International Exhibitions, Paul Otlet, Henri La Fontaine and the Paradox of the Belle Époque W
Introduction International Exhibitions, Paul Otlet, Henri La Fontaine and the Paradox of the Belle Époque W. Boyd Rayward From the close of the year 1811 intensified arming and concentrating of the forces of Western Europe began, and in 1812 these forces—millions of men, reckoning those transporting and feeding the army—moved from the west eastwards to the Russian frontier, toward which since 1811 Russian forces had been similarly drawn. On the twelfth of June, 1812, the forces of Western Europe crossed the Russian frontier and war began, that is, an event took place opposed to human reason and to human nature. Millions of men perpetrated against one another such innumerable crimes, frauds, treacheries, thefts, forgeries, issues of false money, burglaries, incendiarisms, and murders as in whole centuries are not recorded in the annals of all the law courts of the world, but which those who committed them did not at the time regard as being crimes … The people of the west moved eastwards to slay their fellow men, and by the law of coincidence thousands of minute causes fitted in and co‑ordinated to produce that movement and war (Tolstoy, War and Peace).1 The Proud Tower built up through the great age of European Civilisation was an edifice of grandeur and passion, of riches and beauty and dark cellars. Its inhabitants lived, as compared to a later time, with more self‑reliance, more confidence, more hope; greater magnificence, extravagance and elegance; more careless ease, more gaiety, more pleasure in each other’s company and conversation, more injustice and hypocrisy, more misery and want, more sentiment including false sentiment, less sufferance of mediocrity, more dignity in work; more delight in nature, more zest.
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