Los Angeles daily herald. [microfilm reel] (Los Angeles [Calif.]) 1884-1890, 1889-05-19
THE PARIS EXPOSITION.
It is in an Unfinished and
Chaotic Condition.
VISITORS NEED NOT HURRY
The DirectOrate's Red Tape and Evi
dence of their knowledge of
"How Not to Do It."
Copyright 1889, by N. Y. Associated Press !

Copyright 1889, by N. Y. Associated Press ]
PARIS, May 1S.-Americaus coming to
the Exposition need not make any excess
sive haste. Although President Carnot
cerem oniously opened the Exposition on
the appointed day, it is, up to this writ
ing, fragmentary. The great belts in
the machinery palace have not yet
stirred. Only two catalogues are out,
the French decennial, and the British,
and neither is satisfactory. So far as
present information justifes an opinion,
there is no reason why American vieitors
should use any catalogue except the
American, unless they have special
reason for doing so.
The movable railway which was laid
in flexible routes all through the grounds,
was taken up on the eve of the opening
to clear the official path and lend an air
of completeness to the grounds. 1t has
not been put down again. Not one
section of the fine art exhibition is COM
plete. Various causes are assigned for
the delay in all the departments. The
American Commission alleges 80 far az
it is concerned, that, on the one hand
the French authorities have rot finished
the labor Indispensable, either in
pi paration Of the show cases or the
equipment Of the rooms, and that on the
other many Americans who applied
for space and considerable number
who shipped goods have disappeared.
Averments of discourtesy and injus-
tice, of vexatious disregard for reaon-
able courtesy on the part of the French
directors towards the American Commits
sion, as related to a representative of the
Associated Press by the officials, were
frankly disclosed. An international
episode might be created, not wanting in
the elements OF Consequences. This
world Of warning should be needed by
correspondents and specialists of profes'
sions coming here expecting the equita-
BILE treatment enjoyed in our own coun-
| try. There are no plimentaIy admis.
sions. 1t is said that this rule
applies unexceptionally to all persons,
native aud foreign writer's, no
matter how we'll known in their own
country. Even if their personal credit
here be above suspicion, they cannot pro-
cure any attention unless by presenting
uuly ClOdOhildlo III "hip
ing. If the written credentials be COM
plete, the applicant must wait several
weeks for official acknowledgment of the
fact that his right to special recognition
is admitted. Then he must have two
photographs taken, one to be put in the
private gallery of the Direction, and the
other to accompany his ticket OF admis-
sion.
After fair trial of this circuitous and
expensive road to the assumed universal
courtesy of the Exposition, the individual
DESTROYS of studying its departments gen
orally resolves to pay his twenty cents
admission daily and dispense with
politeness decorated with red tape.
| The fine art exhibition is splendid
feature of the Exposition. The French
exhibit, as might be expected, is bril-
liant and grandiose. The entire exhibi.
ton, with the exception of certain dis
tinct qualities in the art of Holland, is
an evidence of homage to the supremacy
of France. The American exhibition, il
must be admitted, is entirely creditable
to the national pride, if taken compare.
lively and only from an artists way oil
examining canvas. But with country
of unsurpassed scenery, with a moral
history deep enough to afford that idea
perspective essential to art, and with Incl
dents to inspire legitin ate scenic ambi
ton, the American exhibit may be SAID
to be devoid of national self respect
| Every other country proclaims to the
Assem- blages of persons who gather here
from all quarters Of the globe, that it hai
national story, national Landscape
and q moral elevation,