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THE  PARIS  EXPOSITION  OF  1867. 
THE  PARIS  EXPOSITION  OF  1867. 
By  the  Editor. 
The  powerful  influence  of  exhibitions  in  ameliorating  the  condition  of 
civilized  peoples  will  hardly  now  be  questioned.  Beginning  in  towns  and 
cities  in  reference  to  all  branches  of  the  mechanic  arts,  the  fine  arts,  and 
horticultuie  they  have  extended  into  the  country,  and  every  county  and  state 
has  its  agricultural  exhibitions.  People  are  brought  together  in  the 
presence  of  the  best  specimens  of  their  productions,  and  whilst  socially 
mingling  with  their  fellows,  imbibe  ideas  of  improvements  in  various 
objects  useful  or  interesting  which  they  do  or  may  render  available  for 
their  own  advantage.  From  these  initial  efforts  in  Europe  came  the 
grand  idea  of  the  Universal  Exhibition  for  all  countries,  which  was  opened 
in  the  Crystal  Palace,  in  Regents  Park,  London,  with  such  wonderful  suc- 
cess. Gathered  there  through  the  ubiquitous  influence  of  Great  Britain, 
were  the  natural  products  and  the  industrial  and  artistic  creations  of 
nearly  the  whole  world,  civilized  and  semi-barbarous.  Coincident  with 
this  great  collection  of  material  objects,  was  the  wonderful  current  of 
travel  that  set  in  towards  the  Metropolis  from  nearly  all  countries,  which, 
perhaps  more  than  any  other  feature  of  the  Exhibition,  tended  to  break 
down  national  prejudices  and  to  make  men  appreciate  the  idea  that  they 
have  a  common  origin  and  a  common  destiny,  and  however  varied  may  be 
the  allotments  of  Providence  to  nations  and  individuals,  there  are  certain 
great  lines  of  sympathy  and  principles  of  action  which  are  sufficiently 
catholic  to  embrace  the  entire  race  of  mankind. 
Many  of  us  can  recall  the  "  Universal  Exhibition  "  held  in  New  York 
in  1853,  which,  though  a  failure  in  its  pecuniary  aspect,  did  more  for  extend- 
ing a  knowledge  of  arts  and  manufactures  in  this  country,  than  almost 
any  other  single  influence  of  latter  time.  Then  followed  the  Paris  Expo- 
sition of  1855,  the  noble  structure  to  accommodate  which  yet  stands  in  the 
Champs  Elysees,  devoted  as  a  museum  of  modern  sculpture  and  painting. 
Next  came  the  London  Exhibition  of  1862,  and  the  Dublin  Exhibition  of 
May,  1868,  and  lastly  the  Paris  Exposition  of  1867,  the  most  extensive  and 
elaborate  the  world  has  yet  seen;  and  the  influence  of  which  on  the  world 
will  be  felt  long  after  the  last  traces  of  the  exhibition  have  disappeared 
from  the  Champs  de  Mars.  Having  had  the  opportunity  to  a  limited 
extent  to  glance  over  that  wonderful  collection,  the  inclination  to  say 
something  about  it  has  frequently  recurred,  but  it  has  always  been  with 
the  discouragement  that  presents  itself  when  one  undertakes  to  clasp  an 
object  too  large  for  his  grasp,  or  about  which  the  most  that  could  be  said 
would  be  too  little  to  convey  an  adequate  idea  of  the  endless  variety  and 
interest  of  the  objects  it  contains.  The  only  feasible  plan  is  that  of  a 
regular  correspondence  during  the  period  of  the  Exhibition,  which  shall 
involve  not  only  the  objects  but  many  of  the  incidents,  in  a  running  com- 
