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Dedicatory and Opening Ceremonies of the World's Columbian \:^ PUBLIC LIBRARY FORT WAYNE & ALLEN CO., INa e£A/ 3 1833 01715 7204 Gc 977.302 C43wca World's Couume:i.an Eixpositiom (1B93 : Dedicatory and ofeninb ceremonies Memorial Volume. Dedicatory and Opening Ceremonies OF THE WORLD'S COLUMBIAN^XPOSITION HISTORICAL AND DESCRIPTIVE. AS AUTHORIZED BY BOARD OF CONTROL EDITED UNDER THE DIRECTION OF THE JOINT COMMITTEE ON CEREMONIES OF THE WORLD'S COLUMBIAN COMMISSION AND THE WORLD'S COLUMBIAN EXPOSITON. WITH ILLUSTRATIONS. PriiLISIIED BV STONE, KASTLER & PAINTER, 309-310 Garden City Block, 56 Fifth Avenue, CHICAGO, U. S. A Entered According to Act of Congress in the Year Stone, Kastler & Painter, in the Omce of the Librarian ot Congress at Washin; After an examination of the work of the prominent engraving establish- ments of the country, the committee having the illustration of this work in cliarge unanimously agreed upon the house of J. ^lanz & Co., Chicago, as having nnich superior facilities fi>r the execution of high grade half-tone engraving. THE HENRY O. SHEPARD CO., PRINTERS AND BOOKBINDERS, CHICAGO. 537879 ,\CtOFTHE SECfTcr^ (JXrvvUL— (Ur^ lU^ O <r>»x r»^ cZZ2*. <a^ ^^^^ />vv. < c/ o/^ /^LO::^ JXLc^^-L-t^ Cr»-M»/I C4r»«v^ut. 'H cLa.,^) CHRISTOPHER COLUMBUS. HIS EXCELLENCY, CHRISTOPHER COLUMBUS, THE 4 PILAR COLUMBUS, DAUGHTER OF THE DUKE. DUKE'S SON. 5- THE MARQUIS OF VILLILOBAR, THE MARQUIS OP BARIBOLES, 6. HIS EXCELLENCY, PETER COLUMBUS, SON OF MR. CHARLES AGUILERA. THE MARQUIS OF BARIBOLES '- /^^'3 ^>^<=5^ \^^^2^ /-^^ts^ ^ rE BUILDING -Re T+iE GROWTH OF EXPOSITIONS. THE student of the world's progress, no question is more interesting than To the efforts of one race, or one nation to avail itself of the advancement made by other countries in nrt, science and invention. The artisan, the mechanic or the artist, wlm has the ciiiiiditniiil y to stndy l>y iierson.-il inspection the works of other lands, can gain valnalile laidwleiliif. The statesmen of Kurope in the seventeenth century first made a study of this great problem, an 1 laid the foundation for the National and International Expositions, which culminated in the World's Columbian Exposition of 1893. During the sixteenth and seventeenth centuries, the countries of Europe were wont to send abroad their most eminent scholars, artists and mechanics, to study the iecrets of manufacture and art held by other nations. International brotherhood had not yet been placed on that broad plane which makes it the highest pleasure to impart knowledge to others. It was not until the emigration of the Huguenots, that many of the industrial secrets of France were imparted to the world. So jealously were secrets of manufacture guarded, that Peter the Great, of Russia, labored in disguise as a common workman in a Dutch shipyard, to learn the art of shipbuilding. Each nation locked within its breast the skill of its artificers, and each family and community kept behind barred doors the special secrets of its trade. But gradually, liberality of mind brought about a change, and finally tore away the bolts and bars from the factory and the workshop. The artist, the tradesman and the mechanic, began to exhibit their handiwork; first in their native town, then in the larger cities, until finally the whole world has been drawn together at Chicago, to study the art, the invention, and the skill of all nations. The great educational work first began with the London National Exposition of 1761. The English Society of Art originated the idea of national industrial exhibi- tions. Prizes were offered for displays of machinery and mechanical devices, which were exhibited in the rooms of the society in London. No other nation was admitted as an exhibitor. The advertisement announcing the exhibition promised that all dis- " plays should be guarded by the societ)-, which guaranteed that no "foreign spies would be allowed admittance, and that no drawings of the machinery on exhibition should be made. As narrow as were the views taken, and as crude and primitive as were the few devices to be seen in the halls of this society, this display served the purpose to turn the attention of other nations to the advantages accruing from such Expositions. France was next in order, with the National Exposition held in Paris in 1798. There were only one hundred and ten exhibitors, as the country was yet trembling with the recollection of the "reign of terror. " It is a strange commentary on the spirit of the Eighteenth century that at this Industrial Exposition a gold medal was offered to the manufacturer whose goods should prove the most disastrous to the trade of England. In 1801 another Exposition threw open its doors in the French capital. 17 It was more successful than the first, and another Exposition was opened the following year. Tliese were followed by like expositions in 180G, 1819, 1823, 1827, 1834, 1839,1844, and 1849. At the Exposition of 1849, which was the last National Expo- sition in France, there were nearly five thousand exhibitors. As narrow as were the views of their promoters, and as selfish and bigoted as were the reasons which led them to exclude other countries, these Expositions exerted a wonderful influence upon the commerce and industries of that country. Napoleon himself encouraged and ' planned trades displays, and early in their history Tallerand said, ' that in fostering such enterprises lies hidden the future glory of France." Meanwhile, England was pursuing a like course, and other European nations were striving to excel in the arts of peace. In 1820, a National Exposition was held in Vienna, followed by similar affairs in 1835, and again in 1849. Germany, too, fol- lowed in the wake, and a National Exposition was held in Berlin in 1822, and again in 1827, and the third and most successful exposition in 1844, at which there were over three thousand exhibitors. It was these Expositions that made Berlin the center of German art and German industry. A number of National Expositions were held at Dresden between 1824 and 1845. Since that time the people of Saxony have made liberal displays at the Expositions of other countries, and by carefully studying the industries of other nations, have advanced the mechanical arts in their own country. Switzerland had national exhibitions between 1837 and 1848, Lausanne, Berne, St. Gall and Zurich being selected as locations. Belgium had national exhibitions which were held in Brussels and Ghent, between 1835 and 1850 ; national exhibitions held at Moscow, St. Petersburg and Warsaw, in Russia, between 1829 and 1849 were ; in in the kingdom at Lisbon, Portugal, between 1844 and 1849 ; of Sardinia between 1829 and 1855 ; at Madrid, in Spain, between 1827 and 1850 ; at New York and Washington, in the United States, between 1828 and 1844, and in England and Ire- land, periodically, from the time of the first exhibition, until 1849, the last great national exhibition in the United Kingdom being held at Birmingham in that year. National exhibitions practically went out of fashion all the world over between 1840 and 1850. Between these years, London was gathering force and material for the first great international exposition. The nations of the earth were to be pitted against each other for the first time. The various countries were husbanding their strength for this great contest. They felt that if the London exhibition were successful, the great exhibitions of the future must be international in character. This has proved to be the case, although many local or minor exhibitions of great interest to the coun- tries in which they were held, have been conducted successfully since 1851. The first international exposition was held in London in 1851, under a roj'al com- ' mission. The main building of this exhibition has liecome famous as the ' Crystal Palace. " It was designed by Sir Joseph Paxton. The general plan was a parallelo- gram, 1848 feet long and 408 feet wide. On the north side there was a projection 936 feet long. The entire structure covered 1,000,000 square feet. There were four great departments of the exhiljition —raw material, machinery, manufactures, and fine arts. These departments were sulidivided into thirtj' classes. One half of all the space was alotted to England and her colonies, and one half to foreign countries. The number of exhibitors was 13,937, of whom 6, 861 were from Great Britain and Ire- land, 520 from the colonies, and 6,556 from the rest of the world. The estimated value of the exhibits was £1,781,929, or about $9,000,000. The admission price was one shilling, or about twenty-four cents, for four days in the week, on Fridaj's two shil- lings and six pence, and on Saturdays, five shillings. Season tickets for gentlemen were sold at three guineas ($15.75), for ladies, two guineas ($10.50). The difference in the prices charged on Fridays, Saturdays, and other days, arose out of the class distinction which always enters into affairs of this kind in England. The reccnpts were £275,000, or $1,375,000 in silver, and £81,000, or $-105,000 in gold. It was estimated that the fixed income of the city of London was increased about £4, 000,000, or $20,000,000 for the six months during which the exposition was kept open. The receipts exceeded the expenditures of the exposition management by almut $1,000,000. This, though the very first, wasone of the most successful international expositions I'ver held. The United States made a very shabby displaj' at the exhibition, tlio total num- ber of our exhibits being onlj' 499, and the number of Americans visiting London during the entire six months, was but 5, 048.
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