LITMIR.BIZ

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is customary to speak of things by comparison, and the question is constantly propounded here, as it will be to returned Americans: "How does the Exposition compare with the Centennial of 1876?" This is not to be answered by vague generalities nor by sweeping statements.

      It must of course be true that a great nation could not fail to make interesting an object upon which it has lavished money and which has obtained the co-operation of the principal foreign nations. So much is true equally of Philadelphia and Paris, and the merits of each are such that comparisons may be instituted which shall be derogatory to neither.

      The scale of each is immense, and the buildings of both well filled and overflowing into numerous annexes. Fairmount had the advantage of breadth of ground for all comers. The Champ de Mars is but little over one hundred acres in area, while the portion of Fairmount Park conceded to the Exposition was two hundred and sixty acres.

      The Champ de Mars is simply crowded with buildings, and is hemmed in by houses except at the end where it abuts upon the Seine. The space between the river and the main building is the only breathing-ground on that side of the river, the only place large enough for a band to play in the open air with allowance for a moderate crowd of listeners; and even this portion has a far larger number of detached houses than elegance or convenience of view would dictate. It was otherwise in Philadelphia, where the ample room gave a sensation of freedom, and the wide lawns, and even rustic hollows, permitted rambles, picnic lunches and parties. Herein consists one of the most striking features of dissimilarity between the Philadelphia and Paris expositions. The former had plenty of room—the latter has insufficient. The former, with the exception of the Main and Machinery Buildings, with a few adjuncts, and the Art-Gallery, a little retired from the Main Building, had its structures dotted over a wide expanse bordering its lakes or along an encircling drive. For want of any other sufficient opportunity to display the architecture of the countries assembled, one of the interior façades of the Paris building has a series of characteristic house-fronts looking upon an allée of but fifty feet in width, which is dignified by the title of "The Street of Nations."

      This tight packing has, however, one compensation: it has permitted a degree of finish to the grounds far superior to what was possible at Philadelphia. All the space inside the enclosure is admirably laid out in walks and parterres, and the two open places between the principal buildings and the Seine display a truly beautiful and picturesque garden, with winding walks, ponds, fountains, artificial mounds with clumps of trees and evergreens, grottos, statues, trickling rivulets with ferns and mosses, cozy dells with little cascades, and the walks in the more open spots bordered with charming flowers and plants of rich leafage. The lawns are something marvellous in the speed with which they have been created. Thousands of tons, as it seems, of rich mould have been deposited and levelled or laid upon the swelling tumuli which border the more open space, and the grass grows with denseness and vigor under the stimulating treatment of phosphates, its greenness mocking the emerald, and forming a most vivid setting for the darker leaves of the tree-rhododendrons, whose globular masses of bloom look like balls of fire.

      After all, it is only justice to mention two things at Philadelphia which render it memorable among exhibitions, and which, I observe in conversation with foreigners who visited it and are here now, made a great and lasting impression. I do not mean that it had but two, but these are so frequently referred to that it is fair to cite them specially, even at the risk of a little repetition as to the first—namely, the wide area and beautiful situation, with the views of hill and river; the means of approach by carriage-drives through the lovely Park, those so disposed being able to drive for miles along the water-side, in the groves and to various commanding points of view on their way to such of the remoter entrances as they might elect; the railway, which enabled one not only to see the grounds without fatigue, but while resting from the pedestrian work of the interiors of the buildings; the sense of comfort in being able to retire for a while to sylvan or floral retreats to digest the thoughts and rest from seeing. Secondly, the various and ample accommodations offered to the public—the postal and telegraph facilities; the Department of Public Comfort; the lavatories and retiring-rooms so abundantly furnished. A Moresque gentleman in turban who was in Philadelphia fairly rubbed his hands as he referred to the lavish opportunities for washing which were freely given in Philadelphia, and contrasted them with the state of things here, where it costs ten cents to wash your hands, and the supply of water is but meagre at that. But he is an African, you know, and had learned to appreciate water, and plenty of it, in a land where the washing of the face, hands and feet is among the first civilities offered to a stranger.

      A few figures, dry enough in themselves if there were nothing more, will serve as a means of comparison of the relative spaces under cover. The building on the Champ de Mars is stated officially to be 650 mètres long by 350 mètres broad, which, reduced to our measurement, will give 2,447,536 square feet. Deducting 150,000 feet for two enclosed alleys, the area under roof will be 2,297,536 feet. The area of the five principal buildings at the Centennial Exhibition was:

      So that the difference in favor of Paris is 327,127 feet. In round numbers, the Paris Exposition building is one-fifth larger than the united areas of the five principal buildings at the Centennial. Without making a close calculation of the areas of the annexes and detached buildings either of Philadelphia or Paris, I am disposed to think that the 1876 Exhibition was not in excess of the present one in this respect. Either exceeds, both in the main buildings and the swarm of detached structures, any preceding exhibitions. The difference between the Paris exhibitions of 1867 and 1878 is as 153 is to 240: the London building of 1862 would bear to both the proportion of 92, without any important annexes.

      The high ground on the right bank of the Seine is occupied by the Trocadéro Palace, which faces that on the Champ de Mars, each building being about five hundred yards from the bank of the river, which flows in so deep a depression that it is visible from neither building, and the grounds between the two appear to be continuous, though the bridge suggests the contrary.

      The cascade in front of the Trocadéro occupies the site of the old steps by which the steep hill was ascended, but the ground nearer to the Seine has been so raised that the river-roads on each side run in subways spanned by bridges, thus permitting free use of the great thoroughfares without impeding communication between the two portions of the Exposition. Indeed, they appear as one viewed in either direction, notwithstanding the intervening streets and wide and rapid river.

      The change in the shape of the Trocadéro hill to bring it into a symmetrical position in front of the Champ de Mars has required the quarrying of twenty-four thousand cubic mètres of rock, leaving a rough scarp on the northern edge quarried into steps, walks and grottos, with flowers, ferns and mosses cunningly planted on the ledge and creepers on the walls.

      The Trocadéro Palace is the most striking architectural feature of the Exposition. Standing on a level one hundred and six feet above the Quai de Billy and overlooking the city of Paris, the dome and glittering minarets of the building are visible from many miles' distance. It is not easy to describe its architecture, though it is called "half Moorish, half Renaissance;" which is not very definite. It has a large rotunda capable of accommodating seven thousand persons, and the river-front has two spacious corridors on as many stories. The central building is flanked by two tall square campaniles, and from its sides extend long wings which curve toward the river: these have colonnades and terraces in front overlooking the garden, its picturesque and grotesque cottages and pavilions, its fountains and its parterres of gay flowers.

      The Trocadéro has been purchased by the town council of Paris, and is to be a permanent structure, its flanking salons, forty-two feet wide, being known as "Galéries de l'Art Rétrospective." Its collection is to form a history of civilization, and will probably include the Egyptian, Assyrian and similar collections from the Louvre, as well as the Ethnological, which is at St. Germain. It is designed to represent in chronological order ancient and historic art, both liberal and mechanical, with the furniture, arms and tools of the Middle Ages and Renaissance, arms, implements and fabrics from the East, Africa and Oceanica, and a collection of musical instruments of all ages and countries. This is an ambitious programme, but will no doubt be well accomplished. Its general color is that of the beautiful stone of this region, a

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