. Exposition universelle, 1900 : the chefs-d'uvre. THE RUE DES NATIONS FROM THEPONT ALEXANDRE iii PHOTOGRAVURE. ANATOLE GUILLOT. LABOR. GRAND FRIEZE IN HIGH RELIEF ON THE PORTE MONUMENTALE. INTRODUCTION Of the very many great Expositions which have succeeded eachother since the first,—inaugurated by Ptolemy Philometor, in the secondcentury before Christ, according to a passage in Athen^us of Naucratis,—that of 1900 is in many respects peculiar. The gradually increasingsize and splendor of the later, international, ones of this century, thesteady crescendo in their development, had carried the
. Exposition universelle, 1900 : the chefs-d'uvre. THE RUE DES NATIONS FROM THEPONT ALEXANDRE iii PHOTOGRAVURE. ANATOLE GUILLOT. LABOR. GRAND FRIEZE IN HIGH RELIEF ON THE PORTE MONUMENTALE. INTRODUCTION Of the very many great Expositions which have succeeded eachother since the first,—inaugurated by Ptolemy Philometor, in the secondcentury before Christ, according to a passage in Athen^us of Naucratis,—that of 1900 is in many respects peculiar. The gradually increasingsize and splendor of the later, international, ones of this century, thesteady crescendo in their development, had carried the nations alongin a species of intoxication of rivalry,—each succeeding festival was tobe a more magnificent competition in all the arts, and France, whichhad demonstrated her preeminent ability as organizer and hostess, wasstrengthened in her determination to retain this sceptre by the Americanexhibition of 1893. The very great development of science and industrywithin the last two or three decades had encouraged this proud confi-dence in unlimited progress,—time and distance were to be abolished,th
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