The morning news., 1889-05-19
CHAOS AT THE BIG SHOW.
NONE OF THE EXHIBITS YET IN A
STATE OF COMPLETION.

Few Complimentary Photographs
Issued at So so Each.
rcorgright, 1859, by Nelo York associated Press
PARIS, May 18.-Americans coming to
+re exposition need not make excessive
haste. Although President Carnot cere-
moniously opened the exposition on the ap-
pointed day, it is, up to this writing, frag-
meutary. The steam which was turned on
as formahty was speedily turned off, ex-
cent for transportation purposes. The
great belts in the machinery palace have
not yet stirred lathe. The movable
railway, which was laid in
flexible routes all through the grounds
was taken up on the eve of
tbe opening to clear the official path, and
TO lend an air of completeness to the
grounds. 1t has not been put down again.
The carrying of huge pieces Of metal, stone
or wood from the gatherings to the places
of deposit occupies in many instances, a
week. Not one section of the fine arts ex-
hiDition is complete. Only two catalogues
are out-the French decennlal and the Brit
ish. Neither is sstisfac ory. Each should
have been included in the general catalogue.
So far as present information justifes an
opinion there is no good reason why Amerl-
can visitors should purchase any catalogue
except theAmerican unless they have special
reasons for doing 50.
CAUSES OF THE DELAY.
Various causes are assigned for the delay
in all the departments. The American
commission alleges, 50 far as itis concerned.
that on one hand the French authorities
have not furnished labor, indispensable
either in the preparation Of show cases or
the equipment OF rooms, and, on the other,
that many Americans who applied for
space and a considerable number who
Slipped goods have not appeared. 1t may
DO necessary for the American govern
ment before consenting to participate in
another universal exposition, to claim
the right to place a capable
aud has the necessary experience and tact,
upon the highest board of direction. II the
ayerments Of discourtesy and injustice of
vezauous disregard of reasonable comfy
or the part of the French direction toward
the American commission, as related to the
representative of the Associated Press by
the officials, were frankly disclosed, an in
t1rnational episode might be created not
wanting in elements of groteSqueness. This
word of warning should be needed by cor
respondents and specialists Of protest. ms
coming here expecting the equitable treat
mept enjoyed in our own country.
NO FREE PASSES.
There are TO complimentary admissions.
1t is said that the rule applies unexception-
ally TO all persons, native and foreign writ
ers, no mat er how well known in their
own country. Even if their personal
credit here be above suspicious they cannot
procure any attention unless they bring
duly authenticated credentials in writing
-, a.
artistic or other experts, who guilelessly
suppose that this vast international univer-
sity is to be opened like the universities of
Old % pilgrim students from every quarter
without scrip or staff If the written ere
tentiais be complete, the applicant will then
learn q lesson in patience. He must first
wait several weeks for an official acknowl-
edzment Of the fact that his rigat to special
lecyguiu n is admitted.
COURTESY HEDGED BY RED TAPE.
Then Lo must have two photographs
tasen one to DO put in the private gallery
of direction and the other to constitute.
with his name and function printed on it,
BIS ticket OF admission. This ingenious safe
guarding Of the recsipts against amlablo
l0allng Of special tickets is enforced with
out favor, but only after the applicant has
depo3.teCs2 30 with the pro er sub-olIicial for
Tue re. uOlc Of France After fair trial
OF tlls circuitous and expensive road to the
assumed universal courtesy Of the exposi-
u2n, tie individual desirous of studying its
depart ents generally resolves to pay his
~ cents admission daily. and disDense with
po-,aness decorated with red tape. The
lu Der Of press applications on file exceeds
1850, the latter half Of which will be reached
several months after the applicants have
returned to their native lands.
FINE ARTS.
The fine art exhibition is a splendid
feature Of the exposition. There is a retro
sp.ci u French art from 1883 10 1873, and
seeceanial exhibit supplementary to it
y@SA'en Is composed Of exhibits OF the art Of
france lor ten years, aud levy on the re-
cent art OF foreign countries. There is also
en- eAmblt OF monuments, designs in enamel.
nne metallic craftmanship and engraving
upon wood. The French exhibit, as might |
oe eAlec'ed is brilliant and grandiose. The |
e-e"e tA ton, with the exception of |
CeI Iy-Il distinct qualities in the art of Hol- |
laNI' Is evi-encs OF homage to the suprem- |
1gy ol rance. The French exhibit, nation
lst considered, is a glorious demonstration |
"a '-e aslhelc lUstiact Of the republic and |
lWneim'ng testimony TO the perfect |
i'-."eaLip between fine art and other intel |
.-c.aal and IN raj activities of the time |
o., rs -g1s civilization. It is an |
XVI OF looking at all things |
..-,.4a'a.ely without reverence, without |
't'AauuY in more than 5000 works ex- |
....,l The student will not find a new |
~ aIAaliVe idea, or a new tribute to the |
S-1 moral Oh es.hetic institutions or ideas, |
= yer dearly the world may have |
-4 tlem. This is true not only Of |
.7--i art but Of all contemporaneous |
grouped under these resplendent |
ENGLAND's EXHIBIT.
,-- re English a1hibit contains most Of the |
2 Eame5 since the time OF Turner, |
-.. i' 1ihcult TO reconcile its landscape |
"..l The rico legacy left by that master.
Alatefs il the English exhibit show |
r.. ''.tol d iuence Of Italy and France |
=. qua oi the last century Of French |
E -s I'D composition. The English have |
r.., .-- u54uul ia not including too many
-.-' 4lres portraits however, com
g.. universal attention. Gladstone, by |
f-.'.A Allais, Is an irreproachable per-
-.' being simple aud free Of any
eI os,cntation, but It fails TO satisfy |
f VINO lave seen It's subject in his
H.. O' m.guty effort The face, which |
UP AEc a mountain at sunset when
~, Intelligence is at work, is here
all oppressed. Auless' portrait of
- -.Noi Manning is Disappointing in a
A.. lIIere1t say. The cardinals r bes
j. greater than the cardinal. whoss
t"L t "Ll majestic figure IL best seen in the
e., -uale soutano Of bis house, and the
b..-'t.. OK his character would havo been