. Exposition universelle, 1900 : the chefs-d'uvre. eball which supports her and under thegalley v/hich serves her for a bonnet?She is throned among the stars. She liftsher nose proudly. She struts, like thebourgeois who have carriages and horses,and who intend that we shall know from all idealism, she superintendsthe distribution of the tickets, inexchange for which we obtain of the household, shelooks* after the prosperity ofher establishment. Filled withthe sense of her own impor-tance, she rules from on high, likea goddess. Is she, then, our latestfetich, the Palladium
. Exposition universelle, 1900 : the chefs-d'uvre. eball which supports her and under thegalley v/hich serves her for a bonnet?She is throned among the stars. She liftsher nose proudly. She struts, like thebourgeois who have carriages and horses,and who intend that we shall know from all idealism, she superintendsthe distribution of the tickets, inexchange for which we obtain of the household, shelooks* after the prosperity ofher establishment. Filled withthe sense of her own impor-tance, she rules from on high, likea goddess. Is she, then, our latestfetich, the Palladium of our city,the Madonna of the new era, Notre-Dame du Tourniquet? Still anotherof these commentators, M. Hallays,carries this irreverent idea further:At the summit, like a cup-and-ballreversed, the symbolic statue of theParisienne makes to the gapingloungers below a strange, but by nomeans equivocal, gesture to invitethem to pass through the guichets;she seems to say: Come and seemy sisters; there are white ones,black ones, and yellow ones. But 1. ^jlljji; TOURELLE OF THE PALAIS DES ARTSDECORATIFS. 42 ARCHITECTURE do not convoke you to any great gathering of labor. I am what I am,and you will see what you will see. They have sculptured at my feetan army of workingmen, gardeners and laborers. It is a humbug. . .Enter into Pornopolis. With such ribaldry did the Parisians greet theopening of their great Exposition,—when they were not in tearful hystericsof admiration before it. This monumental entrance has the disadvantage of being placed at acorner of the grounds,—although it was planned to till the functions ofthe popular Porte Rapp of previous Expositions,—and opens on nothingbut an avenue of horse-chestnuts running along the river. This is flankedon each side by the most miscellaneous and heterogeneous collection ofsculpture, of all countries and ages, in the whole display, much of whichis, moreover, funereal or unpleasantly realistic, anything but arrang
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