Willis Fletcher Johnson

DURING the past half century a favorite and effective method of displaying and recording the industrial progress of the world has been found in the holding of World’s Fairs, or Universal Exhibitions. Almost every important capital of the world has now held one or more of these interesting displays, each in succession striving to outdo its predecessors in extent and magnificence, until the latest of them truly present in epitome the invention, industry, art, science, and general progress of the entire world. It was fitting that the first of these universal exhibitions should be held in the world’s chief city, London. It was opened in 1851 in a huge building erected in Hyde Park for the purpose, known as the Crystal Palace. This stupendous structure was composed chiefly of iron and glass and had a floor area of more than one million square feet. In size and originality of design it was one of the marvels of the world. The example quickly stimulated similar enterprises in other capitals. Dublin and Paris soon followed, and almost simultaneously with the exhibition in the Irish metropolis a similar exhibition was opened in the capital of the Western Hemisphere.

The American Crystal Palace, which was opened in New York in 1853, was in point of size much inferior to its prototype in London, and altogether insignificant when contrasted with the stupendous exhibitions of later years. For its time, however, it was proportionately equal to any that has ever been held. At that time New York City contained only a little more than half a million inhabitants, or about one-third of its present population. The development of the United States was still less advanced. What was now central Western States were then sparsely settled frontier territories. The Pacific railroads were a dream of the dim future. The Atlantic Cable was a vision. The telegraph itself was a mere rudiment of its present development. The railroad and the steamboat were primitive affairs. Even horse cars had not come into general use. Photography was in its infancy. As for the telephone, the electric light, and a score of other great inventions that are now of universal use, they were not even dreamed of. As the New York Crystal Palace of 1853 was to the Chicago Exhibition of 1893, so was America and its civilization of that time to our country of to-day.

This first universal exhibition held on American soil was situated in what is now known as Bryant Park, in New York City. It is now in the very heart of the city, at Sixth Avenue and Fortieth and Forty-second Streets. In 1853 it was well out of town in the suburbs, and was known as Reservoir Square. At that time it was surrounded by open fields and gardens, with here and there rows of pleasant rural cottages. A few of the streets were paved in that part of the city, but there was only a faint indication of what another generation would see. The little park was four hundred and fifty-five feet square, and almost the entire area was occupied by the Crystal Palace. The central idea embodied in the plan of the structure was that of a Greek cross, whose arms pointed north, south, east, and west. The extreme dimensions of the building, from north to south and from east to west, were 365 feet 5 inches, and the arms were each 149 feet 5 inches wide. The external angles formed by the arms of the cross were filled up with triangular structures, one story in height, thus making the outline of the ground plan an octagon. At each of the angles of the building was an octagonal tower, 76 feet high, and over the central intersection of the cross rose a magnificent dome, 100 feet in diameter and 123 feet high. The external walls of the building were composed almost exclusively of cast-iron and glass. The floors were of wood, and the roof was of wood, covered with tin and supported on wrought-iron framework. The roof was supported by 190 cast-iron columns on the ground floor, each 8 inches in diameter and 21 feet high. They divided the interior into two avenues or naves, each 41 feet 5 inches wide, with aisles, 54 feet wide, on each side. These naves, at their intersection, left an octagonal space 100 feet in diameter. The aisles were covered with galleries, while the naves were open to the roof and were spanned by semicircular arches of cast-iron. The dome was supported by twenty-four columns, each 62 feet high, connected at the top by wrought-iron trusses. On the top of these was a cast-iron bed-plate, with cast-iron shoes for the ribs of the dome, which were thirty-two in number. These ribs were bolted at the top to a horizontal ring of wrought and cast iron, 20 feet in diameter, surmounted by a lantern with thirty-two ornamental windows, decorated with the Arms of the Union and the several States. The whole quantity of iron employed in the construction amounted to 1,800 tons, of which 300 tons were wrought and 1,500 tons cast. The quantity of glass was 15,000 panes, or 55,000 square feet. The quantity of wood used amounted to 750,000 feet board measure. The principal dimensions of the building were as follows: From main floor to gallery floor, 24 feet; from main floor to ridge of nave, 67 feet 4 inches; from main floor to summit of dome, 123 feet 6 inches; area of main floor, 157,195 square feet; area of gallery floor, 92,496 square feet; total area of floor space, 249,691 square feet, or about 5¾ acres.

The total amount of space on the floor occupied by different countries for exhibition, exclusive of the naves, was about 152,000 square feet, divided as follows: The United States 54,530; Great Britain, 17,651; Switzerland, 4,428; the German Zollverein, 12,249 Holland and Belgium, 3,645; Austria, 2,187; Denmark, Sweden, and Norway, 4,231; Russia, 729; the West Indies, 1,093; British Colonies, 5,798. The total number of exhibitors was 4,383. Of these 1,778 were from the United States; 677 from England; 116 from Switzerland; 813 from the German Zollverein; 155 from Holland and Belgium; and 100 from Austria. The exhibits were divided in 31 general classes as follows: Class I, Minerals, Mining, and Metallurgy, Geological and Mining Sections and Plans. Class II, Chemical and Pharmaceutical Products and Processes. Class III, Substances Employed as Food. Class IV, Vegetable and Animal Substance Employed in Manufactures. Class V, Machines for Direct Use. Class VI, Machinery and Tools for Manufacturing. Class VII, Civil Engineering, Architectural, and Building Contrivances. Class VIII, Naval Architecture, Military Engineering, Armor and Accoutrements. Class IX, Agricultural, Horticultural, and Dairy Implements. Class X, Philosophical Implements and Products Resulting from their Use. Class XI, Manufactures of Cotton. Class XII, Manufactures of Wool. Class XIII, Manufactures of Silk and Velvet. Class XIV, Manufactures of Flax and Hemp. Class XV, Mixed Fabrics. Class XVI, Leather, Furs, Hair, and their Manufactures. Class XVII, Paper, Stationery, Types, Printing, and Book-binding. Class XVIII, Dyed and Printed Fabrics. Class XIX, Tapestry, Carpets, Floor-cloths, Lace, Embroideries, Trimmings, and Fancy Needlework. Class XX, Wearing Apparel. Class XXI, Cutlery and Edge Tools. Class XXII, Iron, Brass, Pewter, and General Hardware. Class XXIII, Works in Precious Metals and their Imitations. Class XXIV, Glass Manufactures. Class XXV, Porcelain and other Ceramic Manufactures. Class XXVI, Decorated Furniture and Upholstery. Class XXVII, Manufactures in Slate and other Ornamental Stones. Class XXVIII, Manufactures from Animal and Vegetable Substances not Woven or Felted. Class XXIX, Miscellaneous Manufactures, Perfumery, and Toys. Class XXX, Musical Instruments. Class XXXI, Fine Arts.

The plan of the building was designed by Messrs. Carstensen & Gildemeister, and was selected in preference to other plans submitted by Sir Joseph Paxton, the builder of the London Crystal Palace. C. E. Detmold was the superintending architect and engineer, Horatio Allen the consulting engineer, and Edward Hurry the consulting architect. The municipal authorities of New York on January 3d, 1852, granted a lease of Reservoir Square for five years, thus furnishing the site for the building. The New York Legislature on March 11th, 1852, granted a charter to the Association for the Industry of All Nations, and on March 17th the Board of Directors met and organized with Theodore Sedgwick as President, and William Whetten as Secretary. The United States Government gave countenance and aid to the institution by permitting the introduction of foreign goods for exhibition free of duty. Daniel Webster, then Secretary of State, secured the aid of the Representatives of the United States at the chief Courts of Europe, and the Ministers of Foreign Powers residing in the United States sympathized warmly with the Association, and commended it favorably to their respective governments. Under such auspices, and with such encouragement the work went forward. The first column was put in place with appropriate ceremonies on October 30th, 1852; the building was open to the public on July 15th, 1853, though still incomplete; and on Friday evening, August 20th, 1853, the full opening was effected.

Perhaps no more interesting view of this notable institution and the chief events connected with it can be given than that which was presented by the principal metropolitan newspapers of the day. Let us first quote from an account of the raising of the first column:

“The erection of the first column of the Crystal Palace took place on Reservoir Square at noon on Saturday. The interest in and importance of the occasion attracted a large concourse of citizens. There must have been at least two thousand persons present.”

Volumes could not tell more. Two thousand persons present on such an occasion, and they called it a “large concourse!” Nevertheless, continued the scribe, “There was a large number of distinguished citizens upon the platform beside the pillar. Among those present we noticed his Excellency Gov. Hunt, his Honor the Mayor, Archbishop Hughes, Felix Forreste, General Tallmadge, Henry Meigs, C. Crolius, ex-Senator J. A. Bunting, Rev. Dr. Peet, Lambert Suydam, Hon. Judge Betts, Senators McMurray and Beekman, and several other invited guests. General Tallmadge and others were present as a deputation from the American Institute. Dodworth’s band was present during the proceedings and played delightfully. When the pillar was raised, by means of a derrick, the Governor directed it to its place, amid the enthusiastic cheering of those present and the firing of cannon, the band, the while, playing a national air.”

The chief address was made by Theodore Sedgwick, the President of the Association, and his remarks are worth repeating here, as expressive of the sentiments that inspired him and his associates in the enterprise:

The Governor immediately replied as follows:

“Mr. President: Availing myself of the invitation so kindly extended to me by the Association over which you preside, I have come to participate in the appropriate ceremonies of this occasion, and to manifest the sincere interest and approval with which I regard your noble undertaking.

“You have now reared the first column of an edifice intended to attract the productions of genius, industry, and art from all the civilized

nations of the world. This liberal design is in harmony with the prevailing spirit and tendency of the age in which we live, and its successful completion will form a conspicuous landmark in the history of American progress. It is a generous conception, alike honorable to the public spirit and patriotism of the citizens forming the Association, and important in its influence upon the advancement and happiness of society.

“The conquests already made, and the increasing interest evinced by our countrymen in the culture of those useful arts which promote the physical prosperity and moral elevation of a people are a source of just pride and encouragement to the American statesman.

“By the blessing of Providence we are permitted to work out our destiny in a period of profound peace. For more than a third of a century the civilized world has been exempt from those destructive wars and convulsions which had so long wasted the best energies of the human race. Nobler purposes engage the thoughts of men and the councils of nations.

“Instead of meeting in battle array, and spreading havoc and desolation over the face of the earth, a kindlier rivalry prevails, and governments cope with each other in a more generous spirit of emulation; in works of beneficence and improvement; in the expansion of commerce, the encouragement of industry, and the triumphs of peaceful invention.

“People, widely separated from each other by intervening seas and diversities of language and institutions are now drawn nearer together by rapid and constant commercial intercourse. Remote countries are enabled to confer inestimable benefits upon each other by a free interchange of useful discoveries and improvements, thus stimulating industry and skill throughout the world, each imparting to all the fruits of its own civilization, and (above all) diffusing over the globe the spirit of universal brotherhood, which, in God’s good time, shall unite the human family by the cordial ties of sympathy and concord.

“When considered in a mere political aspect, the wonderful display of the industry of all nations, exhibited in England last year, must be regarded as one of the most important events in modern history.

“I rejoice to witness the enlightened efforts of my own countrymen to emulate so noble an example.

“The prosecution and success of the enterprise, now so auspiciously begun, cannot fail to exert a salutary influence, and to produce the most valuable results.

“It will elevate the national character abroad, and advance our best interests at home.

“It will stimulate our people to new and higher efforts, until we shall finally attain to an equality with the older nations in every useful and ornamental art. It will promote the development and improvement of those natural advantages, so varied and remarkable, with which our country is favored; and furnish another proof of the elevating influence of free institutions.

“In conclusion, Mr. President and gentlemen of the Association, permit me to congratulate you upon this auspicious commencement. The whole country will rejoice in the consummation of your great purpose. Accept my sincere wishes that your labors in the work of civilization and beneficent progress may be crowned with the success which is due to so bright an example of disinterested public spirit.”

Mayor Kingsland followed, in a few brief remarks, expressive of his sense of the importance of the undertaking, and his sincere desire to see it carried out to a most successful completion.

General Talmadge, on the part of the American Institute, offered the managers of the Crystal Palace his warmest congratulations upon the raising of the first pillar of their edifice, and that, too, under such auspicious circumstances. The American Institute (he said) was glad to find such worthy comrades co-operating with them to advance the general prosperity of the country.

Appropriate airs were then played by the band, and the “large assemblage” shortly afterward went their way rejoicing in the event of the day, with hearty wishes for the successful completion of the New York Crystal Palace. Such was the first formal celebration of what seemed to its projectors a most stupendous enterprise. But the next year saw a much more imposing demonstration, when, on July 14th, 1853, the nearly completed building was formally inaugurated. The President of the United States traveled from Washington to New York to take part in the august ceremonial, his deliberate progress of several days, by coach, boat, and train, being the theme of many columns of patriotic chronicles in the daily press. Here is a leading journal’s account of the opening exercises:

“The 14th of July, 1853, will henceforward rank in our history as a great day. Then was consecrated unto Art and Industry a building novel and splendid, as regards architecture, and containing productions from all parts of the earth. The Crystal Palace is far more beautiful than its original in London, though much inferior in size. It covers, however, five acres. Its sides are composed of glass, supported by iron. Its dome is truly magnificent, and is a triumph of art. The prevailing colors of the ceiling are blue, red, and cream color. The single fault we find with the colors of the other portions of the building is that the supporting pillars are of the same color with the other solid works, while, if they were bronzed, a certain sameness would be avoided.

“Notwithstanding the immense confusion of the Palace on the day preceding the inauguration, we were surprised, on entering it yesterday morning, to find the dome completed and glorious in its artistic beauty; the stairways arrayed with their crimson and gold, and many of the divisions elaborate in their ornamentation, completely arranged, and containing their various contributions.

“The vastness of the City of New York was strikingly illustrated by the weather of yesterday. The President and his suite were caught in a heavy rain in the lower part of the city, lasting an hour, while the early visitors at the Palace were ignorant of the circumstance, the atmosphere being dry and the sun bright in that quarter.

“The approaches to the Palace were very much crowded as we proceeded there about eleven o’clock. The thickly-studded drinking-shops were flaunting in their intemperate seductions. The various shows of monsters, mountebanks, and animals, numerous as the jubilee-days of the Champs ÉlysÉes, opened wide their attractions to simple folk. Little speculators in meats, fruits, and drinks had their tables and stalls al fresco. A rush and whirl of omnibuses, coaches, and pedestrians encircled the place. But amid all this was plainly discernable the excellent provisions of the police to maintain order. The entrances to the Palace were kept clear, and no disturbance manifested itself through the day. Different colored tickets admitted the visitors at three different sides of the Palace, the fourth closing up against the giant Croton Water Reservoir.

“There were two platforms partially under the dome, the centre point under which being occupied by Baron Marochetti’s exceedingly absurd statue of Washington, with Carew’s indescribably absurd statue of Webster—the worst calumny on that great man ever yet perpetrated, or that can be perpetrated—standing behind it. One of these platforms was toward Forty-second Street, or the north nave; the other toward the Croton Water Reservoir, on the east nave. According to the programme, they were filled by the following classes of persons:

“We believe there was no Foreign Commissioner, who came from Europe to be present at the Exhibition, but the Earl of Ellesmere. The absence of this Commissioner yesterday was much to be regretted, the more so as he was prevented from coming by indisposition. Lady Ellesmere and her two daughters were present, however.

“There were two military bands—Dodsworth, stationed in the west gallery; Bloomfield’s U. S. Band, in the south gallery, and an orchestra, with Noll’s Military Band, and a grand chorus, accompanied also by an organ, in the east gallery.

“The President, being detained by the storm, did not arrive at the appointed time of one o’clock, being delayed till about an hour later. When he did arrive, however, with his suite, civil and military, he was warmly greeted by the people within the building, who amounted to some 20,000, as far as we could judge. The United States Band struck up ‘Hail Columbia,’ and finished with ‘Yankee Doodle.’ This part of the day’s proceedings was extremely interesting. When the shouts had died away, and thousands of fair hands, waving their handkerchiefs, had exhausted their first burst of enthusiasm, Bishop Wainright delivered, in a full, round voice, his appropriate prayer.

“Then came stealing through the vast aisles the hymn of Old Hundred set to semi-secular words. The effect where we stood under the dome was mystically grand. It might be imagined to typify the voices of distant nations rolling in harmonious vastness through the aisles, and bearing the accents of gentleness and beneficence. Their artistic interpretation was intrusted to the ladies and gentlemen of the Sacred Harmonic Society, and admirably did they execute their task. Mr. George Bristow was the conductor of the body. Mr. Timm, however, was the chief director of all the musical arrangements. The hymn ran thus:

“Next Mr. Theodore Sedgwick, the President of the Crystal Palace Association, rose and addressed President Pierce. The President replied evidently impromptu, and his words were well chosen. He appeared fatigued in the previous efforts he had made in public speaking during his journey, and was very brief. Mr. Pierce, however, most favorably impressed his auditory. He was fluent, earnest, and unabashed before so vast an auditory. Mr. Sedgwick, when the President had finished, proposed three cheers for the President, which were responded to by the multitude.

“In the mere proprieties of the day the scene passed off well. The speeches had the excellence of brevity; the music was fine and varied, great rivalry evidently existing between the different bands and orchestras; the audience was unexceptionable in its deportment; the appearance of the feminine portion was brilliant, and it must be added that the directors liberally provided a ladies’ refreshment room; the attention of those in authority, the new uniformed police included, was unremitting; the progress made in decorating, finishing, and arraying the details of the building and its contents in the few last days, when all seemed to promise disorder and defeat on the promised day of opening, was a veritable wonder of industry; the arrangements of tickets, places, entrance, exits, were admirable; the accommodations for the corps of reporters were liberal and thoughtful; the positions of the sculptural attractions were well chosen as to locality, light, and combined effect; and in a word, the whole was arranged as to outward show with a skill that was unsurpassable.

“It was a thing to be seen once in a lifetime. As we grow in wealth and strength we may build a much greater Crystal Palace, and accumulate more imperial-like treasures than we could now afford to purchase, but it cannot have the effect of this one. This has been the first love of its kind. The second cannot bring the exhilaration and glory of the first, though exhausting the wealth of genius in its production. In this we behold the first decided stand of America among the industrial and artistic nations of the earth. In this we see a recognition of her progress, power, and possibilities. In this we find a yearning after Peace—Peace which shall dimple the face of the earth with the smiles of plenty, which shall join the hearts of nations, which shall abolish poverty and servitude. God’s earth loves Man to her innermost depths; treat her well with Peace, and she will reward him as a generous mother: abuse her with War and she will drive him from her presence. Such history has proved; but we may fairly believe that the historical vicissitudes of the past may be avoided in traveling the peaceful and generous path pointed out by the Crystal Palace.”

The comments and eulogiums of orators and press upon this first American World’s Fair were, of course, largely pitched in a tone that to-day is interesting only in contrast. It is archaic, primitive, embryonic, though not devoid of what has aptly been termed spread-eagleism. One writer, however, discussed the theme with memorable eloquence, and in a spirit of broad-minded philosophy that makes his almost every word as appropriate to the great fair of 1893 as to that of forty years before. “The exhibition,” he said, “must be particularly instructive to Americans, because it will furnish them with evidences of a skill in many branches of creation beyond their own, and of models of workmanship which are superior precisely in those points in which their own are most deficient. No one, we presume, will push his national predilections so far as to deny that, in the finer characteristics of manufacture and art, we have yet a vast deal to learn. Stupendous as our advances have been in railroads, steamboats, canals, printing presses, hotels, and agricultural implements—rapidly as we are growing in excellence in a thousand departments of design and handicraft—astonishing as may be our achievements, under all the difficulties of an adverse national policy—adroit, ingenious, and energetic as we have shown ourselves in those labors which have been demanded by the existing conditions of our society, we have yet few fabrics equal to those of Manchester, few wares equal to those of Birmingham and Sheffield, no silks like those of Lyons, no jewelry like that of Geneva, no shawls like those of the East, no mosaics like those of Italy. But, in our rapid physical improvements—growing, as we are, in prosperity, in population, in wealth, in luxuries of all kinds—these are the articles that we ought to have, and must have to give diversity to our industry, to relieve us from dependence upon other nations, to refine our taste, and to enable the ornamental and elegant appliances of our life to keep pace with our external development. Mere wealth, without the refinements of wealth—barbaric ostentation, prodigal display, extravagant self-indulgence—can only corrupt morals and degrade character. But the cultivation of the finer arts redeems society from its grossness, spreads an unconscious moderation and charm around it, softens the asperities of human intercourse, elevates our ideals, and imparts a sense of serene enjoyment to all social relations. Our common people, immeasurably superior to the common people of other nations in easy means of subsistence, in intelligence, as in the sterling virtues, are yet almost as immeasurably behind them in polished and gentle manners, and the love of music, painting, statuary, and all the more refining social pleasures.

“These Exhibitions, then, which make us acquainted with the superlative arts of other nations, cannot but be highly useful to us. But they have also another use—a moral, if not a religious use, in that they teach us so powerfully the dependence of nations upon each other—their mutual relations, and the absolute necessity of each to the comfortable existence of all the rest. There is hardly an article in the Crystal Palace to which the labor of all the world has not in some sort contributed—hardly a machine which is not an embodied record of the industrial progress of the world—hardly a fabric which, analyzed, does not carry us to the ends of the earth, or which does not connect us intimately with the people of every clime—with the miners who tortured its raw material from the dark cave, or the diver who brought it from the bottom of the sea—with the solitary mariner who shielded it from the tempests—with the poor, toil-worn mechanic who gave it form or color, or with the artist who imparted to it its final finish. Thus, no man liveth to himself alone, even in his most ordinary occupations; he is part and parcel of us, as we are of him. A wonderful and touching unity pervades the relations of the race; all men are useful to all men; and we who fancy that, in some important respects, we stand on the summit level of humanity, have a deep interest in the laborers of the vales—in the celerity, the excellence and the success of what they do, and in the comfort and happiness of their general condition. As Emerson has wisely sung, in that sweet poem of his:

“There is also another thought suggested by our topic which contains a world of meaning. We are apt to speak, in our discussions, of the

progress of industry, but do we always ask ourselves wherein that progress consists? Is it in the greater perfection to which, in modern times, we have carried the works of our hands? Look at the elegant tissues of Persia and India, or at the flexible blades of Toledo and Damascus, and say in how far we have surpassed these works of semi-barbarous ages and people, with all our boasted mechanical improvements! Can we imagine anything more splendid, more rich, and more delicate than the clothes in which the Oriental princes still array themselves, as their forefathers used to array themselves centuries ago? Have we yet a dye more brilliant than the Tyrian, a sculpture equal to that of Greece, an architecture better than that of the ‘Dark Ages,’ paintings on glass to compare with those in the old cathedrals, workers in bronze to rival a Cellini? Is it not the highest compliment that we pay to a product of skill or genius to say of it that it is ‘classical,’ that it is worthy of the models that have been preserved for ages in our galleries and museums? What then do we mean when we speak of ourselves as more advanced than former nations; what is that difference between us which authorizes us to use the word progress and to look back with a complacent half-pitying eye upon the attainments of the generations that have passed away?

“It is this: that in our discoveries in science, by our applications of those discoveries to practical art, by the enormous increase of mechanical power consequent upon mechanical invention, we have universalized all the beautiful and glorious results of industry and skill, we have made them a common possession of the people, and given to society at large, to almost the meanest member of it, the enjoyments, the luxury, the elegance which in former times were the exclusive privilege of kings and nobles. Formerly the labor of the world fed, and clothed, and ornamented the Prince and his Court, or the warrior and his chieftains—but now it feeds and clothes and ornaments the peasant and his family. Then the ten thousand poor, miserable wretches worked for the one, or the few, but now the ten thousand work for the ten thousand. Then the wealth of provinces was drained to heap up splendors for the lord of the province, but now that wealth is multiplied and diffused, to give happiness to the commonalty. All the concentrated capital of Lyons, and Leeds, and Lowell, all our complicated machinery, while it creates new demands for human labor, is intended to cheapen manufacturing products, as the effort of that cheapness is to put the fabrics of woolen and silk within the reach of the poorest classes. Our books, at this day, may not be individually superior to the books of the days of Elzevir, but millions of men now possess books where hundreds only possessed them formerly. Our vases and cups may not be more exquisitely wrought than the vases and cups of Benevento Cellini, but they are wrought, not like his, for Popes and Emperors, but for Smith and Jones, and all the branches, collateral and direct, of the immense families of Smith and Jones. Our roads are not built at a vast expense, for some royal progress, or the passage of a conquering army, but are built to roll from house to house the precious treasures of industry, or a happy freight of excursionists, giving their hearts a holiday of merriment and innocent delight.

“Our progress in these modern times, then, consists in this, that we have democratized the means and appliances of a higher life; that we have spread, far and wide, the civilizing influences of art; that we have brought, and are bringing more and more the masses of the people up to the aristocratic standard of taste and enjoyment, and so diffuse the influence of splendor and grace over all minds. Grander powers have been infused into society. A larger variety and a richer flavor have been given to all our individual experiences; and, what is more, the barriers that once separated our race, the intervals of time and space that made almost every tribe and every family the enemy of every other tribe and family have been annihilated to enable the common interests and common enjoyments to renovate and warm us into amity of feeling and the friendly rivalry of fellow-workmen pursuing, under different circumstances, the same great ends.

“Legislation, rightly directed, might have done and might yet do much for the civilization and advancement of society; but, unfortunately, in most nations of the earth, the legislation, having been under the exclusive control of a self-styled higher class, has impeded rather than hastened the movement. Yet, in the face of this terrible obstacle, under all the evils of the insular monopoly of Great Britain, seeking to aggrandize her own manufacturing industry at the expense of the industry of the rest of mankind, the genius of practical art has triumphed, and will triumph still more over every difficulty. It is raising the laborer to his true position; it is facilitating the association of men; it is harmonizing their interests; and, whether legislation helps it or not, it will ultimately redeem our race from dependence and slavery. And herein is the chief reason why we to-day salute with satisfaction the opening of the Crystal Palace.”

The Crystal Palace was not a financial success. Nearly a million dollars were lost in the enterprise. Finally, on the evening of Tuesday, October 5th, 1858, the edifice was destroyed by fire, with most of its contents. It was really not a very great conflagration, measured by others that have occurred. Yet it meant the destruction of an entire World’s Fair establishment, and was, in those times, something more than a nine day’s wonder. “About five o’clock last evening,” said a next morning’s paper, “smoke was seen issuing from a large room in the north nave, and in front of the entrance on Forty-second Street, and in less than half an hour thereafter, the Palace was a total wreck, and nothing now remains of this edifice but a heap of unsightly ruins. The octagonal turrets at each corner still remain standing, while here and there on every side may be seen stacks of iron, the remains of staircases, and portions of the framework composing the galleries.

“From the room above mentioned flames soon made their appearance, and spread with incredible rapidity in every direction. There were about 2,000 persons scattered about the edifice at the time, all of whom, the moment the alarm of ‘fire’ was raised, made a rush for the Sixth Avenue entrance, the doors of which were thrown open. The entrance on Fortieth Street was closed, there being no other means of ingress or egress except on Sixth Avenue. Under the direction of ex-Captain Maynard and several of the Directors of the Institute, the crowd of visitors were conducted safely to the street, and no one that we have heard of was in anywise injured. Some of the exhibitors endeavored to save their property, but were forced to turn toward the door, and were soon compelled to flee to the street. The amount of property saved is comparatively trifling. Mr. Smith, an employee of the Institute, behaved nobly. He was in charge of the jewelry department, and was engaged repairing a case when the alarm was given. He finished the case and closed the door and then went toward where the fire was. The smoke was so dense that he almost suffocated. He saw the fire at the Forty-second Street entrance and then ran back to the property that had been placed in his charge, which property consisted of a quantity of watches valued at several thousand dollars. Seizing the case, he dragged it from its fastening along the gallery, down a flight of stairs, and thence out into the street, the entrance at this point having at this time been broken open. While on his way out, the dome was all in flames. The smoke was so dense that he could see but a few feet either side of him, and he is under the impression that he was the last man in the Palace before the dome fell. A young man named Wallis, also in the employ of the Institute, heard the alarm, and ran toward Smith, whom he desired to break open the case with an axe, in order that the jewelry and watches could be more readily got at, but Smith told him he would not do so. Wallis was obliged to run to the street, the smoke nearly suffocating him. The view from the street and neighboring buildings was very grand, and thousands of persons thronged to the scene of conflagration.”

The Institute mentioned was the well-known American Institute, of New York, which, after the close of the World’s Fair proper, had occupied the Palace with its annual fair. It was reckoned that the total loss by the fire was a million dollars, but the list of the chief exhibitors and their individual losses, published next day, now looks absurdly meagre. And thus passed out of existence the first Universal Exhibition of Art and Industry ever held on the American Continent. When the next was held, this was practically a new nation. The greatest war of modern times had been fought and the National Constitution amended in many important respects. Political and social changes of startling character were visible on every hand. Material growth and development had been achieved on a stupendous scale. Great inventions had been made. Every circumstance, indeed, rendered it fitting and necessary that the second World’s Fair should immeasurably exceed in all respects that which we have just described.

When the World’s Fair of 1853 was opened in New York it was evident that the American nation was nearing some great and important changes. When the Crystal Palace was burned in 1858, the nation was on the very verge of the “impending conflict” which had been long foreseen. The war came. At its close America was a new nation. Its political, social, and industrial systems were transformed. Its growth and expansion received an enormous impetus. The influx of population and of ideas and arts from other countries was many-fold greater than ever before. And thus it approached the one-hundredth anniversary of its independence, and preparations were made to commemorate the time with a second Universal Exhibition.

The Centennial Exhibition, which was held in Philadelphia in 1876, was the greatest fair the world had then seen. None of its predecessors had equalled it in extent, or surpassed it in variety or general interest. Paris, in 1867, had given a more compact and systematic display, and at Vienna, in 1873, Oriental nations were more fully represented. But the American Exhibition had many points of superiority over those. It showed the natural products, industries, inventions, and arts of the Western Hemisphere as they had never been shown before, and brought them for the first time, in their fullness and perfection, in contrast with those of the Old World. In the department of machinery it was incomparably superior to all its predecessors, and also in that of farm implements and products. In fine arts it did not contain as many really great masterpieces as had been seen at Paris and Vienna, but it embraced a wider representation of contemporary art from all parts of the world. In general manufactures the display was much greater in quantity than had ever before been attempted. And it greatly exceeded all other fairs as a really international exhibition, for every civilized state on the globe, excepting Greece and a few minor republics in Central and South America, was represented.

About 236 acres of Fairmount Park in Philadelphia were occupied by the Exhibition. The ground was admirably adapted for the purposes of the Fair. It was an elevated plateau, with three spurs jutting out toward the Schuylkill River. One of the three spurs was occupied by Memorial Hall, containing the art exhibition, another by Horticultural Hall, and the third by Agricultural Hall, while the broad plain where they joined contained the Main Building, Machinery Hall, United States Government Building, and about a hundred smaller structures. The grounds were traversed by five main avenues, a belt-line railroad, and many miles of minor walks. There was an extensive lake, and a splendid wealth of lawns, flower beds, and groves.

The Main Building was the largest edifice in the world. It was 1,876 feet long and 464 feet wide, covering 21½ acres of ground. In the centre were four square towers, 120 feet high. The facades at the end were 90 feet high, and the corner towers 75 feet. The central aisle was 1,832 feet long, 120 feet wide, and 70 feet high. The framework was of iron, filled in with wood and glass. Nearly one-third of the space was occupied by American exhibitors. Great Britain and her colonies occupied the next largest area, with a display of enormous proportions and dazzling brilliancy. A single firm of silversmiths sent half a million dollars’ worth of wares. France and her colonies and the German Empire were also splendidly represented. Other conspicuous exhibitors were Holland, Belgium, Austria, Russia, Spain, Japan, Sweden and Norway, Italy, and China. Mexico, Brazil, Switzerland, Portugal, Egypt, Turkey, Denmark, Tunis, Chile, the Argentine Republic, Peru, the Orange Free State, the Sandwich Islands, and Venezuela were also represented. Never before had there been gathered together in one place such a comprehensive display of the arts and industries of so many of the peoples of the world.

Machinery Hall, which was especially devoted to machinery in motion, was 1,402 feet long and 360 feet wide, with an annex 208 by 210 feet for hydraulic machinery. There were more than 10,000 feet of shafting for conveying to the various machines the motive power generated by the huge Corliss engine. This enormous machine had cylinders of 44 inches diameter, and ten feet stroke, a fly-wheel 30 feet in diameter, and 56 tons in weight, making 36 revolutions per minute. There were 20 tubular boilers of 70 horse-power each, and at 60 pounds pressure the work of the engine was about 1,400 horse-power. This building contained by far the largest and most varied display of working machinery that had at that time ever been seen in the world.

Horticultural Hall was a graceful Moorish palace, largely built of glass, and contained a magnificent exhibit of trees, shrubs, and flowers from all parts of the world. Agricultural Hall consisted of a nave 826 feet long and 100 wide, crossed by three transepts, each 465 feet long, and from 80 to 100 feet wide. The inclosed space was about 12 acres in extent, and it contained a marvellous display of agricultural implements and products from all parts of the world. Memorial Hall was intended as a permanent building, and was constructed in substantial manner of granite, glass, and iron. It is 365 feet long and 210 feet wide, with a square tower at each corner, and a four-sided dome at the centre. Besides these buildings the United States Government erected a vast structure, 360 by 300 feet, for the display of the operations of its various departments; many foreign governments had buildings of their own; so had more than a score of the States; and there were also buildings for the Judges, and for a great number of special industries.

The technical history of the enterprise may be briefly recounted as follows: The Exhibition was really a natural outgrowth of the Universal Exposition held at Paris in 1867. That affair was much the most extensive international exhibition ever held up to that time, and its brilliant success produced a marked impression throughout the civilized world. Austria took immediate measures to rival it, and carried out her ambitious plans six years later at Vienna. Among the many Americans who saw the wonderful show on the banks of the Seine there were many who expressed a desire to see an enterprise of the kind attempted in their own country. It is believed that Gen. C. B. Norton, of New York, one of the Commissioners to the Paris Exposition, was the first who suggested the idea of a World’s Fair to commemorate the Centennial Anniversary of American Independence. This he did while viewing the preparations for the exposition in the Champs de Mars in company with Mr. Dudley S. Gregory, of New York, in the summer of 1866. His plan was to hold the exhibition in Central Park. Mr. Gregory returned in the fall and laid the matter before the American Institute, but it does not appear that any action was taken. The next agitation of the question was in June, 1868, when at a meeting of the Massachusetts exhibitors at Paris, held in the Music Hall, Boston, for the distribution of the awards forwarded by the French Government to this country, Dr. C. J. Jackson offered a resolution in favor of an international exhibition in Washington, to open July 4th, 1876. After some speech-making the resolution was adopted. In the fall of the same year a meeting to forward the project was held in New York under the chairmanship of Dr. G. B. Loring. A committee of nine was appointed, but there the matter ended. New York had failed to appreciate the grandeur and importance of the project. Washington had a livelier comprehension, but was too poor to do anything that involved expenditure.

It now remained for Philadelphia to come forward. In 1869 Mr. M. Richard Muckle, of The Philadelphia Ledger, wrote a letter to President Grant, urging the holding of a World’s Fair in the city where the Declaration of Independence was signed, and this letter, widely published and commented upon, fairly set the ball in motion. Soon after it appeared the Franklin Institute and the Academy of Fine Arts memorialized Congress on the subject, and the City Councils appointed a Centennial Committee. In February, 1871, a committee from the New Jersey Legislature visited Philadelphia to confer with the Councils, and in April a delegation from Virginia came on the same errand. At the instance of the Pennsylvania members, Congress took up the question in the session of 1870-71, and on the 3d of March passed an act “to provide for celebrating the One Hundredth Anniversary of American Independence by holding an International Exhibition of arts, manufactures, and products of the soil and mine in the City of Philadelphia and State of Pennsylvania, in the year 1876.” Under this act one hundred Commissioners were appointed; but it was found impossible to assemble a quorum of this unwieldy body, and the organization was changed by a supplementary act, providing for one Commissioner and one alternate from each State and Territory, appointed by the President on the nomination of the Governors. No money was appropriated. In June, 1872, Congress passed another act, creating a separate corporation, called the Board of Finance, to raise funds by subscriptions throughout the country, and to take entire charge of the finances of the Exhibition, which was made a stock concern, with a capital of $10,000,000, in shares of $10 each. Large subscriptions were at once obtained from the citizens of Philadelphia. The State of Pennsylvania appropriated $1,000,000; the City of Philadelphia, $1,500,000; the State of New Jersey, $100,000; and the States of Delaware, New Hampshire, and Connecticut, $10,000 each. Subscriptions amounting to about $250,000 were subsequently raised in New York City. The business men of the New England States also contributed, but the West gave almost nothing, and the South nothing. The aggregate amount spent by foreign countries for the Exhibition was about $2,500,000.

On June 26th, 1873, Governor Hartranft informed the President that provision had been made for erecting the buildings. Upon that information the President, on July 3d of the same year, issued his proclamation declaring that the Exhibition would be held in 1876. Secretary Fish, on the 5th of July, informed the representatives of foreign nations of the Exhibition, and invited them to participate. Formal acceptances were received, before the beginning of 1876, from Great Britain, France, Austria, Germany, Belgium, Sweden, Holland, Spain, Portugal, Italy, Norway, Egypt, Denmark, Turkey, Switzerland, Mexico, Venezuela, Brazil, Chile, Peru, Argentine Confederation, Sandwich Islands, China, Japan, Australia, Canada, Bolivia, Nicaragua, Colombia, Liberia, Orange Free State, Equador, Guatemala, Salvador, and Honduras. March 3d, 1875, Congress appropriated $505,000 for the arrangement of an official Government display, of which $150,000 was to be appropriated for the erection of a special building for the Government Exhibition. On the 4th of July, 1873, the Commissioners of Fairmount Park formally conveyed 450 acres of land at Lansdowne, in the Park, for buildings and other purposes of the Exhibition.

In 1873 the Commission sent Professor W. P. Blake, of Connecticut, to the Vienna Exhibition as a Special Commissioner to study and report upon it. The General Director, Mr. A. T. Goshorn, also made a thorough examination of that fair. Ground was broken for the Exhibition buildings July 4th, 1874. Machinery Hall was completed in November, 1875, Horticultural Hall and the Main Building in January, 1876, and Memorial Hall and Agricultural Hall in April. In February, 1876, Congress appropriated $1,500,000 to complete the payments for the buildings, and thus enabled the Commission to open the Exhibition free from debt.

The formal opening of the Centennial Exhibition was effected on May 10th, 1876. At nine o’clock A.M. on that day the gates of the grounds, with the exception of those at the east end of the Main Building, were opened to the public at the established rate of admission of fifty cents each. The Main Building, Memorial Hall, and Machinery Hall were reserved for guests and exhibitors until the conclusion of the ceremonies, at about one P.M., when all restrictions were withdrawn. The inaugural ceremonies were conducted in the open air, on an area of about 300 by 700 feet between the Main Building and Memorial Hall. The concourse of spectators within sight of the ceremonies, though largely not within hearing distance, was more

than 110,000. At an early hour a military parade moved from the city to the exhibition grounds. At its head was the First Troop of Philadelphia City Cavalry, acting as the bodyguard of the President of the United States. This was followed by the Boston Cadets and the Boston Lancers, escorting Governor Rice, of Massachusetts, and his staff. Governor Hartranft, of Pennsylvania, and his staff came next, and were succeeded by Major-General Bankson and a large body of Pennsylvania State troops. No flags nor other ensigns were displayed on or about the buildings and grounds until an appointed signal was given, and all the organs, bells, and other musical instruments awaited in silence the same notice.

At 10.15 A.M. the huge orchestra of one hundred and fifty pieces, under the direction of Mr. Theodore Thomas, began playing the various national airs of the world. First was played “The Washington March,” after which came the national music of the Argentine Republic, Austria, Belgium, Brazil, Denmark, France, Germany, Great Britain, Italy, the Netherlands, Norway, Russia, Spain, Sweden, Switzerland, and Turkey, concluding with “Hail Columbia.” On the arrival of the President of the United States—General U. S. Grant—accompanied by the Emperor Dom Pedro, of Brazil, the Director General of the Exhibition, and other notable personages, the “Centennial Inauguration March,” which had been composed by Richard Wagner for the occasion, was performed. The Rev. Dr. Matthew Simpson, Bishop of the Methodist Episcopal Church, then offered prayer. A hymn, written by John Greenleaf Whittier, was sung by the choir of one thousand voices to music composed by John K. Paine, with organ and orchestral accompaniment. John Welsh, President of the Centennial Board of Finance, formally presented the buildings to the Centennial Commission. A cantata, written by Sidney Lanier, of Georgia, with music by Dudley Buck, was sung by the chorus, with solos by Myron W. Whitney. General Joseph R. Hawley, President of the United States Centennial Commission, formally presented the Exhibition to the President of the United States, who responded in a brief address, closing with the words, “I declare the International Exhibition now open.” At that moment a thousand flags were unfurled on every hand, innumerable bells and whistles were sounded, a salute of one hundred guns was fired, and Handel’s “Hallelujah Chorus” was sung by the great choir, with organ and orchestral accompaniment. Then the President and other distinguished guests formed in a small procession and moved through the principal buildings. In Machinery Hall the President and the Emperor of Brazil set in motion the great engine and all the machinery connected therewith, being assisted by Mr. George H. Corliss, the builder and giver of the engine. Then the President and other guests were escorted to the Judges’ pavilion, where a brief reception was held. This concluded the opening exercises, and thenceforth the grounds and buildings were open to the public, at fifty cents admission, every week-day until November 10th, when the Exhibition was closed.

A number of the State Governments arranged excursions to the Exhibition by the State officers and citizens generally. These “State days,” as they were termed, were as follows: New Jersey, August 24th; Connecticut, September 7th; Massachusetts, September 14th; New York, September 21st; Pennsylvania, September 28th; Rhode Island, October 5th; New Hampshire, October 12th; Delaware and Maryland, October 19th; Ohio, October 26th; and Vermont, October 27th.

The other principal events on the season’s calendar were as follows: May 23d, Session of True Templars; May 24th, Meeting of Judges of Awards; May 30th, Decoration Day and Opening of the Bankers’ Building; June 1st, Parade of Knights Templar; June 7th, Convention in Brewers’ Hall; June 12th, Women’s International Temperance Convention; June 15th, Dedication of Ice Water Fountain by the Sons of Temperance; June 27th to July 10th, Encampment of the West Point Cadets; July 1st, Excursion of Soldiers’ Orphans from Lincoln Home; July 4th, Centennial Celebration of the Declaration of Independence and Dedication of the Catholic Total Abstinence Beneficial Society’s Fountain; July 6th, 7th, 8th, 13th, 18th, 19th, 20th, 21st, Excursions given by the Philadelphia & Reading Railroad to its Employees; July 15th, Encampment of the Columbus, Ohio, Cadets; August 3d to 9th, Encampment of Pennsylvania Troops; August 30th, Excursion of Steinway & Sons’ Employees; August 22d, National and International Rowing Matches began on the Schuylkill River; August 23d, Parade of the Knights of Pythias; August 28th, Parade of Swiss Citizens; August 29th, Reception by the Mayor of Philadelphia; September 1st to October 18th, Live Stock Exhibitions; September 2d, Encampment of Connecticut National Guard; September 4th, International Medical Congress; September 20th, Odd Fellows’ Day; September 23d, International Rifle Teams—Scotch, Irish, Australian, and American—visited the Exhibition; September 28th, Grand Display of Fireworks; October 7th, Encampment of Cadets of Virginia Military Institute; October 12th, Dedication of Statue of Columbus; October 14th, Dedication of Statue of Dr. Witherspoon; October 19th, Tournament; October 26th, Merchants’ Day; November 2d, Dedication of Statue to Bishop Allen by Colored Citizens; November 7th, Reception by Women’s Centennial Executive Committee; November 9th, International Pyrotechnic Contest; November 10th, Closing Ceremonies.

The United States Centennial Commission held an imposing commemoration of the Centennial Anniversary of the Declaration of Independence in Independence Square on July 4th. The following was the programme of exercises:

1. Grand Overture, “The Great Republic,” founded on the National Air, “Hail Columbia,” and arranged for the occasion by the composer, George F. Bristow, of New York; rendered by the orchestra under the direction of Patrick Sarsfield Gilmore.

2. The President of the Commission, General Joseph R. Hawley, called the assembly to order and announced the acting Vice-President of the United States, Senator Thomas W. Ferry, as the presiding officer of the day in the absence of the President of the United States.

3. Prayer by the Rev. Dr. William B. Stevens, Protestant Episcopal Bishop of Pennsylvania.

4. Hymn, “Welcome to all Nations,” by Oliver Wendell Holmes, to the music of Keller’s “National Hymn.”

5. Reading of the Declaration of Independence from the original manuscript by Richard Henry Lee of Virginia.

6. Greeting from Brazil; a Hymn for the First Centennial of American Independence, composed by A. C. Gomes, of Brazil, at the request of the Emperor Dom Pedro; rendered by the orchestra.

7. Reading of “National Ode,” by Bayard Taylor.

8. Grand Triumphal March, with chorus, “Our National Banner;” words by Dexter Smith, of Massachusetts, music by Sir Julius Benedict, of England.

9. Oration, by William M. Evarts, of New York.

10. Hallelujah Chorus, from Handel’s “Messiah.”

11. Doxology, “The Old Hundredth Psalm.”

Space will not permit the printing here of the oration or other features of the programme, with the exception of the hymn, “Welcome to All Nations,” by Oliver Wendell Holmes, which was as follows:

I.

II.

III.

The distribution of awards to exhibitors occurred in the Judges’ Hall on Wednesday, September 27th, with an interesting programme of music and addresses.

On November 9th a farewell banquet was given to the Foreign Commissioners and Judges of Awards by the Centennial Commission and Board of Finance in St. George’s Hall. The guests on this occasion included the Commissioners and Diplomatic Representatives of the nations which had participated in the Exhibition, the Chief Justice and Judges of the Supreme Court of the United States, a number of Senators and members of the United States Congress, the Secretary of State and other members of the Cabinet of the United States, the Governors of Pennsylvania, Massachusetts, Delaware, and New Jersey; the Mayor of Philadelphia, the Presidents of the Philadelphia City Councils, and the officers and members of the Fairmount Park Commission, the Centennial Commission, and the Centennial Board of Finance. The President of the United States was the presiding officer of the evening. During the course of the banquet addresses were made by representatives of the several bodies participating, and by Commissioners of each of the foreign countries represented, each being introduced in turn by the President of the Centennial Commission amid the applause of the guests.

The closing ceremonies of the Exhibition occurred on Friday, November 10th. They were to have been held like the opening exercises, out-of-doors, but stormy weather made it necessary to hold them within the Judges’ Hall. At sunrise a Federal salute of thirteen guns was fired. The programme proper was opened with the Inauguration March, composed by Richard Wagner, and performed by the orchestra under Theodore Thomas. Prayer was offered by the Rev. Dr. Joseph A. Seiss. Addresses followed by D. J. Morrell, United States Centennial Commissioner from Pennsylvania, and Chairman of the Executive Committee; John Welsh, President of the Centennial Board of Finance; A. T. Goshorn, Director General, and Joseph R. Hawley, President of the United States Centennial Commission; alternating with musical selections rendered by the chorus and orchestra. After General Hawley’s address, the national hymn, “My Country, ’tis of Thee,” was rendered by the orchestra, choir, and general audience. During the singing, the American flag which was carried by John Paul Jones on his frigate, the “Bon Homme Richard,” in 1779, was unfurled above the platform, and a salute of forty-seven guns was fired. Then the President of the United States rose and said: “I now declare the International Exhibition of 1876 closed.” General Hawley said: “The President of the United States will now give the signal to stop the great engine.” The President then waved his hand to a telegraph operator, who instantly sent an electric message to the engineer in Machinery Hall, and at exactly 3.40 o’clock P.M. the great engine ceased to work. The singing of the Doxology by the choir and audience concluded the ceremony.

It will be of interest to add, for purposes of record and reference, some statistics regarding the Exhibition. Nearly all supplies of goods, and nearly all visitors were brought to Philadelphia over the lines of two railroad companies, the Pennsylvania, and the Philadelphia & Reading. During 1874 these roads delivered at the Exhibition grounds 3,341 loaded freight cars; in 1875, 10,479; and in 1876, 6,340; a total of 20,160 loaded cars bearing about 200,000 tons of freight. During the continuance of the Exhibition there arrived at the Centennial station of the Pennsylvania Railroad 23,972 passenger trains, and at the station of the Philadelphia & Reading Railroad, 42,495. The average number of trains daily was more than 410, and the average number of cars to each train more than 6, giving accommodations in the whole number of trains for over 20,000,000 passengers. The greatest service in one day at the Pennsylvania depot comprised 250 trains of 2,004 cars, bearing 58,347 passengers; and at the Philadelphia & Reading station on the same day 370 trains of 2,867 cars, bearing 185,800 passengers; a total of 620 trains, 4,871 cars, and 244,147 passengers. During the entire Exhibition there arrived at the Pennsylvania depot 1,392,697 passengers, and at the Philadelphia & Reading 1,726,010.

There were received at the Exhibition from all the countries of the world 154,273 packages of goods, weighing 57,116,658 pounds; and there were removed from the grounds at the close of the fair 58,700 packages, weighing 27,041,271 pounds.

From May 10th to November 10th, 1876, there were admitted to the grounds a grand total of 9,910,966 persons, from whom were received admission fees amounting to $3,813,724.49. The largest number admitted on any day was 274,919, on Pennsylvania Day, September 28th. The smallest number, 12,720, was admitted on Friday, May 12th. The largest number of persons passing through a single gate in a single hour was 1,870. The day of the week most popular among visitors was Thursday, with an average of 76,905 attendants, and the least popular was Monday, with an average of 50,051.

The total number of persons transported to and from the Exhibition was 19,821,932, of whom 3,574,528 came on local trains, 2,334,804 on railroad trains from out of the city, 10,557,100 by tramways, 556,500 by steamboat, 803,000 by carriages, and 1,996,000 on foot.