“What did you take?” Philip asked.
“I’m not telling,” said Harry, slyly. “I may be new at this business, but at least I know enough to keep dark until the negative is developed. ‘Don’t count your negatives before they’re developed’ is my motto as an amateur photographer!”
“Here’s the French Building,” said Philip; “and isn’t it French, though? See the green grass, trees, and fountain in the middle. Let’s go in and see it. It is sure to be good.”
They found the French Building, as Philip expected, both artistic and interesting. There was an exhibit of transparent photographs on glass, explaining the method of measuring and describing criminals so that they may be always identified after being once in the hands of the police. Here was a panel devoted wholly to queer noses; next came one upon eyes, or chins, or foreheads, each with a line of explanation in French, which Harry translated. Then there was a wax figure before a camera, giving a vivid idea of the way these photographs were secured. A camera upon a very high tripod stood over another figure representing a body found dead—to explain how a picture-record is made of such cases.
THE MASSACHUSETTS STATE BUILDING.
There were specimens of the work of invalids, probably hospital patients, and around another part of the building were large paintings showing views of city squares and streets. The whole building was a proof of the skill of the French in arranging exhibits both sensibly and artistically, so that they would be both easy to view and pleasant to behold.
A room devoted to relics of Lafayette was marked “Closed,” for which the boys were sorry. They gave the French-Building a good mark in their note-books, and went away wishing they could give more time to it—the best proof of excellence.
THE NEW YORK STATE BUILDING.