The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1889-05-20
tF,on The Second Edition. Of the Sunday Journatl
THE GREAT SHOW AT PARIS
The Machinery, Art and Other Exhibits
in an Unsatisfactory Condition.
Discourtesy and Red-Tape Greet the Seekers of
Free Admission-Amerlcan and Other
Artists Compared-Woman's Share.

tCopyrignt 1883, by the New York Associated Press
PARIS. May 16.-Americans coming to the
exposition need not make excessive haste.
Although President Carnot tremendously
opened the exposition on tho appointed
day, 10 is. up to this writing, fragmentary.
The steam, which was turned on as q for
mality. was speedily turned of, except for
transportation purposes. The great belts
In the machinery palace have not yet
stirred a lathe. The movable railway,
which was laid all through the grounds,
was taken up on the evening of the open
ing 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 and wood from the
gatewsys to the places of deposit occupies
In many instances week. Not q
section of the fine art exhibit is complete.
So far as information justifes an opinion,
there is no good reason why any American
visitors should purchase any catalogue ex-
cept the American, unless they have special
reason for doing so. Various causes are as
signed for delay in all the departments.
The American commission offers, so far as
IT Is concerned, that on the one hand the
French authorities have not furnished the
labor indispensable, either in the prepare
ton of showcases or in the equipment of
rooms. and, on the other, that many Ameri-
cans who applied for space, and consider
able number of others who shipped goods.
have not appeared. Ii may be necessary for
the American government, before consent
ing TO participate In another universal ex-
position. TO claim the right to place capa-
Die American who speaks French. and has
the necessary experience and tact, upon
the highest board of direction.
Ii the ayerments of discOurtesy and in
BILE comfy on the part of the French di-
rection toward the American commission.
as related to the representative of the AS
ISOLATED Pre- IS by the officials, were frank
~ disclosed, an international episode might
tesqueness. This word of warning should
be needed by correspondents and special
lists of professions coming here expecting
the equitable treatment enjoyed In our
own country. There are no compliment
airy admissions. 1t is said that this rule
applies to all persons, no matter how well
known. Even If their personal credit here
be above suspicion, they can
not procure. any attention unless
tials in writing. The same is true
as to medical, scientific, artistic
or other experts. who suppose that this vast
international university is to be opened
like the universities of old to pilgrim
or staff. If the written credentials be COM
plete. the applicant will then learn lesson
inpatience. He must first wait several weeks
for an acknowledgment of the fact that his
right to special recognition is admitted
Then he must have two photos taken, one
to be put in the private gallery of the direc-
ton, and the other to constitute, with his
name and function printed on 1T, his tick
at of admission. This safeguarding of re-
enforced without favor, but only after the
applicant has deposited $3.50 with the pro-
prletor sub-Offielal for the privilege of pre-
senting his vlgnette to the Republic of
France. After fair trial of this circuitous
and expensive road to the assumed uni
versal courtesy of the exposition. the indi-
vidual DESTROYS of studying its departments
generally resolves to pay his 90 cents ad-
mission, and dispense with p0liteness dec
applications on file exceeds ZOO, the lat after
half of which will be reached several
months after the applicants have returned
10 their native lands
The fine art exhibition is splendid
feature of the exposition. There is a retro
speet of French art from ITO to 1873, and q
decennial exhibit supplementary to it, which
rs composed of the art of France for ten
years and the living OF. recent art of for
eign countries. There is also an exhibit OF
monuments, designed in enamel. fine metal
lie craftsmanship and engraving upon
wood. The French exhibit, as might be
expected, Is brilliant. The entire exhibit
tion, with the exception of certain distinct
qualities in the art of Holland, is evidence
of homage to the supremacy of France.
The French exhibit, nationally considered.
is glorious demonstration of the aesthetic
instinct of the Republic, and over
Thsi%lng h testimony to the perfect
intellectual and moral activities of time
throughout civilization. 1t is an age OF
looking at all things intimately, without
reference. without spirituality. In the
M hnn fxyo hon
the student will not find q new magma
tive idea or a new tribute to the old moral
/ or aesthetic institutions or ideas, however
dearly the world may have cherished them
This is true not only of French art, but OF
all contemporaneous art, as grouped under
these Respondent arches.
The English exhibition contains most OF
the luustrlous names since the time o.
Turner, but IL is difficult to reconcile its
landscape art with the rich legacy left by
English exhibit show the combined influ-
enee of Italy and France in color, and o.
the last century of French painting in COM
position. The English have been thought
The portraits, however. command universal
attention. The Gladstone of Sir John
Millars is an irreproachable performance
being simple and free of any offense OF
ostentation, but it fails to satisfy those
mighty effort. The face which lights
up like mountain at sunset.
when surprising intelligence is at
work, is here weary and depressed.
Ouless's portrait of Cardinal Manning is
disappointing In q wholly different way
The Cardinals robes are made greater than
the Cardinal, whose thin and majestic
inquire Is best seen in the threadbare soulane
OF his house. and the elevation of his char
acter would have been better depicted in
the surroundings most familiar to his walks
the squalor of London novels or the in
terror of orphanages Whistler,s dramatic
and remarkable portrait of Lady Archi-
bald Campbell represents the highest
stroke of portraiture in the exhibit.
The American exhibit, it must be adj
mitted, Is entirely creditable to national
pride II taken comparatively and only from
the artists way of examining canvas
There are in all 81 oils, the subjects being
fairly divided among landscapes, figures
portraits, marine views, cattle and de-
scriptive and decorative works The artists
who study in Holland and finish their
work IN Paris stand at the head of the
foreign residents. Among the most notable
are Charles Sprague Pearce, the Harrisons
Carl Melchers and Walter MacEwen.
The Americans who study everywhere
and paint az home are not in
ferior to these in any intrin
sic virtue. So far as the present collection
of American works Is o fair test, no better
work is seen here than Chase's. No more
successful portrait Is exhibited. although
Sargent's compel admiration by their force
and audacity. than Wyatt Eaton's or Mrs
Golders. There is no landscape equal III
sentiment and feeling TO solitary work