There was a lively discussion in the press on every question raised. Here is a note by a contemporary about the dawn of the automotive industry: “It can be said that since 1900, with the Paris Exhibition, a new era begins in Europe with the relative development of motoring and the replacement of carriages with horses on the streets.
It is likely that in the 20th century cars will replace horse-drawn carriages. The exhibition of automobiles in Vincennes and on the Champ de Mars seems to have fully confirmed this. We were amazed by the abundance of cars at the show. The same can be said about cars on the streets of Europe, mainly in Berlin and especially in Paris. In Paris, there are even carriages of cab drivers (that was the name of the first taxis. - N.M.). Of the French cars, Peugeot brothers and Botho pay attention.
The little Palace, Exposition Universal, 1900, Paris, France
But it should be noted that the art of exposition improved from exhibition to exhibition. Gradually, the fundamental requirements for the exhibition pavilion, for the display of products, are being formed. By the end of the century, the Art Nouveau style had a great influence on exhibitions, crowding out the carelessness of eclecticism with its rationalism. The Art Nouveau influence became evident at the 1900 Paris Exhibition. There is a division not only by countries and firms, but also by industry departments. Models, layouts for display are created production processes. The old display methods, dioramas and panoramas, were also constantly improved (the first diorama was set up in Paris back in 1822 by Duger and Batan for entertainment purposes). Picturesque paintings and engravings depicting participating factories were replaced by models of these factories, and even dioramas. Technological progress called for service in exhibition stands drawings, tables, diagrams and the latest invention - photography. Already at the first world exhibition in 1851, the problem of the movement of visitors around the exhibition area arose. This is how the first exhibition transport (omnibuses) appeared. Later, at an exhibition in Chicago (1893), "movable sidewalks" were used for the first time, moving up to 10 thousand visitors daily on a conveyor belt. There was a problem of fatigue of visitors. The organization of recreation areas led to the creation of an entire entertainment industry, which coincided with the desire of the organizers to recoup huge costs and, as they said then, "not play into a deplorable deficit." There are theaters, restaurants, as well as various attractions, profitable spectacles, the so-called "NAILS".
Any exotic with the flavor of the colonial Napoleonic and English wars was especially popular with the public. "Hawaiian villages" and "Indian teahouses", shooting ranges in the style of an African safari, "corners of medieval Paris", etc. were created.
Alexandre III, bridge, Exposition Universal, 1900, Paris 
The spirit of profit attracted novelties of technical thought and progress to the entertainment industry: electricity, cinema. In Paris, "the exhibition as such ... has receded into the background before the spectacle."
The thought of creating children's town Entertainment "Disneyland" in America was born in the middle of the 20th century after Disney, an animator and businessman, fell into the hands of the album "Paris World Exhibition of 1900".
One of the striking achievements associated with the use of electricity in technology is the development of aluminum metallurgy. Ten years ago, aluminum was considered an expensive metal, but since electric current was used to obtain it, its price has fallen tenfold. Aluminum has already been used to make brooches and cufflinks, binoculars, spoons and forks. To increase the hardness, aluminum alloys with other elements were created. It began to be used on car parts and wires of electrical installations. The French showed at the exhibition a bridge made of aluminum with a length of 15 m and a mass of 1500 kg. The exhibition of 1900 made it possible to trace the amazing successes of the aluminum industry over the past 10 years: its smelting by the new method amounted to 28 thousand tons during this time.
At the exhibition in Paris, visitors were again surprised by the lamps of the Russian engineer A.N. Lodygin - they were with molybdenum and tungsten filaments, unlike the already well-known coal ones, presented right there. When the press made noise about Edison lamps with bamboo filament, the authors of the World's Fair catalog described Lodygin's experiments on creating incandescent lamps and recalled: "From this it follows that the production of coals for lamps by calcining organic products was first used in Russia, and not abroad."
But the connoisseurs were even more amazed by the world's largest three-phase current dynamo with a power of 4500 hp. designs by M.O. Dolivo-Dobrovolsky. It was built by a German company for electric lighting in Berlin.
In the reports at the IV International Electrotechnical Congress, held in Paris during the exhibition, the main results of Russian creativity in the field of electrical engineering were presented to the entire scientific world in a publication published in Russian and French"Essay on the work of Russians in electrical engineering from 1800 to 1900. An explanatory catalog of exhibits exhibited by the VI electrical department of the Russian Technical Society."
The Paris exhibition demonstrated the inventions of the successors of the pioneers in the field of electric lighting, Lodygin and Yablochkov. V.N. Chikolev designed an arc lamp with a differential regulator for approaching the electrodes, using a small electric motor for regulation. Later, designers used this Chikolev principle in projector lamps. He also proposed a photographic method for studying and testing reflective searchlights. V.Tikhomirov's electric candle, Repyev's electric arc lamp, Maikov-Dobrokhotov system's regulator for meadow lamps were exhibited.
Russian inventions in the field of creating electric machines were also presented: a dynamo machine without iron by D.A. Lachinov, a disk dynamo machine and a transformer by A.I. Poleshko, dynamo machines by A. Klimenko.
The exhibits reminded that original electrolytic methods of bleaching fabrics were created in Russia: A.P. Lidova and V. Tikhomirova, S.N. Stepanova. Accumulator systems of Khotinsky, original galvanic cells by P.N.
Along with this, as stated in the report of the General Commissar of the Russian Department, "the first Russian telegraph devices were presented, proving that the Russians were repeatedly the first great inventors ... In the electrical business ... the same examples in the inventions of Messrs. Yablochkov and Lodygin ".
Russian creative thought created rich potential opportunities for introducing valuable inventions into practice, but in tsarist Russia, with its weak economy, all this was suppressed, not supported by those in power.
In the section of aeronautics, the exhibits of Russian aviators Pomortsev, Kuzminsky and Yang were successful: measuring instruments, airplanes, parachutes, momentometers and gas turbine engines. The meteorologist, Major General M.M. Pomortsev, invented a number of aeronautical and other instruments, since 1895 he was the chairman of the VII (aeronautical) department of the Russian Technical Society.
The Russian engineer P.D. Kuzminsky, the inventor of the gas turbine, was also engaged in aeronautics and was one of the initiators of the creation of the VII department of RTO. He repeatedly suggested using a high-speed and at the same time light turbine engine for aeronautics. Seven years before the exhibition in Paris, he announced to the War Office his readiness to build an airship of his own design, but the proposal remained unanswered.
The World Exhibition of 1900 brought each participating country, as it were, to a report on its achievements. What else was different about the Russian exposition at such a significant review?
In Russian expositions at the exhibition, as usual, a large place was given to luxury items, jewelry from precious metals and stones, furs. The central exhibit in the Russian pavilion, which architecturally reproduced the Moscow Kremlin in miniature, was a huge pyramid of 35,000 pairs of galoshes, representing the daily output of the Russian-American manufactory in St. Petersburg. In terms of the production of galoshes, Russia then occupied the first place in the world.
The ensemble of white-stone buildings based on the towers and chambers of the Kremlin looked picturesque. It exhibited samples of wood, silk, carpets, metal products, tea, rice, cotton and many other products and products. In the handicraft department, according to the project of the artist K.A. Korovin, several wooden houses and a church were built - as if the street of a Russian village. He received the Order of the Legion of Honor for the design of the exposition.
Handicrafts from all over the country were collected in the rooms: Caucasian weapons and carved silver items, Novotorzhskaya embroidered shoes, embroideries, lace, knives, as well as glazed ceramic products, kvass, beetroot. The Porcelain and Faience Factory of M.S. Kuznetsov from St. Petersburg, which exhibited porcelain dishes, tea and table sets, cups, glasses, figurines, as well as toilet, washing coffee appliances, received a large gold medal.
L'Exposition Universelle de 1900 est la plus étendue géographiquement. Elle englobe, dans l'ouest parisien, des Invalides au Champ de Mars, une bonne partie des deux rives de la Seine.
Per high quality gold and silver threads, distinguished by their special subtlety and softness, the gold-weaving factory, founded in 1785 by the great-grandfather of K.S. Stanislavsky, received the highest award "Grand Prix", and Konstantin Sergeevich himself and other workers of the factory were awarded medals.
Kasli casting
The famous craftswoman of Dymkovo clay toys A.A. Mezrina participated with her products at an exhibition in Paris, and the toys were not only shown, but also sold. The famous artist A.M. Vasnetsov, at the request of the organizers of the Russian pavilion, specially bought a thousand pieces in Dymkovo for this purpose, and they went to Paris for a franc each.
For a long time, Shemogoda carving was known in Russia: an openwork section covered tueski, caskets, caskets made of birch bark. The best handicrafts of the master I.A.Veprev in 1900 were awarded the diploma of the World Exhibition. Other wooden miracle- Russian nesting doll - was born in 1891, when the turner V. Zvezdochkin carved it in the carpentry and carving workshop in Abramtsevo, and the artist S. Milyutin painted it. In 1900, an elegant nesting doll first appeared at the World Exhibition. The Russian toy won a gold medal for the originality of the form and original painting.
By the time of Russia's participation in the World Exhibition, an extensive work under the general editorship of V.I. Kovalevsky "Russia at the end of the 19th century" was urgently compiled. It summed up the results of the past century. The authors bitterly summarized: “The mining industry has not yet received development in Russia, in accordance with its natural resources, and so far occupies a secondary place among other sectors of the extractive industry ... Despite the rapid growth of the iron industry in Russia observed in recent years, production native factories still cannot satisfy the demand for iron in it.
Le palais des illusions (Hénard architecte)
The explored mineral reserves of Russia were small. Even at the beginning of the twentieth century in reference books on the country, which ranked first in the world in terms of area, among the explored world reserves for coal, a little more than 3%, for iron ore - no more than 1%, and phosphorites too. Russia provided almost half of the world's gold and oil production, but the deposits of nickel, potassium, boron, sulfur, bauxite, in fact, were not known at all.
Nevertheless, the Russian mining department at the exhibition was one of the most extensive. Coal, samples of iron and manganese ores, gold, platinum, copper, malachite and other minerals were presented at the exhibition from the Tagil and Lysvinsky mining districts, the Lunevsky coal mines. And although the Ural factories looked "with undesirable fullness," the exposition made such a strong impression that the organizers of the exhibition awarded nominal bronze medals to Ivanov, the surveyor of the Lunevsky coal mines, and Burdakov, the manager of the Tagil copper mine.
The Palace Lumineux, night, Exposition Universal, 1900, Paris
From metal products, the works of state-owned factories attracted attention: a wonderful set of Zlatoust edged weapons, Kusinsky artistic casting, steel scythes of various degrees of hardening. Artistic products made of cast iron from Kyshtym factories were successfully sold. Druzhkovsky plant from Donbass put up a 100-meter rail. In Paris, miniature working models of a combat three-line Russian rifle of the 1891 model were demonstrated along with Izhevsk hunting weapons. These exhibits enjoyed great success - the Izhevsk arms and steel works were awarded the highest award "Grand Prix".
An outstanding exhibit of the exhibition in 1900 was a huge palace-pavilion made of cast iron. The Kasli craftsmen presented it first to the All-Russian Industrial and art exhibition 1896 in Nizhny Novgorod. The architect A.I. Shirshov was the author of the sketch of the palace-pavilion. According to his project, models were made at the factory, and then cast from cast iron great amount openwork details. The protruding cornice part of the facade of the palace is supported by strict columns - two to the left and two to the right of the entrance. The walls are mesh openwork plexus. At the entrance and inside there are cast iron products, and the pavilion itself is surrounded by a fence.
Part of the Russian pavilion 
At the World Exhibition in Paris, an excellent work of Russian grinding and jewelry art, a precious mosaic map of France, attracted general attention. It was made at a grinding factory in Yekaterinburg under the guidance of craftsman P.P. Milkov and was intended as a gift to the French Republic. The dimensions of the map are more than a meter on each side. The sea is laid out of light gray marble, and the departments are made of jasper of different colors. Rivers are platinum threads embedded in jasper, cities are precious stones set in gold, city names are typed in gold letters. All cities on the map 126: Paris - a large ruby, Le Havre and Marseille - emeralds, Lyon - tourmaline, Bordeaux - aquamarine, Cherbourg - alexandrite, Toulon - chrysoberyl, Rouen - sapphire, Lille - phenocite, Reims - chrysolite, Nantes - beryl, Nice - hyacinth; 21 cities of amethyst, 55 of tourmaline and 38 of rock crystal. The map is set in a slate-coloured jasper frame. Delighted spectators appreciated the wonderful collection of Ural stones, shown in such a peculiar form. Executed with a delicate artistic taste and exceptional craftsmanship, the map received a high award from the World Exhibition, and its author, V.V. Mostovenko, director of the factory, received the Commander's Cross of the Legion of Honor.
Exhibition opening and closing posters
127 different congresses coincided with the exhibition: on acetylene, history, religion, traveling salesmen and bakers, organizers of Sunday rest and opponents of tobacco abuse, supporters of thread standardization, etc. P.N. Lebedev, M.A. Shatelen, K.A. Timiryazev and others were among the Russians at the physics congress.
Kasli casting
VI Vernadsky took part in the VIII session of the International Geological Congress, which took place during the World Exhibition, which made a great impression on the scientist. He spent a lot of time at the exhibition, studied the current state of mining, the main ore deposits of the whole world. In a letter to his son dated August 19, 1900, he wrote: “The exhibition is striking in its size. The most interesting and important, the new is observed in technology and in art. steel at red heat. And in every country you can observe a lot of new things. "
Exhibition plan.Clickable
The unusual planning decision of the Russian pavilion was dictated by the peculiar and extremely inconvenient place allocated for its construction. It was a very narrow and long space along the Trocadero wall. Korovin brilliantly and witty coped with the task by placing four separate buildings along the same axis and connecting them with open galleries.
In the autumn of 1899, the construction of the pavilion was completed in Moscow, then it was dismantled and transported to St. Petersburg for shipment to Paris by sea. The final assembly on site was carried out under the direction of I.E. Bondarenko by Russian workers provided by R.F. Meltzer, architect of the General Russian Department of the Paris Exhibition.
Interior of exhibition building, Exposition Universal 
An hour before midnight on October 30, 1900, the Eiffel Tower was lit up with a purple-red light and a cannon fired, announcing the closing of the exhibition. Thus ended the 19th century. at world exhibitions.
Russia received 1,589 awards for the exposition, including 212 highest, 370 gold medals, 436 silver, 347 bronze and 224 honorary reviews. The gold medal of the 1900 exhibition, along with the Eiffel Tower, was awarded railroad bridge across the Yenisei River.
Les pavillons des nations de Exposition universelle de 1900 
The World Exhibition brought the French treasury an income of 7 million francs. More than 76 thousand participants took part in the exhibition, the exhibition area was 1.12 km².
At the 1900 World's Fair, voice-acted films and escalators were first presented to the public, and Campbell Soup was awarded a gold medal (it is still depicted on a can of soup to this day).
Rudolf Diesel presented to the visitors of the exhibition a diesel engine running on rapeseed oil.
An exhibition in Paris in 1900 was visited by about 50 million people
Many panoramic paintings and new panoramic techniques were also presented, such as the sineorama, the mareorama and the Trans-Siberian Railway Panorama.
The focus at the Palace of Illusions was a telescope with a lens diameter of 1.25 m, which allows you to see the moon from a distance of one meter. This telescope was the largest of all created at that time. The eyepiece of the telescope was 60 m long and 1.5 m in diameter.
And the press spoke enthusiastically about the Russian department. The gold medal of the exhibition was awarded by a special committee headed by Gustav Eiffel to the Russian engineer Lavr Proskuryakov for the Krasnoyarsk railway bridge. The French press unanimously noted the "tremendous growth of Russian industry" and Russia's "incredible progress" in all branches of art and industry.
At previous World Exhibitions, Russia was poorly represented, but at the 1900 exhibition, the government decided to demonstrate the technical power of Russia as fully as possible.
Thanks to the special friendly relations between Russia and France, the largest exposition area was allocated for the Russian department - 24,000 m². Russia spent 5,226,895 rubles on participation in the exhibition (of which the government allocated 2,226,895 rubles, and institutions and exhibitors 3,000,000 rubles).
Russia spent 5,226,895 rubles to participate in the 1900 exhibition
D. I. Mendeleev, who was vice-president of the International Jury, took an active part in the work of the exhibition.
Once I happened to talk about the World Exhibition of 1900 in Paris with an educated lady.
- And what did Russia represent there? Matryoshka? she was genuinely surprised.
It is difficult to fight myths and legends.
However, by the beginning of the 20th century, the Russian economy was developing rapidly, the country had something to present at the World Exhibition in Paris, where the Russian exposition made a splash. The Minister of Industry and Trade of France, Millerand, called the Russian exposition "the most interesting bait at the Paris Labor Day."
The total exposition area of Russia at the exhibition was 24,000 sq.m., and there were much more exhibition compositions than other countries could imagine.
During the exhibition, the Russian exposition received 1,589 awards: 212 highest (Grand Prix), 370 gold medals, 436 silver, 347 bronze and 224 honorable mentions.
"We are under the influence of a feeling of surprise and admiration that we experienced when visiting the Russian department. Within a few years, Russian industry and trade have taken such a development that amazes all those who have the opportunity to form an idea of the path traveled in such a short time. Development it is so large that it leads to many thoughts," wrote the French newspaper Liberte.
View of the World Exhibition, which accumulated the best achievements of the world economy. The exhibition became a real event, it lasted 5 months and received more than 50 million visitors. Especially for the exhibition in Paris, a number of structures were erected - the Eiffel Tower, the Pont Alexandre III, etc.
Avenue of Nicholas II with the Small and Grand Palaces on the territory of the exhibition.
More about the architecture of the Russian Department of the Paris Exhibition: http://www.prometeus.nsc.ru/biblio/wex1900/ovchin90.ssi
Alexander III Bridge, named after the Russian emperor.
Pavilion of the Russian outskirts with buildings in the style of the Moscow and Kazan Kremlin. Inside the pavilion was decorated with 28 large art panels with scenes from the life of Central Asia, the Caucasus, Siberia, Far East and the North. Most of the panels were made by Konstantin Korovin.
Panel by Konstantin Korovin for the Russian pavilion
Russian Avenue
Illustrated edition "Russia at the World Exhibition in Paris in 1900": http://humus.dreamwidth.org/8873846.html
Krasnoyarsk railway bridge across the Yenisei, the turn of the 19th and 20th centuries. The bridge project was awarded the Gold Medal of the Exhibition, which was unconditionally awarded by a commission chaired by Gustave Eiffel.
Everything related to the construction of the Trans-Siberian Railway, an unprecedented project in terms of complexity and scale, was awarded the highest marks.
Sculpture "Russia" N.A. Laveretsky, Kasli casting, 1896
The figure adorned the entrance to the pavilion with an iron foundry exposition.
Openwork cast-iron pavilion of Kasli casting, awarded the Grand Prix at the exhibition.
Railway equipment made in Russia was successfully presented at the exhibition.
The State Pavilion of the Ministry of War offered advanced developments in the field of weapons. Fine horses were brought to the exhibition by Russian horse breeders.
Building expositions were a huge success. Even Russian cement and bricks were rated very highly.
Carved wooden elements for construction - columns, panels, railings, etc. were amazing in terms of the subtlety of the work. Russian carpenters amazed the guests by performing such details with one ax in front of everyone, for which the French used a set of tools.
Window, stained glass and technical glass, stove tiles, modern equipment for heating and ventilation of premises, produced in Russia, found many buyers abroad during the exhibition.
Roofing iron, produced in Lysva and ordered at the exhibition, is still covered on the roofs of the British Parliament building and Notre Dame Cathedral.
In addition to construction, metallurgical and machine-building expositions, the light industry of Russia was also widely represented - interior items, furniture, textiles, porcelain and crystal. Kuznetsov's Porcelain Manufactory Pavilion, designed by the architect Shekhtel, evoked particular delight.
Plate from the Kuznetsov service presented at the exhibition
Decorative plate produced especially for the opening of the exhibition
Faience iconostasis, made at the Kuznetsov factories and presented in Paris. Currently located in Marjanski Lazne, Czech Republic
A number of awards were given to lace, embroidery and other items of Russian women's needlework, distinguished by taste, subtlety and incredible craftsmanship. 
Award catalog of the exhibition
Goods of the Popov tea trading company, vodka and alcoholic goods of the Smirnovs and Shustovs, and grape wines of Prince Golitsyn were widely presented. The State Alcohol Trade had a separate pavilion near the Eiffel Tower, where men with great pleasure received small souvenir bottles of vodka. Foodstuffs from Russia it was possible to taste in several eateries and restaurants, the Parisians appreciated their quality very highly. 
On the esplanade of the Invalides, a separate pavilion of the institutions of the Empress Maria - Russians was built charities involved in social assistance.
In an effort to collect as many interesting exhibits as possible, the Russian government approved a number of benefits for exhibitors: free provision of premises at the exhibition, acceptance at the expense of the treasury of expenses for sending exhibits, insurance on the way, arrangement and decoration of the Russian department ("Draft regulation on the Russian department at the exhibition" , 1897).
Russia spent 5,226 thousand rubles on participation in the Paris exhibition, and the government allocated 2,226 thousand rubles, while institutions and exhibitors took on 3,000 thousand rubles. "The Highest Established Commission" for the preparation of the Russian department was headed by the director of the Department of Trade and Manufactories V.I. Kovalevsky. Prince V.N. Tenishev was appointed General Commissioner of the Russian Department,
where some typical Russian exhibits were placed. These buildings were under construction since May 29, 1899, and among the few other national pavilions, they were ready by the opening day of the exhibition on April 14, 1900. The main among them was considered the Pavilion of the Russian Outskirts, built according to the project of R.F. Meltzer. It had the appearance of a Russian town suddenly found itself in Paris. Bells even rang on one of its towers. The architecture of the pavilion was inspired by the Moscow and Kazan Kremlins. The ensemble was located 43 meters from the Trocadero Palace. The outline of his plan was a trapezoid, and the area totaled 4400 m 2. The highest tower rose almost 47 m and was surrounded by walls with battlements and loopholes. In front and on both sides, separate extension buildings adjoined it. Opposite the main entrance (from the side of the Seine) there was a spacious courtyard, in which, dividing it into two parts, there was a "Siberian" restaurant. In the left corner of the courtyard stood a rotunda stage for musicians. From the courtyard, a view of the hall of Central Asia opened, the entrance to which was decorated "in the Central Asian style" - copied from the portal of the Samarkand mosque. At the main entrance was also the Imperial Pavilion - "Royal Chambers", made in the old Russian style. It was intended for the Highest Persons (members of the royal family) and, together with the reception halls, overlooked the main facade of the Pavilion of the Russian Outskirts. A copy of the old Moscow boyar dwelling with all the furnishings was also located here. Separate rooms in different annex buildings were intended for a large exposition with the main theme "Vehicles". To the right of the central entrance there were exhibits of the Main Department of the Departments: a scientific exhibition (Siberian Railway - maps and models of bridges), the wealth of the Urals and the northern regions (furs, samples of wood and stone, gold, malachite), etc. The Sleeping Car Society demonstrated a train in which, with the help of a moving panorama by the artist P.Ya. Pyasetsky, a complete illusion of traveling along the Siberian railway with stops at stations arranged according to the local model. Unlike most national pavilions, whose structures consisted of a wooden frame, filled only in the first tier with brick and sheathed with plaster "Mack boards" that imitated stone, the Pavilion of the Russian Outskirts was made of brick. 
The facades of the towers and buildings are whitewashed to look like light brick, finished with stone-like plaster, decorated with colored majolica, tiles on the friezes, various relief details framing the openings, numerous cornices, lacy metal valances. Intricate roofs were made of multi-colored glazed tiles and stamped iron sheets painted in different colors. They were completed with openwork combs, and the tents of the towers were crowned with golden double-headed eagles. The interior decoration was also varied: for example, the vaulted ceiling of the reception hall was covered with gilding and colored ornaments, the interior of the hall had tiled stoves and colored stained-glass windows. In total, in the Pavilion of the Russian Outskirts, which truly became the "highlight" of the Russian department, there were 28 huge panels on themes from the life of the Caucasus, Central Asia, Siberia and the Far North. Most of them belonged to the brush of K.A. Korovin. According to the project of the same artist, the architect I.E. Bondarenko built in the style of the buildings of the North of Russia of the 17th century. next to the walls of the Pavilion of the Russian Outskirts, a string of small wooden buildings, called the "Russian Village", where the Handicraft Department was located. There was a hut with an exhibition of women's needlework and other handicrafts, a church in the spirit of northern temples, etc. All the wooden parts were made in Moscow. The carpenters, who arrived as part of a group of Russian workers, surprised by the ability to manage with an ax in such work, for which the French used a whole range of tools. The State Pavilion of the Military Ministry was erected from a pine forest according to the project of A.I. von Gauguin "in modern Russian taste". Here there was the necessary stylistic "set" of elements from ancient Russian architecture - kokoshniks, jug-shaped columns, windows with weights, tents, carvings. The composition of the building was also asymmetrical and picturesque in the Russian spirit; the role of high-altitude accents here was played by turrets - the central one, crowned with a golden imperial eagle, and two smaller ones, ending with weathercocks. The architectural design of the state pavilion of the Main Directorate of the State Sale of Drinks, built according to the project of V.N. Zeidler on the Champ de Mars near the Eiffel Tower, was associated more with the motives of the Portuguese "Manueline" (XVI century) than with the images of Russian architecture. This massive stone building (with an area of 300 m 2 ) stood out for its overloaded decor and general unbalanced composition. On the Esplanade of the Invalides was the pavilion of the Institutions of the Empress Maria. A fairly modest wooden building by R. F. Meltsera was spectacular with its central part, clearly confirming the national identity of the entire building. One of the private Russian buildings was the pavilion of the Popov tea-trading company, also built of wood on the Esplanade of the Invalids according to the project of F.O. Shekhtel. It was distinguished by the graceful outlines of the entrance opening and the decorative arch above it, the beautiful carvings of the chapels and paired columns, the bright coloring of the frieze, a large amount of fabric in the form of canopies over the terrace, awnings, and curtains. In contrast, the private pavilion of the Russian-American Rubber Manufactory, built according to the design of R.F. Meltzer on the Champ de Mars near Suffran Avenue, gave the impression of a heavy monument. 
The buildings of Russia also included the Finnish Pavilion, built according to the project of El. Saarinen on the Quai d'Orsay in the forms of Finnish Art Nouveau. It had a rectangular plan, a steep glazed roof, a high tower multifaceted in plan, a sparing relief ornament framing the arches of the entrance and exit. It housed only a part of the Finnish exhibits, the rest were in groups and classes In addition, state and private pavilions were built at the exhibition: the Nikolaev Physical Observatory, a special pavilion near the general exhibition building of Forestry and Hunting, pavilions for exhibits of the Russian flour-grinding industry, the "Provodnik" Partnership, the cement plant of Smith and Co. o (accommodating a full crushing workshop). Traditionally, Russian cuisine was also presented in two large restaurants and a snack bar. The French press unanimously noted the "tremendous growth of Russian industry" and the "incredible progress" of Russia in all branches of art and industry. Newspaper "liberte" wrote: "In the course of a few years, Russian industry and trade have taken on a development that amazes everyone." The Minister of Industry and Trade of France, Millerand, called our exposition "one of the most interesting attractions at the Paris Labor Day". Thus, if at the previous world exhibitions of 1867-1889. the main emphasis was placed on the exoticism of our architecture, if in 1893 the refined and luxurious eclectic stylization of the Russian pavilion and the solid multi-sector exposition in it and in the general buildings already became the threshold for a qualitative leap, then the exposition and architecture of domestic departments and buildings in 1900, in fact, they represented this jump. The representation of Russia in the quantity and quality of buildings and exhibits faithfully reflected the achievements in the cultural and economic life of the country. Now outlandish for foreign visitors, the appearance of the buildings did not hide, as happened before, the scarcity of the exposition, but rather anticipated a collection of interesting objects. 
Illustrated description of the World Industrial Exhibition in Paris, 1867. - St. Petersburg: Edition of V. E. Genkel, 1869. - VI, , 48, 349 p., ill.
Illustrated description of the World Industrial Exhibition in Paris, 1867. - St. Petersburg: Edition of V. E. Genkel, 1869. - VI, , 48, 349 p., ill.
PREFACE.
In presenting to the public the Illustrated Description of the World Exhibition in Paris, we consider it not superfluous to say a few words about the purpose of this undertaking.
AT recent times there was doubt in society about the usefulness of world industrial exhibitions in general. To see the absurdity of such an assumption, it is enough to look at the works of any country, exhibited at the London World Exhibition of 1862, and compare them with the same works of the Paris World Exhibition of 1867. We see that in the latter there is no longer that clumsy finish, that bad taste and senseless reproduction of forms, which so distinguished many works of the London exhibition. And this, of course, is very natural - the world industrial exhibition provides an opportunity for both the industrialist and the worker to compare on the spot the same items prepared in different countries and by various methods, to evaluate the qualities of some and the shortcomings of others, and thus draw a conclusion about the advantages of one or another method. Indeed, the Paris Universal Exhibition of 1867 eloquently proved to us the usefulness of such exhibitions; it has given us the opportunity to survey the various degrees of culture in which individual peoples stand, and at the same time to draw up for ourselves general concept about the civilization of the entire globe. Surveying the objects of the Paris exhibition, we could, in a way, trace a certain part of the history of mankind. So, for example, next to the bow and arrow of primitive man, we saw a rifled cannon and a needle gun; next to the crude writing signs of barely known peoples, scratched, on tree bark or on palm leaves, are telegraph apparatuses, calculating machines and gigantic printing presses of civilized peoples.
Unfortunately, not all of our industrialists had the opportunity to personally attend the Paris World Exhibition. Only a few lucky people managed to survey the exhibited objects and make a comparative assessment of them on the spot ... Proceeding from this point of view and with the encouragement of our domestic industry in mind, we set about publishing the "Illustrated Description", and we dare to think that we have rendered an undoubted service to our industry, which is still in great need of this kind of literary enterprises. In fact, in order for our industry to improve, it needs an abundant supply of good samples, which it now borrows from foreigners. To get rid of this slavish dependence, first of all, the artistic education of industrialists is needed, and in this respect good drawings with a comparative assessment of them can help a lot. We say, of course, to help, because the main thing must be done by art schools, in the establishment of which France and England, again, are far ahead of us.
We hope that the "Illustrated Description of the Paris World's Fair" will do its share of good in this regard. We have placed, in the form of a feuilleton, a whole series of essays in which we have tried critically to assess certain essential sections of the exhibition and to indicate the nature and purpose of the exhibition itself. We even made an attempt to prove the influence of ancient industry on the modern one.
The "Illustrated Description" is accompanied by the "Chronicle of the Exhibition", in which we made a detailed assessment of the 10th group as more interesting. In addition, it contains articles general content, the purpose of which is to present to the reader, if possible, a versatile and interesting description of the Paris World Industrial Exhibition of 1867.
The artistic and educational significance of our "Illustrated Description" will become clear to anyone who will only agree that world exhibitions in general serve as excellent educational schools for workers, and it is impossible not to agree with this, taking into account the influence that the last world exhibition had on these poor workers, who flocked in such huge numbers to the Field of Mars.
Unfortunately, we must admit that with all our efforts to present the works of the Russian art industry in a more favorable light for it, we still had to give preference to foreigners, who in this respect were far ahead of us.
In the Illustrated Description of the Paris World Exhibition, we have endeavored to present the finest specimens of the art industry of every department and every country, and in this way constitute a lasting picture gallery of interest to all who have ever taken part in, or have been interested in, the Paris Exhibition. Our pictorial representations give a clear idea of the artistic and manufacturing works of all countries, and present them in the same form in which they were presented at the exhibition (as far as it is possible in illustrations, of course).
After all that has been said above, we dare to think that by offering this book to the public, we are offering it useful, conscientious work, which will render an undoubted service to our domestic industry and will serve table book for those industrialists who wish to conduct their business in accordance with modern requirements.
St. Petersburg.
V. Genkel.
Preface.. V
Feuilleton: The nature and purpose of the Paris World Exhibition of 1867 ... 1
Glass as an item of necessity and luxury... 68
Lace, linen and embroidery...117
The influence of ancient works on art...141
Materials of ceramic art and sculpture: clay, stones, marble.184
Furniture and artistic joinery...228
Carpet production, woolen, silk, paper fabrics and mixed yarn...261
Metals. - Products from gold and silver. - Gems...298
Porcelain and pottery.310
Bronze. - The influence of art on industry.. 331
General view of the Paris Industrial Exhibition of 1867 ..342
General view of the Field of Mars and the world exhibition.. 1
Little things...4
Furniture and fashion (Groups III and IV)..5
Little things...8
Overview of the X-th group. eight
Russian exhibitors who received awards at the Paris World Exhibition of 1867 12
Little things...-
Group X overview (continued)..13
Russian exhibitors who received awards at the Paris World Exhibition of 1867 (continued)...-
Little things... 16
Overview of the Xth group (continued).17
Russian exhibitors who received awards at the Paris World Exhibition of 1867 (continued).18
Little things..19
Group X Overview (continued)...21
Russian exhibitors who received awards at the Paris World Exhibition of 1867 (continued) -
Little things..23
Review of the X-th group (end)..25
Russian exhibitors who received awards at the Paris World Exhibition of 1867 (continued).26