FACADE OF THE EGYPTIAN DIVISION, MAIN BUILDING.
FACADE OF THE SWEDISH DIVISION, MAIN BUILDING.
FACADE OF THE BRAZILIAN DIVISION, MAIN BUILDING.
DOM PEDRO, EMPEROR OF BRAZIL.
JAPANESE CARPENTERS.
FACADE OF THE DIVISION OF THE NETHERLANDS, MAIN BUILDING.
THE CORLISS ENGINE, FURNISHING MOTIVE-POWER FOR MACHINERY HALL.
INTERIOR OF COOK'S WORLD'S TICKET-OFFICE.
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.
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