In "Equality" the figures were personifications of the commerce and industry of both nations.

"Fraternity" represented America receiving the France of 1904 in a symbolic group.

In the corner of the ceiling were a child uniting the flags of both nations and goddesses personifying Fame hovering over a globe representing Earth in glorification of that cordial understanding.

The large state room contained fine Gobelin tapestries reproducing scenes of the reign of Louis XIV, as follows:

(1) Audience of Cardinal Chigi (July 29, 1664). This was a tapestry woven of wool and silk set off with gold manufactured at the Gobelin factory in the seventeenth century. It was one of a series illustrating the history of King Louis from Van der Meulen et de Charles Le Brun. It had a very rich border by Yvart.

(2) Entrance of the King into Dunkerque (December 2, 1662). A wool and silk woven tapestry set off with gold, made at the Gobelin factory in the seventeenth century; one of the series of the history of King Louis XIV from Van der Meulen et de Charles Le Brun drawing. A rich border by Yvart.

(3) The Siege of the City of Douai (July, 1667). A wool and silk woven tapestry with gold, made at the Gobelin factory in the seventeenth century; one of the series of the history of King Louis XIV from Van der Meulen et de Charles Le Brun drawing. A rich border by Yvart.

(4) A piece of tapestry. This was woven from wool and silk and made at the Gobelin factory in the seventeenth century; one of the series of hangings (portieres) of the Triumphal Chariot and bearing the coat of arms of France and Navarre; made from the drawings of Charles Le Brun (the final drawings).

The right wing of the palace was used first by the National Factory of Sevre, with a room 12 meters by 8 meters and a hall in front which measures 8 meters by 3.50 meters.

The decoration of this room was subdued to enhance the appearance of the vases and bisques exhibited. The walls were hung with watered silk to a height of 4.50 meters, the tone of the silk being well adapted to set off the whiteness of the china. Above this hanging a painted frieze was decorated with gray and blue leaves set off with medallions of crystallized pink stone work. The application of ceramics to decorative purposes was again found in the trimmings of the portieres in the shape of pendentives.

The objects exhibited in these rooms were especially selected with due consideration to the place they were to occupy and with a view to making up a complete decorative whole.

In the main room the place in the center of the longest sides were occupied by Houdon's bust of Lafayette, with a small statue of Liberty by Aube in front, and by a Puech's bust of President Loubet, with a small statue of De la Paix by G. Michel in front.

On either side of these busts were seen four pink vases of the so- called "Cleremont" class and four vases of the "Chelles" class representative of the four seasons in floral decorations.

At the corners of the main room in niches especially provided for them were four Blois vases, decorated with hollyhocks, Chinese lilies, and magnolias. On either side of the window were two d'Auxerre "Flambets" (signed) vases.

The city of Paris occupied three rooms in the right wing of the National Palace.

There were in the exhibit many statues, pictures, objects of the Paris municipal council and of the council-general of the Department of Seine, the insignia of councils, engravings, reproducing the most important decorative works in the Paris Hotel de Ville (city hall); also work done by pupils of the professional and industrial art schools, such as the Germain Pilon, Bernard, Palissy, Dorian, Diderot, Estienne, Boulle, etc.; such work includes ceramic pieces, modeling, bookbinding, furniture, chasing work, pottery, etc. The architectural service was represented by plans and drawings illustrating some types of the main edifices in Paris, such as the Sorbonne, Palais des Beaux Arts de la Ville de Paris, the barracks, mayoralty buildings, professional schools, primary schools, etc.

The departments of public highways, public lighting, water and health exhibited some graphical and statistical information in reference to their undertakings.

The Metropolitan Underground Railway sent most complete information covering its most interesting work.

The department of public charity exhibited water colors which gave useful information in reference to its various branches and modes of operating.

The department of historical work and the committee of ancient Paris showed a collection of publications covering the history of the city and of its several transformations. The general decorations included views of Paris, public gardens, and two large panels by de Grinberg, showing the Notre Dame Cathedral and the Pavilion de Fiore, in the Tuilleries.

There were also frontispieces and escutcheons by the master decorator Jambon. Elaborate middle pieces and a beautiful chandelier in the middle of the main room attracted considerable attention.

There was a small horizontal show case containing a collection of objects employed by the teacher in lecturing on civic instruction. These objects included various kinds of tickets, stamps, tax bills, receipts, official postals, etc.

Agricultural education occupied an extensive area, showing the importance attached in France to that department. A very remarkable collection, filling seven volumes, showed the really wonderful result that an inspector of the Brittany region was able to obtain in a district consisting of some hundred townships. There was also an "experiment case," which was to be found again in the normal school graduate's outfit, and a set of small instruments made by the country teachers.

The series, drawings, samples of manual work, of sewing, etc., showed how republican schools in France care for the workman's interests.

Other superior schools were represented in adequate manner through the aggregate exhibits. That at Onzain showed a few peculiarities of the rural type.

Superior primary schools for girls only showed a few specimens of several collections of work. The department of technical education, as represented by practical, industrial, and commercial schools, gave a fair idea of what is done in France in that branch.

The aggregate display gave a fair idea of what is going on in France in the normal schools, where teachers of both sexes are being prepared for their work.

Attention was particularly directed to manual work, especially to the scientific training that the girls of the normal school receive on leaving school.

A show case in one of the compartments contained a complete collection of documents relating to primary education in France. Several displays of that kind were attached to the walls, such as the six graphical tables made by Levasseur, which are summaries of statistical documents.

The Museum of Pedagogy had collected in similar summary form the most important results obtained for the past twelve years in the work done in promoting special work as a complement to school education.

Enlarged photographs representing scenes of school life were placed practically everywhere throughout the exhibit of French primary schools. They were prepared by the school administration as a reproduction, on a smaller scale, of the exhibit which proved such a success at the Paris Exhibition Fair in 1900.

The exhibit of higher education included displays from universities and scientific institutions, the leading ones being the College of France, the Museum of Natural History, the Practical of Highest Studies, the School of Charters, the School of Living Oriental Languages.

An inquiry was instituted in 1883 in academic councils and faculties in reference to drafting a plan for the constitution of universities that should administer and manage themselves under the supervision of the State.

Many had been impressed with the inconvenience caused by a lack of cohesion in the work. Attention was called to those many common interests of which the faculties should have been the guardian, but of which they could not take care on account of their isolation. Inquiry, begun in 1883, made the necessity of a reform obvious. It ended in the rendering of the decrees of July 25 and December 28, 1885. These decrees may be divided into two distinct parts—one covering the interior life of faculties, the other providing for a grouping of faculties established in each academic center and the general council of faculties to be the representative organ and executive power of the new faculty life created.

Appreciable results were derived from these reforms. However they were incomplete, and it was thought, in consequence, that genuine unity should be given to a superior education. The establishment of the new universities had been a legal consequence of that express wish.

The law of July 10, 1896, gave the name of university to each body of faculties, substituting the university council for the general council of faculties, the duties and powers of such university council being regulated by the decree of July 21, 1897. The rector of the university is president of that council by right, and is the legal representative of the university before the courts.

In the Department of Machinery the French exhibit included according to the general classification groups, steam engines, various motors and engines, sundry general machinery, machine tools, and shipyard machinery. All of these several groups and classes were united in order to form a collective exposition for the whole department.

To the above groups there were added the following: Spinning and rope-making machinery and weaving machinery and materials. The latter groups included machinery that could also have been placed in the department of general machinery.

In compliance with a suggestion made by the head of the engineering service at the fair, all machines and mechanical appliances exhibited in the Palace of Machinery were distributed, not in accordance with the nationality of exhibitors, but in accordance with the character and nature of the machinery.

French manufacturers had nothing to fear from the fact of their machinery having been placed in the immediate vicinity of other similar machines made by foreign manufacturers. On the contrary, a closer contact only resulted in setting off in a better light those particular qualities that have made France so successful in that branch of industry on previous occasions.

Outside of the Palace of Machinery there were exhibited in the boiler buildings five steam generators made by French manufacturers. These boilers contributed to the generation of the steam required for the power houses of the fair.

The distribution of exhibits all over the Palace of Machinery has made it impossible to arrange any decorative devices for the whole group of French exhibitors.

Another manifestation of the French mechanical industry was found in a pavilion which was built on ground between two of the main gates leading to the main entrance to the Hall of Machinery.

The French department of electricity was located on the left of the main entrance to the Palace of Electricity, occupying an area exceeding 2,000 square meters. In the center of the exhibit there was a space 350 square meters in area, used as a resting room for visitors. There were to be seen in a circular arrangement the show cases that made up the retrospective and modern exhibits sent by the French department of commerce, industry, post, and telegraph.

The decorative frieze arranged around the room bore, between laurel wreaths, the name of the most illustrious French physicians or electricians from the eighteenth century to this date.

The French exhibit in the Palace of Agriculture occupied an area of nearly 2,800 square meters. It was located in the northern corner and next to one of the main gates, fronting the French National Palace.

The French exhibit extended along the front of the palace on the northern and eastern sides.

The French exhibit of social economy occupied an area of 700 square meters in the Palace of Education. The main entrance formed one of the largest avenues in that palace, giving access to a main hall 50 meters in length by 12 meters in width, both front sides of which were subdivided into a score of small rooms 3 by 5 meters. The front sides of these small rooms were made up of partitions 4 meters high, decorated with mural paintings, and topped with a decorative frieze that bore the titles and subtitles belonging to the group of exhibits represented in the room. A shelf 0.50 meter wide, with a ledge, was arranged all along the rooms at the height of 1 meter from the ground, and supported all pamphlets, books, and other documents that supplemented the information supplied by the exhibits on the walls.

A show case and bookcase were put in the center of each room, containing the documents placed in view by the several exhibitors who were represented through publications only.

The individuality of each of the several groups was evident by titles or medallions of a decorative character, which also included a subtitle and index, arranged with as many particulars and in as methodical manner as possible, of all exhibitors, in order that the visitor might be saved as much labor as possible in his inquiries.

GERMANY.

Members of commission.—Dr. Theodor Lewald (privy councilor), imperial German commissioner-general; Dr. Eugene Wagner (superior Government councilor), vice-commissioner; Mr. Otto Zippel (imperial councilor), treasurer; Mr. Heinrich Albert, assistant commissioner; Mr. Paul A. Zilling, commercial attache, department of arts and crafts; Dr. Fritz Kestner, attache; Dr. Hugo Hardy, attache; Fritz Von Bardeleben, attache; Dr. F.C. Rieloff, imperial consul; Baron von Reden, imperial vice-consul; Count Limburg-Stirum, general commissioner education department; Dr. Leopold Bahlsen (professor), substitute to the general commissioner education department; Mr. Herman Albert, commissioner mining department; Mr. Alard Scheck, commissioner of forestry department; Dr. Ludwig Wittmark (privy councilor), agricultural department; Dr. Hugo Kruss, scientific instruments; Dr. Johannes Breger, hygienic department; Dr. Otto Zwingenberger, chemical exhibits.

By order of the German Emperor, the German House (das Deutsche Haus) was erected on a prominence in the center of the World's Fair near the Cascades. It was a replica of one of the German castles most celebrated in history and art, and the most prominent German architects reproduced it in St. Louis and equipped it with the best products of modern art industry.

In the year 1902 the great question arose as to what kind of style and which building should be erected in America as a symbol of Germany. The Emperor decided that Charlottenburg Castle should be used for this purpose, as one of the most aristocratic and characteristic monuments of the first epoch of the Prussian Kingdom. The location of the German House on a towering hill and its purpose called for a different architecture from that of the Charlottenburg Castle, which is situated in a plain and which at the same time serves as a dwelling house. So the two wings of the Charlottenburg Castle were omitted, one of them to give room to the Pergola and the German Wine Restaurant. The place of a court of honor was here taken by the massive stairway and there were new ideas produced in the cupola, the exterior ornamentation, and in some of the interior apartments. The erection of the building was awarded to Prof. Bruno Schmitz, of Berlin, who in Germany has built some great monuments, and who is no stranger to the American public.

The equipment of the interior rooms was awarded to a number of the first German manufactories in the line of art furniture, the art of weaving and illuminating, and was finished by the most skillful artisans. The German House was on the same level as the Palace of Fine Arts and Festival Hall. Its base was 47 feet higher than the Mining Building. From the State buildings in the southern divisions of the World's Fair a wide path led through artistic garden spots to the rear entrance of the German House and from the Mining Building large stairs led up to the German Restaurant. Ascending the hill of the German House, the first impression was that of a castle front. The dimensions of the castle were: Length, 150 feet; depth, 69 feet; the height of the building to the apex of the cupola was 160 feet; it covered an area of 10,000 square feet, while the complete site with the terraces amounted to 174,931 square feet.

The castle consisted of a two-story gable, the front of which was almost exclusively occupied by the high windows and two by-parts with four axes, each with three-quarter Corinthian columns. Of the three stories, the uppermost—the mezzanine story—served only as a storeroom. The gable above the center part bore in large letters the inscription "Das Deutsche Haus." Groups at the corners of the gable represented Power and Wisdom. The capitals of the columns were molded from the original and the balustrades of the cornices were made from designs. The roof of the house was a platform like the original in Charlottenburg, surrounded by a cast-iron balustrade.

As at the prototype, in front of the German House the two Borghesian gladiators with sword and shield kept guard. The death masks on the sentry houses were Schluter's work and were erected after models taken in Charlottenburg. The dark color of the building and the patina of the roof accentuated the historical character of the building.

Around the building on the broad terraces, surrounded by a balustrade in modern Baroque, were long rows of laurel trees and rhododendrons which were brought over from Germany.

In the lower story was a circular center hall, the flat ceiling of which was supported by 8 columns, a true copy of the entrance hall of the Charlottenburg Castle. In the two wall niches, between high laurel trees, were placed busts of the Emperor and Empress. The pedestals were done in gray, specially prepared oak wood. Behind the busts were two stucco reliefs molded from the originals in Charlottenburg, representing scenes from Roman history.

A room with modern escritoire equipment served as reading and writing room for the members of the German press.

Off the center hall and facing the front was the extensive reading hall, likewise a copy of the room of the Charlottenburg Castle.

Noticeable in the room was a picture of the capital of the German Empire, Berlin, showing the bridge across the Spree, with the renowned statue of the Great Elector; behind this the great Royal Palace; also a picture of the "Hohkonigsberg," in olden times a mighty castle in German Alsatia, which for centuries has been a desolate ruin, but now is built anew in its old pomp and splendor. The series of pictures was concluded by a view of a plaza in the Hansa Town Lubeck.

In addition to these views, around the hall were the busts of eminent scholars, artists, poets, musicians. Besides other pieces of ornament, the reading room contained choice pieces of the royal porcelain manufactory, as well as a series of artistically finished groups representing the different countries of culture. Finally, to symbolize the character of the reading room, on the right table a bronze figure was placed showing the greatest German historian of all times, Theodore Mommsen, who only a short time ago died in extreme old age.

In the rear of the reading hall a broad terrace led down to the garden plots, embellished by the group by Professor von Uechtritz, Berlin, "The Crown is the safeguard of peace."

At both sides of the reading hall the office rooms were situated; to the right a large office room of the imperial commissioner or his representative, very tastefully equipped in modern style. The walls were wainscoted in oak and had capacious book shelves. From the ceiling, the beams of which were ornamented, numerous lamps and large candelabra were suspended. The room was completed by a comfortable fireplace, and to the left side of the room, or reading hall, were office rooms.

The upper center hall, with its eight columns, was a copy of the center hall of the Charlottenburg Palace, and in its quiet dignity highly characteristic of the Prussian development of the art of the Baroque.

In front of the nether window, between two columns, was placed the bust of the German Emperor in the uniform of the Gardes du Corps, with the eagle helmet, from the royal porcelain manufacturer in Berlin.

Another interesting feature of the German Building was the Gobelin hall. The rich ceiling in its pure plastic was modeled after the Elizabeth hall in the royal palace of Berlin, the stucco figures, as well as the decorations of the ceiling, likewise the golden medallions at the four corners, representing a procession of bacchantes, while the rich door panelings were modeled in the royal palace and placed here. The walls all around were wainscoted with palisander. But the main interest in this room centered in the four mighty gobelins. These gobelins were, by the charm of their colors and the delicacy of the composition, a source of enjoyment to every lover of art.

The Gobelin hall was laid out with a gorgeous modern carpet from the carpet works at Barmen. Of surprising delicacy were the curtains and the golden hangings above the windows, all masterpieces of the modern art of weaving, as were those all over the house made by the concern Hertzog in Berlin. The great candelabra of bronze and mountain crystal were lighted by wax candles.

Off the Gobelin hall was one of the richest rooms of the castle, the Bradenburg chamber. This red-velvet chamber was used for one of the most brilliant ceremonies in the royal palace, the solemn decoration of the Knights of the Order of the Black Eagle.

Adjacent to this rich room was the main hall of the Deutsche Haus, the famous oak gallery, 115 feet long and 20 feet broad. The oak gallery forms in Charlottenburg the most important apartment of the castle and is characteristically German. The combination of the simple oak wood with the delicate gold carving produced a most original and most restful effect. The wonderful dimensions, the beautiful material, the harmony of colors, and perfection of artistic details all combined to impress the observer. The entire length of the long wall was divided into niches by pilasters. Each niche contained a mirror and over that a picture from the ancient classics. Along the walls of the hall were placed on marble pedestals the busts of former Prussian rulers.

The series of state rooms was concluded by one of the very finest rooms, the Tressen Saal (galloon room), also a copy from the Charlottenburg Castle. In contrast to the substantial splendor of the oak gallery, this apartment showed the whole delicacy and refinement of the Baroque. The name "Tressen Saal" was given to this room in consideration of the gold interwoven bands (tresses) which were sewn on to the red damask.

The harmony of the oak carvings, of the gilt stucco, the red damask, and the gold galloon composed one of the most delicate decorations of Prussian castles. This was finished by the ceiling, where were seen allegories painted and mounted on linen in imitation of the Tressen Saal in Charlottenburg Castle.

There was no special act authorizing the German exposition. In accordance with the general principles of the German constitution, the sum required for this purpose was entered in the budget. After an approval of the budget by the Bundesrath and the Reichstag the participation of Germany became a law. The fire insurance of the combined German exhibits covered $4,000,000, and this sum may be regarded as the approximate value of the exhibits. The aggregate cost of the organization, installation, and transportation paid by the Government was $1,300,000, of which the Imperial Government paid $900,000, the Prussian government $250,000, and the other Federal States $150,000.

GREAT BRITAIN.

Members of commission.—His Royal Highness the Prince of Wales, K.G., president of the royal commission; the Right Honorable Viscount Peel, chairman of the royal commission; Col. Charles M. Watson, R.E., C.B., C.M.G., commissioner-general and secretary of the royal commission; Mr. J.H. Cundall, general superintendent; Mr. Edmund H. Lloyd, general superintendent; Mr. Lucien Serraillier, secretary to the commissioner-general and for juries; Mr. C.D. Barrett, accountant; Mr. Herbert Langridge, in charge of correspondence and catalogue. Clerical assistants: Mr. R. Grant Dalton, Mr. S.G. Hutchinson, Mr. J. Perrin Harris. Department of education: Capt. P.H. Atkin, representative of the education committee; Mr. C.E. Down, assistant superintendent. Department of art: Mr. R.S. Hunt, representative of the art committee; Mr. Alfred A. Longdon, representative of the applied art committee. Department of liberal arts: Mr. J.E. Petavel, scientific manager of low temperature exhibit; Mr. H. Payne, assistant. Assistant superintendents of exhibits: Mr. J.F. Barrett, mines and metallurgy; Mr. John E. Blacknell, manufactures; Mr. J.T. Christie, liberal arts; Mr. Harold Darby, transportation; Mr. Joseph Devlin, agriculture, fish, and game; Mr. Edward Dixon, electricity; Mr. H. Werninck, liberal arts; Mr. W.C. Forster, Queen Victoria's jubilee presents; Mr. W. Brown, in charge of the British Pavilion garden; Mr. Arthur Smith, general foreman.

On April 23, 1903, the royal commission of King Edward VII was issued at Whitehall under His Majesty's royal sign, appointing the following commissioners to the Louisiana Purchase Exposition:

The Prince of Wales; Arthur Wellesley, Viscount Peel; Victor Albert George, Earl of Jersey; Richard George Penn, Earl Howe; Bernard Edward Barnaby, Baron Castletown; George Arbuthnot, Baron Inverclyde; Richard Barnaby, Baron Alverstone; John, Baron Avebury; Horace Cruzon Plunkett; Charles Napier Lawrence; Sir Charles William Fremantle; Sir George Hayter Chubb; Sir Edward John Poynter; Sir Charles Rivers Wilson; Sir Edward Maunde Thompson; Sir William Henry Preece; Sir William Turner Thiselton-Deyer; Sir Herbert Jekyll; Sir Lawrence Alma Tadema; Sir Caspar Purdon Clarke; Sir George Thomas Livesey; Henry Hardinge; Samuel Cunyghame; Edward Austin Abbey; Charles Vernon Boys; Thomas Brock; George Donaldson; Clement Le Neve Foster; John Clarke Hawkshaw; Thomas Graham Jackson; William Henry Maw; Francis Grant Ogilvie; William Quiller Orchardson; Boverton Redwood; Alfred Gordon Salamon; Joseph Wilson Swan; Jethro Justinian Harris; Teall, and Francis William Webb.

Col. Charles Moore Watson was appointed secretary to the commission. Subsequently, on the 6th of June, 1903, Sir John Benjamin Stone, M.P., was appointed additional commissioner.

At the first meeting of the royal commission, held at Marlborough House on the 28th of April, 1903, His Royal Highness the Prince of Wales, K. G., made a speech showing the interest that was felt in the exposition generally throughout Great Britain.

The interest taken in the exposition by Great Britain was exemplified strikingly in the amount of space which she occupied in the various exhibition buildings, amounting in the aggregate to no less than 206,642 superficial feet, of which only 8,000 feet was occupied by the Royal Pavilion. An idea of the vast scope of the exhibit may be learned from the following table, which gives the amount of space in each of the various exhibit palaces occupied by Great Britain's display:

Superficial feet. Education ...................... 6,500 Social economy ................. 810 ———- 7,310 Art .................................... 20,872 Liberal arts ........................... 35,500 Manufactures ........................... 58,000 Electricity ............................ 5,960 Transportation ......................... 33,500 Agriculture ............................ 20,400 Horticulture ........................... 500 Forestry, Fish, and Game ............... 3,900 Mines and Metallurgy ................... 11,700 Physical Culture ....................... 1,000

In making choice of an interesting type to be followed in the British Royal Pavilion at the Louisiana Purchase Exposition, it was felt that the Orangery of the Royal Palace of Kensington would be representative of English domestic building at one of its happiest periods, and a tribute also to the memory of the great architect, Sir Christopher Wren. In the Orangery of Kensington was found a building that could be strictly reproduced to its real size. The Orangery was 170 feet long and had a range of sash windows uninterrupted by doorways, the central and end windows having stall boards under them, making the entrances. The long line of roof was broken only by the three brick parapets or pediments, the center one being carried on half-round columns and pilasters of gauged brickwork. The walls were of red brick and stock brick spaced out with design, imitation white stone being sparingly introduced in cornices or keystones to give a note of white in the color scheme. The long hall ended in circular anterooms. In the replica, at St. Louis, of Wren's building, the only departure from the original was the introduction of an enriched plaster ceiling, such as would be found in a house of the period; the real Orangery was left bare and whitewashed.

The architects used the Orangery as the principal front to a quadrangular building, the necessary offices and accommodation for royal commissioners and executive staff being provided in wings that led from the two circular anterooms. The fourth side of the open court was made by a colonnade, the royal arms being above the central opening. The character and details of the Orangery were carried through as far as possible, so that harmony and unity was given to this pleasant composition.

In the garden surrounding the pavilion an attempt was made to reproduce on a small scale the style of garden that was generally attached to the mansion residences in England during the reign of William III and Mary, in the latter part of the seventeenth century, and at the time of Queen Anne, in the early part of the eighteenth century. The old-fashioned garden with characteristic features of shady terraces of "peached alleys," as they would be called, inclosed by hedges clipped into shapes and embellished with topiary work with the forms of animals and birds cut out of yews and boxes attracted much attention. The garden was filled with old-fashioned flowers. A water basin and fountain, typical of the old English gardens, were there, as also were stone statues and lead urns and vases. The garden became one of the sights of the exposition and was usually crowded with interested and delighted sightseers.

His Majesty King Edward VII was graciously pleased to lend the Queen Victoria jubilee presents to the exposition. The valuable and unique collection was placed in the upper story of the Hall of Congresses, one of the permanent stone buildings, now a part of the Washington University, and, according to the terms of loan, admission was free to the public. The royal presents included in the collection chiefly consisted of gifts made to Her Majesty the late Queen Victoria on the occasion of the jubilee celebrations of 1887 and 1897. Of these, the greater number came from India, where native princes of all grades and representatives of all nationalities and religions vied with each other in offering to her majesty the splendid tribute of her Indian Empire.

These Indian presents were of great interest, not merely on account of the precious metals and rare woods in which they were worked, but as showing how in recent years European ideas have influenced native Indian art, which, in many instances, was represented in its most characteristic and unaffected form.

The remainder of the collection included gifts offered by the representatives of the British colonies, many of them richly illuminated addresses, inclosed in caskets handsomely worked in metal or in native woods, or, as in the case of Cape Colony, which was represented by a magnificent screen of ostrich feathers, by objects recalling an important industry of the colony. These presents formed only a small proportion of the thousands sent from every part of the British Empire.

The presents were guarded night and day by members of the constabulary force of the city of London. Policemen from the same body patrolled the British Pavilion and grounds. The uniform courtesy of these men and their patience in answering the many questions put to them by a curious public spoke well for the corps which they represented.

The grant voted by the British Government for participation at the Louisiana Purchase Exposition was L150,000. Private exhibitors bore all the expense connected with the collection, installation, and maintenance of their exhibits.

GOVERNMENT OF GUATEMALA.

The small but artistic pavilion erected by the Government of Guatemala was situated at the extreme northern end of the World's Fair grounds, just east of the Administration Building and beside the pavilion of the Argentine Republic. It was intended as an exhibit palace, with the object of installing all the Guatemalan exhibits, as well as being a bureau of information.

In its exterior facade appeared an extensive, semicircular peristyle, sustained by columns of the renaissance style, and in front two doors leading to the two rooms into which the building was divided. In the upper part of the middle of the doors was placed the national shield, with the American flag on the right and the Guatemalan ensign on the left, both surrounding the bust of Extrada Cabrera, the present President of this wealthy and prosperous section of Central America.

The salon to the left was decorated with pictures by Guatemalan artists and had other artistic features, such as native pottery, statuettes, etc. Here every afternoon the coffee for which Guatemala is so justly famous was served to visitors. In the same room also were placed an extensive collection of newspapers and a series of literary works, scientific and didactic, by Guatemalan authors.

In the department to the right, arranged very tastefully and skillfully, were samples of valuable products, demonstrating the agricultural and mineral wealth of Guatemala. Among the exhibits was a collection of specimens of all classes of coffee, arranged in 160 receptacles and two small crystal columns. A magnificent collection of 186 specimens of cabinet work wood, beautiful in construction and coloring, attracted much attention by its wonderful variety.

The mineralogical section was not so extensive as that devoted to wood, but it showed magnificent specimens from the gold mines, also samples of silver, copper, lead, isinglass, coal, marble, kaolin, etc. Another installation showed some samples of native beer of excellent quality. There were also samples of rum and brandies, distilled from sugar cane and native fruits, among these products being the "banana whisky," a delicious liquor, exhibited for the first time to the public. The manufacture of this whisky is a new industry, and promises an excellent future.

The cereal and grain section was notable for the great variety of corn, frejols, wheat, barley, etc. The famous cocoas known by the name of "Socomusco," and which since the earliest time have been recognized as among the best produced on the continent, were also represented in this section, as well as sugar, which is being produced in the country in respectable quantities. The attention of visitors was attracted by the silk (or "ceiba") cotton, installed in the same section. It is remarkable for fineness, softness, and special color. It is locally known as "Algodon de Cajeta."

The extensive and variegated collection of roots, barks, and medicinal plants constituted a special section. Among them were different kinds of quinine, sarsaparilla, ipecacuana, and other herbs. Elastic or "india rubber," stearin, gums, vanilla, etc., made up an interesting exhibition of native products. Tobacco, similar to the kind grown in Cuba, which is produced in great abundance in Guatemala, was presented in its various processes of development, from the native leaf to the finished cigar or cigarette. Samples of fibers, grasses, flowers, roots, and palms were shown in abundance. From the palms of Guatemala are manufactured the so-called "Panama hats." Visitors were much interested in their extreme lightness and the uniformity of tissue of the Guatemalan hand-made straw hats.

The building was erected at a cost of $10,000. This sum included ornamentation and the landscape gardening. The cost of the exhibits, freight, and installation was approximately $10,000, and the expenses of the commission extant during the exposition was estimated at $5,000. This brought up the expenditure to the amount appropriated by the Guatemalan Government for the expenses of the exhibit.

The exhibit was authorized by a decree issued by the President of Guatemala appointing the commission to represent the Government at the St. Louis Universal Exposition, dated the 7th of April, 1904, which reads as follows:

The constitutional President of the Republic has resolved that the official representation of Guatemala at the Universal Exposition of St. Louis shall be in charge of the legation of this Republic at Washington, D.C., and designates Mr. Carlos F. Irigoyen as special commissioner to be in charge of the exhibition, and appoints Mr. Manuel M. Jiron as attendant to the commission and to have charge of the degustation of our coffee. Mr. Jiron shall receive orders from the special commissioner, who in turn shall receive his instructions from the minister of fomento.

HAITI.

Members of Haiti commission.—Mr. J.N. Leger, president; Mr. Edmond Roumain, commissioner-general; Mr. Joseph Duque, commissioner; Mr. Price Mars, commissioner.

The participation of the Government of Haiti in the Louisiana Purchase Exposition was decided by the deliberation of the ministerial council, presided over by the President of the country. The decision was taken previously in 1901, under the former government of Gen. Tiresias Simon Sam, and maintained by the actual government of Gen. Nord Alexis, in February and March of this year. The amount of the appropriation by the Haitian Government spent in its exhibit was $50,000.

Haiti unfortunately arrived too late at the fair to construct a special building, but installed excellent exhibits in the Forestry, Fish, and Game Building and in the Palace of Mines and Metallurgy.

The Haitian exhibit at the World's Fair was located in the southwestern section of the Forestry, Fish, and Game Building, next the California exhibit, and covered a space of 30 by 75 feet. In the center was a beautiful pavilion in which the following species of native woods were represented: Mahogany, Santa Maria, tacha, rosewood, and tavernon. The woods most used in the construction were mahogany and Santa Maria. Most of the panels and all of the columns were made of these two woods, and they blended in such a manner that they looked as if they were one and the same wood. The other varieties were used in the smaller decorations. The object in making the pavilion was to show the native cabinet woods of Haiti, especially that of Santa Maria, a wood which very much resembles mahogany. Four columns of the pavilion were made of Santa Maria, one of mahogany, and one partly of each. In the pavilion were served coffee and cocoa, native products.

Just at the rear of the pavilion was a display of imported liquors and sirups from the land of Haiti, including anisette, maraschuino, repikes, creme de menthe, sirup d'orfeat, sirup de granadine, and creme de cocoa; also triple-distilled bay rum and rum of good quality from four distilleries in Haiti. On either side were glass cases in which were shown other interesting exhibits. First a collection of cigars and of beeswax in molds. Next a sectional case containing, samples of cotton mapon, used for the filling of mattresses and pillows. Then the cocoa bean; also coffee taken from the cherry, peanuts, sugar from the sugar cane, and bottled honey. In the next case were hides, leather, and a collection of fine shoes made in Haiti. Next to this case was a display of coffee beans and an interesting exhibit of hats made from palm leaves and corn husks. The chairs were made from the osier, or water willow. In the rear was a cabin made from the natural woods imported from Haiti. The roof was covered with palm leaves. The entrance was draped with an American flag on the, left and the red and blue flag of Haiti on the right. This Haitian; flag was made entirely by hand. In the interior was a fine collection of hand-carved vases, pedestals, mortar and pestles, bowls, urns, and tobacco boxes.

HONDURAS.

Members of Honduras commission.—Mr. Salvador Cordova, commissioner-general; Mr. Howard S. Reed, executive commissioner; Mr. Alejandro Bauer, assistant commissioner.

In the Palace of Agriculture, surrounded by a tropical bower of graceful palms and thousands of yards of long gray Spanish moss, was shown a collective exhibit of the wondrous and little known country of Honduras, Central America. Upon all sides the visitor was confronted by most curious and interesting samples of its varied resources. Crowds were constantly gathered about the rubber tree with its white, milk-like sap, and everyone seemed interested in the great bales of dried raw rubber, while questions, opinions, and discussions were many regarding this little known raw product. Even the great scarlet and blue macaw, from his high perch overhead, joined in with wild screeches when the crowds got too noisy.

Curious bales of sarsaparilla wrapped in white cowhide, great clusters of cocoanuts in their thick hulls, long tables with hundreds of specimens of dug plants and medicinal barks and roots, attracted curious crowds. The banana bulbs and stalks, 20 feet high, eleven months' growth, with the fruit which they had produced, gave the visitor an idea of what is possible by systematic culture, as a banana plantation with the proper care will produce fifty-two crops a year, which means a cutting every week. The consumption of the banana has increased with greater rapidity than any other fruit, and it occupies a position second to none as a food and fruit. The sarsaparilla in its original packing case was unique, and it represented its share in the country's exportations. Honduras sarsaparilla has taken the highest award at the last five expositions.

The cocoanut in its fibrous hull was a surprise to many, as the market shows them only clear of the hull. It is said that each cocoanut tree in Honduras averages about 365 nuts a year, or a nut each day. Brazil nuts were shown, with their hard outside shell, in which some 15 to 20 of the nuts are closely packed.

Of the 400 specimens of cabinet woods which were displayed, only about 100 are known to commercial uses; the rest are awaiting development. In this exhibit were the woods which neither burn nor float. Lignum-vitae, which is one of the heaviest woods known to science, and used extensively in the manufacture of mallets, etc., was displayed; also the San Juan wood, which has lately been discovered, and is found extensively on the coast. This wood is practically non-combustible, and is said to be the coming wood for car building, furniture, and interior finishing, being susceptible of a high polish. The mahogany, for which Honduras is noted, was shown in many varieties, as were rosewood, redwood, hard pine, cedar, etc.

The exhibit of native drug plants received special recognition. Among other herbs were the Peruvian and cinchona-bark quinine, rhubarb, vegetable wax, and many others unknown to science. Sugar planters were astounded at the cane only three months old and 12 feet high, grown without cultivation, and stalks were exhibited 24 feet high of twelve months' growth. At present there is not a sugar refinery in the country.

The ores exhibited were many specimens of quartz and placer gold, silver, lead, copper, and magnetic iron, of which there is practically an inexhaustible supply. The work of the natives was shown in hats, baskets, hammocks, etc., being of a high order of perfection. Many of the finest panama hats are made by the Indians in Honduras. The different kinds of sisal and hemp shown were pronounced by manufacturers to be of the very highest grade.

Many people, when the name Honduras, Central America, is mentioned, think of a far-away land untrodden by man. As a matter of fact, it was pointed out that it is not as far from New Orleans to Honduras as it is from St. Louis to either New York or Boston.

HUNGARY.

Several causes prevented an appropriation by Parliament for Hungary's participation at the Universal Exposition held in St. Louis; consequently the royal Hungarian minister of commerce, anxious that Hungary should be represented at the Congress of Nations in St. Louis, decided to furnish a sufficient sum out of funds at his disposal to make this participation possible.

Acting upon this decision, he appointed George de Szogyeny, LL.D., at that time commissioner of commerce, and accredited to the State Department in Washington, D.C., as commissioner-general, and commissioned the Hungarian Society of Fine Arts and the Hungarian Society of Applied Arts to arrange the exhibits in the Fine Arts Building and to arrange for the exhibit of applied arts.

The Hungarian Society of Applied Arts sent Paul Horti as its representative. Mr. Paul Horti is a well known art critic of Hungary. Mr. R.E. Rombauer was also a member of the commission.

The cost of Hungary's participation was approximately 200,000 crowns. The value of exhibits was as follows:

Fine arts, 150,000 crowns; applied arts in the Manufactures Building, 600,000 crowns. There were other individual exhibits scattered through the palaces of Agriculture, Mines and Metallurgy, and Education, but they represented only a small value.

EAST INDIA.

The government of India and the provincial governments of Bengal, Assam, and Mysore jointly contributed the sum of 105,000 rupees (equivalent to about $35,000), and the Indian Tea Association, Indian Tea Cess Committee, and the United Planters' Association of southern India, contributed 90,000 rupees (equal to about $30,000) for the erection of a building and expenses attendant on the work of the exhibition proper, which was designed to promote and encourage the use of India tea and coffee in America. When it was decided that India should take part in the exhibition, exhibitors of Indian manufactures, for whom no space had been reserved in the exhibition palaces, were referred by the government of India, the exhibition authorities, and by the British royal commission to the commissioners in charge, and their exhibits, together with those made of tea, coffee, cardamoms, and pepper, were installed in the government building and formed practically the entire exhibit from India.

Mr. R. Blechynden was the only executive officer appointed for East India. F.C. Williams, of New York, was subsequently appointed as honorary assistant commissioner.

The exhibit would not have been made but for the urgent request of those representing the tea interests, through the Bengal Chamber of Commerce, and it was intended primarily and mainly for the exploitation of Indian teas in America, thus finding a wider market for their use. In addition to the erection of a building and the serving of tea in liquid form to the visitors at a nominal charge, a considerable fund was set apart for advertising the merits of these teas in the Middle West. Part of this sum was expended during the continuance of the exhibition, and the work was all coordinated and in the hands of the commissioner. The exploitation may continue for several years. Advertisements have appeared in newspapers in St. Louis, Omaha, Chicago, Columbus, Indianapolis, Cincinnati, Louisville, and many other smaller towns. The aggregate of expenditure in the next few years will be much more than set apart for the exhibition.

All of the East India exhibits were contributed by individuals and were confined to the East India Building, but were grouped under the heads of art, liberal arts, manufactures, and agriculture.

ITALY.

Members of Italian commission.—His Excellency Baron E. Mayor des Planches, honorary commissioner-general; Mr. Giovanni Branchi, commissioner-general; Mr. Adolfo Appoloni, commissioner of fine arts; Chev. Vittorio Zeggio; Mr. Guido Pantaleoni; Mr. Alberto Alfani, Mr. Tullio Giordana, Mr. Cesare Della Chiesa, Mr. Jerome Zeggio, secretaries; Mr. Giuseppe Sommarauga, architect of the pavilion.

The Italian pavilion was one of the most artistic and beautiful, if not one of the smallest, foreign buildings on the World's Fair grounds. It was a construction of Roman travertine stone, ornamented with bronze and marble sculptures. It was an architectonic fancy, Graeco-Roman, on the style of the ancient villas of the emperors of the Caesarian age, with garden and fountains.

The front colonnade ended in two stout lateral "pillars," crowned by two "victories" of gilded bronze (a work by Bialetti, of Milan), one of which bore the Italian laurel and the others the olive branch, as a token of peace and welfare.

After ascending the first stairs, about 90 feet wide, and passing through all the colonnade of ionic style, was the garden where the ancient Romans used to grow their laurel, an image of glory.

The building was erected on a strong base more than 15 feet high, with another flight of stairs more than 45 feet wide.

The front was formed by a central body of the Corinthian style of the best epoch, flanked by two lower parts ornamented by marble and bronze works. The caryatides of the three latticed windows were authentic copies of the ancient caryatides of Greek origin now in the Castle of Abano, near Rome.

In the hall, together with cases and various ancient works, there was a faithful copy of the famous Etruscan vase called "Of Francois," belonging to the gallery of Florence, and a good copy in marble of the Roman group of wrestlers. Also in the same halls, in the cavities at the end under the frieze, with the inscription in Roman characters, "Italia lux alma preevit," were two great oil paintings of their Royal Majesties the King and Queen of Italy.

This monument of art was the work of Giuseppe Sommarauga, architect, of Milan, who had also the task of originating and directing all the principal decorations made and shipped from Italy.

The participation of Italy at the Louisiana Purchase Exposition was authorized by a law of the Italian Parliament dated December 27, 1903. The participation was prepared by the department of agriculture, industry, and commerce, under the direct supervision of the minister, Hon. Luigi Rava. A special committee was appointed for that purpose by the King, and the Hon. Angelo Pavis, a prominent member of the Italian Parliament, was elected chairman of the committee. The Italian ambassador to the United States, the Baron Edmondo Mayor des Planches, who advised the Italian Government to let Italy appear officially at the exposition, was appointed honorary commissioner-general, and Hon. Giovanni Branchi, the Italian consul-general in New York, was appointed commissioner-general. Adolfo Appoloni, one of the members of the royal commission in Rome, was appointed special commissioner for fine arts, and Mr. Branchi chose as members of the commission Guido Pantaleoni, electrical engineer, of St. Louis, and Chev. Vittorio Zeggio, who was special delegate from the Louisiana Purchase Exposition, to promote the participation of Italy to the World's Fair. Besides these members of the commission four secretaries and several assistants helped the commission in the work of arranging and distributing the different exhibits.

The appropriation of the Italian Government for the exposition was 650,000 lire ($130,000), but this appropriation was raised in progress to 800,000 lire ($170,000). A small fee of $4 per square meter was assessed to the exhibitors, but the artists and the schools had nothing to pay. No private contributions were accepted by the Government. The Government paid the cost of transporting and maintenance of exhibits, which amounted to about $30,000. The number of exhibitors was about 1,100. Many more firms would have sent their products to this exposition had they had time to arrange a fitting display. For this reason the Italian display was not a full demonstration of what Italy produces.

The largest Italian displays were in the Fine Arts, the Manufactures, and the Agriculture buildings. The paintings and the sculptures exhibited were sufficient to give an idea of the modern art in Italy. They were all quite recent, with the exception of some pictures exhibited as loan, which were painted before the Chicago Exposition. The largest and most important art societies of Italy took a great interest in the exposition, but lack of time prevented the artists from preparing special works to be exhibited. The spirit of modern Italian art was individual, all working for the development of a national art. Among the sculptures were Monteverde, Fontana, Origo, and Romanelli. Among the painters, Previati, Rizzi, Mancini, Gioli, Morbelli, Dall'Oca Bianca Laurenti, Ciardi, Fattori de Karolis, Nomellini, Gelli, etc.

In the Manufactures Building the exhibits of carved wood furniture was displayed, together with ceramics, pottery, marble, bronzes, silks, textiles, laces, embroideries, paving bricks, and many other exhibits of great importance. Among the show cases was a large and artistic one, in which was exhibited the silk factories' display.

In the Agriculture Building Italy had a large display of samples of the many kinds of wines and olive oils it produces, and there was a large display of seeds sent by the department of agriculture.

In the Mines Building a beautiful collection of marbles and sulphur showed the wealth of the under-soil resources of Italy.

The photographs, the plans, and the maps of the electrical power houses and diverting works for the production of electricity in the Electricity Building attracted many visitors.

In the Transportation Building the Rete Mediterranes, one of the railroads that operates in Italy, exhibited the electrical system used on some of its lines.

One of the best and most important Italian exhibits was in the Educational and Social Economy Building. In both these lines Italy stood among the most progressive nations in the world. The results of the schools, the people's banks and savings banks, and the mutual help societies were an excellent demonstration.

In the Liberal Arts were to be seen musical instruments, books, and products of the paper factories.

Corals, cameos, and mosaics were exhibited in the Varied Industries Building, and some of them were remarkable works of art.

JAPAN.

On July 10, 1903, an imperial ordinance for the organization of the imperial Japanese commission to the Louisiana Purchase Exposition was issued by the Mikado to the effect that the imperial commission to the Louisiana Purchase Exposition should be under the supervision of the minister of state for agriculture and commerce, and should deal with all the matters relating to the participation of the Japanese Empire in the Louisiana Purchase Exposition; that the imperial commission should consist of the following:

Nonresident: Baron Keigo Kiyoura, president; Baron Masanao Matsudaira, vice-president. Resident: Mr. Seiichi Tegima, commissioner-general; Mr. Hiromichi Shugio; Mr. Ushitaro Beppu; Mr. Naozo Kanzaki. Nonresident commissioners: Mr. Hajime Ota, Mr. Haruke Yamawaki, Mr. Masanao Hanihara, Mr. M. Isobe, Mr. J. Koyama, Mr. M. Oka, Mr. Okamoto. Resident: Mr. Keisuke Niwa, director of works; Mr. Yukio Itchikawa, landscape architect; Mr. Saizo Tajima; Prof. Yoshitaro Wantanabe; Mr. Mosuke Matsumura, secretary education department; Mr. Kannosuke Miyashima, expert home department. Secretaries (resident): Mr. Harukazu Miyabe, Mr. Michio Hattori, Mr. Toyozo Kobayashi. Attaches (resident): Mr. Shun Suzuki, Mr. Kiro Harada, Mr. Teiichiro Gejyo, Mr. Risaburo Ota.

Beginning with the international exposition held at Vienna in 1873, and including the Louisiana Purchase Exposition, Japan has participated in twenty-seven world's fairs. Her participation in the exposition at St. Louis was more memorable in many respects than at any preceding exposition. In the first place, the exhibits never before occupied such an extensive area. It was three times as large as that occupied by Japan at the Chicago World's Fair of 1893 and the Paris Exposition of 1900, respectively. In each department where Japan took any part at the fair her location was excellent. The enthusiasm of Japanese manufacturers and traders in their desire to participate in the exposition was so intense that despite the effort of the Government to discriminate between numerous applicants the quantity of exhibits was swelled to such an extent that it was a matter of no small difficulty to find places for all the articles sent in for exhibition. Notwithstanding the fact that there was only a short period of nine months between Japan's decision to participate and the opening of the fair, and that in the course of that comparatively short period the rupture of friendly relations between Russia and Japan greatly handicapped the latter's endeavors concerning the exposition, the officials and exhibitors pursued their preconceived plan without an interruption. In view of such disadvantages, the promptness and accuracy with which articles were brought into their destination, arranged, and displayed seasonably in proper form may well be regarded as remarkable. By the time the gates of the fair were thrown open to the public the display had been well-nigh completed, to the gratification of the Exposition Company and the Japanese exhibitors.

When Japan was first invited to take part in the exposition she was busily engaged in preparing for the Fifth National Exhibition held in the city of Osaka. For that reason she declined reluctantly to accept the invitation; but as the inauguration of the Louisiana Purchase Exposition was consequently postponed until the 1st day of May, 1904, Japan was later enabled to accept the invitation.

Early in the year 1904 the imperial Government sent a corps of officials to St. Louis to select a suitable location for the Government buildings, and to apply for space in the various departments of the exposition. Due to the prompt attention of the Japanese Government and the courtesy of the managers of the exposition, the desired arrangements were accomplished without the slightest difficulty. A bill appropriating $400,000 to be expended for the exposition was passed by both houses of the legislature, and in July, 1903, the Government formally notified the Exposition Company at St. Louis that Japan would be represented at the fair.

The Japanese commission for the exposition took great care not to accept for exhibition any articles which had mere virtue of novelty, without practical value, or any articles not produced in large volume. The idea of the Government in employing such discrimination was to so plan the exhibition that it would leave some lasting effects after the exposition upon the world's trade and commerce. The exhibition of matters relating to education was executed under the direct supervision of the department of education, and was so planned as to make it represent a complete system of the education now in vogue in Japan. In regard to the exhibitions of mines, fish, forestry, agriculture, and horticulture, the department of agriculture and commerce exercised the authority of deciding what articles should be displayed. The arrangement of articles exhibited in various departments of the exposition was made so that those independent of the Japan Exhibits Association were arranged by individual exhibitors under the supervision of the Japanese commission, while others were set out in proper order by the association.

There was no department or palace in which Japan did not exhibit. Displays on an especially elaborate scale, however, could be found in the following eleven palaces, namely: Palaces of Education and Social Economy, Fine Arts, Liberal Arts, Manufactures, Varied Industries, Transportation, Mines, Forestry, Fish, and Game, Electricity, and Agriculture. The total area of space of the Japanese sections in these departments was distributed among different sections as follows:

Square feet. Palace of Education ............................... 6,299 Palace of Fine Arts ............................... 6,825 Palace of Liberal Arts ............................ 400 Palace of Industry ................................ 27,384 Palace of Manufactures ............................ 54,737 Palace of Transportation .......................... 14,160 Palace of Electricity ............................. 1,100 Palace of Mines ................................... 6,903 Palace of Forestry, Fish, and Game ................ 2,982 Palace of Agriculture ............................. 8,667 ———- Total ...................................... 129,457

Besides the above areas in the various departments, a garden of a genuine Japanese style covered an extensive space of ground, in which stood the Government building. Attached to it was a reception hall and several artistic mansions. Displays of Japanese garden and floricultural arts were exhibited in the garden. In the reception hall were exhibited various data showing the growth and present status of the Red Cross Society of Japan. Altogether, the dimension of space taken by Japan for the garden aggregated approximately 148,361 square feet. Artistically distributed within the precincts of the garden were the reception hall, the office building, the Formosa tea house, the Kinkaku tea house, and several cottages and a bazaar. Hills and waterfalls, ponds and bridges were presented in miniature scale. In the verdant lawns flowers of different colors were all harmonized into an artistic unit in unique landscape gardening. Beautifully trained dwarf trees, centuries old, were brought from Japan for the special purpose of ornamenting the garden. There were also the drooping wisteria and gay peony, the scented lily and blushing maple.

The building materials for the reception hall, the office building, and resting cottages were brought from Japan. The reception hall was built entirely by native carpenters, after the style of a daimyo's goten (palace of feudal lord) of some six hundred years ago. The architectural style of the building was what is termed Heike, a style prevailing at the time when a military family called Heike held a paramount power. The artistically curved roofs, projecting one upon another, were a modest representation of architectural accomplishment already attained in Japan several centuries ago. Hanging on the inner wall of the hall was the portrait of Her Majesty the Empress of Japan, and occupying a section of the room were the exhibits of the Red Cross Society of Japan, in which the Empress takes a keen interest. The resting cottage was modeled after a cottage in a shogun's (military magistrate) garden, two or three centuries ago. Close to the south bank of the lake was a small reproduction of Kinkaku Temple. Close to the right of the front gate of the garden stood the Formosa mansion, a fair representation of characteristic native dwellings. The Kinkaku Temple was built under the auspices of the Japan Tea Traders' Association, and the Formosa mansion by the initiative of the Formosa government.

MEXICO.

Members of Mexico commission.—Engineer Albino R. Nuncio, commissioner-general; Mr. Benito Navarro, assistant to the commissioner-general; Mr. Juan Renteria, assistant to the commissioners general; Engineer Lauro Viadas, chief department of agriculture; Mr. Daniel R. De la Vega, assistant to the chief; Mr. Isidoro Aldasoro, chief department of art and ethnology; Mr. Leopoldo Tell and Mr. Octavio Andrade, assistants to the chief; Mr. Maximiliano M. Chabert, chief department of liberal arts; Mr. Alberto Ocampo, assistant to the chief; Mr. Julio Poulat, chief department of education; Mr. Manuel Costa, assistant to the chief; Mr. Enrique Garibay, chief department of forestry, fish, and game; Mr. Jorge Salazar, assistant to the chief; Mr. J. Alberto MacDowell, chief department of horticulture; Mr. J.M. Nuncio, chief department of manufactures; Mr. Antonio Sierra Cruz, assistant to the chief; Engineer Eduardo Mantinez Baca, chief department of mines and metallurgy; Mr. Miguel Peinado, assistant to the chief; Maj. S. Garcia Cuellar, chief department of transportation; Lieut. Manuel Garcia Lugo and Lieut. Jose Ortiz Monasterio, assistants to the chief; Mrs. Laura M. De Cuenca, Dr. Plutarco Ornelas, Prof Teofilo Frezieres, Mr. E.H. Talbot, Mr. Jose M. Trigo De Claver, Mr. Roberto Garcia, Mr. Jose A. Bonilla.

The amounts voted by the Mexican Congress, according to dates since the organization of the work, for the participation of Mexico at the Universal Exposition of St. Louis, were as follows:

October 22, 1901 ............................... $50,000 July 1, 1902 ................................... 70,000 November 23, 1902 .............................. 15,000 July 1, 1903 ................................... 90,000 December 3, 1903 ............................... 250,000 July 1, 1904 ................................... 100,000 November, 1904 ................................. 300,000 ———— Total ....................................... 875,000

The Mexican exhibit in the department of education, as a whole, demonstrated the remarkable development of public instruction from primary to scientific, and at the same time the progress made by adopting new plans and systems. The exhibit as a whole could also be studied in detail by looking over the regulations, plans of study, statistics, texts, etc., which were displayed there.

The Gallery No. 94 of the west pavilion of the Fine Arts Building was the one assigned by the Exposition Company to the exhibition of fine arts from the Republic of Mexico. This small gallery contained 38 oil paintings, 2 pen drawings, and 2 sculptures. The paintings belonged to 11 exhibitors.

The importance of the exhibition as relates to the art cultivated in Mexico was represented by the famous works of the Artist Fabres, which attracted a great deal of attention.

In the Palace of Liberal Arts Mexico exhibited technical works and diversified industrial products. Among the most important were those of official character, such as geographical maps, the system used for the illumination of the seashores, the construction of buildings for special works, etc. Also plans and constructions of architectural character from' prominent architects of Mexico.

Displayed here were exhibits from the manufactures of drugs and chemical products, perfumes, paper, printing and binding companies, and many others comprised in the extensive official classification. One most important exhibit was that of chemical products and pharmacy.

Another very important branch of liberal arts, and very well developed, was that of photography. Very remarkable works of the most expert photographers of the country were exhibited.

In the Department of Manufactures the industrial concerns from Mexico were represented as follows: The cotton and woolen mills, which have greatly developed in the Republic; the leather and shoe industry was well demonstrated by a number of factories which exhibited their products; there were also shown a number of samples from the manufacture of furniture and decorating fixtures for buildings and residences.

Full information about the railroad lines, general railroad map, and great number of photographs of the most important points on the lines, plaster models of the Tehuantepec Railroad connecting the two oceans, and statistical information of the railroad development were exhibited in the Transportation Building. Models of light-houses and original light-houses that will be used in the Vera Cruz Harbor were displayed also, as well as models of the harbors of Mazanillo, Salina, Curz, Coatzacoalcos, and Tampico. Tools, bags, scales, etc., used in the mail service, and statistical information of the development of the service were shown, as were carriages, harness, saddles, and all kinds of implements used for driving and riding.

The war department had a general display of educational methods used in the military and naval academies, and maps, military library, improvements invented by some member of the army and samples of materials made by its factories.

In the Electricity Building were maps and reports of the most important electrical installations of the country.

In the Machinery Hall were displayed machines made in the factories of the army for the manufacture of cartridges, and antiscaling substance.

Among the Mexican exhibits at St. Louis, the largest number was in the Agricultural Building, where the display occupied over 900 square feet of space. The exhibits made by the three leading breweries of Mexico was noticeable as to elegance and artistic good taste. Great importance was attached to the exhibits of leaf and manufactured tobacco. The coffee exhibit attracted general attention.

The exhibit of fibers, especially that of Henequen, from Yucatan, was very important and complete, the last named being the cause of flourishing trade with the United States. The exhibit of sugar showed the great resources of Mexico in this product. A splendid exhibit of Mexican vanila attracted the attention of all visitors. The exhibit of agronomical maps by the Mexican Commission was of much scientific value, and the collection of insects and injurious parasitical plants was also worthy of attention.

The Mexican exhibit in the Department of Forestry, Fish and Game consisted of 600 specimens, arranged and classified by the Medical and National Institute of Mexico, and attracted considerable attention. The magnificent exhibit of animals and stuffed birds was also admired. The exhibit was arranged and presented by the Geographical Commission of Mexico. The collection of woods presented by the governments of the States of Colima, Durahgo, Mexico, Puebla, San Luis Potosi, Michoacan, Yucatan, and the department of fomento was noticeable for the diversity of kinds of woods forming the collection, amounting to 800. The exhibit of broom root from Mexico was the only one of its kind in all the Department of Forestry, and concerning which the largest number of inquiries was made.

In the Palace of Mines and Metallurgy Mexico occupied 13,000 square feet of space. A great variety of ores and minerals was displayed, viz, gold, silver, lead, iron, copper, antimony, zinc, etc. The number of exhibitors amounted to 330. The Geological Institute of Mexico presented maps, geological plans, mineral rocks, publications, etc. Among the latter a very interesting study of the veins of the mines of Pachuca and Real de Monte, also another of the Rhyolitas of Mexico.

The social and economical conditions of the Republic of Mexico were splendidly represented in the Department of Social Economy by numerous official and private publications and photographs. The wise steps taken by the Government, which have changed the economical conditions of the country, constituting an intellectual, material, and positive development, were logically collected according to the department of state to which they belong. The exhibit was completed by a numerous collection of photographs of cities, ports, public buildings, monuments, residences, etc., showing how Mexican cities have been improved and beautified and how the Republic of the south has progressed from a material and artistical standpoint.

NEW ZEALAND.

Members of commission.—Mr. T.E. Donne, representative; Mr. Frederick Moorhouse and Mr. Thomas Clarkson, attaches.

When the New Zealand government received the invitation of the Louisiana Purchase Exposition executive to be represented at the World's Fair the colonial parliament gave the utmost publicity to the proposal and offered to allow any of its business firms a share of the space that was to be placed at its disposal. The tariffs of the United States, however, proved a serious obstacle, as the chief business houses of the young nation failed to see how their interests would be served by advertising in a country which placed a heavy tariff on their goods. However, the executive of the government, recognizing the cordiality of the invitation and with a desire to emphasize its wishes for the closest relationship with the American people, decided to be represented directly by one of its own departments—the department of tourist and health resorts. The chief of that branch of the public service, Mr. T. E. Donne, was therefore authorized to prepare an exhibit setting forth the attractions of New Zealand to tourists and the work the department is doing in that connection. When compiling the exhibit Commissioner Donne represented to his government that it would be advisable also to include a few of the country's general products, and it therefore extended the original idea in this direction.

In the Department of Forestry, Fish, and Game New Zealand had a unique and tastefully arranged display that attracted keenest interest. A collection of Scotch red deer and fallow deer heads testified to the magnificent hunting that is obtained among the virgin forests of New Zealand, and specimens of trout—rainbow, salmon, fario, and fontinalis—taken from the mountain-fed streams that intersect the country from one end to the other appealed to the fishing enthusiast.

Pictures and paintings around the walls were fascinating in that they served to indicate to visitors the character of a country which nature has blessed, when judged from a point of view of the beautiful and picturesque. Mount Cook, majestically rising to a height of nearly 13,000 feet, was shown in paintings and photographs. Lakes Taupo, Te Anau, Wakatipu, Manawapouri, Waikaremona, and others, whose clear, glassy waters, surrounded by verdure-covered hills, gave some idea of the loveliness of New Zealand lakes. The Wanganui River, Milford Sound, one of the world's wonderful fiords, and the canyons known as the Otira and Buller gorges were some of the features that interested the visitors.

The thermal districts were chiefly represented by the great Waimangu geyser and its crater, 21/2 acres in extent, which throws up boiling water, mud, and stones to a height of 1,500 feet, claiming a place as one of the "wonders of the world."

Forestry was represented by beautifully finished ornamental wood and a splendid exhibit of the famous Kauri gum. This gum, which is used principally in the manufacture of varnish, takes an important place among New Zealand products, no less than five million dollars worth being exported last year. Of special interest to ornithologists were the native wingless birds of New Zealand.

The ancient habits of that interesting and progressive race, the Maori, who preceded white people in New Zealand, were shown in some remarkably realistic and unique carvings and paintings. The Maori has long since passed the savage state and has shown his ability to attain the highest stages of modern civilization. The contrast between the position of the Maori in 1840 and in 1904 constitutes a remarkable progress in racial development. Formerly the Maori was a savage, clever and enterprising, but ferocious, cruel, and a cannibal. To-day he tills the soil, speaks English, and sends his children to school and college, where they study for the highest professions, such as medicine, law, teaching, etc. Contact with a highly civilized community has diverted the natural intelligence of the Maori to useful channels, while Christianity has developed the best instincts of a fine race of people. In the to-day the Maori stands side by side with the white man, a welcome comrade in the building of a new nation. Six Maoris occupy positions in the New Zealand legislature, and one is a cabinet minister.

In the Agricultural Building a score of sacks containing wheat, oats, peas, beans, clover, grass seed, etc., paid tribute to the climate and soil of New Zealand. The extreme interest shown by all visitors constituted a very high compliment to the country. The demand by farmers for samples of wheat and oats was great. The attention bestowed by farmers and grain merchants upon the New Zealand grain display had its counterpart in the attitude of women visitors toward the exhibit of woolen rugs and blankets. Its exceptional soil and climate enable the New Zealand farmer to rear sheep with a grade of wool that can seldom be obtained elsewhere. Factories that have been established in the principal cities weave the wool into clothing, rugs, and blankets of an excellent strength and quality. Fleeces, both scoured and greasy, afforded wool experts an opportunity of closely examining the staple in raw material. Other products shown in the Palace of Agriculture were bales of hemp manufactured from New Zealand flax, a very fine sample of hops grown in the Nelson district, rabbit skins packed and ready for export, kegs of tallow, crude petroleum, etc. These served to indicate partially the resources of a wonderfully rich and productive country.

A chief attraction of the New Zealand exhibit was the opportunity it provided Americans for personally interrogating the New Zealand representatives concerning the government of their country. Political economists in America, as in other parts of the world, have in recent years been pointing to New Zealand as a country where a government fulfills its proper functions in caring for the welfare of the whole of the people, where each man and woman takes a recognized and effective part in the making of the laws which govern them, and where high ideals of modern civilization are lived up to.

NORWAY AND SWEDEN.

The Norwegian Storthing (Parliament) on the 20th of January, 1904, failed to pass a bill appropriating funds for Norway's participation in the Louisiana Purchase Exposition. The Government, however, being aware that there would be some individual exhibitors, decided to accept the invitation from the American authorities to have a commission appointed.

By resolution of the Crown Prince Regent on March 25, Frederick L.M. Waage, vice-consul for Sweden and Norway to St. Louis, was appointed commissioner-general for Norway. No Government appropriation and no money was raised by private subscriptions.

Three individual exhibitors displayed goods:

David Andersen, Christiana, in the Varied Industries Building, silverware and enamel. Cost of exhibit, $40,000; installation, $500, transportation, $800.

Chr. Knag, Bergen, furniture of the old Norwegian style in the east wing of the Fine Arts Building. Cost of exhibit, $3,000; transportation, $125.

Nordenfjeldske Kunstindustrimuseum, Dortheim, tapestries, old and new Norwegian patterns and designs by Gerhard Munthe. Cost of exhibit, $10,000; transportation, $35.

Sweden's participation at the Louisiana Purchase Exposition was authorized by the following decree addressed by King Oscar, of Sweden and Norway, to A.R. Akerman, director-general and president of the board of trade, which decree appointed Mr. Akerman commissioner-general to the exposition. The decree gives fully an account of the Swedish participation and was as follows:

Greetings, etc.

Since the President of the United States has invited the governments of other states, including Sweden, to participate in a Universal Exposition in St. Louis, originally intended to be held in 1903, but now being decided to be open during the period from May 1 to December 1, 1904, and we, through gracious proposition, of which a copy is herewith attached, suggested to the Riksdag to appropriate, on an extra budget for 1904, an amount of 120,000 kronor for Sweden's participation in the art and educational exhibits of the exposition has the Riksdag in a communication of May 22, 1903, with reference to the arrangements of expenses of the State budget, eighth section, communicated the following:

The Riksdag had considered the advisability that Sweden be officially represented at the Universal Exposition in St. Louis 1904, especially as this could be supposed as being in line with the desire of the Swedes residing in the United States and serving to strengthen the ties that still unite them with their Fatherland, and in accordance with the expression of the chief of our ecclesiastic department in the minutes of our ministry had the Riksdag embraced the opinion that the official participation of Sweden should embrace the departments of art and education, in which sections our country seems to have especially good possibilities successfully to compete with the greater countries of culture.

In a letter to the Academy of Fine Arts, incorporated in the minutes of our ministry, the three societies of artists had expressed the desire that from the collections of art belonging to the State works of art should be contributed that might be required in order that the exposition in question should give a complete illustration of the development of art in our country. In consequence of this, the Riksdag had considered it necessary to point out the fact that as it has occurred that works of art contributed from the collection of the States to be exhibited at other places at the return of the same were more or less damaged, and that as in consequence of the transport that would be necessary in this case absolute guarantee for the restitution of these works of art in an undamaged condition could hardly be had, doubts seemed to meet as to such a contribution as had been suggested by the societies of artists.

Calling attention to what has just been pointed out, the Riksdag stated that the Riksdag, with consent to our proposition in question regarding the participation of Sweden in the art and educational departments of the Universal Exposition in St. Louis 1904, had appropriated on an extra budget for the year 1904 the sum of 120,000 kronor.

Having had this presented before us, we have, accepting on Sweden's behalf the above-mentioned invitation as far as concerns the art and the educational departments of the exposition, resolved to appoint a committee, who is hereby empowered to take all measures necessary for the participation of Sweden in these departments of the exposition and to transact all business belonging to the same which is not of a nature to be submitted to our gracious consideration; and we have appointed you as president of the committee and as members of the same selected the principal of the technical school of Stockholm, Bror Viktor Adler; the inspector of the common schools at Stockholm, Carl Gustaf Bergman; the vice-general consul, Bror Axel Fredrik Georgii; the assistant professor at Ostermalms public secondary school, Stockholm, Nols Gerhard, Eilhelm Lagerstedt, and the superintendent of the art section of the National Museum, Carl Ludvig Loostroem.

We, intending to appoint in the future, on the recommendation of the committee, a commissioner for Sweden at the exposition, herewith empower the committee to appoint a secretary and necessary assistants and in as far as it is found necessary to secure the cooperation of persons whose insight and ability can secure for Sweden a successful and honorable representation at the exposition.

Finally, we authorize the committee to collect after the beginning of 1904, at our exchequer department, the above-mentioned amount appropriated by the Riksdag to be used as demands require for the purpose intended, with the obligation to account for same and with the understanding that the committee assumes the responsibility that this amount under no circumstances is exceeded; and we have ordered the exchequer department to pay from moneys on hand in advance, on requisition and to be deducted from the mentioned appropriation, what is necessary to carry on the work of the committee during the year 1903, not exceeding an amount of 20,000 kronor. Which we herewith communicate for your knowledge and abeyance as far as you are concerned, at the same time as a gracious letter is sent to the exchequer department.

PERU.

For the representation of Peru at the Louisiana Purchase Exposition, the Peruvian Government appropriated approximately $100,000. The President of Peru appointed Mr. Alexander Garland, a distinguished Peruvian and noted writer of international and economical matters, commissioner-general. Mr. Garland, it is said, has always been noted in his country as a strong upholder of favorable trade relations with the United States. Mr. Miguel Miro-Queseda, a newspaper man of Peru, was appointed secretary to the commission. Subsequently Mr. Ernest H. Wands, of New York, and Wilfred H. Schoff were appointed commissioners and Mr. Manual C. Velarde secretary.

A variety of samples of cotton and woolen goods manufactured by factories lately established in Peru, at La Victoria, Vitarte, La Providencia, San Jacinto, Malastesta, etc., was displayed in the Peruvian section of the Agriculture Building, together with abundant samples of different qualities of Peruvian cotton. In the same building were exhibited excellent samples of sugar cane from Grande, Cartavio, Roma, and Chiquitoy. Samples of other products of the soil, as cotton, coffee, cacao, cocoa, cocaine, rice, etc., which figure under the exports of Peru, were also exhibited. In the same section were samples of Peruvian maize, white, yellow, and red, at least double the size of the corn raised in other parts of the world, as well as other specimens of the agricultural products of Peru.

The mines section showed the mineral resources of the country. Gold, silver, copper, lead, cinnabar, manganese, and all kinds of minerals were represented by a large variety of rich samples. Large blocks of lignite, anthracite, etc., gave an idea of the importance of the coal fields of Peru. Mineral oils, mineral waters, sands from placers, and a variety of salts samples were exhibited demonstrating that Peru is well endowed in minerals. There was also a mineral map of Peru made under the direction of the Sociedad Nacional de Mineria.

The Peruvian section in the Forestry, Fish, and Game Palace had samples of rubber of the Peruvian varieties in large quantities. Samples of wood gave an idea of the inexhaustible amount of raw materials that are contained in the vast forests of Peru, valuable for civil and naval construction and cabinetwork. Barks, resins, nuts, roots, seeds, and leaves for medical use and dyeing and tanning purposes confirmed the richness of Peruvian soil.

RUSSIA.

Russian Commission.—Mr. Edward Grunwaldt, executive commissioner; Mr. Jacob Godberg, Mr. Max Berkowitz, Mr. L.A. Robinson.

Russia was at different times invited to participate in the Louisiana Purchase Exposition of 1904, but no definite acceptance was received until Mr. Thomas H. Cridler, the foreign representative of the Exposition Company, made a personal visit to the Emperor. His Majesty was heartily in favor of the proposition, and in proof of his good feeling toward the American people, ordered an appropriation of 450,000 rubles be set aside to meet the preliminary expense of the Russian exhibit.

A commissioner-general was appointed. He was instructed to proceed to St. Louis and secure the necessary space for exhibits and a site for Russia's pavilion.

Committees were appointed for the purpose of collecting exhibits and to look after the work of installation and maintenance.

On the outbreak of the Russia-Japan war it was deemed advisable to withdraw the Government exhibit. This was a cause of considerable concern to the Russian Emperor, who had been anxious to show his appreciation of the friendship that existed between Russia and the United States.

The commissioner-general then made a report that was unfavorable to Russia's participation at the exposition, and he was then informed through the minister of finance of the withdrawal of Russia as a Government exhibitor.

The question of having Russia represented at the exposition by private exhibitors was then considered. The minister of finance informed Mr. Grunwaldt that the Government would offer no objection to individual participation.

The Exposition Company allotted space to Mr. Grunwaldt in the various buildings. Exhibits were installed in the Fine Arts, Liberal Arts, Manufactures, Varied Industries, and Agricultural buildings. The exhibits were very extensive in all the departments.

The entire cost of collecting, transportation, and installation of exhibits, and the maintenance of same, was borne by Mr. Grunwaldt.

SIAM.

While making an extended tour of the United States in 1902, His Royal Highness the Crown Prince of Siam visited St. Louis and was the guest of the Louisiana Purchase Exposition Company. His entertainment was so generous and his reception throughout the entire country so cordial that he decided to use his influence toward inducing His Siamese Majesty to participate in the exposition of 1904. The plan, consequently, that suggested itself as to the character of Siam's display was to send to St. Louis the most interesting articles and the best examples of Siamese industries.

The National Siamese Pavilion, a typical specimen of the architecture of the country, was a reproduction of the Wat (or temple), Benchamabopit, now in the course of erection at Bangkok. The plans were closely followed, thus creating a type of Siamese architecture which in itself was an exhibit of interest and instruction. The building cost $25,000.

Within the pavilion were placed many objects from the Royal, Museum, notably a large collection of ancient weapons, drums, cymbals, temple gongs, howdahs, some wonderful examples of mother-of-pearl work, hammered silver of antique designs, old lacquer, enormous elephant tusks, ancient theatrical costumes and properties, and portraits of Their Majesties the King and the Queen and His Royal Highness the Crown Prince.

In the Agricultural Building were displayed models of farming implements of all kinds and examples of the agricultural products of the land. Especially noticeable was the large collection of rice, the most important of Siam's exports.

The exhibit in forestry, fish, and game showed the great variety of woods that grow in Siam, the appliances that are used for fishing, skins of the many wild animals of the country, and a large collection of forest products.

Teak, for which Siam is famous, was shown in a number of ways—cross sections, longitudinal cuts, and portions of the outer surface.

In the Transportation Pavilion were shown models of boats, panniers, and carts, howdahs, a buffalo cart, and a buggy in full size. The boat models were especially interesting. Because of the many navigable rivers and canals a greater part of transportation is by water; consequently a large variety of boats has been evolved to meet the various conditions.

The collection of spinning and weaving appliances in the Manufacturers' Building was large and instructive. Here, too, were many fine examples of mother-of-pearl work, pottery, hammered silver, and lacquer; also a collection of mats and textiles, both cotton and silk.

In the Mines and Metallurgy Building were displayed samples of the many minerals that are found in the country and models of the appliances used to secure them.

Altogether nearly six thousand individual articles were on exhibition and represented more completely the industries and resources of Siam than has any previous collection. In each State or Province of Siam a local committee was appointed with instructions to gather and forward to Bangkok at least one example of every article produced either for home use or sale. From these consignments a selection was made by the Commission and forwarded to St. Louis. In this way objects representing every section and all the arts and industries were shown. The total cost of the exhibition of the Government of Siam was approximately $120,000.

Although the trade of Siam has developed very rapidly during the past few years, the exhibits sent did not have for their purpose the extension of commerce with this country. The relations between the United States and Siam are most cordial. The latter recently accredited to the United States a minister, and Congress very promptly elevated the rank of the United States representative to that of minister plenipotentiary. Thus when the invitation to participate in the exposition was accepted, prospects of commercial gain were not in contemplation. The one idea was to contribute in every conceivable manner to the attractiveness of the exposition and add to its educational possibilities. The invitation was looked upon by the Siamese Government as a compliment, and the unselfish manner in which its acceptance was shown proved conclusively that the compliment was appreciated.

On the occasion of the exposition there was published by the Commission a richly illustrated book entitled "The Kingdom of Siam." This work was presented to the educational institutions of this country, to public libraries, and to all persons who were known to be interested in Siam. The book, written by experts, will be an authority for years to come upon Siam, its climate, resources, people, institutions, and industries, and will doubtless supplant the writings of hurrying traveler and transient visitor.

The commissioners appointed by the King of Siam were as follows: His Royal Highness the Crown Prince, president. Vice-presidents: His Royal Highness Prince Devawongse Varopakar, minister of foreign affairs; His Royal Highness Prince Mahisra Rajaharudhai, minister of finance; His Excellency Chow Phya Devesra Wongse Vivadhna, minister of agriculture; Mr. A. Cecil Carter, M.A., department of education, secretary-general. Members: His Royal Highness Prince Sanbasiddhi Prasong, His Royal Highness Prince Marubongse Siribadhna, His Highness Prince Vadhana, His Excellency Phya Vorasiddhi Sevivatra, His Excellency Phya Sukhum Nayavinit, His Excellency Phya Amarindra Lujae, His Excellency Phya Surasih Visisth Sakdi, His Excellency Phya Kamheng Songkram, His Excellency Phya Sunthorn Buri, His Excellency Phya Rasda Nupradit, His Excellency Phya Kraibej Ratana Raja Sonkram, His Excellency Phya Vijayadibadi, Phra Phadung-Sulkrit. Prof. James H. Gore, Columbian University, commissioner-general.

SPAIN.

The only Spanish exhibits at the Louisiana Purchase Exposition were shown in the Agricultural Building. There were but three displays, one being of pure sherry brandy, another of wines, and another of olive oil.

D. Mauricio Mandil was the only exhibitor from Spain, and he had the brandies, wines, and olive oil analyzed by well-known analytical chemists. The brandy exhibit consisted of a pyramid of ten barrels, well finished and varnished, placed on a fancy stand in the center of a well-polished platform, in the corners and sides of which were piled up polished pine cases of pure brandy distilled from sherry wine. On the top box of each pile were pyramids of bottles of different fancy packings artistically located.

The wine exhibit occupied a square 20 feet on each side. It represented a vine in full growth, being 18 feet high. The four corners were the trunks, on which were painted life-size figures of Spanish girls surmounted by the vine, bearing grapes. This square was covered by a silk awning made in the Spanish colors. In the center of the tent and on a platform was located a pyramid 15 feet high, composed of barrels and bottles artistically placed. The wines exhibited were mostly of old vintages, dating as far back as 1809, and among these was a special brand brought to America for the first time, and called Solera Lincoln, it being of the vintage of 1865, the year of Lincoln's assassination.