274 



EXHIBITION, CENTENNIAL. 



Young Satyrs," a fignre-piece by Sain, Cle- 

 ment's " Death of Caesar," and several paint- 

 ings from the nude. Some fine Gobelin tapes- 

 try and Sevres porcelain were exhibited here. 



The German exhibit was still more barren 

 and insignificant than the French. The best 

 pictures were an historical piece by Schrader 

 and one by Folingsby of Munich, portraits by 

 Richter and Begas, a sea-piece by Achenbach, 

 genre paintings by Boser and Meyer von Bre- 

 men, and a landscape by Wilberg. 



Austria, however, sent specimens of her best 

 art-productions, including one of the master- 

 pieces of Makart, her most famous painter, 

 " Catarina Cornaro receiving the Homage of 

 Venice," a work of surpassing power and 

 beauty ; some good landscapes by Russ, Thoren, 

 Lichtenfels, and Schaeffer ; a piece of flesh- 

 painting by Felix, and other paintings strong 

 in color and conscientiously executed. 



Spain sent one or two old masters and a 

 good number of fairly-done modern paintings, 

 showing the characteristics of the Spanish 

 school in color and treatment. 



Sweden also exhibited some fair work, strong- 

 ly tinctured with the German manner. 



Norway sent some coast-scenes of moderate 

 merit. 



The Netherlands made a considerable dis- 

 play of paintings, manv of them carefully 

 executed, but none of them marked with any 

 decided qualities. 



Belgium, besides a very unsatisfactory dis- 

 play of mediocre paintings, exhibited some 

 good art- work on brass and faience, and some 

 fine statuary. 



Italy exhibited a number of insignificant 

 paintings, and a large collection of marbles by 

 her bsst artists, mostly genre subjects, handled 

 with spirit and great technical knowledge in 

 many cases, and in a manner unfamiliar in this 

 country, which is more accustomed to the 

 earlier classical school. 



The Italian section contained also the note- 

 worthy collection of antiquities made by Ales- 

 sand ro Castellani, of Rome. This important 

 collection consists of marble statuary of Greek 

 and Roman workmanship, artistic bronze uten- 

 sils of Etruscan production, a large collection 

 of ancient jewelry, many wonderfully fine en- 

 graved gems, a collection of rings dating from 

 the earliest Tuscan period to the end of the 

 sixteenth century, and one of the finest collec- 

 tions of early majolica ever got together. The 

 statues were seventeen portraits and busts 

 from the imperial epoch, a colossal Dionysius 

 or Indian Bacchus, being a repetition of the 

 piece in the Vatican called the u Sardanapalus," 

 a comic mask of Hercules, a mask of Bacchus, 

 and an exceedingly realistic treatment of the 

 subject of the boy with a thorn, the position 

 being the same as that of the Spinario in 

 Florence. The collection of bronzes included 

 twelve of the caskets found in the ruins of 

 Praeneste, one of them containing all its fit- 

 tings of mirrors and mirror - cases, oil-flasks 



and ointment-boxes, combs, scrapers, etc., all 

 elaborately ornamented, like the caskets. The 

 Etruscan jewelry included ornaments in cu- 

 pulated and uncupulated gold, bronze, silver, 

 amber, glass, and precious stones. Some of 

 them belong to the earliest and rudest period 

 of Tyrrhenian art, while many of them are in- 

 comparably fine in their artistic taste and deli- 

 cacy of finish. The engraved gems comprised 

 270 specimens illustrating the entire history 

 of ancient glyptic art, and including some of 

 the most famous examples extant. The rings 

 numbered 350 articles, many of them of rare 

 types, while the collection in its completeness 

 possesses great historical worth. 



The art-collection embraced interesting prod- 

 ucts of the engraver's art, decorative work in 

 all kinds of material, good collections of water- 

 colors, particularly in the English and Ameri- 

 can departments, architects' designs, and orna- 

 mental devices for all purposes, and every va- 

 riety of art-workmanship. 



In a photographic annex many of the best 

 photographers combined to make up a large 

 and fine exhibition. Several new processes 

 and styles of finish were shown. 



Next in size to the Main Building was the 

 Machinery Hall, 1,402 feet long by 360 wide, 

 covering with its annex, 208 by 210 feet, an 

 area of 12.82 acres, with about 14 acres of ex- 

 hibition-space. It was constructed of wood 

 with iron ties and struts in the roof trusses, 

 upon piers of solid masonry. The architect- 

 ural effect was plain, but it was an excellent 

 structure for the purpose intended. Steam 

 and water power and shafting were provided 

 by the Commission. Next the building was an 

 annex intended for hydraulic machinery, con- 

 taining a water-tank with 10 feet of water, 60 

 feet broad and 160 long. The double-acting 

 duplex vertical engine which furnished th( 

 power for driving the machinery in Machinery 

 Hall was erected and exhibited by George H. 

 Corliss, of Providence. The cylinders were 44 

 inches in diameter and 10 feet stroke, and it 

 was rated at 1,400-horse power. The gear- 

 wheel, 30 feet in diameter, 24 inches face, and 

 weighing 56 tons, making 36 revolutions per 

 minute, had 216 teeth cut by special machinery 

 also exhibited by Mr. Corliss. The crank-shaft 

 was made of hammered iron. The cranks 

 weighed over 5 tons each. The beams were 9 

 feet wide in the centre, 27 feet long, and 

 weighed each 11 tons. The connecting-rods 

 were made of worn-out horseshoes, the best 

 material. The piston-rods were of steel. The 

 weight of the entire machine was about 700 

 tons. 



In' Machinery Hall a conspicuous exhibit was 

 the sewing-machines, all the American houses 

 taking part, together with French, English, 

 Canadian, German, Russian, and Belgian mak- 

 ers. The chief novelties were : a universal 

 feed-apparatus for embroidering, from France, 

 by which the cloth can be turned in any direc- 

 tion without touching it; an automatic em- 



