Wichita eagle., 1889-06-23
PRIMITIVE LAKE DWELLING

the exhibition. We have here a series of
small houses, made of cement for the most
part, the whole series forming graphic his
tory Of mans habitations. You are shown
the primitive homes of primitive races, the
solid houses of the Greeks. Romans and Egyp-
tians, the picturesque residences of the mod
ern Turks; you can study the home life OF
distant Asatic peoples In several cases ma
tives of the different countries are present
and you are thus enabled to hear them ex
plain their styles Of architecture and also to
feast your eyes ON the inhabitants themselves
with their queer faces and odd attire
We are now almost under the famous Elf
fel tower. But what new thing can be said
of this remarkable structure. People thought
that it might obstruct the view on the Champ
de Mars. But not at all The supporting
arches from the ground to the first platform
are so lofty and large that you look under it
as if you did not have these hundreds of feet
of interlaced iron above you piercing the
sky. Viewed while you are on the grounds,
at distance, these arches form a grand
frame around the vast building Of the exhi
bition proper at the south end of the Champ
de Mars, while, if you look in the other direc-
ton, they form a similar framework for the
In a word, the Eiffel tower is, as the French
say, the clou of the exhibition.
Leaving the tower behind you and walking
away from the Seine you enter the beautiful
narrow strip of gardens, dotted with trees,
shrubs, flower beds, fountains, and pieces Of
superb statuary which have been the talk Of
more than one Salon. while TO the right and
left are the Palace of Liberal Arts and the
Palace of Fine Arts, with the main building
and machinery hall in front Of you.
l turn to the left and enter the Palace of
Fine Arts What magnificent collection is
therel France shines forth more superbly
here than elsewhere in this exhibition. Meis-
sonier, Bonnat, Constant, Fleury, Henner,
Falgiere, Mercie and ell the other gre,-6 liv-
ing and many of the dead painters and sculp-
tors of France, whose names are known
throughout the art world, have here brought
together many of the finest specimens Of
their brush and chisel. Never before has
there been such a wonderful collection OF
modern art under one roof.
The numerous canyases sent By foreign art
lists also deserve attention. Each country has
a room or two devoted exclusively to its sep
arate exhibit. 1t is = hat when the Amer
lean rooms are THU open they viii be
revelation TO Europe, which still imagines
that we can produce only pork and gold dol
lars Great dissatisfaction is felt here that this
American art collection is not yet ready, and
all sorts Of reasons are given as the cause.
But one reason covers all: the management
OF the art exhibit has from the start been
bungied on both sides of the Atlantic, and
here In Paris the dissatisfaction has been Of
the most pronounced nature do not care
% put the blame where il belongs, although
il would not lie difficult 70 do so. 1t is a great
comfort 10 know that what viii finally be
exhibited viii 90 great credit TO the country,
Whatever may be said OF the shortcomings OF
those who brought the collection together.
Opposite the Palace Of Fine Arts is one OK
the most instructive portions Of the exhibi-
ton. I refer to the Palace Of Liberal Arts,
where you viii find the history and develop
slent of the worlds engineering, photosra-
ply, pedagogy. ship building, bridge build
ing, etc Unfortunately, everything Is 80 be-
hind n this department that am unable to
go into details.
Between these two palaces just descrioed
and Machinery hall lies an immense space de-
voted 20 endless galleries where are found the
usual exhibits Of great worlds fair, ibe va
riei uroducts of hnmsn skill and inyenu.ln-