Exposition Universelle (1900)

The first international exposition was held in London in 1851. The French Emperor Napoleon III attended and was deeply impressed. He commissioned the first Paris Universal Exposition of 1855. Its purpose was to promote French commerce, technology and culture. It was followed by another in 1867, and, after the Emperor's downfall in 1870, another in 1878, celebrating national unity after the defeat of the Paris Commune, and then in 1889, celebrating the centennial of the French Revolution. Planning for the 1900 Exposition began in 1892, under President Carnot, with Alfred Picard as Commissioner-General. Three French Presidents and ten Ministers of Commerce held office before it was completed. President Carnot died shortly before it was completed. Though many of the buildings were not finished, the exposition was opened on 14 April 1900 by President Émile Loubet. Among the colonies and protectorates present in the fair were French Algeria, Cambodia, Congo, Dahomey, Guadeloupe, Guiana, Guinea, India, Indochina, Ivory Coast, Laos, Madagascar, Martinique, Mayotte, New Caledonia, Oceania, Réunion, Senegal, Somaliland, Sudan, Tonkin, Tunisia, West Africa, Saint Pierre and Miquelon, the Dutch East Indies, British Canada, Ceylon, India and Western Australia and the Portuguese colonies. ==Exposition site==

The site of the exposition covered along the left and right banks of the Seine from the esplanade of Les Invalides to the Eiffel Tower (built for the 1889 Exposition) at the Champ de Mars. It also included the and on the right bank. An additional section of for agricultural exhibits and other structures was built in the Bois de Vincennes. The total area of the exposition, , was ten times larger than the 1855 Exposition. The exposition buildings were meant to be temporary; they were built on iron frames covered with plaster and staff, a kind of inexpensive artificial stone. Many of the buildings were unfinished when the exposition opened, and most were demolished immediately after it closed. File:Vue panoramique de l'exposition universelle de 1900.jpg|Aerial view of the Exposition Universelle File:Expo 1900 Paris - Plan Pratique.jpg|Map of the exposition File:Exposition universelle de Paris, 1900.jpg | Poster with the world leaders The Porte Monumentale The Porte Monumentale de Paris, located on the Place de la Concorde, was the main entrance of the exposition. The architect of the monument overall was René Binet, although many others contributed to the constituent parts. His overall design was inspired by the biological studies of Ernst Haeckel. It was composed of towering polychrome ceramic decoration in Byzantine motifs, crowned by a statue high called La Parisienne. Unlike classical statues, she was dressed in modern Paris fashion. La Parisienne was executed by sculptor Paul Moreau-Vauthier who collaborated with Paris' pre-eminiment haute couturier of the day, Jeanne Paquin, who designed the figure's fashionable attire. Below the statue was a sculptural prow of a boat, the symbol of Paris, and friezes depicting the workers who built the exposition. The central arch was flanked by two slender, candle-like towers, resembling triumph columns. The gateway was brightly illuminated at night by 3,200 light bulbs and an additional forty arc lamps. Forty thousand visitors an hour could pass beneath the arch to approach the twenty-six ticket booths. Above the ticket booth windows, the names of provincial cities were inscribed, symbolically enacting a hierarchical relation between Paris and the provinces. The structure of the entrance tower as a whole was adorned with Byzantine motifs and Persian ceramic ornamentation, but the true inspiration behind the piece was not of cultural background. The Russian element was in the center, with statuary of the Nymphs of the Neva River holding a gilded seal of the Russian Empire. At the same time that the Pont Alexander III was built, a similar bridge, the Trinity Bridge was built in Saint-Petersburg, and was dedicated to French-Russian friendship by French President Félix Faure. File:Perspective du Pont Alexandre III et de l'esplanade des Invalides.jpg|View of the Pont Alexandre III toward Les Invalides File:Le pont Alexandre III et le Grand Palais, Exposition Universelle 1900.jpg|The Pont Alexandre III with the Grand Palais (left) and the Petit Palais (right) in the background File:Exposition universelle, 1900 - the chefs-d'uvre (1900) (14597665097).jpg|View of the Seine from the Pont Alexandre III ==Thematic pavilions==

To house the industrial, commercial, scientific, technological and cultural exhibitions, the French organization built huge thematic pavilions on the esplanade of Les Invalides and the Champ de Mars and reused the Galerie des machines from the 1889 Exposition. On the other bank of the Seine, they built the Grand Palais and the Petit Palais for the fine arts exhibitions. The Palaces of Optics, Illusions and Aquarium Twenty-one of the thirty-three official pavilions were devoted to technology and the sciences. Among the most popular was the Palace of Optics, whose main attractions included the Great Paris Exposition Telescope, which enlarged the image of the moon ten thousand times. The image was projected on a screen in size, in a hall which seated two thousand visitors. This telescope was the largest refracting telescope at that time. The optical tube assembly was long and in diameter, and was fixed in place due to its mass. Light from the sky was sent into the tube by a movable mirror. Another very popular feature of the Palace of Optics was the giant kaleidoscope, which attracted three million visitors. Other features of the optics pavilion included demonstrations of X-rays and dancers performing in phosphorescent costumes. The Palais des Illusions (Palace of Illusions), adjoining the Palace of Optics, was an extremely popular exhibition. It was a large hall which used mirrors and electric lighting to create a show of colorful and bizarre optical illusions. It was preserved after the exposition in the Musée Grévin. Another scientific attraction was the aquarium, the largest in the world at the time, viewed from an underground gallery long. The water tanks were each long, wide and deep, and contained a wide selection of exotic marine life. File:Paris Exposition Palace of Optics, Paris, France, 1900.jpg|Entrance of the Palace of Optics File:Great Ex Telescope Design.jpg|Diagram of the Great Paris Exhibition Telescope of 1900 File:Le palais des illusions, Exposition Universelle 1900 B.jpg|The Palais des Illusions created a show of optical illusions with mirrors and lighting effects. The Palace of Electricity and the Water Castle The Palace of Electricity and the adjoining Water Castle (''Chateau d'Eau''), designed by architects Eugène Hénard and Edmond Paulin, The facade of the Palace and the Water Castle, across from it, were lit by an additional 7,200 incandescent lamps and seventeen arc lamps. The facade was in the ornate Beaux-Arts style or Neo-Baroque style. The more modern interior iron framework, huge skylights and stairways offered decorative elements in the new Art Nouveau style, The Palais d'Antin, or west wing, housed the ''Exposition centennale de l'art français de 1800 à 1889''. The , that is facing the , was designed by Charles Girault. Exposition universelle, 1900 - the chefs-d'uvre (1900) (14784195265).jpg| central hall with the exhibition of sculptures File:Exposition universelle, 1900 - the chefs-d'uvre (1900) (14597670517).jpg|Courtyard of the The Palaces of Industry, Decoration and Agriculture The industrial and commercial exhibits were located inside several large palaces on the esplanade between les Invalides and the Alexander III Bridge. One of the largest and most ornate was the Palais des Manufactures Nationale, whose facade included a colorful ceramic gateway, designed by sculptor Jules Coutan and architect Charles Risler and made by the Sèvres Porcelain manufactory. After the exposition it was moved to the wall of Square Felix-Déésroulles, next to the Abbey of Saint-Germain-des-Prés, where it can be seen today. The Palace of Furniture and Decoration was particularly lavish and presented many displays of the new Art Nouveau style. The Palace of Agriculture and Food was inside the former Galerie des machines, an enormous iron-framed building from the 1889 Exposition. Its most popular feature was the Champagne Palace, offering displays and samples of French Champagne. File:L'Esplanade des Invalides, Palais des manufactures nationales, Palais de l'Italie, Pont Alexandre III.jpg|The Palace of National Manufacturers (left), with the Italian pavilion in distance File:Paris Exposition United States Pavilion, Industrial Arts Exhibit, Paris, France, 1900.jpg|United States section at the Palace of Furniture and Decoration File:Paris Exposition Austrian Pavilion, Paris, France, 1900.jpg|Austrian section at the Palace of Furniture and Decoration File:Paris Exposition Agricultural Section, Paris, France, 1900. Agricultural Section.jpg|Pavilion of Agriculture and Food, inside the former Palace of Machines of the 1889 Exposition. File:Paris Exposition Agricultural Section, Champagne Palais, Paris, France, 1900.jpg|The Champagne Palace at the Palace of Agriculture and Food ==National pavilions==

Fifty-six countries were invited to the exposition, and forty accepted. The Rue des Nations was created along the banks of the Seine between the esplanade of Les Invalides and the Champ de Mars for the national pavilions of the larger countries. Each country paid for its own pavilion. The pavilions were all temporary, made of plaster and staff on a metal frame and were designed in an architectural style that represented a period in the country's history, often imitating famous national monuments. The United States pavilion was modest, a variation on the United States Capitol Building designed by Charles Allerton Coolidge and Georges Morin-Goustiaux. The main U.S. presence was in the commercial and industrial palaces. One unusual aspect of the U.S. presence was The Exhibit of American Negroes at the Palace of Social Economy, a joint project of Daniel Murray, the Assistant Librarian of Congress, Thomas J. Calloway, a lawyer and the primary organizer of the exhibit, and W. E. B. Du Bois. The goal of the exhibition was to demonstrate progress and commemorate the lives of African Americans at the transition of the 19th into the 20th century. The exhibit included a statuette of Frederick Douglass, four bound volumes of nearly 400 official patents by African Americans, photographs from several educational institutions (Fisk University, Howard University, Roger Williams University, Tuskegee Institute, Claflin University, Berea College, North Carolina A&T), and, most memorably, some five hundred photographs of African-American men and women, homes, churches, businesses and landscapes including photographs from Thomas E. Askew. The pavilions of the Austro-Hungarian domains in the Balkans, Bosnia and Herzegovina, offered displays on their lifestyles, consisting of folklore traditions, highlighting peasanthood and the embroidery goods produced in the country. The pavilion was largely used for receptions for important visitors to the exposition. Sweden's yellow and red structure covered in pine shingles drew attention with its bright colours. It was designed by Ferdinand Boberg. The pavilion of Finland, designed by Gesellius, Lindgren, Saarinen, had clean-cut, modern architecture. The Korean pavilion, designed by Eugène Ferret, was modelled after Geunjeongjeon hall in the royal palace. It was mostly stocked by French Oriental collectors, including Victor Collin de Plancy, with a supplement of Korean goods from Korea. One object of note on display was the Jikji, the oldest extant book printed with movable metal type. Morocco had its pavilion near the Eiffel Tower and was designed by Henri-Jules Saladin. File:Le pavillon de la Russie à l'exposition universelle de Paris en 1900.jpg|Pavilion of Russia by Robert Meltzer File:Exposition universelle, 1900 - the chefs-d'uvre (1900) (14597572428).jpg|Pavilion of China by Louis Masson-Détourbet File:Les pavillons du Maroc, Exposition Universelle 1900.jpg|Pavilion of Morocco by Henri-Jules Saladin Exposition universelle 1900 - Photographie du pavillon coréen.jpg|Pavilion of Korea by Eugène Ferret ==Colonial pavilions==

An area of several dozen hectares on the hill of the Trocadéro Palace was set aside for the pavilions of the colonies and protectorates of France, the Netherlands, Great Britain, and Portugal. The largest space was for the French colonies in Africa, the Caribbean, the Pacific and Southeast Asia. These pavilions featured traditional architecture of the countries and displays of local products mixed with modern electric lighting, motion pictures, dioramas, and guides, soldiers, and musicians in local costumes. The French Caribbean islands promoted their rum and other products, while the French colony of New Caledonia highlighted its exotic varieties of wood and its rich mineral deposits. The North African French colonies were especially present; The Tunisian pavilion was a miniature recreation of the Sidi Mahrez Mosque of Tunis. Algeria, Sudan, Dahomey, Guinea and the other French African colonies presented pavilions based on their traditional religious architecture and marketplaces, with guides in costume. The French colonies of Indochina, Tonkin and Cambodia also had an impressive presence, with recreations of pagodas and palaces, musicians and dancers, and a recreation of a riverside village from Laos. The Netherlands displayed the exotic culture of its crown colony, the Dutch East Indies. The pavilion displayed a faithful reconstruction of 8th-century Sari temple and also Indonesian vernacular architecture of Rumah Gadang from Minangkabau, West Sumatra. File:Le palais officiel de l'Algérie, Exposition Universelle 1900.jpg|Pavilion of French Algeria by Albert Ballu File:La Tunisie, Exposition Universelle 1900.jpg|Pavilion of French Tunisia by Henri-Jules Saladin File:Cambodian.in.France.1900s.jpg|Pavilion of Cambodia - Buddhist Temple File:Le Tonkin, Exposition Universelle 1900.jpg|Pavilion of French Indochina - Replica of the Co Loa Palace in Hanoi File:Paris Exposition Dutch East Indies Pavilion, Paris, France, 1900 n2.jpg|Pavilion of Dutch East Indies - Replica of Sari Temple in Yogyakarta ==Attractions==

Besides its official scientific, industrial and artistic palaces, the exposition offered an extraordinary variety of attractions, amusements and diversions. Eiffel Tower The Eiffel Tower, which was built as the main entrance of the 1889 Exposition, was the main and central attraction of the 1900 Exposition. For this exposition, it was repainted in shaded tones from yellow-orange at the base to light yellow at the top and was fitted with 7,000 electric lamps. At the same time, the lifts in the east and west legs were replaced by lifts running as far as the second level and the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. file:Paris expo uni 1900-.jpg|Aerial view of the exposition including the Eiffel Tower file:Paris_Exposition_Champ_de_Mars_and_Eiffel_Tower,_Paris,_France,_1900_n1.jpg|View of the Champ de Mars under the Eiffel Tower The Grande Roue de Paris The Grande Roue de Paris was a very popular attraction. It was a gigantic ferris wheel high, which took its name from a similar wheel created by George Washington Gale Ferris Jr. at the 1893 World's Columbian Exposition in Chicago. It could carry 1,600 passengers in its forty cars in a single voyage. The cost of a ride was one franc for a second class car, and two francs for a more spacious first-class car. Despite the high price, passengers often had to wait an hour for a place. File:La grande roue, Paris, France, ca. 1890-1900.jpg|The Grande Roue at the Paris Exposition could carry 1600 passengers at once The moving sidewalk, electric train and electrobus The ''Rue de l'Avenir'' () moving sidewalk was a very popular and useful attraction, given the large size of the exposition. It ran along the edge of the exposition, from the esplanade of Les Invalides to the Champ de Mars, passing through nine stations along the way, where passengers could board. The fare was an average of fifty centimes. The sidewalk was accessed from a platform above the ground level. The passengers stepped from the platform onto the moving sidewalk traveling at , then onto a more rapid sidewalk moving at . The sidewalks had posts with handles which passengers could hold onto, or they could walk. It was designed by architect Joseph Lyman Silsbee and engineer Max E. Schmidt. A Decauville electric train followed the same route, running at an average speed of in the opposite direction of the moving sidewalk. The rail track was sometimes at high like the movable sidewalks, sometimes at ground level and sometimes underground. An experimental passenger electrobus line, designed by Louis Lombard-Gérin, ran in the Bois de Vincennes from 2 August to 12 November 1900. It was a long circular route connecting the recently opened Porte de Vincennes metro station with Lac Daumesnil. It was the first trolleybus in regular passenger service in History. File:Plateforme mobile, station du pont des Invalides.jpg|Quai d'Orsay-Pont des Invalides station of the moving sidewalk near the Pavilion of Italy File:Paris Exposition rolling platform, Paris, France, 1900.jpg|Viaducts of the electric train (left) and the moving sidewalk (right) File:Compagnie de Traction par Trolley Automoteur Paris 1900.jpg|The first ever trolleybuses in regular passenger service (Bois de Vincennes) The Globe Céleste The Globe Céleste was an immense globe-shaped planetarium which offered a presentation on the night sky. The globe, designed by Napoléon de Tédesco, was in diameter, and the blue and gold exterior was painted with the constellations and the signs of the zodiac. It was placed atop a masonry support high, supported by four columns. A flower garden on the support surrounded the globe. Spectators seated in armchairs inside watched a presentation on the stars and planets projected overhead. The sphere was the scene of a fatal accident on 29 April 1900 when one of its access ramps, hastily made of a newly introduced material, reinforced concrete, collapsed onto the street below, killing nine people. Following the accident the French government established the first regulations for the use of reinforced concrete. File:Tour Eiffel et le Globe Céleste.jpg|The Globe Céleste and the Eiffel Tower File:Suchard - Globe céleste.jpg|The Globe Céleste was featured in an advertisement for Suchard Chocolate Motion pictures The Lumière brothers, who had made the first public projections of a motion picture in 1895, presented their films on a colossal screen, by , in the Gallery of Machines. Another innovation in motion pictures was presented at the exposition at the Phono-Cinema Theater; a primitive talking motion picture, where the image on the screen was synchronized to the sound from phonographs. An even more ambitious experiment in motion pictures was the Cinéorama of Raoul Grimoin Sanson, which simulated a voyage in a balloon. The film, projected on a circular screen in circumference by ten synchronized projectors, depicted a landscape passing below. The spectators sat in the center above the projectors, in what resembled the basket suspended beneath a large balloon. File:Expo1900SoundFilm.jpg|Poster for the Phono-Cinema Theater File:Cineorama.jpg|The Cinéorama, a simulated voyage in a balloon with motion pictures projected on a circular screen. File:Mareorama (Scientific American).jpg|The Mareorama simulated a sea voyage, complete with rocking ship and unrolling painted scenery. World live recreations ''L'Andalousie au temps des Maures'' () was a Spanish-themed open air attraction with folkloric live performances at Quai Debilly, at the western end of Trocadéro, on the right bank of the Seine, featuring full-scale moorish architecture reproductions from the Alhambra, Córdoba, Toledo, the Alcázar of Seville and an tall reproduction of the Giralda. It was a French-produced attraction that had no relation with the official representation of Spain at the fair. File:Andalucía_en_tiempo_de_los_moros.JPG|Poster from a painting by Ulpiano Checa File:Paris Exposition Giralda Tower of Seville, Paris, France, 1900.jpg|Bullring and Giralda File:Paris Exposition unidentified exterior view, Paris, France, 1900 n8.jpg|Recreation of the Alhambra Le Vieux Paris () was a recreation of the streets of old Paris, from the Middle Ages to the 18th century, with recreations of historic buildings and streets filled with performers and musicians in costumes. It was built following an idea by Albert Robida. There were also several recreations depicting picturesque or touristic regions of France, including exhibitions from Provence, Bretagne, Poitou, Berry and Auvergne, using their pre-revolutionary provincial names rather than their departments. Provence was represented by two reconstructions, a Provençal farmhouse or mas and a reconstruction called Vieil Arles which reconstructed certain Roman ruins and part of the town's cathedral. The Swiss Village, at the edge of the exposition near Avenue de Sufren and Motte-Piquet, was a recreation of a Swiss mountainside village, complete with a cascade, a lake and collection of thirty-five chalets. Other recreations with costumed vendors and musicians elsewhere the exposition included recreations of the bazaars, souks and street markets of Algiers, Tunis and Laos, a Venetian canal with gondolas, a Russian village and a Japanese tea house. The most celebrated actress during the exposition was Sarah Bernhardt, who had her own theater, The Théâtre Sarah Bernhardt (now the Théâtre de la Ville), and premiered one of her most famous roles during the exposition. This was ''L'Aiglon'', a new play by Edmond Rostand in which she played the Duc de Reichstadt, the son of Napoleon Bonaparte, imprisoned by his unloving mother and family until his melancholy death in the Schönbrunn Palace in Vienna. The play ended with a memorable death scene; according to one critic, she died "as dying angels would die if they were allowed to." The play ran for nearly a year, with standing-room places selling for as much as 600 gold francs. Another popular diversion during the exposition was the theater of the American dancer, Loie Fuller, who performed a famous Serpentine dance in which she waved large silk scarves which seemed to envelop her into a cloud. Her performance was widely reproduced in photographs, paintings and drawings by Art Nouveau artists and sculptors, and were captured in very early motion pictures. She was filmed on ten 70mm projectors that created a 330-degree picture, patented by Cinéorama. File:Loie Fuller.jpg|The dancer Loie Fuller had her own theater in Paris during the 1900 Exposition File:Sarah Bernhardt as L'Aiglon 1900.jpg|Sarah Bernhardt as L'Aiglon, the son of Napoleon Bonaparte, played to full houses in her theater during the exposition. ==Events==

Many international congresses and other events were held in Paris in 1900 within the framework of the exposition, such as the International Congress of Physics, the second International Congress of Mathematicians, the first World Congress of Philosophy and the third International Electrical Congress. A large area within the Bois de Vincennes was set aside for sporting events, which included, among others, many of the events of the 1900 Summer Olympics. A chess tournament was also held. 1900 Summer Olympics Games The 1900 Summer Olympics were the second modern Olympics games held, and the first ones held outside Greece. Between 14 May and 28 October 1900, an enormous number of sporting activities were held along the exposition. The sporting events rarely used the term of "Olympic". Indeed, the term "Olympic Games" was replaced by "''Concours internationaux d'exercices physiques et de sport''" () in the official report of the exposition. The press reported competitions variously as "International Championships", "International Games", "Paris Championships", "World Championships" and "Grand Prix of the Paris Exposition". The International Olympic Committee (IOC) had no real control over the organization, no official interpretation has ever been made and various sources list differing events, further adding to the confusion that was Paris 1900. According to the IOC, 997 competitors took part in nineteen different sports, including women competing for the first time. A number of events were held for the first and only time in Olympic history, including automobile and motorcycle racing, ballooning, cricket, croquet, a swimming obstacle race and underwater swimming. France provided 72 percent of all athletes (720 of the 997) and won the most gold, silver and bronze medal placings. The United States athletes won the second largest number, with just 75 of the 997 athletes. The pigeon race was won by a bird that flew from Paris to its home in Lyon in four and a half hours. The free balloon competition race was won by a balloon which travelled from Paris to Russia in 35 hours and 45 minutes. File:Cérémonie d'ouverture du concours de gymnastique des JO 1900, à Vincennes.jpg|Gymnasts at opening ceremony (Bois de Vincennes) File:Tennis women 1900.jpg|Hélène Pévost, French women's tennis champion at the 1900 Paris Olympics, the first games in which women competed File:Tug of war.jpg|A combined Swedish-Danish team defeated France in the Olympic Tug-of-War competition File:Les courses de ballons à Vincennes.jpg|Beginning of the balloon event at the 1900 Summer Olympics (Bois de Vincennes) Banquet des maires Another special event at the exposition was a gigantic banquet hosted by the French President, Émile Loubet, for 20,777 mayors of France, Algeria and towns in French colonies, hosted on 22 September 1900 in the Tuileries Gardens, inside two enormous tents. ==Admission charges and cost==

for the Exposition Universelle de 1900. The cost of an admission ticket was one franc. At the time, the average hourly wage for Paris workers was between forty and fifty centimes. In addition, most popular attractions charged an admission fee, usually between fifty centimes and a franc. The average cost of a simple meal at the exposition was 2.50 francs, the half-day wages of a worker. The amount budgeted for the Paris Exposition was one hundred million francs; twenty million from the French government, twenty million from Paris, and the remaining sixty million expected to come from admissions, and backed by French banks and financial institutions. The official final cost was 119 million francs, while the total amount actually collected from admission fees was 126 million francs. However, there were unplanned expenses of twenty-two million francs for the French State, and six million francs for the City of Paris, bringing the total cost to 147 million francs, or a deficit of twenty-one million francs. The deficit was to a degree offset by the long-term additions to the city infrastructure; new buildings and bridges, including the Grand and Petit Palais, the Pont Alexander III and the Passerelle Debilly; and additions to the transport system; The Paris Métro Line 1, the funicular railway on Montmartre, and two new train stations, the Gare d'Orsay and the Gare des Invalides, and the new facade and enlargement and redecoration of the Gare de Lyon and other stations. The exposition was so expensive to organize and run that the cost per visitor ended up being about six hundred francs more than the price of admission. The exhibition lost a grand total of 82,000 francs after six months in operation. Many Parisians had invested money in bonds sold to raise money for the event and therefore lost their investment. With a much larger than expected turnout the exhibit sites had gone up in value. Continuing to pay rent for the sites became increasingly hard for concessionaires as they were receiving fewer customers than anticipated. The concessionaires then went on strike, which ultimately resulted in the closure of a large part of the exposition. To resolve the matter, the concessionaires were given a fractional refund of the rent they had paid. ==Art Nouveau at the exposition==

The Art Nouveau ("New Art") style, taking its name from S.Bing's store L'Art Nouveau, began to appear in Belgium and France in the 1890s and became fashionable in Europe and the United States. It was highly decorative and took its inspiration from the natural world, particularly from the curving lines of plants and flowers and other vegetal forms. The architecture of the exposition was largely of the Belle Epoque style and Beaux-Arts style, or of eclectic national styles. The store L'Art Nouveau presented a small pavilion at the exposition showcasing furniture and interior design in the new style. Art Nouveau style decoration appeared in the interiors and decoration of many of the other buildings, notably the interior ironwork and decoration of the Monumental gateway of the exposition, the and the , and in the portal of the Palace of National Industries. The Art Nouveau style was very popular in the pavilions of decorative arts. The jewelry firm of Fouquet and the glass and crystal manufactory of Lalique all presented collections of Art Nouveau objects. The Sèvres Porcelain Manufactory created a series of monumental swan vases for the exposition, as well as the monumental entrance to the Palace of National Manufacturers. and in the portal of the Palace of National Manufacturers made by the Sèvres Porcelain Manufactory. The exposition was a showcase not only of French Art Nouveau, but also the variations that had appeared in other parts of Europe, including the furniture of the Belgian architect and designer Victor Horta, designs of the German Jugendstil by Bruno Möhring, and of the Vienna Secession of Otto Wagner. Their display at the exposition brought the new style international attention. Abbesses.JPG|Paris Métro station entrance at Abbesses designed by Hector Guimard for the CMP File:Sevres World Fair Vase.jpg|Art Nouveau swan vase by the Sèvres Manufactory made for the exposition File:Egide Rombaux & François Hoosemans, De Nymfenlamp (ca. 1900), KBS-FRB.jpg|Nymph lamp by Egide Rombaux & François Hoosemans made for the exposition File:Menu for Bosnia Pavillion by Alfons Mucha 1900.jpg|Menu by Alfons Mucha for the restaurant of the Bosnia and Herzegovina pavilion File:Alfons Mucha (Paris 1900, musée du Petit Palais) (14524535382).jpg|Bosnia and Herzegovina pavilion murals by Alfons Mucha (1900), now in File:The Bigot-pavilion at the Paris Universal Exposition, 1900.jpg|The Bigot pavilion, showcasing the work of Art Nouveau ceramics manufacturer Alexandre Bigot File:Traubensaal.jpg|Jugendstil hallway from the German pavilion, by Bruno Möhring, now in Mainz File:Le Train Bleu.jpg|The 1900 interior of the Train Bleu at the Gare de Lyon File:Maxim's 1.jpg|1893 facade of Maxim's restaurant ==Legacy==

Most of the palaces and buildings constructed for the Exposition Universelle were demolished after the conclusion of the exposition and all items and materials that could be salvaged were sold or recycled. They were built largely of wood and covered with staff, which was formed into columns, statuary, walls, stairs. A few of the major structures built for the exposition were preserved, including the and the , and the two major bridges, the Pont Alexandre III and the Passerelle Debilly, though the latter was later dismantled and moved a few dozen meters from its original placement. The Compagnie du chemin de fer métropolitain de Paris (CMP) installed a total of 141 of the Art Nouveau metro station entrances designed by Hector Guimard –with and without canopy– between 1900 and 1913. In 1978, the 86 entrances that still existed were protected as historical monuments and have been preserved to this day, including two original canopied ones: at Porte Dauphine, on its original site and with the wall panels, and at Abbesses (moved from in 1974). A third canopied entrance at Châtelet is a 2000 recreation. None of the three pavilion-type entrances designed by Guimard have survived. The monumental portal of the Palace of National Manufacturers, made by the Sèvres Manufactory, was preserved and moved to Square Felix-Desruelles, next to the Abbey of Saint-Germain-des-Prés. A copy of the Statue of Liberty by Frédéric Auguste Bartholdi exhibited at the fair, was placed in the Luxembourg Gardens in 1905 at the request of his widow. After visiting the Panorama du Tour du Monde, King Leopold II of Belgium commissioned the architect of the building, Alexandre Marcel, to build a Japanese tower and a Chinese pavilion in the Royal Domain of Laeken, Brussels, Belgium. Marcel rebuilt there the Japanese red pagoda of the Panorama du Tour du Monde (now known as the Japanese Tower) and moved there the original entry pavilion to the tower from Paris. He also built the Chinese Pavilion whose wooden panelling was sculpted in Shanghai. Both structures are now part of the Museums of the Far East. One of the most curious vestiges is La Ruche, at 2 Passage de Dantzig (15th arrondissement). This is a three-story building constructed entirely out of bits and pieces of exposition buildings, purchased at auctions by sculptor Alfred Boucher. The iron roof, made by Gustave Eiffel, originally covered the kiosk of the Wines of Médoc, in the palace of agriculture and foods. The statues of women in theatrical costumes by the front door came from the Indochina pavilion, while the ornamental iron gate at the entrance was part of the Palace of Women. In the years after the exposition, La Ruche served as the temporary studio and home of dozens of young artists and writers including Marc Chagall, Henri Matisse, Amedeo Modigliani, Fernand Léger and the poet Guillaume Apollinaire. It was threatened with demolition in the 1960s but was saved by culture minister André Malraux. It is now a historical monument. Laken Japanese Tower from Palace Gardens 04.jpg|Japanese Tower of the Museums of the Far East in Laeken, Brussels, Belgium Portique Sèvres, square Félix-Desruelles, Paris 6e.jpg|Ceramic gateway of Sèvres Porcelain from the Palace of National Manufacturers, now on Square Félx-Desruelles File:EdiculePorteDauphine.jpg|Hector Guimard's original Art Nouveau entrance of the Paris Métro at Porte Dauphine File:Statue de la liberte.jpg|A copy of the Statue of Liberty by Bartholdi, exhibited in 1900, placed in the Luxembourg Gardens in 1905 File:Entrance to the "La Ruche" in Paris.jpg|La Ruche, an artist's colony composed of pieces of different exposition buildings ==Criticism==

The exposition had numerous critics from different points of view. The Porte Monumentale Response to the monumental gateway was mixed, with some critics comparing it to a pot-bellied stove. It was described as "lacking in taste" and was considered by some critics to be the ugliest of all the exhibits. La Porte Monumentale is considered to be a structure of the Salammbô style and 'the most typically 1900 monument of the entire exhibition'. The controversial gateway became known as La Salamanda among the public because it resembled the stocky and intricately designed salamander-stoves of the time, only adding to its ridicule. ==In literature==

The American memoirist and historian Henry Adams wrote about the exposition in The Education of Henry Adams, in a chapter titled "The Dynamo and the Virgin." Adams used the occasion to ruminate upon the implications of the Machine Age, expressing concern over what he perceived to be a clash between technology ("the dynamo," a reference to the new engines on display) and the tradition of art and spirituality ("the Virgin," in reference to displays of older artwork) in addressing human needs. The chapter is considered to be an early iteration of the conversations about technology and life that continued in the 20th and 21st centuries. ==Motion picture footage==

Short silent actuality films documenting the exposition by French director Georges Méliès and by Edison Manufacturing Company producer James H. White, have survived. == See also ==