Meanwhile, during the few months after the outbreak of war, the art
situation in Europe began to look more hopeful. It seemed possible that
some of the nations concerned in the war would be persuaded to
participate. Captain Asher C. Baker, Director of the Division of
Exhibits, was sent on a special mission to France, sailing from New York
early in November. The United States collier "Jason" was then preparing
to sail from New York with Christmas presents for the children in the
war zone, and the secretary of the navy had arranged with the Exposition
authorities that, on the return trip, the ship should be used to carry
exhibits from Europe. The first plan was that the exhibits should come
only from the warring nations; it was later extended to include other
nations.
In Paris Captain Baker found the situation discouraging. The first
official he saw told him that, under the circumstances, any
participation of France whatsoever was out of the question: France was
in mourning, and did not wish to celebrate anything; if any Frenchman
were to suggest participation he would be criticised; furthermore, Albert
Tirman, at the head of the French committee that had visited San
Francisco the year before to select the site of the French Pavilion, had
come back from the front in the Vosges and was hard at work in the
barracks of the Invalides, acting as an intermediary between the civil
and military authorities.
Then Captain Baker appealed to Ambassador Myron T. Herrick. Although the
ambassador was enthusiastic for the Exposition, he said that, in such a
crisis, he could not ask France to spend the four hundred thousand
dollars set apart for use in San Francisco. Captain Baker said: "Don't
you think if France came in at this time a wonderfully sympathetic
effect would be created all over the United States?" The ambassador
replied, "I do." "Wouldn't you like to see France participate?" The
ambassador declared that he would. "Will you say so to Mr. Tirman?" The
ambassador said, "Willingly."
A week later Baker and Tirman were on their way to Bordeaux to see
Gaston Thomson, Minister of Commerce. They made these proposals: The
exhibits should be carried by the Jason through the canal to San
Francisco; the building of the French Pavilion should be undertaken by
the Division of Works of the Exposition, on specification to be cabled
to San Francisco of the frame work, the moulds for the columns and
architectural ornaments to be prepared in France and shipped by express;
the French committee of organization was to work in France among
possible exhibitors; a statement was to be made to the ministry of what
each department of the government could do in sending exhibits and what
exhibits were ready; a statement should come from the Minister of Fine
Arts as to how much space he could occupy and how many paintings could
be secured for the Palace of Fine Arts; a complete representation of the
Department of Historical Furniture and Tapestries, known as the Garde
Meuble, was to be made for the pavilion.
In the interview with the Minister of Commerce Baker argued that,
without France, an Exposition could not be international, and that the
participation of France at this time, with her flag flying in San
Francisco, would be like winning a battle before the world. It would
show the people of the United States France's gratitude for the money
sent the wounded and the suffering, and would warm the hearts of the
American people.
Thomson responded with enthusiasm, and soon the government became
enthusiastic. Several thousand dollars were spent in cabling; Henri
Guillaume, the distinguished French architect, experienced in many
expositions, was sent out. When the Jason stopped at Marseilles it took,
on board one of the most remarkable collections of art treasures ever
shipped to a foreign country, the finest things in one of the world's
great storehouses of treasure, including even the priceless historical
tapestries, and a large collection of French paintings for the Fine Arts
Palace, gathered by the French committee after great labor, due to the
absence of many of the painters in the war.
When Captain Baker left France he had accomplished far more for the
Exposition than he realized himself. Reports of his success in securing
French participation preceded him to Italy and helped to prepare the
way. The Italians listened to his proposition, all the more willingly
because France had been won over. Besides, he had a warm supporter in
Ernesto Nathan, ex-Mayor of Rome, who had paid an extended visit to San
Francisco and had become an enthusiastic champion of the Exposition. In
a few days he had made arrangements that led to the collection of the
splendid display of Italian art, shipped on the Vega, together with many
commercial exhibits. Captain Bakers work in France and in Italy,
accomplished within three weeks, was a triumph of diplomacy.