100,000

crowns (about $220,000). The appropriation, however, was almost

exclusively made for the display of Austria in connection with the

Austrian Government Pavilion. The appropriated amount had to cover the

expense for the erection of the pavilion and its installation, as well

as the installation of two rooms in the Fine Arts Building, where the

Vienna Artists' Association had an additional display. The appropriated

amount had also to cover the transportation of the Austrian Government

exhibits as well as the expense of the reshipment of same. The

Government provided the 1,100,000 crowns not only for the erection of

the pavilion and its sculptural works, but for the expenses of

installation, transportation, etc. Part of this money was used by the

various Government participants, viz:

(1) The imperial royal railroad ministry.

(2) The imperial royal department of waterways of Austria.

(3) The imperial royal ministry of education.

(4) And finally by four fine art associations. These fine art

associations were: (1) the Vienna Artists' Association, (2) the

"Hagenbund" Artists' Association of Vienna, (3) the Bohemian artists,

and (4) the Polish Artists.

The fine art associations had their display each in one room of the

thirteen contained in the Austrian Government Pavilion. The Vienna

Artists' Association had also two rooms covering the Austrian section in

the Fine Arts Building.

In reference to the commercial exhibit, a number of prominent

individuals of Austria organized an exhibition of the manufacturers of

Austria. They secured a number of participants, mostly glass and

porcelain manufacturers as well as leather and jewelry merchants of

Austria. Their exhibits representing Austria were displayed in the

Manufactures Building, Varied Industries Building, Liberal Arts

Building, and in the Agricultural Building.

BRAZIL.

By decree No. 4897 of July 21, 1903, the President of the Republic of

Brazil sanctioned the act of Congress making an appropriation of

$600,000 giving the Government authorization for the representation of

Brazil at the Louisiana Purchase Exposition.

On the 27th of the same month the following commissioners were

appointed:

Col. F.M. De Souza Aguiar, president; Maj. J. Da Cunha Pires, secretary

and commissioner; Mr. J. Da Motta, assistant commissioner; Mr. Antonio

Olyntho, commissioner; Mr. J.C. Alves de Lima, commissioner; Dr. A. Da

Graca Couto, commissioner; Commodore J.C. Do Carvalho, commissioner;

Commodore A. Correa, commissioner; Mr. J.A. Dos Santos, commissioner;

Mr. A.J. Da Costa Couto, commissioner; Mr. Ferreira Ramos, commissioner;

Capt. J. Cordeiro da Graca, commissioner; Mr. Eugenio Dahne, assistant

commissioner; Mr. E. Da Rocha Dias, aide; Air. Ricardo Mardock and Mr.

A.C. Lopes Goncalves, commissioners from State of Amazonas.

One of the most attractive exhibits at the World's Fair was offered by

Brazil. That country showed itself so rich and diversified in resources

as to astonish the public, and in keeping with its large exhibit erected

a building which soon became one of the features of the fair.

The Brazilian Building, which was designed and personally supervised by

the commissioner-general, Col. F.M. de Souza Aguiar, was located in the

southwestern part of the section occupied by the foreign governments,

having on its north the Belgian, Cuban, and Chinese buildings, and on

the east that of Nicaragua, on the south those of France and India, and

on the west the Forestry, Fish and Game, Italian, and Administration

buildings.

In the center of the grounds, surrounded by lawns with flower beds and

wide gravel walks, stood the Brazilian Building in the French

renaissance style of architecture. The main cornice, 80 feet high, was

supported by eight groups of three columns each at the corners and sides

of the two entrances of the building, and by six single columns at each

loggia. These thirty-six columns were of the corinthian style of

architecture, without the fluting ordinarily used with this particular

column, and were ornamented only at the lower third of the shaft with

the Brazilian coat of arms between floral festoons. Projecting above the

roof of the building were three domes, two of which, on either loggia,

were spherical in form, being 44 feet in diameter, while the apex of the

central dome attained a height of 135 feet. The dome was octagonal in

shape, having at each corner an exterior buttress, adorned with a large

statue at its top. Encircling the same was a gallery from which could be

viewed the greater part of the exposition grounds and the surrounding

country. Above the cornice of the building was a balustrade decorated

with shields, showing the coats of arms of the twenty-one States of

Brazil.

The main floor was reached by means of a flight of nineteen granitoid

steps on either the north or south side of the building, which led

through two spacious porticoes. The second floor formed one large room

only, the ceiling of which was divided into rectangular panels,

supported by thirty-two Doric columns. The second floor was reached also

by a majestic double staircase, where a spacious reception room, two

apartments for ladies, and the offices of the commission were situated.

In the center of the reception room was a marble statue representing

"the Feast," mounted on a large pedestal and encircled by an upholstered

settee. Above this statue the large central dome opened, supported by

eight columns, which formed an interior gallery.

In simplicity, stateliness, and beauty of outline the Brazilian Pavilion

was equal to any of the foreign buildings on the grounds. Its dome rose

90 feet above the main structure, which covered 191 by 132 feet, and it

soon became known as a landmark in the foreign government section of the

fair.

The interior decorations of the building were entirely in keeping with

the magnificent exterior. The apartments were sumptuously furnished and

decorated with rare statues. The colored glass which ornamented the

central dome gave a soft tint to the furnishings beneath. On the walls

were hung interesting photographs and charts illustrating the chief

industry of the country-coffee culture. This industry was further

demonstrated by machinery of the most improved pattern, showing the

process of preparing coffee for the market. In sacks, in glass jars, and

cases, coffee beans ranging in size from furled grains as small as peas

to flat beans as large as cocoa beans were displayed. To illustrate the

abundance of the product Brazil had built here a fountain which poured

forth coffee beans instead of water. At night rows of electric lights,

outlining the same, took the place of the Brazilian and American flags,

which ornamented it by day. There were fifteen hundred of these lights

distributed throughout the building, some clustered in rich chandeliers

from the center of the reception halls and loggias, others placed in

rows to outline galleries and dome.

In addition to the appropriation of $600,000 made by the Federal

Government, many of the States contributed all the expenses toward

propaganda, collection and transportation of exhibits from their own

individual territories. The installations and booths (ten in all) in the

exposition building were made at the expense of the Brazilian Government

at a cost of $70,000. The cost of the main building, complete with its

furnishings and improvement of grounds, was $135,000. The cost of

transportation of exhibits from Brazil to St. Louis was $30,000. In all,

Brazil had 2,400 exhibitors in 14 departments out of 16.

CANADA.

The government of the Dominion of Canada was represented at the World's

Fair by the exhibition branch of the department of agriculture of

Canada. This branch was organized some years ago for the purpose of

collecting, installing, and maintaining exhibits at expositions where

the government of Canada was officially represented. The personnel of

the exhibition branch is as follows: Hon. Sidney A. Fisher, minister of

agriculture; William Hutchinson, exhibition commissioner; W.A. Burns,

secretary and assistant to the commissioner; W.H. Hay, decorator; S.

Anderson, superintendent of installation.

The government and products of Canada were represented at the fair in

several exhibits, viz, an official building or pavilion; a collection of

minerals and mining products in the Palace of Mines and Metallurgy; a

display of the grains, grasses, and the agricultural products in the

Palace of Agriculture; an exhibit of all the various fruits grown in the

Dominion in the Palace of Horticulture; a special exhibit of the forest

products of Canada showing the great variety of timber, bark, pulp wood,

etc., in a building erected especially for the purpose; also a varied

collection of the larger and smaller game, fish, etc., together with

specimens of all the numerous varieties of wood produced in the forests

and inland waters of the Dominion, exhibited in the Forestry, Fish, and

Game Building, and in a special exhibit of live beaver in the same

building.

As an appropriation for the installation of these exhibits the

government of Canada made a preliminary grant of $150,000, which was

supplemented by further appropriations for maintenance aggregating

$175,000, making a total of $325,000.

The official pavilion was a structure built after the fashion of a

clubhouse, located near the north entrance to the Palace of Agriculture,

costing, with forestry building in rear, about $35,000. This building

was furnished throughout with the products of Canadian factories and

decorated with the work of Canadian artists, all suggestive of the

natural wealth, progress, and enterprise of the country.

The mining exhibit occupied a space of 10,000 square feet, and comprised

large quantities of coal and all the coarser metal ores, together with

an extensive collection of all the finer metals minerals, building

stones, and every product of the mines known to science and commerce.

The agricultural exhibit occupied a space of 12,000 square feet, and

consisted of a large central figure in the form of an octagonal trophy

rising to a height of 60 feet, in which were artistically worked over

three hundred grasses, grains, and plants, all grown in Canada, and

decorated with landscape views of the various breeds of cattle raised in

the Dominion. On either side of this central figure was a pedestal of

maple sugar and honey, respectively, and in the rear other products of

tobacco, grain, flour, breadstuffs, etc.

The horticultural display consisted of a varied collection of all the

fruits grown in Canada, comprising ninety-four varieties of apples in

their natural state, taken from cold storage, and a large collection of

pears, peaches, plums, grapes, currants, gooseberries, strawberries,

cranberries, raspberries, and everything included in horticulture,

presented in glass jars as well as in their natural state throughout

their respective seasons.

The special exhibit of forest products consisted of sections of the

great fir trees, pines, cedars, oaks, hemlocks, birch, ash, walnut,

cherry, etc., and specimens of rough and polished lumber from every

variety of wood grown in the Dominion, together with a large pyramid of

pulp wood, of which Canada possesses millions of acres, railway ties,

tan bark, etc.

In the Forestry, Fish, and Game Building the exhibit consisted of an

unique arch or bridge structure with a double span covering 80 feet, and

on this structure and under it were numerous specimens of moose, deer,

elk, buffalo, mountain goat, polar, grizzly, and brown bears, and every

fur-bearing animal to be found in America. There was also a fine

collection of game birds and water fowls, fish, etc. In this bridge

structure was worked over three thousand varieties of wood, all grown in

Canada. In another section of the building was shown a pool containing a

family of live beaver, an interesting animal common to the streams and

lakes of Canada.

Besides those already enumerated, Canada made a very creditable display

of figure and landscape paintings in the Palace of Fine Arts, as well as

a collection of various subjects in water colors.

Later in the season Canada made a very successful exhibit in the

live-stock department. Her display was especially large in sheep and

swine classes and almost equally good in poultry and pet stock.

In addition to those enumerated in the foregoing list, Canada is

entitled to credit for a number of individual exhibits of various kinds

scattered over the exposition grounds; for example, in the Building of

Mines and Metallurgy there was an exhibit of natural and wrought nickel,

every pound of the raw material coming from the Sudbury mines, in the

Province of Ontario. The exhibit occupied a large space in the Mining

Building and consisted of a varied and comprehensive display of nickel

and nickel goods, from the natural ore to the finest and most polished

culinary and domestic utensils. Every pound of raw material used in this

display was from the mines situated in Denison Township, Sudbury

District, Ontario, Canada.

In Machinery Hall there was an exhibit comprising a great variety of

corundum products, every pound of whose raw material came from Canada.

The exhibit showed corundum in bulk, in large wheels, small wheels,

hones, and every variety of grinding and sharpening specialties. The

amount of raw corundum used annually by the company reaches nearly 1,000

tons. In the Machinery Building, also, was an exhibit of asbestos and

its products, the raw material of which came from Canada. The display

consisted of steam-pipe coverings, mattings, packings, and everything of

that nature required in heating and steam machinery; also asbestos

mattings and fire screens, heavy papering and cardboards, and other

things that asbestos can be worked into. All the asbestos came from the

Shedford and Black Lake mines, in the Province of Quebec.

In the Manufactures Building was a very fine assortment of stones, etc.,

from different parts of Canada. Among the assortment were garnets from

the Stikine River and also from the Province of Quebec; amethysts from

Thunder Bay; labradorite, finest in the world, from the Isle of St.

Paul; spinel from Ottawa County, Quebec; sodalite from British Columbia;

pitanite, Litchfield, Quebec; lercon and perthite from Quebec; sunstone

and lebra stone from Perth, Ontario, and crown sunstone from Renfrew

County, Ontario.

Besides the exhibits mentioned there were in the Mines Building an

exhibit of mineral water from Abenakis Springs, Quebec; in the

Philadelphia exhibit in the educational department a fine display of

asbestos and pulp.

CEYLON.

Consequent on the visit to Ceylon of Hon. John Barrett, commissioner of

the Louisiana Purchase Exposition, in the latter part of 1902, Hon. W.H.

Figg was dispatched as advance commissioner to St. Louis to investigate

the conditions of the proposed World's Fair of 1904 and to make

preliminary arrangements for the representation of the colony thereat.

Mr. Figg's report, dated New York, February, 1903, was followed by the

appointment of a commission composed of the following members:

Hon. Stanley Bois, commissioner-general; Mr. R. Huyshe Eliot, assistant

commissioner; Mr. P.E. Pieris, assistant commissioner; Mr. Russell

Stanhope, assistant commissioner; Mr. Peter De Abrew, commercial agent;

Hon. J. Ferguson, C.M.G., Mr. F.C. Roles, Mr. H. Van Cuylenberg, and Mr.

D. Obeyesekeri, official visitors.

By vote $150,000 was placed at the disposal of this commission, and a

further sum of $10,000 was contributed by the Planters' Association.

The scheme finally adopted for the exploitation of the products of

Ceylon at the World's Fair was that all articles of artistic interest

should be displayed in a special court and those of commercial

importance in the various palaces. It was agreed that the practical

demonstration of the use of tea should be carried on in the court and

made as attractive as possible to the American public. A concession was

accordingly obtained from the Exposition Company for the sale of tea in

the cup at a nominal price, and an excellent site was allotted to the

Government of Ceylon immediately west of and adjoining the lake, where

the United States Life-Saving Service had its daily display and facing

the north end of the Palace of Agriculture. The building (which was

designed in Ceylon by Mr. Skinner) was rectangular in form, 120 feet

long and 60 feet wide, and two stories in height.

Broad verandas, so characteristic a feature of oriental houses, ran

round each floor, and there tea was served daily by 20 Cingalese

servants. These tea servers dressed in spotless white, and with long

hair fastened with big tortoise shell combs, made a most picturesque

appearance and gave a touch of reality to the Cingalese pavilion.

From the center of the building sprang an octagon 75 feet high,

reproducing the building where the kings of Ceylon used to show

themselves to their subjects at their ancient capital of Kandy. Smaller

octagons rose from the four corners. The ornamentation was

characteristically Cingalese. Broad friezes painted by native artists

represented the various birth stories of the Buddha. The door panels and

quaint capitals were such as may be seen at many a temple in Ceylon and

formed an appropriate setting for the impassive images of the Buddha.

The building was constructed by Messrs. Broderick & Wind, contractors of

New York, under the general supervision of Mr. Russell Stanhope,

representative at St. Louis of the commissioner-general, at a total cost

of $30,000.

Downstairs were the offices of the commission, while on the upper floor

the greater portion of the fine art exhibit of Ceylon was situated. The

native artist was seen at his best in the magnificent jeweled caskets of

carved ivory and the exquisite reprousse work in silver, representing an

art which has been handed down from father to son for twenty-five

centuries in the caste of Cingalese silversmiths.

The department of manufactures was represented by massive furniture in

calamander, ebony, and satinwood, carved with the most elaborate

devices, dainty laces made by the nimble fingers of village women,

beautiful productions on tortoise shell and gold, heavily embroidered

cloths of gold, and a large collection of the various curios for which

the East is famous, besides a display of tanned hides and jewelry of

exceptional merit. There was a further display of art work in the

international room of the Palace of Fine Arts. More than 100 exhibitors

were represented in this building, the total value of their exhibits

exceeding $50,000. Outside on the lake was an outrigger canoe of full

size, such as is still in use among the fishermen of Ceylon.

The chief commercial exhibit of the country was to be found in the

Palace of Agriculture, where a space of 2,000 square feet had been

allotted to it. First and foremost was the great industry of tea

cultivation. Thirty years ago the island exported a million tons of

coffee annually, and tea was an unknown article; last year the quantity

of the leaf which was exported to all parts of the world exceeded

150,000,000 pounds (of which 18,000,000 was sent to the United States),

while coffee hardly figures on the customs returns The industry is

almost exclusively in the hands of Europeans. All the chief producers

were represented at the exposition, their interests forming the special

province of an assistant commissioner.

The cocoanut palm and its cultivation was fully represented. The nut

itself, the various fibers, matting and ropes made from its husk, the

copra or dried kernel, from which is extracted the oil now so largely

used in the manufacture of best soaps and hair oils; the desiccated and

"shredded" cocoanut, the demand for which among confectioners is rapidly

increasing; cocoanut butter, an excellent emollient and substitute for

lard; the arrack, distilled from the "toddy" extracted from the flower,

a valuable liquor after a few years in cask; the vinegar and "jaggery,"

or molasses; down to the brooms, made from the "ekels" or midrib of the

leaves, were shown in infinite variety.

Rice, the staple food of the country, was represented in a few of its

350 varieties, and cinnamon in bark or oil, cloves, nutmegs, mace,

cardamoms, pepper, vanilla, and citronella oil, cocoa and coffee,

rubber, cinchona bark, from which quinine is prepared, croton seed, and

annotto dye might also be seen. The fibers included those of the Kitul

and Palmyra palms and the silky niyande (sansevier zeylanical). One

hundred and twenty exhibitors were represented, and the value of the

collective exhibit was $5,000.

The educational exhibit, which had been prepared under the direct

supervision of the director of public instruction in Ceylon, illustrated

the procedure adopted by the British Government in dealing with races

with an advanced literature of their own, to whom a certain knowledge of

English is a necessity. The present conditions of education--elementary,

advanced, and technical--were well depicted, and the exhibit contained

in addition a collection of the various scientific journals issued by

the Colombo Museum and the department of the botanical gardens in

Ceylon.

Graphite, locally known as plumbago, the only commercial mineral of the

country, might be seen in the Palace of Mines and Metallurgy. More than

600,000 hundredweights of this valuable commodity were exported in 1899,

the greatest demand being in the United States, where the article is

employed in the manufacture of crucibles, for stove polish, and for

lubricating purposes. A few of the choice rubies and sapphires, for

which the island is so famous, were on view in the Ceylon court. Thirty

firms and private individuals were represented in this department, the

exhibits exceeding $12,000 in value.

In Liberal Arts the government of Ceylon snowed the admirable work

turned out by its printing offices, and various private firms of

printers and photographers were represented. The large model of the

artificial harbor of Colombo was of particular interest as illustrating

the position of the city as the tenth port in the world for tonnage

entering and clearing. There was also a good private collection of coins

found in Ceylon and covering a period of nearly two thousand years. The

space occupied in the Palace of Liberal Arts was 600 square feet, and

the value of the total exhibit was $1,000.

The musical instruments of the country, chiefly consisting of drums and

the varied equipment of the "devil dancers," were shown in the Ceylon

Building.

In the Palace of Forestry a space or 600 square feet was occupied by

Ceylon. The chief exhibit there consisted of the massive trunk of a

satinwood tree, hollowed out so as to form a receptacle for "books,"

which consisted of blocks of all the various trade timbers of the

country. An exhibit prepared by the marine biologist illustrated

everything connected with fishing in the Ceylon waters, from the crude

fish trap of the villager to the latest addition to knowledge regarding

the origin of the lustrous oriental pearl. Models of the various kinds

of boats employed in the country were also shown. The wild animals of

the country, its beautiful birds (including the swift, which builds the

edible nest), and gorgeous butterflies, were well shown. The exhibit

represented a value of $3,000.

Finally, in the department of anthropology there were shown, in the

Ceylon Building, types of the various races found in Ceylon,

illustrations of their pre-Christian civilization, the utensils of brass

and wood still used in their houses, and all the accompaniments of their

philosophic religions.

A special handbook was prepared by a subcommittee in Colombo containing

information for the use of the American people regarding the trade and

resources of the country.

CHINA.

The participation of China at the Louisiana Purchase Exposition was

authorized by an imperial decree issued in January, 1903. The same

decree appointed an imperial commission, as follows:

His Royal Highness Prince Pu Lun, imperial high commissioner; Sir Robert

Hart, Bart., G.C.M.G. (inspector-general of customs), president

ex-officio; Mr. Wong Kai-Pah, imperial vice-commissioner; Mr. Francis A.

Carl, imperial vice-commissioner; Mr. D. Percebois, secretary of Chinese

imperial commission; Mr. J.A. Berthet, assistant to secretary of Chinese

imperial commission.

The amount set apart by the Chinese Government to meet the expenses

connected with China's participation in the Louisiana Purchase

Exposition was 750,000 taels, or, roughly speaking, $500,000 gold. As

with all previous expositions in which China has taken part, the

collecting of exhibits was intrusted to the imperial Chinese maritime

customs service, under the control of Sir Robert Hart, Bart., G.C.M.G.,

inspector-general of customs. This service, with its numerous branches

and ramifications throughout the Empire and an experienced staff

acquainted with both native and foreign tastes was in an exceptional

position to succeed in making a representative collection of the best in

Chinese arts, manufactures, and products. The commissioners of customs

at the principal trading centers took the work in hand, selecting such

exhibits as were suitable when offered by merchants, and purchasing

outright such articles as could not be procured otherwise. The

collections were made at the following treaty ports: Newchang, Tientsin,

Chefoo, Chungking, Hankow, Kiukiang, Wuhu, Nanking, Chinkiang, Shanghai,

Hangchow, Ningpo, Wenchow, Foochow, Amoy, Swatow, Canton, Pakhoi,

Kiungchow, Mengtse, Lungchow, and Szemao.

Besides the Government exhibits from the foregoing-mentioned places, the

provincial authorities of Hupeh, Hunan, Kiangaan, and Fukien also made

collections. This is noteworthy, as it was the first time on record that

the regular Chinese officials have taken any interest in a foreign

exhibition. In addition to the Government participation, fifty-three

firms and private individuals sent their quota of exhibits. The

following table gives the kind, class, and approximate value of exhibits

installed by each:

Porcelain curios, cloisonne, carpets, art work in metal,

tapestries, furniture, silks, ivory, fans, and jade ...... $510,200

Furs and skins ............................................ 6,500

Cement and fire bricks .................................... 1,000

Fancy articles, wood carvings, paintings, and drawings, etc 11,600

Collections of butterflies ................................ 100

Preserved meats, fish, vegetables, and fruit .............. 100

Chinese postal stamps and coins ........................... 5,000

Silverware and lanterns ................................... 2,750

------------

Total ................................................... 537,250

Government exhibits ....................................... 40,000

Provincial ................................................ 61,000

------------

Grand total ............................................. 638,250

The collection made by the twenty-two treaty ports comprised such

articles as were not offered by the mercantile class. In nearly every

case the ports' collection included samples of products and manufactures

typical to the district, models of the prevailing architecture and of

any special costume worn by the people, models of the types of boats in

use, carriages and wheelwrights' work, agricultural implements and farm

machinery, appliances and methods used in agricultural industries,

agricultural seeds, equipment and method employed in the preparation of

foods, minerals and stones and their utilization, musical instruments,

chemical and pharmaceutical arts, gold and silver ware, weights and

measures, coins and medals, and photographs of the port. The collections

made by the provincial authorities comprised art work in jade, crystal,

porcelain and bronze, Chinese books and publications, lacquered ware and

fancy articles.

The total approximate value as given above was $638,250, but this sum

included the cost of transportation and installation. It represents in

fact the market value in the United States. There was in the

neighborhood of 2,000 tons of shipments from China to St. Louis--800

tons from the south of China, and 1,200 from the north of China. The

rate from the south of China, i.e., Hongkong, was $8 per ton, while from

the north of China, i.e., Shanghai, or nearly 900 miles shorter trip,

the rate was $14 per ton. The amount paid for transportation was more

than $20,000, to which must be added some $2,000 for terminal and

switching charges. The cost of installation for the entire exhibit was

about $7,500. The exorbitant wages necessary for all work done at the

exposition accounts for this heavy expenditure. Another large item of

expense, according to the Chinese commissioner, was the 5 per cent rate

charged in this country for fire insurance. Most of the foreign

countries taking part in the exposition effected insurance in home

companies at about half the above rate.

The total cost of the Chinese Government Pavilion amounted to $75,000.

It was partly a reproduction of a portion of Prince Pu Lun's palace at

Peking. Models were sent from China and copied in this country, the

large arch at the entrance being a "Pai-Lou," or memorial arch, common

in China as entrances to palaces, temples, and tombs. A small octagonal

pavilion or tea house was shown. They are always at some beautiful spot

in the gardens of the wealthy. Two flagstaffs outside were also copies

of Chinese models. The wood carvings were very expensive, and good

examples of what the Chinese workman can do in that line. Special men

from China were imported to carry out the designs of the building and to

do the painting in the Chinese style.

The space occupied by the Chinese in the Liberal Arts Palace was 28,000

square feet, and, with the exception of another 1,500 square feet in the

Educational Department, China was not represented in other buildings of

the exposition. The small exhibit in the Educational Palace was not an

attempt to illustrate the Chinese system of education. It was intended

simply to give the world an idea of the work being done by foreign

societies--missionary and otherwise--in the educational line in China.

The maintenance of the staff looking after exhibits was about $30,000.

The expense connected with the repacking and return of freight and

unsold exhibits was about $15,000.

CUBA.

On July 20, 1903, the Cuban Congress passed the following resolutions

authorizing the participation of that country at the Louisiana Purchase

Exposition:

The Executive is hereby authorized to dispose of $80,000 from

the public treasury to meet the expenses which the

representation of the Republic of Cuba will incur at the

Louisiana Purchase Exposition which will take place at St.

Louis, Mo., in the year 1904.

Of this amount $30,000 shall be set aside to meet the expenses

of a special commission whose object is to study the advancement

which may have been realized in agriculture, chemistry, and

mechanical industries applicable to the industries of Cuba, also

public instruction in hygiene.

The commission will report the results of their investigation to

the Executive, which reports will be duly published.

The expenses incurred in the publication of the reports will be

met by the public treasury and will not be included in the above

allowed sum.

On the 15th of July, 1904, the Congress voted $50,000 as an additional

sum for the same purpose.

The Cuban Pavilion at the exposition was constructed on a lot 140 by 170

feet. The building was 100 feet by 80 feet surrounded by a garden

containing more than five hundred native plants. It was one story high.

At its front was a beautiful terrace, and there were extensive porticoes

on the sides. Access to the building was gained by a 32-foot stair on

the front, and by lateral stairs of smaller size.

Five rooms surrounding a central court. Access to the roof was obtained

by a winding stair placed on a tower. The style of architecture on the

building in its exterior court and entrances was Florentine-Renaissance,

from the last half of the fourteenth century. The other salons were

decorated in the modern style, called "New Art." The building was

lighted by more than four hundred incandescent lamps, arranged in such a

manner that they formed part of the decorations. The cost of erecting

the building was $31,050.

The members of the Cuban commission were as follows:

Mr. Gonzalo de Quesada, honorary president; Mr. Esteban Duque Estrada,

commissioner-general; Mr. Antonio Carillo, secretary of the Cuban

commission; Mr. Eduardo Morales de los Rios, commissioner of education;

Mr. Sixto Lopez Miranda, technical commissioner of education for Cuba;

Dr. J.J. Luis, commissioner of social economy; Mr. Enrique B. Barnet,

sanitary commissioner; Mr. J.W. Flanagan, honorary commissioner; Mr.

J.E. Bernal, Mr. Fernando Mesa, Mr. Francisco de Armas, assistant

commissioners; Mr. Antonio E. Trujillo, disbursing officer; Mr. John R.

Taylor, assistant sanitary commissioner. Technical commission: Dr.

Enrique Jose Varona, doctor in philosophy and letters; Dr. Carlos de la

Torre, doctor of natural sciences; Señor Carlos Theye, chemical

engineer; Señor Manuel D. Diaz, civil engineer; Señor Ramon Jimenez

Alfonso, agronomical engineer; Dr. Gaston Alfonso Cuadrado, doctor of

sciences and pharmacy.

The exhibit of Cuba in the Department of Education comprised the whole

educational system from the kindergarten to the university. For the

organization of this exhibit the secretary of public instruction, Dr.

Leopolds Cancio, appointed a committee of seven. The committee issued

several circulars inviting the teachers to contribute to the educational

exhibit.

Toward the beginning of March the first contributions began to arrive,

and in the early days of April the first shipment was made. This was

followed by others, and by the 25th of April all the educational

exhibits were in the various booths and ready for display.

This exhibit was classified in groups 1, 2, 3, 4, 6, and 8, which left

the only two groups, 5 and 7, in which it was not represented.

In group 1 it was represented by the normal school of kindergarten of

Habana, and by kindergarten public schools of Habana, Guanabacoa,

Matanzas, Gardenas, Sagua la Grande, and Cienfuegos, by elementary

public and private schools from most of the school districts of the

country, by a teachers' academy, and by training and correctional

schools for boys and girls.

In group 2 the six public secondary schools of the country were

represented by photographs, reports, collections of shells and

butterflies, pupils' work and reports.

The "San Alijandro" School of Painting and Sculpture of Habana appeared

with a report and photographs in group 4.

In group 6 the School of Arts and Trades of Habana had a very good

display of manual training and photographs.

Correspondence schools, the Academy of Science, meteorological and

magnetical observations of the Belen Observatory, geological

collections, text-books, school appliances, and a collection of the

text-books used at the present and of those used under the Spanish

Government in the public schools were all classified in group 8.

One of the most important features of the exhibit was the display of

photographs showing over 500 views of schoolrooms, school buildings,

groups of teachers and children, institutions of secondary education,

institutions of special education, and the university.

In these photographs the department showed the best schools, such as

"Luz y Caballero," of Habana, and the "Eseulen Modelo," of Santiago de

Cuba, and the least advanced rural schools located in thatched-roof huts

20 or more miles from the nearest town.

The exhibit showed not only the great increase in the last few years in

the number of schools and in the school expenditures, both of which have

increased about tenfold, but the great change undergone in the methods

of teaching, which at present accord with the most modern standards, the

old methods having been entirely abolished from the public schools.

The superior board of health of Cuba was represented at the exposition

by Dr. Federico Torralbas, as medical inspector of the sanitary

department of Habana; Dr. Emilo Martines, as assistant professor of

pathology of the National University, and member of the commission for

infectious diseases of the sanitary department of Habana; Dr. Juan H.

Davalos, as chief of the section of bacteriology of the laboratory of

the island of Cuba, who is considered the leading authority on

bacteriological subjects in Cuba; Dr. Enriqui B. Barnet, as the

executive officer of the sanitary department of Habana and acting

secretary of the superior board of health of Cuba; Mr. John R. Taylor,

as preparator of the laboratory of Las Animas Hospital, of Habana,

having a thorough knowledge of the transmission of diseases by the

medium of the mosquito. He was one of those who voluntarily allowed

himself to be bitten with infected mosquitoes known to be capable of

transmitting yellow fever, recovering after a severe attack of the

disease.

In the Department of Mines and Metallurgy, Cuba's exhibition consisted

of Portland cement and its products, asphaltum (crude and refined),

iron, manganese, copper, zinc, tin, gold, and silver ores, and a

collection of marbles of the Isle of Pines.

In Liberal Arts Cuba's exhibition consisted of photographs, engravings,

periodicals, perfumes, soaps, and other manufactured articles.

In the Department of Art Cuba had a room where about one hundred and

fifty pictures were hung, consisting of oil paintings and water colors.

In the Department of Agriculture Cuba's exhibit consisted of

manufactured cigars, chocolate, jellies, beer, preserved fruits of all

descriptions, cotton, hemp, coffee, sugar, and various other

agricultural products of Cuba.

In the Department of Forestry, Fish, and Game Cuba's exhibition

consisted of samples of woods used in construction and for furniture,

house decorations, etc. The collection of woods at the Forestry Building

was given to the Yale University Forestry Schools at the close of the

fair. The mineral collection at the Mines Building was subsequently

donated to the United States National Museum, at Washington, D.C.

DENMARK.

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.

The Hungarian Society of Applied Arts sent Paul Horti as its

representative. Mr. Paul Horti is a well known art critic of Hungary.

Mr. R.E. Rombauer was also a member of the commission.

The cost of Hungary's participation was approximately 200,000 crowns.

The value of exhibits was as follows:

Fine arts, 150,000 crowns; applied arts in the Manufactures Building,

600,000 crowns. There were other individual exhibits scattered through

the palaces of Agriculture, Mines and Metallurgy, and Education, but

they represented only a small value.

EAST INDIA.

The government of India and the provincial governments of Bengal, Assam,

and Mysore jointly contributed the sum of 105,000 rupees (equivalent to

about $35,000), and the Indian Tea Association, Indian Tea Cess

Committee, and the United Planters' Association of southern India,

contributed 90,000 rupees (equal to about $30,000) for the erection of a

building and expenses attendant on the work of the exhibition proper,

which was designed to promote and encourage the use of India tea and

coffee in America. When it was decided that India should take part in

the exhibition, exhibitors of Indian manufactures, for whom no space had

been reserved in the exhibition palaces, were referred by the government

of India, the exhibition authorities, and by the British royal

commission to the commissioners in charge, and their exhibits, together

with those made of tea, coffee, cardamoms, and pepper, were installed in

the government building and formed practically the entire exhibit from

India.

Mr. R. Blechynden was the only executive officer appointed for East

India. F.C. Williams, of New York, was subsequently appointed as

honorary assistant commissioner.

The exhibit would not have been made but for the urgent request of those

representing the tea interests, through the Bengal Chamber of Commerce,

and it was intended primarily and mainly for the exploitation of Indian

teas in America, thus finding a wider market for their use. In addition

to the erection of a building and the serving of tea in liquid form to

the visitors at a nominal charge, a considerable fund was set apart for

advertising the merits of these teas in the Middle West. Part of this

sum was expended during the continuance of the exhibition, and the work

was all coordinated and in the hands of the commissioner. The

exploitation may continue for several years. Advertisements have

appeared in newspapers in St. Louis, Omaha, Chicago, Columbus,

Indianapolis, Cincinnati, Louisville, and many other smaller towns. The

aggregate of expenditure in the next few years will be much more than

set apart for the exhibition.

All of the East India exhibits were contributed by individuals and were

confined to the East India Building, but were grouped under the heads of

art, liberal arts, manufactures, and agriculture.

ITALY.

_Members of Italian commission_.--His Excellency Baron E. Mayor des

Planches, honorary commissioner-general; Mr. Giovanni Branchi,

commissioner-general; Mr. Adolfo Appoloni, commissioner of fine arts;

Chev. Vittorio Zeggio; Mr. Guido Pantaleoni; Mr. Alberto Alfani, Mr.

Tullio Giordana, Mr. Cesare Della Chiesa, Mr. Jerome Zeggio,

secretaries; Mr. Giuseppe Sommarauga, architect of the pavilion.

The Italian pavilion was one of the most artistic and beautiful, if not

one of the smallest, foreign buildings on the World's Fair grounds. It

was a construction of Roman travertine stone, ornamented with bronze and

marble sculptures. It was an architectonic fancy, Graeco-Roman, on the

style of the ancient villas of the emperors of the Caesarian age, with

garden and fountains.

The front colonnade ended in two stout lateral "pillars," crowned by two

"victories" of gilded bronze (a work by Bialetti, of Milan), one of

which bore the Italian laurel and the others the olive branch, as a

token of peace and welfare.

After ascending the first stairs, about 90 feet wide, and passing

through all the colonnade of ionic style, was the garden where the

ancient Romans used to grow their laurel, an image of glory.

The building was erected on a strong base more than 15 feet high, with

another flight of stairs more than 45 feet wide.

The front was formed by a central body of the Corinthian style of the

best epoch, flanked by two lower parts ornamented by marble and bronze

works. The caryatides of the three latticed windows were authentic

copies of the ancient caryatides of Greek origin now in the Castle of

Abano, near Rome.

In the hall, together with cases and various ancient works, there was a

faithful copy of the famous Etruscan vase called "Of François,"

belonging to the gallery of Florence, and a good copy in marble of the

Roman group of wrestlers. Also in the same halls, in the cavities at the

end under the frieze, with the inscription in Roman characters, "Italia

lux alma preevit," were two great oil paintings of their Royal Majesties

the King and Queen of Italy.

This monument of art was the work of Giuseppe Sommarauga, architect, of

Milan, who had also the task of originating and directing all the

principal decorations made and shipped from Italy.

The participation of Italy at the Louisiana Purchase Exposition was

authorized by a law of the Italian Parliament dated December 27, 1903.

The participation was prepared by the department of agriculture,

industry, and commerce, under the direct supervision of the minister,

Hon. Luigi Rava. A special committee was appointed for that purpose by

the King, and the Hon. Angelo Pavis, a prominent member of the Italian

Parliament, was elected chairman of the committee. The Italian

ambassador to the United States, the Baron Edmondo Mayor des Planches,

who advised the Italian Government to let Italy appear officially at the

exposition, was appointed honorary commissioner-general, and Hon.

Giovanni Branchi, the Italian consul-general in New York, was appointed

commissioner-general. Adolfo Appoloni, one of the members of the royal

commission in Rome, was appointed special commissioner for fine arts,

and Mr. Branchi chose as members of the commission Guido Pantaleoni,

electrical engineer, of St. Louis, and Chev. Vittorio Zeggio, who was

special delegate from the Louisiana Purchase Exposition, to promote the

participation of Italy to the World's Fair. Besides these members of the

commission four secretaries and several assistants helped the commission

in the work of arranging and distributing the different exhibits.

The appropriation of the Italian Government for the exposition was

650,000 lire ($130,000), but this appropriation was raised in progress

to 800,000 lire ($170,000). A small fee of $4 per square meter was

assessed to the exhibitors, but the artists and the schools had nothing

to pay. No private contributions were accepted by the Government. The

Government paid the cost of transporting and maintenance of exhibits,

which amounted to about $30,000. The number of exhibitors was about

1,100. Many more firms would have sent their products to this exposition

had they had time to arrange a fitting display. For this reason the

Italian display was not a full demonstration of what Italy produces.

The largest Italian displays were in the Fine Arts, the Manufactures,

and the Agriculture buildings. The paintings and the sculptures

exhibited were sufficient to give an idea of the modern art in Italy.

They were all quite recent, with the exception of some pictures

exhibited as loan, which were painted before the Chicago Exposition. The

largest and most important art societies of Italy took a great interest

in the exposition, but lack of time prevented the artists from preparing

special works to be exhibited. The spirit of modern Italian art was

individual, all working for the development of a national art. Among the

sculptures were Monteverde, Fontana, Origo, and Romanelli. Among the

painters, Previati, Rizzi, Mancini, Gioli, Morbelli, Dall'Oca Bianca

Laurenti, Ciardi, Fattori de Karolis, Nomellini, Gelli, etc.

In the Manufactures Building the exhibits of carved wood furniture was

displayed, together with ceramics, pottery, marble, bronzes, silks,

textiles, laces, embroideries, paving bricks, and many other exhibits of

great importance. Among the show cases was a large and artistic one, in

which was exhibited the silk factories' display.

In the Agriculture Building Italy had a large display of samples of the

many kinds of wines and olive oils it produces, and there was a large

display of seeds sent by the department of agriculture.

In the Mines Building a beautiful collection of marbles and sulphur

showed the wealth of the under-soil resources of Italy.

The photographs, the plans, and the maps of the electrical power houses

and diverting works for the production of electricity in the Electricity

Building attracted many visitors.

In the Transportation Building the Rete Mediterranes, one of the

railroads that operates in Italy, exhibited the electrical system used

on some of its lines.

One of the best and most important Italian exhibits was in the

Educational and Social Economy Building. In both these lines Italy stood

among the most progressive nations in the world. The results of the

schools, the people's banks and savings banks, and the mutual help

societies were an excellent demonstration.

In the Liberal Arts were to be seen musical instruments, books, and

products of the paper factories.

Corals, cameos, and mosaics were exhibited in the Varied Industries

Building, and some of them were remarkable works of art.

JAPAN.

On July 10, 1903, an imperial ordinance for the organization of the

imperial Japanese commission to the Louisiana Purchase Exposition was

issued by the Mikado to the effect that the imperial commission to the

Louisiana Purchase Exposition should be under the supervision of the

minister of state for agriculture and commerce, and should deal with all

the matters relating to the participation of the Japanese Empire in the

Louisiana Purchase Exposition; that the imperial commission should

consist of the following:

Nonresident: Baron Keigo Kiyoura, president; Baron Masanao Matsudaira,

vice-president. Resident: Mr. Seiichi Tegima, commissioner-general; Mr.

Hiromichi Shugio; Mr. Ushitaro Beppu; Mr. Naozo Kanzaki. Nonresident

commissioners: Mr. Hajime Ota, Mr. Haruke Yamawaki, Mr. Masanao

Hanihara, Mr. M. Isobe, Mr. J. Koyama, Mr. M. Oka, Mr. Okamoto.

Resident: Mr. Keisuke Niwa, director of works; Mr. Yukio Itchikawa,

landscape architect; Mr. Saizo Tajima; Prof. Yoshitaro Wantanabe; Mr.

Mosuke Matsumura, secretary education department; Mr. Kannosuke

Miyashima, expert home department. Secretaries (resident): Mr. Harukazu

Miyabe, Mr. Michio Hattori, Mr. Toyozo Kobayashi. Attachés (resident):

Mr. Shun Suzuki, Mr. Kiro Harada, Mr. Teiichiro Gejyo, Mr. Risaburo Ota.

Beginning with the international exposition held at Vienna in 1873, and

including the Louisiana Purchase Exposition, Japan has participated in

twenty-seven world's fairs. Her participation in the exposition at St.

Louis was more memorable in many respects than at any preceding

exposition. In the first place, the exhibits never before occupied such

an extensive area. It was three times as large as that occupied by Japan

at the Chicago World's Fair of 1893 and the Paris Exposition of 1900,

respectively. In each department where Japan took any part at the fair

her location was excellent. The enthusiasm of Japanese manufacturers and

traders in their desire to participate in the exposition was so intense

that despite the effort of the Government to discriminate between

numerous applicants the quantity of exhibits was swelled to such an

extent that it was a matter of no small difficulty to find places for

all the articles sent in for exhibition. Notwithstanding the fact that

there was only a short period of nine months between Japan's decision to

participate and the opening of the fair, and that in the course of that

comparatively short period the rupture of friendly relations between

Russia and Japan greatly handicapped the latter's endeavors concerning

the exposition, the officials and exhibitors pursued their preconceived

plan without an interruption. In view of such disadvantages, the

promptness and accuracy with which articles were brought into their

destination, arranged, and displayed seasonably in proper form may well

be regarded as remarkable. By the time the gates of the fair were thrown

open to the public the display had been well-nigh completed, to the

gratification of the Exposition Company and the Japanese exhibitors.

When Japan was first invited to take part in the exposition she was

busily engaged in preparing for the Fifth National Exhibition held in

the city of Osaka. For that reason she declined reluctantly to accept

the invitation; but as the inauguration of the Louisiana Purchase

Exposition was consequently postponed until the 1st day of May, 1904,

Japan was later enabled to accept the invitation.

Early in the year 1904 the imperial Government sent a corps of officials

to St. Louis to select a suitable location for the Government buildings,

and to apply for space in the various departments of the exposition. Due

to the prompt attention of the Japanese Government and the courtesy of

the managers of the exposition, the desired arrangements were

accomplished without the slightest difficulty. A bill appropriating

$400,000 to be expended for the exposition was passed by both houses of

the legislature, and in July, 1903, the Government formally notified the

Exposition Company at St. Louis that Japan would be represented at the

fair.

The Japanese commission for the exposition took great care not to accept

for exhibition any articles which had mere virtue of novelty, without

practical value, or any articles not produced in large volume. The idea

of the Government in employing such discrimination was to so plan the

exhibition that it would leave some lasting effects after the exposition

upon the world's trade and commerce. The exhibition of matters relating

to education was executed under the direct supervision of the department

of education, and was so planned as to make it represent a complete

system of the education now in vogue in Japan. In regard to the

exhibitions of mines, fish, forestry, agriculture, and horticulture, the

department of agriculture and commerce exercised the authority of

deciding what articles should be displayed. The arrangement of articles

exhibited in various departments of the exposition was made so that

those independent of the Japan Exhibits Association were arranged by

individual exhibitors under the supervision of the Japanese commission,

while others were set out in proper order by the association.

There was no department or palace in which Japan did not exhibit.

Displays on an especially elaborate scale, however, could be found in

the following eleven palaces, namely: Palaces of Education and Social

Economy, Fine Arts, Liberal Arts, Manufactures, Varied Industries,

Transportation, Mines, Forestry, Fish, and Game, Electricity, and

Agriculture. The total area of space of the Japanese sections in these

departments was distributed among different sections as follows:

Square feet.

Palace of Education ............................... 6,299

Palace of Fine Arts ............................... 6,825

Palace of Liberal Arts ............................ 400

Palace of Industry ................................ 27,384

Palace of Manufactures ............................ 54,737

Palace of Transportation .......................... 14,160

Palace of Electricity ............................. 1,100

Palace of Mines ................................... 6,903

Palace of Forestry, Fish, and Game ................ 2,982

Palace of Agriculture ............................. 8,667

-------

Total ...................................... 129,457

Besides the above areas in the various departments, a garden of a

genuine Japanese style covered an extensive space of ground, in which

stood the Government building. Attached to it was a reception hall and

several artistic mansions. Displays of Japanese garden and floricultural

arts were exhibited in the garden. In the reception hall were exhibited

various data showing the growth and present status of the Red Cross

Society of Japan. Altogether, the dimension of space taken by Japan for

the garden aggregated approximately 148,361 square feet. Artistically

distributed within the precincts of the garden were the reception hall,

the office building, the Formosa tea house, the Kinkaku tea house, and

several cottages and a bazaar. Hills and waterfalls, ponds and bridges

were presented in miniature scale. In the verdant lawns flowers of

different colors were all harmonized into an artistic unit in unique

landscape gardening. Beautifully trained dwarf trees, centuries old,

were brought from Japan for the special purpose of ornamenting the

garden. There were also the drooping wisteria and gay peony, the scented

lily and blushing maple.

The building materials for the reception hall, the office building, and

resting cottages were brought from Japan. The reception hall was built

entirely by native carpenters, after the style of a daimyo's goten

(palace of feudal lord) of some six hundred years ago. The architectural

style of the building was what is termed Heike, a style prevailing at

the time when a military family called Heike held a paramount power. The

artistically curved roofs, projecting one upon another, were a modest

representation of architectural accomplishment already attained in Japan

several centuries ago. Hanging on the inner wall of the hall was the

portrait of Her Majesty the Empress of Japan, and occupying a section of

the room were the exhibits of the Red Cross Society of Japan, in which

the Empress takes a keen interest. The resting cottage was modeled after

a cottage in a shogun's (military magistrate) garden, two or three

centuries ago. Close to the south bank of the lake was a small

reproduction of Kinkaku Temple. Close to the right of the front gate of

the garden stood the Formosa mansion, a fair representation of

characteristic native dwellings. The Kinkaku Temple was built under the

auspices of the Japan Tea Traders' Association, and the Formosa mansion

by the initiative of the Formosa government.

MEXICO.

_Members of Mexico commission_.--Engineer Albino R. Nuncio,

commissioner-general; Mr. Benito Navarro, assistant to the

commissioner-general; Mr. Juan Renteria, assistant to the commissioners

general; Engineer Lauro Viadas, chief department of agriculture; Mr.

Daniel R. De la Vega, assistant to the chief; Mr. Isidoro Aldasoro,

chief department of art and ethnology; Mr. Leopoldo Tell and Mr. Octavio

Andrade, assistants to the chief; Mr. Maximiliano M. Chabert, chief

department of liberal arts; Mr. Alberto Ocampo, assistant to the chief;

Mr. Julio Poulat, chief department of education; Mr. Manuel Costa,

assistant to the chief; Mr. Enrique Garibay, chief department of

forestry, fish, and game; Mr. Jorge Salazar, assistant to the chief;

Mr. J. Alberto MacDowell, chief department of horticulture; Mr. J.M.

Nuncio, chief department of manufactures; Mr. Antonio Sierra Cruz,

assistant to the chief; Engineer Eduardo Mantinez Baca, chief department

of mines and metallurgy; Mr. Miguel Peinado, assistant to the chief;

Maj. S. Garcia Cuellar, chief department of transportation; Lieut.

Manuel Garcia Lugo and Lieut. Jose Ortiz Monasterio, assistants to the

chief; Mrs. Laura M. De Cuenca, Dr. Plutarco Ornelas, Prof Teofilo

Frezieres, Mr. E.H. Talbot, Mr. Jose M. Trigo De Claver, Mr. Roberto

Garcia, Mr. Jose A. Bonilla.

The amounts voted by the Mexican Congress, according to dates since the

organization of the work, for the participation of Mexico at the

Universal Exposition of St. Louis, were as follows:

October 22, 1901 ............................... $50,000

July 1, 1902 ................................... 70,000

November 23, 1902 .............................. 15,000

July 1, 1903 ................................... 90,000

December 3, 1903 ............................... 250,000

July 1, 1904 ................................... 100,000

November, 1904 ................................. 300,000

--------

Total ....................................... 875,000

The Mexican exhibit in the department of education, as a whole,

demonstrated the remarkable development of public instruction from

primary to scientific, and at the same time the progress made by

adopting new plans and systems. The exhibit as a whole could also be

studied in detail by looking over the regulations, plans of study,

statistics, texts, etc., which were displayed there.

The Gallery No. 94 of the west pavilion of the Fine Arts Building was

the one assigned by the Exposition Company to the exhibition of fine

arts from the Republic of Mexico. This small gallery contained 38 oil

paintings, 2 pen drawings, and 2 sculptures. The paintings belonged to

11 exhibitors.

The importance of the exhibition as relates to the art cultivated in

Mexico was represented by the famous works of the Artist Fabres, which

attracted a great deal of attention.

In the Palace of Liberal Arts Mexico exhibited technical works and

diversified industrial products. Among the most important were those of

official character, such as geographical maps, the system used for the

illumination of the seashores, the construction of buildings for special

works, etc. Also plans and constructions of architectural character

from' prominent architects of Mexico.

Displayed here were exhibits from the manufactures of drugs and chemical

products, perfumes, paper, printing and binding companies, and many

others comprised in the extensive official classification. One most

important exhibit was that of chemical products and pharmacy.

Another very important branch of liberal arts, and very well developed,

was that of photography. Very remarkable works of the most expert

photographers of the country were exhibited.

In the Department of Manufactures the industrial concerns from Mexico

were represented as follows: The cotton and woolen mills, which have

greatly developed in the Republic; the leather and shoe industry was

well demonstrated by a number of factories which exhibited their

products; there were also shown a number of samples from the manufacture

of furniture and decorating fixtures for buildings and residences.

Full information about the railroad lines, general railroad map, and

great number of photographs of the most important points on the lines,

plaster models of the Tehuantepec Railroad connecting the two oceans,

and statistical information of the railroad development were exhibited

in the Transportation Building. Models of light-houses and original

light-houses that will be used in the Vera Cruz Harbor were displayed

also, as well as models of the harbors of Mazanillo, Salina, Curz,

Coatzacoalcos, and Tampico. Tools, bags, scales, etc., used in the mail

service, and statistical information of the development of the service

were shown, as were carriages, harness, saddles, and all kinds of

implements used for driving and riding.

The war department had a general display of educational methods used in

the military and naval academies, and maps, military library,

improvements invented by some member of the army and samples of

materials made by its factories.

In the Electricity Building were maps and reports of the most important

electrical installations of the country.

In the Machinery Hall were displayed machines made in the factories of

the army for the manufacture of cartridges, and antiscaling substance.

Among the Mexican exhibits at St. Louis, the largest number was in the

Agricultural Building, where the display occupied over 900 square feet

of space. The exhibits made by the three leading breweries of Mexico was

noticeable as to elegance and artistic good taste. Great importance was

attached to the exhibits of leaf and manufactured tobacco. The coffee

exhibit attracted general attention.

The exhibit of fibers, especially that of Henequen, from Yucatan, was

very important and complete, the last named being the cause of

flourishing trade with the United States. The exhibit of sugar showed

the great resources of Mexico in this product. A splendid exhibit of

Mexican vanila attracted the attention of all visitors. The exhibit of

agronomical maps by the Mexican Commission was of much scientific value,

and the collection of insects and injurious parasitical plants was also

worthy of attention.

The Mexican exhibit in the Department of Forestry, Fish and Game

consisted of 600 specimens, arranged and classified by the Medical and

National Institute of Mexico, and attracted considerable attention. The

magnificent exhibit of animals and stuffed birds was also admired. The

exhibit was arranged and presented by the Geographical Commission of

Mexico. The collection of woods presented by the governments of the

States of Colima, Durahgo, Mexico, Puebla, San Luis Potosi, Michoacan,

Yucatan, and the department of fomento was noticeable for the diversity

of kinds of woods forming the collection, amounting to 800. The exhibit

of broom root from Mexico was the only one of its kind in all the

Department of Forestry, and concerning which the largest number of

inquiries was made.

In the Palace of Mines and Metallurgy Mexico occupied 13,000 square feet

of space. A great variety of ores and minerals was displayed, viz, gold,

silver, lead, iron, copper, antimony, zinc, etc. The number of

exhibitors amounted to 330. The Geological Institute of Mexico presented

maps, geological plans, mineral rocks, publications, etc. Among the

latter a very interesting study of the veins of the mines of Pachuca and

Real de Monte, also another of the Rhyolitas of Mexico.

The social and economical conditions of the Republic of Mexico were

splendidly represented in the Department of Social Economy by numerous

official and private publications and photographs. The wise steps taken

by the Government, which have changed the economical conditions of the

country, constituting an intellectual, material, and positive

development, were logically collected according to the department of

state to which they belong. The exhibit was completed by a numerous

collection of photographs of cities, ports, public buildings, monuments,

residences, etc., showing how Mexican cities have been improved and

beautified and how the Republic of the south has progressed from a

material and artistical standpoint.

NEW ZEALAND.

_Members of commission_.--Mr. T.E. Donne, representative; Mr. Frederick

Moorhouse and Mr. Thomas Clarkson, attachés.

When the New Zealand government received the invitation of the Louisiana

Purchase Exposition executive to be represented at the World's Fair the

colonial parliament gave the utmost publicity to the proposal and

offered to allow any of its business firms a share of the space that was

to be placed at its disposal. The tariffs of the United States, however,

proved a serious obstacle, as the chief business houses of the young

nation failed to see how their interests would be served by advertising

in a country which placed a heavy tariff on their goods. However, the

executive of the government, recognizing the cordiality of the

invitation and with a desire to emphasize its wishes for the closest

relationship with the American people, decided to be represented

directly by one of its own departments--the department of tourist and

health resorts. The chief of that branch of the public service, Mr. T.

E. Donne, was therefore authorized to prepare an exhibit setting forth

the attractions of New Zealand to tourists and the work the department

is doing in that connection. When compiling the exhibit Commissioner

Donne represented to his government that it would be advisable also to

include a few of the country's general products, and it therefore

extended the original idea in this direction.

In the Department of Forestry, Fish, and Game New Zealand had a unique

and tastefully arranged display that attracted keenest interest. A

collection of Scotch red deer and fallow deer heads testified to the

magnificent hunting that is obtained among the virgin forests of New

Zealand, and specimens of trout--rainbow, salmon, fario, and

fontinalis--taken from the mountain-fed streams that intersect the

country from one end to the other appealed to the fishing enthusiast.

Pictures and paintings around the walls were fascinating in that they

served to indicate to visitors the character of a country which nature

has blessed, when judged from a point of view of the beautiful and

picturesque. Mount Cook, majestically rising to a height of nearly

13,000 feet, was shown in paintings and photographs. Lakes Taupo, Te

Anau, Wakatipu, Manawapouri, Waikaremona, and others, whose clear,

glassy waters, surrounded by verdure-covered hills, gave some idea of

the loveliness of New Zealand lakes. The Wanganui River, Milford Sound,

one of the world's wonderful fiords, and the canyons known as the Otira

and Buller gorges were some of the features that interested the

visitors.

The thermal districts were chiefly represented by the great Waimangu

geyser and its crater, 21/2 acres in extent, which throws up boiling

water, mud, and stones to a height of 1,500 feet, claiming a place as

one of the "wonders of the world."

Forestry was represented by beautifully finished ornamental wood and a

splendid exhibit of the famous Kauri gum. This gum, which is used

principally in the manufacture of varnish, takes an important place

among New Zealand products, no less than five million dollars worth

being exported last year. Of special interest to ornithologists were the

native wingless birds of New Zealand.