LITMIR.BIZ

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and water, and the contiguous streets of favorite and convenient travel. In the present case the bulk of the people reach the grounds either by water at the south-east corner or by land at the intersection of Avenue Rapp with the Avenue Bourdonnaye, which latter bounds the Champ de Mars on its southern side.

      The end-vestibules are connected by five longitudinal galleries on each side of the open area in the middle of the building. The five galleries on the southern side belong to France, and the five on the northern side are divided by transverse partitions among the foreign nations present, in very greatly differing quantities. England, for instance, occupies nearly two-sevenths of the whole space devoted to foreign exhibitors, being more than the sum of the amounts allotted to Spain, China, Japan, Italy, Sweden, Norway and the United States. The end-vestibules have curved roofs with highly ornamented ceilings of a succession of flat domes along the centres, with three rows of deep soffits on each side, gayly painted. The walls are nearly all glass in iron frames, and the panes of white glass alternate in checkerwork with those having blue tracery upon them. The whole building is principally of iron and glass, the roof of wood, with zinc plates and numerous skylights over the interior galleries. The machinery galleries of each side are much the largest of the longitudinal ones, and have high roofs with side windows above the levels of the roofs on each side of them; but the four other galleries on each side of the building have quite low ceilings, which make one fear for the quality of the ventilation when the heat is at its greatest.

      In the interior of the quadrangular building is an open space about two hundred feet broad and nearly two thousand feet long, reaching from one vestibule to the other; and in this space are two rows of fine-art pavilions and a building for the exhibition of the municipal works of the city. This isolated building is in the central portion of the whole structure, the fine-art pavilions being arranged in line with it, four in a group, the salons of a group connected by lobbies and also with the large end-vestibules at the end upon which they abut.

      The French and foreign sides of the Exposition building on the Champ de Mars have frontages upon the interior court, and the façades of the foreign sections are made ornamental and are intended to be characteristic of the countries. There is a great discrepancy in the space assigned to each: that of Great Britain is the longest, amounting to five hundred and forty feet in length, while the little territories of Luxembourg, Andorra, Monaco and San Marino, which are clubbed together, have unitedly about twenty-five feet of frontage. In some cases the space assigned to a nation does not run back the full four hundred feet to the outside of the building, but it is intended that each shall have some part of the façade in this allée. Much taste and more expense have been lavished upon the architectural construction and embellishment of the façades, and the row reminds one of the scenes in a theatre, where palace, cottage, mosque and jail stand side by side, giving a particolored effect as various as the different emotions which the respective buildings might be supposed to elicit. The English space being so large, no single design was adopted, as it could have but a monotonous effect, but the frontage was divided into five portions, each of which illustrates some style of villa or cottage architecture, and is separated from the adjoining one by garden-beds. The first, counting from the Salle de la Seine, is of the style of Queen Anne's reign. It is built of a patented imitation of red brickwork. Thin slabs of Portland cement concrete are faced with smaller slabs of red concrete of the size of bricks and screwed to the wooden frame of the building. The house has tall casements in a bay with a balcony, and an entablature on top of the wall. The second house is the pavilion of the prince of Wales, and is of the Elizabethan style. It is built of rubble-work faced with colored plaster in imitation of red brickwork and Bath-stone dressings. The front has niches for statuary, and above the windows are shield-shaped panels for armorial bearings. The windows are in square clusters, with small lights in hexagonal leaden cames. The union jack flies from the staff. The third house is constructed of red brick and terra-cotta, and is not specially characteristic of any period. It is, in fact, a jumble of the early Gothic with a Moorish entablature and a balustrade parapet. The stained-glass casement windows are surmounted with circular lights in the arches. The fourth house is built of pitch-pine framework, enriched with carving and filled in with plaster panels—a style of construction known as "half-timbered work," much employed in England from the fifteenth to the seventeenth century. This house is placed at the disposal of the Canadian commissioners. It has a large square two-story bay-window, with the customary small glass panes in cames of lozenge and other patterns, and is perhaps the neatest and most cozy house in the row. The fifth is of the construction of an English country-house in the reign of William III. It is of timber, with stucco and rough-cast panels, and has a large bay-window in the second story, surmounted by a gable to the street and covering an old-fashioned stoop with seats on each side. The five houses have a pretty effect, and each has a home look. The façades only are on exhibition, the interiors being private. They contrast with others in the "street" in the same way as the habits of the different peoples. Some build their houses to retire into, and others to exhibit themselves. Each nation being asked for the façade of a house, the Italian has built a portico where he can lounge, see and be seen; the Englishman has in all serenity represented what he deems comfort, and shuts the front door.

      VIEW IN THE PARK OF THE TROCADÉRO, SHOWING THE PAVILIONS OF PERSIA AND SIAM.

      The next in order is the United States house, which is plain and commodious; the latch-string would be out, but that the front door is everlastingly open. The style is perhaps to advertise to the world that we have not yet had time to invent an order of architecture or devise anything adapted to our climate, which has extremes utterly unknown to our ancestors in Britain. The building is light and airy, has office-rooms on each floor, and is described by one English paper as "a sort of school-building which combines elegance with usefulness." Another paper states that "it exemplifies the utilitarian notions of our Transatlantic cousins rather than any artistic intent." These comments are as favorable as anything we ourselves can say: we accept the verdict with thanks and think we have got off pretty well. In the squareness of its general lines, with arched windows on the second floor and square tower over the centre, perhaps the architect thought it was Italian. Sixteen coats-of-arms on the outside excite admiration.

      The building of Norway and Sweden is a charming cottage of handsome and ample proportions. It has three sections: one of two stories with low-pitched roof, and gable to the street, a middle structure with colonnade, and one of three stories with high-pitched roof. The windows are round-topped, made in an ingenious way, the upper member being an arched piece with sloping ends, to match the springing on the tops of the posts which divide the openings. The horizontal and vertical bands are enriched by carving.

      The façade of Italy may be pronounced pretentious and disappointing. It is constructed of various kinds of unpolished marble and terra-cotta panels. A tall archway is flanked by two wings having each two smaller arches, the entablatures of which are enriched, if we must so term it, with gaudy mosaic figures, portraits and heraldic bearings, while the spans of the arches surmount pyramidal groups of emblems, scientific, medical, lyrical and so forth. Red curtains with heavy gilt cords and tassels behind the arches throw the columns with composition (not Composite) capitals and the emblems into high relief. Beneath the centre arch is the armorial bearing of the country. The vestibules display statuary.

      Japan has a quaint little house with a very massive gateway of solid timber, flanked by two characteristic fountains of terra-cotta. These represent stumps of trees, with gigantic lily-cups, leaves of water-lilies, and frogs in grotesque attitudes in and around the water.

      China has a grotesque house, painted in imitation of octagonal slate-colored bricks, covered with a pagoda-roof full of curves and points. The red door has rows of large knobs and is surmounted by colored and gilded carvings, representing genii probably. The pointed flag has in a yellow field a blue dragon in the later stages of consumption.

      Spain has a Moorish building rich in gold and color—a central portion with Italian roof, and two colonnade side-sections flanked by castellated towers. Five forms of arches span the doors and windows, and the artist has contrived to associate all forms of ornament, running from an approach to the Greek fret down through the Arabesque to the Brussels carpet.

      Austro-Hungary has a long colonnade

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