FRENCH RESTAURANT LA FAYETTE.
THE MAMMOTH RODMAN GUN.
SCENE AT ONE OF THE ENTRANCES TO THE GROUNDS--THE TURNSTILE.
SCENE IN A BURIAL-GROUND.
THE SULTAN ABDUL-ASSIZ.
TURKISH COW-CARRIAGE.
ENTERING A MOSQUE.
CASTLE OF EUROPE, ON THE BOSPHORUS.
FORTRESS OF RIVA, AND THE BLACK SEA.
TURKISH QUARTER--STAMBOUL.
OBELISK OF THEODOSIUS.
SHEPHERDS.

LIPPINCOTT'S MAGAZINE

OF

_POPULAR LITERATURE AND SCIENCE_.

June, 1876.

THE CENTURY--ITS FRUITS AND ITS FESTIVAL.

VI. THE DISPLAY--INTRODUCTORY.

[Illustration: FACADE OF THE SPANISH DIVISION, MAIN BUILDING.]

All things being ready for their reception, how were exhibits,
exhibitors and visitors to be brought to the grounds? To do this with
the extreme of rapidity and cheapness was essential to a full and
satisfactory attendance of both objects and persons. In a large majority
of cases the first consideration with the possessor of any article
deemed worthy of submission to the public eye was the cost and security
of transportation. Objects of art, the most valuable and the most
attractive portion of the display, are not usually very well adapted to
carriage over great distances with frequent transshipments. Porcelain,
glass and statuary are fragile, and paintings liable to injury from
dampness and rough handling; while an antique mosaic, like the
"Carthaginian Lion," a hundred square feet in superficies, might, after
resuscitation from its subterranean sleep of twenty centuries with its
minutest _tessera_ intact and every tint as fresh as the Phoenician
artist left it, suffer irreparable damage from a moment's carelessness
on the voyage to its temporary home in the New World. More solid things
of a very different character, and far less valuable pecuniarily, though
it may be quite as interesting to the promoter of human progress, exact
more or less time and attention to collect and prepare, and that will
not be bestowed upon them without some guarantee of their being safely
and inexpensively transmitted. So to simplify transportation as
practically to place the exposition buildings as nearly as possible at
the door of each exhibitor, student and sight-seer became, therefore, a
controlling problem.

In the solution of it there is no exaggeration in saying that the
Centennial stands more than a quarter of a century in advance of even
the latest of its fellow expositions. At Vienna a river with a few small
steamers below and a