THE PARIS EXHIBITION. (FROM OUR SPECIAL CORRESPONDENT.) Paris, July 20. THE PALACE OF MACHINERY.

Te Aroha News, Volume VII, Issue 407, 2 October 1889, Page 6

THE PARIS EXHIBITION. (FROM OUR SPECIAL CORRESPONDENT. ) Paris, July 20. THE PALACE OF MACHINERY.

The Palace, as ib may worthily be terme of machinery, as a triumph of engineering and architectural skill, runs even the Eiffel Tower very close. Some idea of what it is like may be conceived from the fact that a little over fourteen acres are under one gigantic roof of glass— tho largest covered surface, I believe, in the world. The length is 1,377 feet, tho width 378 feet, and the height 158 feet. The total area, include ing the galleries, every inch occupied by exhibits, is about twenty-two acres. As an illustration of what these iigures mean, it has been -calculated that, allowing each man 25 square feet, an army 30,000 strong could bivouack on the ground floor, whilst from 12,000 to 15,000 horses could be stalled in tho side aisles, and their riders quartered in the lower range of galleries. The novel form of the great iron archos which form the framework ot this enormous building' a't onco ai rests attontion. They are articulated at their highest point and at the two points where they touch the ground in gigantic hinges or caps. Each arch weighs 150 tons, and the articulation allow." of free expansion, which would not have boen possible under ordinary methods. The construction is at once a marvel of equilibrium and resistance. The csu)> d'n't'l of the interior is very striking, l The palace is divided transversely into a certain number of bays, which occupy the intermediate spaces between parallel allcvs running the wholo length of the building. Tho centre is occupied by machines in motion ; the side aisles and the wide gallery which runs all round above the ground area, with the apparatus and processes of the mechanical arts, coinprising ' machines in repose, locomotives, and others which do not require for exhibition the application sf motive power. Two double rows or files of cast iron columns, 22 feet high, supporting motal Deam*, below which are appended what mechanicians call "chairs," i.e., supports in metal, through which pass revolving shafts, kept in motion by steam machinery, run along the centre of the buildine:. The shafts, by means of a simple arrangement of pulleys, belts and driving wheels, give the required motive power to the separate machines. The spaces between the columns are about 35ft, and the substantial character of erection may be judged when it is considered that 3,000 hor.se steam power is continually in action. The beams are further utilised in a" remarkable manner ; they form tho " permanent way," if I may so desciibe it, on which run through the-' -vast hall two anormous vehicles on wheels, denominated with absolute propriety tr pouts roulants," rolling bridges. It will bo understood from what I have said above that there is a double row of columns each capped by longitudinal beams, and it is .upon these that the rails, so to speak, are laid, constituting two railways of enormous breadth of gauge and 985 ft in length. The rolling bridges are each ,a"bout 60ft from fcido to side with af friflth of 16ft, and airy from 150 to 200 passengers, who pay a small fee for the privilege of thus viewing at their ease, and from a point of considerable advantage, the machines in motion and other more im* portant exhibits of mechanical art. The bridges, to all appearances, are bridges and nothing more, and they roll along slowly and smoothly from one endtotheotherof the building without any visible motive power. Generators df electricity, established in the court below, pioduce' the motive force, which is distributed, by conductors on the rails, where they are -brought into contact with electric mechanism on the bridge. The same principle, I may note, is applied in the short electric railway which runs along the pier ab Ryde in the Isle of Wight, and very puzzling it is to see' the carriages running along without any apparent motive power whatever. It should be mentioned that the rai&o{i iVttre of these rolling bridges was not entirely the convenience and amusement of visitors. During the building and fitting up of the palace, the arrangement and placing the exhibits', "they were of the greatest service, and with their ae&istanco tho enormous pieces' wf machinery now to be seen at work were placed in mlv. Those who avail themselves of the bridges pay 50 cents, and the -daily receipts from this source have averaged over 40C francs. I cannot venture even to attempt to describe the \aried contents of this huge building. There is, I noticed, a very Urge collection of punting and typographical machines, chieily American patents. 1 did not observe any goldmining machinoty ; coitainly there is none at woik. On the whole, indeed, taking all the sections of the Exhibition, illustrations ol mining industry would seem to be a weak point, bub into this it is m^ intention to examine and inquire further. Tho various exhibits classed under the general head of "Agriculture" occupy a large number ot couits and galleries, situated mostly in unpretending buildings on the Quai d'Or.-ayc. Architectural splendour and luxury of dec have been heie sacrificed to convenience of arrangement, but there are to be seen oil the riches which man can by his industry produce from the soil, and the manner of production. It requiies to be a specialist to fully comprehend and realise the completeness in every detail of this most interesting and instructive section of tho Exhibition. A long range of gallerios is devoted to agricultural machinery and implements, in which native industry makes a very good dhow, it being generally acknowledged that in machinery France quite comes up to America and England, both of which are largely represented. France, it must be recollected, is almost entirely self-supporting ; as regards agricultural produce, she imports nothing but a very little wheat, on an averaere during the last ten years of one twenty-second part of the whole consumption. On the other hand, wine, brandy, and agricultural machines are exported to a considerable value. Corn seed to the valuo of fifteen millions of francs is annually oxported, and, oddly enough, five millions, worth' is imported. Vine culture, as ib well known, is one of tho principal branches of French agricultural production. During the last twenty years this industry has had to contend with a terrible enemy, phylloxera, which has caused terrible loss, in some departments, the superficial area of the vineyards having beon reduced in the aggregate to one fourth, and in some instances onefilth of their ancient extent. The vineyard owner*, however, have not given in to the disaster. It is above all the work of re-con-strnction that the exhibits in this class ve»y instructively illustrate, wearesbown in all the stages what steps have been, and arc being, takon to restore tho vineyards and revive the industry. The cultivation of American vine-stocks grafted with old French stocks of very superior quality is at present considered the most efficient antidote .against the ravages of the phylloxera. The agricultural societies of the southern departments exhibit products of the grafted vines, methods of wine making, and statistical charts showing the production over a series

of years under a variety of circumstances. The collective information thus available must nepds prove ,of very great value. In order that wine may be made under favourable conditions. itiis above all things necessary that the- /manufacturing' plant' should be properly designed, constructed, and fitted. A model plant is shown, being such as is commonlj used in the, middle of France. This comprises tuns of vast capacity, pumps capable of -delivering 450. gallons of wine per hour, gigantic nitersand other appliances "on „the same scale, with the purpose of facilitating the rapid treatment of liquid in large quantities. A special class in Ith is section is devoted to insects "insectea'u tiles" and •• insectos invisible." Various processes for> destroying the latter or rendering. nugaj;6i*y itUe mis-, chicf 'are shown, but jit is* 6videntfy- difficult to make such processes .intelligible by mere description an&drawing.. The number and variety of the insectile enemies of the agricultmist are somewhat appalling, and there seems little doubt that a good .deal of trouble is duo to the wholesale slaughter of small birds, delighted in by provincial "quasi" sportsmen. There are only two species of useful insects, the bee • and the silkworm. Tho culture of the bee appears to be held in little honour in France, which the intelligence of the people begins to realise is much to be regretted, since it is well understood that such culture can be made the source of large profits with very little trouble. There are, however, several excellent models of hives exhibited, constructed, 1 noticed, on the principles generally accepted in New Zealand, where agriculture is,| 1 believe, assuming considerable importance. The breeding of the. silkworm, so vitally .important to Franco, has been, it appears, .seriously interfered with for this long time past by a terrible contagious malady which has killed off the young worms sometimes to tho extent of onebalf the produce of the ova of the year. M. Pasteur has discovered a remedy which has been successfully used and should earn for him the gratitude of the country, as it is believed that the application of the methods he has indicated will more than double the supply of silkworms, and consequently restore the silk industry to a position e\en better than it formerly held. Tho exhibits are somewhat technical, no doubt exceedingly interesting to an expert. In the section of agriculture are also exhibited all things which appertain to what the French term "la culture de l'eau,"the cultivation or breeding of lish in fresh and salt water. This part of the Exhibition is on a barge moored in the river Seine. In a certain number of the departmental schools of agriculture and in many establishments under the Minister of Public Works, the processes of artificial fecundation of eggs, of incubation and the raising of spawn aie carried out every year in increasing proportions. These processes are all shown by excellent models. The raising of oystors is the principal object of marine iMsciculture. There has been, it is said, of late years, a notable improvement in the French oyster by the application of certain methods which are shown by illustration, but are haidly intelligible on casual observation. Personally i have no great opinion of the oyster as presented to the epicure in the restaurants and hotels of Paris ; it cannot of course compare with the famed Engli&h " natives " now alas ! only to be obtained at a -prohibitive price, but is*' watery and almcrs't tasteless, only suitable in fact for cooking purposes. », ! The International Congress of Agricul- J ture£ held in the ' Palace of the Trocadero from the 4th to the 11th ihst., was in every respect understood to. have been a great success. The principal object was to s"tudy and consider the causes and effects- of the. agricultural crisis so long prevailing throughout Europe, with ttte "view of suggesting remedies. The report of the Congress will, I expect, soou be available, and doubtless will prove to be a very instructive document, since it will embody the results of most instructive experience. The show of domestic' animals in connection with the Exhibition— Uoncours Temporaires d'Aniuiaux Dcßiestiques — is in-, tended to compriso two series, the first of which, an international show of cattle, sheep, pigs and poultiy, 'is on just now, and that of horse's and' "asses will be held the first week in September. I may have something to say about the present show in a future letter.-: . I have not been able up to, this time to visit it, by t hear that there are upwards of 2,000 beasts of various classes oh the ground. The horse show i$ September, it is anticipated, will be exceptionally good.

In these somewhat rambling letters I have not attempted to give anything like a detailed description of the Exhibition, which would be, I conceive, to a greao extent a work of supererrogation or surplusage, considering the veiy full accounts from time to time published in the English papers, and if not transcribed in your columns, certainly familiar to the majority of your readers. My scheme, it it can be considered a scheme and order can bo evolved from disorder, is rather to note such things which suggest themselves as likely to be of more special interest in the colony, and to take these up at haphazard as the fancy strikes me. Thus in my last letter I gave a brief sketch of the exhibits from the colonies and dependencies of France, which evidently, as a matter of policy, constitute so conspicuous a feature of the Exhibition. As in some respects cognate thereto, I described the successful efforts made by some politically insignificant and hardly known States to place themselves in evidence before the world and make known their natural resources and present condition of civilisation. It is a thousand pities, I must again assert, that the colonies of England are represented solely by the

POOH SHOWS OF VICTORIA AND NEW ZEALAND. The Imperial Government, I venture t° conceive, are to blame for nob having mad© it bheir business bo secure at any cogb adequate representation. Two magnificent buildings, properly called palaces, which face each other on each side of the Palais Central, with its gleaming minai-ets and dome, are devoted respectively to the line arts and the liberal arts and sciences, constituting, as may be imagined, the most generally interesting sections of the Exhibition. The Palais dcs Beaux Arts contains not only la- marvellous collection of all the chefs d'<t j uvres of French art, painting, sculpture, engraving, etching, etc., showing the development during the centennial period, but no less than 50 saloons in the vast building are occupied by the exhibits of foreign countries — Italy, Spain, . England, Germany, Russia and 'Austro-Hu-ngary on the ground floor ; Belgium, Switzerland, Greece, the United States, Denmark, Norway, Sweden, Holland,' SVrvia, Roumania and other lessknown States, nob officially represented, in the magnificent galleries of the first floor. It may readily be conceived what a field is heVe presented to the lovers and students of art. No such intellectual breat can ever in the nature of things have be.en afforded, nor ig t ever likely to be again under one, roof. • '•„,.

THE CHOICEST ART TREASURES I OF THE CIVILISED WORLD, or specimens at least of" every school, are gathered here, and the expansion and artistic progress of every European country are illustrated and demonstrated in the most interesting manner,. In sculpture, Italy, 'l should conceive,retainsthehigh pocsitionshe •has held for centuries, but is pressed down in the more modern school by France. The realistic character, however, of French art ' generally dogs notcommend itself to English taste. Many of otherwise most exquisite' sculptures exhibited are distinctly objectionable*, ancl it may be, added quite unnecessarily so, simply from the want of a lifctHo drapery. It 13 gratifying to our national feelings to have the almost universal as&ikanco'that in painting the English colleobibH ',' takes the cake." The personal supervision of Sir Frederick Leighton, who was ably teconded by Alma Tatlema, Alfred Hunt "and other eminent Englishmen, has secured a truly superb exhibition. The whole arrangements aro a model of elegance and good taste from the choice of the pictures, their judicious • .grouping and hanging, down to the beautifully printed catalogue and the very conliortable furnishing of the saloons, where abundance of luxurious seats enable the Exhibition to be enjoyed without fatigue. The level of

ART IN GREAT BRITAIN is very much what ib was in IS7B when the last great international exhibition was held in Paris. The same voterans occupy the scene. At the head bhere.is Sir J. E. Millais, who shows some of his most admired works —"Cherry Ripe," •• Tho Last Rose of Summer," " Cinderella," "Bubbles"andthe recently executed portrait of Mr Gladstone, the last a most striking picture. The veteran statesman, full of lifo and intelligence, seems to stand out of the canvas. It is, indeed, worthy in every respect of the high reputation of the artist. Alma Tadema exhibits one picture, which alone would stamp him wijdi eminence, and has, indeed, given him a first place by the verdict of the Exhibition jurors. The subject is "The Sleep of the Menades at Amphissa," a charming scene described in the " Daniel Deronda " of George Eliot. The school of preRaphaelites is represented by its, chief disciple — Burne- Jones — who exhibits thatmosb exquisite work "King Cophetua and the Beggar Girl." Unfortunately neither Holman Hunt nor Gabriel llosetti have put in an appeai-ance, but Mr Walter Crane shows that wonderful conception, "La Belle Dame Sans Meici," and some purely delicious sketches for Grimm's Household Stories and " The Sirens Three." Among the artists not yet known to fame, but soon there is little doubt to be inscribed in its rolls, who exhibit canvases are Mr Forbes, a young painter, who somewhat a(tect3 the modern continental style, and Mr Wylie, a marine painter whose works already attract some attention. Germany, Austria and Russia are but feebly represented, whilst Italy displays distinct signs of decadence, The United States shows a number of pictures, bub they are almost exclusively by

ARTISTS WHO ARE PRACTICALLY PARISIAN, And havo exhibited for years in the annual saloons (the exhibitions which answer to those of the Royal Academy in London). My impression is that it would take at least a fortnight to do anything like justice to the inspection of the treasures in the Palais dcs Beaux Arts. I have only endeavoured to give an idea of what there is to see of more particular interest to English people. The Palais dcs Arts Liberaux is exactly the same design as the Palais dcs Beaux Arts, forming, if you look from the base of the Eiffel Tower, the right facade of the Palais Central, The edifice comprises two grand naves, 290ieet in length and 164 feet wide, a gigantic central dome 100 feet in diameter at the base, and 180 feet in height. There is a gallery all round the building 50 feet wide, with a balcony 16 feet wide opening on the na-ves. for promenading. The total area a\ ailable is, as nearly as can be calculated from the Fiench system of mensuration,' 4,000,089 yards. Although the palace is denominated that of the Liberal Arts, the Liberal Arts proper really form only one class- of the .contents. The exhibition is really that of the

■ -HISTORY *OF HUMAN ■WORK' AND RESEARCH , In all its branches, and comprises five sections : (1) The anthropological and ethnographical sciences ; (2) The liberal aVts ; (3) The manual arts and employments; (4) The means of tiansport; (5) The military arts. The exhibition of the liberal arts under class 2 includes methods of instruction, from that of the infant up to the organisation and material of secondary education— the arts of printing, paper-making, book-binding, illustrated by work in actual operation. The materials for painting, sketching, planning and photography, instruments of music and those used in medicine and surgery, mathematical instruments, charts, globes and other appurtenances of geograpy, cosmography and topography arc shown in intelligent airangement. The circular portico under the dome, from which branch the various courts on the ground iloor, and the staircases to the galleries and balconies is the centre of section 2, and is devoted to the theatre and its history. We are shown utter alia the decoration of the auditory, the stage fittings at various periods of the Crand Opeia and the National Theatre, the simple machinery of years ago, the complicated contrivances for stage effect in modern times, the programme for a long series of years, portraits and costumes of celebrated actors, and modes of set scenes in many famous operas and drama*. Adjacent to this portico are the courts in which the history of painting and sculpture is illustrated by the methods employed by the painter and sculptor in all timen, the materials in each instance and examples of completed works executed in fresco, oil, distomper, water colour, etc., and as regards sculpture iv wood, stone, bronze, ivory and wax. In other courts we have after the same fashion the history of engraving, of coins, of money, and of medals.

MUSIU OCCUPIES A LARGE SPACE. The history illustrated by the exhibit of musical instruments and their fabrication from the Egyptian harp of remote antiquity frbm the Louvre galleries and the rebeck modelled from the antique statue of music at Chartres, to the ordinary piano of to day. Under section 1 is displayed exhaustively the history of man, forming a seiies of realistic and picturesque representations, occasionally in some instances rather unpleasantly realistic. The Minister of the Interior and his department ore responsible • the educational exhibits, which, exceedingly well arranged, are on a large and comprehensive scale. I have not as yet had the opportunity of thoroughly examining these as I should have wished, and' ,therefoi-e postpone more particular notice until I make a special visit with the express purpose of obtaining such information aa may possibly be 'of uso in the colony. lhe manual arts and, occupations occupy in their history

and illustration very considerable space. There are examples, representations and models of everything which can interest the engineer, the artisan, and the manufacturer. The implements and products of all types and times are shown, even to the re-construction of the workshops and ateliers of bygonefapres. Thib, I need hardly say, is amostinteresting section, but again it is one which demands far more than a casual inspection. There is one thing to be said, that in visiting the courts of the Palais dcs Arts Liberaux one is not impeded by the crowds which in man/ parts of the Exhibition render it difficult to examine objects properly or even to move about with comtort. The portico of the theatre exhibits is perhaps an exception, and the tJourt of the Prisons, otherwi.se there is always room one 1 to spare throughout the vast naves and galleries. Passing after the fashion of an illustrious order "

FROM LABOUR TO REFRESHMENT, I shall conclude this presenb communication by brief reference to the various means afforded in the Exhibition grounds for re- • storing the wasted tissue of weary sightseers. l There are about 40 sestaujrants and cafes, and besides these counters in several sections, where comestibles peculiar to the exhibiting country are to be obtained and a. number o! what the French call 4 ' brasseries " and buvettes," freely interpreted, refreshment rooms and drinking shops. The restaurants vary in the qualioy of the fare and the somewhat corresponding* prices, from the Cafe Francais, where princes lunch sumptuously, to the Duval establishments, conducted much on the system of the cheap eating-houses in London, and not much exceeding the current prices at those places. Visitors have therefore ample choice, and every taste and purse may be suited. breakfast or lunch may run up to 30 francs if you like to wash down well-cooked viands with good wine, or jou may satisfy the appetite with sufficiently wholesome food for a couple of francs. The counters " Comptoirs de Degastation " mentioned above are quite a revelation in gastronomies. Sausages in various forms, and possibly of varied flavour, are the leading feature in the Austro - Hungarian and Swiss sections. Holland otters strange - looking conglomerations of pressed meats, but I musb confess not to have experimented >in these quarters, where, however, a pretty big meal as to quantity can be certainly had for a franc. The English dairy provides strawberries and cream, with delicious cakes, and is largely patronised. On tho lirst platform ot the Eiffel Tower there are four good restaurants — Ru&sian, French, Italian and English, the latter run by Spiers and Pond. The Prince of Wales and his family were lunching there one day when I was on the tower. Whilst on the subject of food supply, I think it is only fair to the Parisians to state that the exorbitant charges so generally affirmed to have ruled during the Exhibition time are most certainly exceptional, if not altogether imaginative. I know Paris pretty well, and personally 1 found little difference from past seasons. People who do noc " know the ropes " no doubt have to pay for their ignorance, as is the case in London, but if you do know the way about and are not tonguetied by not understanding the language, , there is no necessity whatever for extravagant expenditure.