Wichita eagle., 1889-05-25
PARIS EXPOSITION.
Difficult to Over-Praise the Exhibition
as a Whole.

Smalley, in the New York Tribune.
Much as there is in the details which
invites criticism. it would be difficult to
over-praise the exhibition as a whole.
Want of style in the buildings, want of
simple good taste in decoration, and
many other wants there are; but nobody
can walk from the Trocadero to the end
of the Champ de Mars without admlrlng
most heartily the general conception and
the innumerable ingenuities OF the exc
cution. The view from the Irocadero
plaza, looking down on the Champ de
Mars, embraces nearly the whole eXhl-
bition, with that much-abused yet mar
velous Eiffel tower in the foreground,
which is, perhaps, better seen at greater
distance. The architectural eccentrlcl-
ties of all the lower portions OF this
structure are distressing; the architect
has been thrust aside by the engl-
neer. The gardens Of the Iroca-
dero are so many studies in the horticul-
ture and arboriculture of as many coun-
tries as there are gardens. Again, on the
other side the Seine, crossed by the
bridge of Jena, the Eiffel tower stands
I had almost said straddles-amid them.
There are small lakes and splashing forn-
ing countries as Mexico and the Argen-
tine Republic; there are structures meant
to comprise the history of human dwell
ings; there are restaurants, telephone OF
fees, 'follies Parisienpes," and a hun
bred other things, all the very entrance
of the grounds, all crouching at the base
of the tower. Beyond, in the center,
stretch more gardens, more fountains,
more pavilions, covered avenues divld-
ing them. You may walk on, under
canvas, amid lawns and thickets, spread
ing on every side. To the right is one of
the chief sections, that of the liberal fine
arts; they and the gardens together fill
nearly half of the Champ de Mars. Beyond,
them begin the foreign sections; beyond'
them again the French, and last of all
the great machine gallery, which closes
in the whole breadth of the buildings,
which themselves extend from side to
side of the grounds. Iron and glass are
everywhere the chief materials of con-
struction. often so decorated that you
may doubt what the material really is.
When you have passed through all these
gardens and vast buildings you have
still a long range of exterior pavilions on
either side to visit-Indian and Chinese
pavilions; Guatemala Should that in
terest you), and Siam; "Bazar Moro
cain, and twenty more.
Gradually, very gradually, the first
impression of hopeless confusion and
,perplexity yields to clearer perception
of the arrangement. The distribution of
groups and Glasses becomes orderly,
Symmetrical and easy to follow. The
multiplicity of subjects is great But
you can choose your own subject, study
ing it, often more completely than ever
before, in It's historical development,
more commonly in its latest and most
perfect state. One thing you
will need to bear in mind
throughout, namely: that this exhlbl-
ton was designed in box and has been
carved in ash, like Louis the Fourteenths
great palace at Versailles, all for the
glory, not to say the glorification, of
France. The share of the outside world
is comparatively unimportant. No
nation is really well represented, and the
visitor cannot form from what he sees
here the faintesu notion Of the relative
importance of the other nations. Con-
siderations of space forbid. Other
nations are not rivals, they are foils, to
France. and the poverty of their display
sets off, as it was meant to do, the full
ness of Frances, its richness and Its
splendor. There is no reason to COM
plain. What the French have done IS
what other nations have done before
them and will do again. England,
America. Russia, Italy and Austria
each has stretched out her little finger
France has put forth her full strength
and never before has her energy or her
genius been seen to better advantage