sulted: Explosives and their Composition, by Wolcott C. Foster (New York, 1888); A Dictionary of Explosives, by J. P. Cundill (London, 1889); A Handbook on Modern Explosives, by Manuel Eissler (London, 1890); Smokeless Powder and its Influence on Gun Construction, by J. A. Longridge (London, 1890); The Modern High Explosives, by Manuel Eissler (New York, 1893); Index to the Literature of Explosives (American periodicals, by Charles E. Munroe, Baltimore, 1893); The Manufacture of Explosives, by Oscar Guttmann (2 vols., London, 1895); and Manual of Explosives, by Courtenay De Kalb (Toronto, 1900). EXPOSITION, PARIS UNIVERSAL. In ternational world's fairs may be said to have begun with that held in London in 1851. This was followed by those held in Dublin and New York in 1853, in Paris in 1855, in London in 1862, in Paris in 1867, in Vienna in 1873, in Philadelphia in 1876, in Paris in 1878, in Paris in 1889, and in Chicago in 1893. It had become an established custom to hold expositions in Paris every eleven years, and accordingly, before the close of the fair in Chicago in 1893, preparations were begun for holding an exposition in Paris in 1900.

Origin. By a decree of July 13, 1892, President Carnot charged the Minister of Commerce and Industry with the preparation of a universal exposition of works of art and of industrial and agricultural products, to be held in Paris during six months of 1900. On Sept. 9, 1893, a second decree was issued, placing the administration of the exposition under the authority of the Minister of Commerce, Industry, and the Colonies, to be directed by a commissioner general. It further established the list of the departments. After other preliminary measures, on June 13, 1896, the Senate and the Chamber of Deputies enacted the complete law that provided for the exposition. In accordance with this law, the state contributed 20,000,000 francs toward the expenses of the exposition. The city of Paris agreed to raise a like amount, which was to represent one fifth of the total expenses, while the remainder of the amount required was obtained through financial establishments by the issue of 3,250,000 bonds, having a face value of 20 francs each and comprising 20 admission tickets with numbers for various lottery drawings. Besides this, 30,000,000 francs was advanced by the Bank of France, and the sale of concessions and materials provided an additional 5,000,000 francs, making a total of 140,000,000 ($27,020,000) that was raised for the exposition fund.

Administration. The general supervision of the exposition was under the direction of the Minister of Commerce, Industry, Posts, and Telegraphs, who was at first Paul Delombre and later M. Millerand. The immediate direction of the exposition was intrusted by the minister to the following staff: Commissioner General of the Exposition, Alfred Picard, President of the Council of State; Director General of Exploitation, Delaunay-Belleville, Honorary President of the Chamber of Commerce of Paris; Adjunct Director General of Exploitation, Stephanie Derville, former President of the Tribunal of Commerce of the Seine; Director of Architecture, Parks, and Gardens, M. Bouvard, Director of the Department of Architecture and Landscape Gardening of the City of Paris; Director of Roads, M. Defrance, Administrative Director of the Department of Public Ways, Waters, Sewers, and Lighting of the City of Paris; Director of Finances, M. Grison; Secretary General, Henry Chardon, Member of the Council of State; Chief of Department of Bridges of the Seine, Jean Resal, Engineer in Chief of Bridges and Roads; Chief of Department of Law, Edmond Moreau, former

President of the Company of Administrators before the Tribunal of Commerce of the Seine; Delegate to the Section of Fine Art, M. Roujon, Director of Fine Arts; Delegate to the Section of Agriculture, M. Vassillière, Director of Agriculture; and Delegate to the Section of Colonies and Countries under Protectorate, M. Dislere, Councilor of State. Location. The site occupied by the exposition was similar to that of previous expositions in Paris. Beginning at the southwest angle of the Place de la Concorde, the grounds of the exposition extended along two narrow strips on the banks of the Seine for a mile and a half to the Avenue de Suffren, which forms the western boundary of the Champ-de-Mars. The principal exhibition spaces were four, arranged in pairs--the park of the Art Palaces and the Esplanade des Invalides at the east, the Champ-de-Mars and the Trocadéro on the west. On the south side of the river the Esplanade des Invalides was united with the Champ-de-Mars by the Quai d'Orsay. On the north side the park of the Art Palaces was connected with the Trocadéro by the Quai de la Conference, the Cours-la-Reine, and the Quai Debilly. The total surface of the four areas and the connecting links along the Seine was 336 acres. In addition to the space just mentioned, an area was secured in the Bois de Vincennes on the eastern border of the city as an annex, which was devoted to transportation and sports. Convenient access was had to the various parts of the exposition by means of an electric railway and a moving sidewalk. Grounds and Buildings.-The grounds, which had long been park areas, were well provided with trees and shrubs, which had been carefully nurtured, so that artificial gardening to any extent was unnecessary to increase the beauty of the site. The main entrance to the exposition was at the southwest corner of the Place de la Concorde, where stood the Port Monumentale, designed by the architect Binet. This led to the new Avenue Nicholas II, which extended from the ChampsElysées to the Pont Alexandre III. On the west side of this avenue was the Grand Palace of Art, while facing it on the east was the Petit Palais. These two buildings were permanent structures, and were erected to take the place of the old Palais de l'Industrie, which formed the principal building of the exposition in 1855. The Grand Palace had a façade 500 feet long, and in the perfection of its design and the profusion of its ornamentation was intended to be the noblest exponent of contemporary French architecture and sculpture. The exterior was elaborately decorated with ornamental and sculptural designs, which added greatly to its imposing appearance and massive grandeur. A splendid colonnade of Corinthian pillars was an attractive feature of the façade. Extending along the front were several groups of statuary depicting art in different eras of the world's history, while on the wings and colonnades were eight seated figures of similar representative character. Along the main façade, under the grand colonnade, was a frieze 240 feet long by 10 high, divided into ten sections, five representative of modern art and five-of ancient. In the building were exhibited examples of contemporary art, both French and foreign. The Petit Palais was of similar character. A bas-relief above the entrance represented the city of Paris protecting art. On either side of the entrance were groups of statuary, that on the right being emblematic of the four seasons, while that on the left represented the Seine and its tributary rivers. On top, to the right and left of the entrance, were groups representing the genius of sculpture and the genius of painting. The building contained the centennial

friendship between the two nations is mainly due. The total length of the bridge is 257 feet, and the width 130 feet. The roadway occupies a space 70 feet in width, and the sidewalk on either side is 30 feet wide. At both entrances are two pylons in white marble, each 70 feet high, surmounted by gilt-bronze statuary representing Pegasus with Fame about to take her flight. At the lower part of the pylons are four fine pieces of statuary representing France at various epochs. Two groups of massive lions guard the approach to the bridge. Broad flights of stone steps lead from the lower quays to the floor of the bridge at each abutment, and at the top of these steps are groups of statuary representing the Children of the Vases. The cost of the bridge was estimated at $400,000, and it is said to be the finest of its type in existence. Extending along the Cours-la-Reine were the pavilion of the city of Paris, which contained the special exhibits of the Paris municipality, the two buildings devoted to the horticultural exhibit, and the building in which the congresses were held. Still farther along the river was Old Paris, an archæological restoration of medieval, seventeenth and eighteenth century quarters of the city, with inns and restaurants along the river side. On the Esplanade des Invalides were the buildings devoted to foreign industries and decorative arts. To the

special structures occupied by Mining and Metallurgy, Textile Industries, Mechanical Appliances, Chemistry, Electricity, Agriculture and Food, Chemical Industries, Engineering and Means of Transport, Education, and Science and Art. These buildings were white, varied with colored ornamentation of yellow, terra cotta, and blue, while there were many imposing stained-glass windows, a great deal of gilding, and everywhere floral sculpture. On both sides were terraces, arches, and arcades, while on the left, looking from the Eiffel Tower, was a continuous line of restaurants. In the immediate vicinity of the Eiffel Tower were the buildings of Costume, Panorama, Great Telescope, Celestial Globe, and similar features, while on the banks of the Seine were the buildings devoted to the Mercantile Marine, Forestry, Hunting, and Fishing. The Trocadéro on the north bank of the Seine was devoted to French and foreign colonies, including the buildings erected by the United States for the exhibits of Porto Rico, the Philippines, the Hawaiian Islands, and Alaska, as well as Cuba.

Classification.-The systematic grouping of the objects to be exhibited was arranged along educational lines into 18 groups, with subdivisions into 121 classes. These were as follows:

Group I, Education and Instruction-Class 1,