Let us consider some of these benefits. Beginning with the grounds, these have been given over to the charge of some competent landscape architect under whose skillful supervision the desert has been made to blossom like a rose. The sand hills of San Francisco became the beautiful "Palm City," which since the close of the exposition has become one of the most attractive spots in the Golden Gate Park. At Nashville the landscape effects were claimed by many to excel in beauty those of the World's Fair in Chicago. "Evergreens, vines, and shrubs are everywhere, and three lakes break this vista of green," was the opinion of one visitor. Besides the general architectural effect of the buildings, which can not but impress those who are so fortunate as to visit these expositions, there is a special value in the reproductions of historical buildings. At Atlanta the Massachusetts Building was a representation of the Craigie House, the headquarters of Washington when in Cambridge at the beginning of the Revolution, and later the home of the poet Longfellow. It was a fortunate inspiration of the late Dr. G. Brown Goode that led to its presentation by the State of Massachusetts to the local Society of the Daughters of the American Revolution. The architectural feature of the Nashville Exposition was the replica of the Athenian Parthenon in all its artistic beauty. Every detail was true to the original in design and coloring. It was the chief glory of the centennial, and as it was a permanent structure it will long remain to the "Athens of the South" a memorial of its exposition. Of less conspicuous interest were the reproductions of the Rialto of Venice and the Alamo of San Antonio.
The only architectural feature of historic character announced for Omaha was that "the Arkansas Building will be a reproduction of the mansion of General Albert Pike in 1843." The long oval waterway around which the buildings were grouped afforded, however, excellent opportunity for studying the architecture of the buildings, which, it was claimed with much justice, approached those of the never-to-be-forgotten "White City" in their beauty of design.
From the exterior to the interior is a natural method of progression. Let us therefore pass to a brief consideration of the educational features that are to be derived from an examination, no matter how cursory, of the displays that are to be seen within the buildings. First of all, and indeed frequently the most important, is the exhibit made by the national Government. In the special building devoted to that purpose are shown the exhibits of the several executive departments, including also that of the Smithsonian Institution and its dependencies, and the Fish Commission. As a result of the years of accumulated experience there has been in each of the expositions previously mentioned, except that in San Francisco, a distinct improvement in the installation of the exhibits in the Government Building, until it was recognized in Atlanta that the display was superior to that in Chicago, and in Nashville "the best exhibit ever made" was the verdict of those who had seen the successive expositions previous to that in Omaha. Therefore the telling of a story by means of objects in the best manner possible is the result sought for and attained most perfectly by those who installed the Government exhibits.
It is, of course, understood that the purpose of the Government exhibit is to familiarize the public with the methods of carrying on the functions of the different departments. Thus, in the post-office exhibit there is shown the entire sequence of postage stamps, both of the United States and foreign countries, the various kinds of mail bags, figures of the mail carriers in their different uniforms, and finally models or pictures of the methods of transportation. The Treasury Department shows the working of the mint by the striking of commemorative medals, while a full series of the existing medals and coins of the country are displayed in cases on the wall. The functions of the Department of the Interior are shown by exhibits of a series of models of some important invention, as, for instance, a sequence showing the development of the sewing machine. In this way—for of course the blanks and other documents are shown—the working of the Patent Office is demonstrated; while the Geological Survey, also of the Department of the Interior, presents a series of minerals, showing the economical wealth of the country, together with its maps and reports, results of work accomplished. Everything can not be shown, but a most excellent idea of what each department does can be had from a study of the exhibits of the Government.
Next in importance to the Government Building is the one devoted to commerce, and here are usually to be found the weak points of our American expositions. In lieu of a series of exhibits showing the progress in a given industry or trade, we find too frequently a collection of nondescript articles without much if any relationship to each other. This is due primarily to a lack of proper organization in soliciting exhibits, and also because the awards or medals of the jurors are so often of no relative value. The second condition is an outcome of the first. To be more specific, in Nashville there were no exhibits from any one of the larger and well-known silver firms, and yet American silverware has a recognized status as one of the most successful of our American art industries. Cut glassware is another branch in which our artisans or art workmen have achieved splendid results, and still there were no exhibits from art glassmakers in Nashville. Certain varieties of art pottery and art glassware, such as the Rookwood pottery and the Tiffany glass, are seldom seen at these smaller expositions. In consequence the juror makes an award to the best article of its kind on exhibition, which may be but a third-rate article compared with others; still it is the best shown in the exposition, and therefore worthy of recognition. Another unfortunate feature must be mentioned at this point. It is the decorative feature. At the last World's Fair held in Paris there was a colossal figure of George Washington in chocolate exhibited by an American manufacturer of that article. While it might be considered as a laudable attempt to make known to the French nation the features of the "Father of his Country," and from that point of view worthy of recognition, still it was no evidence of the superiority of the chocolate, and therefore could not be considered in connection with the giving of an award. This condition of affairs prevails at every exposition, and too frequently an exhibit of a meritorious article is made in such a modest manner that its claims are overshadowed by the pretentious display of something quite inferior.
Two conditions thus present themselves—namely, the lack of proper exhibits and the improper presentation of certain exhibits. The first condition may be overcome by a more perfect canvass of the industries of the country. In nearly every one of these there is a national organization, and it should be the duty of that body to consider the matter. By the appointment of committees and working among the representatives of the industry, either a good exhibit from the leading firms could be secured, or else a collective exhibit of the best from many firms could be obtained. Typical of the last named was the exhibit made by the potters of the country at the World's Fair in Chicago. By the adoption of such a method of displaying the products of manufacturers the possibility of the second condition would be entirely eliminated.
After all, the value of these expositions is chiefly educational, and surely no more perfect way of educating the visitor or sightseer could be found than by placing before him a historical series of products, beginning with the one made first in point of time, continuing with better specimens, showing the improvements that have resulted from increased experience and knowledge, and culminating with the finest product now made. The contrast between the first and the last would be indeed most striking.
It must not be thought from the foregoing remarks that these interstate expositions have been lacking in the presentation of the products of their own home industries. Far from it. In San Francisco, in Atlanta, in Nashville, and in Omaha the local manufacturers did themselves great credit by the admirable way in which their goods were shown, but it was just in this particular feature that the weak point indicated previously made itself most conspicuous. A local silversmith could hardly be expected to compete with the more famous manufacturers in the same line in larger cities, and yet in the absence of an exhibit by the better known firm an award would naturally be given to the smaller manufacturer, thus creating a false impression to the world at large.
It must not be assumed that the educational value of the exhibits in the Commerce Building is without commendation. Next to making a thing, the seeing of it is most important, and surely no one can pass along the aisles of any exposition without noticing much that is new or unusual, no matter what his previous experience may have been. It is in this connection that the foreign section is frequently most instructive. Warm furs from Russia and the north, rich fabrics and strange metal ware from the Orient, rare porcelains from Copenhagen, and brilliant glassware from Bohemia and Hungary, tell the story with striking vividness of the special products of the Old-World nations.