Exposition Universelle (1867)

From Wikipedia, the free encyclopedia
1867 Paris
Exposition Universelle 1867.jpg
Main building at Champ de Mars
Overview
BIE-classUniversal exposition
CategoryHistorical Expo
NameExposition universelle
Area68,7 Ha
Invention(s)Hydraulic elevator, Reinforced concrete
Visitors15,000,000
Participant(s)
Countries42
Business52,200
Location
CountryFrance
CityParis
VenueChamp-de-Mars
Coordinates48°51′21.7945″N 2°17′52.3703″E / 48.856054028°N 2.297880639°E / 48.856054028; 2.297880639
Timeline
Opening1 April 1867 (1867-04-01)
Closure31 October 1867 (1867-10-31)
Universal expositions
Previous1862 International Exhibition in London
NextWeltausstellung 1873 Wien in Vienna

The International Exposition of 1867 (French: Exposition universelle [d'art et d'industrie] de 1867), was the second world's fair to be held in Paris, from 1 April to 3 November 1867. A number of nations were represented at the fair. Following a decree of Emperor Napoleon III, the exposition was prepared as early as 1864, in the midst of the renovation of Paris, marking the culmination of the Second French Empire. Visitors included Tsar Alexander II of Russia, a brother of the Tokugawa shogun, King William and Otto von Bismarck of Prussia, Prince Metternich and Franz Josef of Austria, Ottoman Sultan Abdülaziz, and the Khedive of Egypt Isma'il.[1]

Conception[]

Official bird's-eye view of Exposition Universelle of 1867.
Napoleon III receives the rulers and illustrious men who visited the 'Exposition universelle of 1867".

In 1864, Napoleon III issued a decree stating that an international exposition should be held in Paris in 1867. A commission was appointed with Prince Jerome Napoleon as president, under whose direction the preliminary work began. The site chosen for the Exposition Universelle of 1867 was the Champ de Mars, the great military parade ground of Paris, which covered an area of 119 acres (48 ha) and to which was added the island of Billancourt, of 52 acres (21 ha). The principal building was rectangular in shape with rounded ends, having a length of 1608 feet (490 m) and a width of 1247 feet (380 m), and in the center was a pavilion surmounted by a dome and surrounded by a garden, 545 feet (166 m) long and 184 feet (56 m) wide, with a gallery built completely around it. In addition to the main building, there were nearly 100 smaller buildings on the grounds. Victor Hugo, Alexandre Dumas, Ernest Renan, and Theophile Gautier all wrote publications to promote the event.[2]

Exhibits[]

Swedish folk costumes on display at the International Exposition in 1867.

There were 50,226 exhibitors, of whom 15,055 were from France and her colonies, 6176 from Great Britain and Ireland, 703 from the United States and a small contingent from Canada. The funds for the construction and maintenance of the exposition consisted of grants of $1,165,020 from the French government, a like amount from the city of Paris, and about $2,000,000 from public subscription, making a total of $5,883,400; while the receipts were estimated to have been but $2,822,900, thus leaving a deficit, which, however, was offset by the subscriptions from the government and the city of Paris, so that the final report was made to show a gain.

Bateaux Mouches, boats capable of carrying 150 passengers, entered service conveying visitors along the Seine to and from the exhibition.[3] There was also a new railway line built to convey passengers around the outer edge of Paris to the Champ de Mars.[4] The Géant, a double-decker hot air balloon manned by the famous photographer Nadar, was tethered to the site. Nadar would take groups of 12 people for flights above the exhibition.[5]

In the "gallery of Labour History" Jacques Boucher de Perthes, exposes one of the first prehistoric tools whose authenticity has been recognized with the accuracy of these theories. Napoléon III was particularly interested in exhibiting prototypes, designs, and models of workers' housing in the section of the exposition dedicated to workers' living conditions. He commissioned the architect Eugène Lacroix to design and build a set of four buildings on the rue de Monttessuy, at the edge of the exposition grounds, to demonstrate that affordable, decent housing for the working classes could be built at a profit.[6]

The exhibition also included two prototypes of the much acclaimed and prize-winning hydrochronometer invented in 1867 by Gian Battista Embriaco, O.P. (Ceriana 1829 - Rome 1903), professor at the College of St. Thomas in Rome.[7][8][9][10][11]

A monumental conical pendulum clock by Eugène Farcot (1867), Drexel University, USA.

Among the horological exhibits, stood out a monumental model, an elaborate conical pendulum clock crafted by two of France's most important artisans of the second half of the 19th century—renowned clockmaker E. Farcot and sculptor Albert-Ernest Carrier-Be Belleuse. Farcot exhibited several units, one of them it is currently in the Roosevelt Hotel in New Orleans. Its base, which features the clock's face and inner mechanical movements, is carved from solid onyx marble. Atop the base, a bronze sculpture depicting a robed female figure holds a scepter. Rotating soundlessly from the female subject's hand, the scepter provides consistent motion that adds to the clock's sense of grandeur and mystery. From its base to the top of the bronze figure stands at nearly 10 feet tall. Farcot, the most well-known of the French conical clock-makers, established himself in 1860 and mastered his craft over a period of 30 years, helping to popularize the unique pendulum escapement, the mechanism which controls the motion of the inner wheels. Carrier de Belleuse was one of the most important and renowned sculptors of the 19th century, as well as the teacher of Auguste Rodin. In 1857, his bronze sculptures grabbed the attention of Napoleon III, and he was commissioned for several important national works, including his most famous piece, Torchere, which still flanks the staircase of the Paris Opera House.

One of the Egyptian exhibits was designed by Auguste Mariette, and featured ancient Egyptian monuments. The Suez Canal Company had an exhibit within the Egyptian exhibits, which it used to sell bonds for funding.[12]

The German manufacturer Krupp displayed a 50-ton cannon made of steel.[13]

Americans displayed their latest telegraph technology and both Cyrus Field and Samuel Morse provided speeches.[14]

French explorer and early ethnobotanist Marie-Théophile Griffon du Bellay exhibited a display of dried specimens of some 450 species of useful plant, collected in the course of his recent explorations of Gabon and annotated with accounts of the uses to which they were put in their native land. Most notable among these were the powerful stimulant and hallucinogen Tabernanthe iboga,[15][16] containing the alkaloid ibogaine, (currently being investigated as a cure for heroin and other addictions),[17] the legume Griffonia simplicifolia (found, subsequently, to be rich in the serotonin precursor 5-HTP),[18][19] and Strophanthus hispidus, an effective arrow poison, due to its containing cardiac glycosides with digoxin-like effects.[20] Griffon du Bellay was awarded two medals for his exhibit.[21]

The exposition was formally opened on 1 April and closed on 31 October 1867, and was visited by 9,238,967 persons, including exhibitors and employees. This exposition was the greatest up to its time of all international expositions, both with respect to its extent and to the scope of its plan.

Influence[]

For the first time Japan presented art pieces[22] to the world in a national pavilion, especially pieces from the Satsuma and Saga domains in Kyushu. Vincent van Gogh and other artists of the post-impressionism movement of the late 19th century were part of the European art craze inspired by the displays seen here, and wrote often of the Japanese woodcut prints "that one sees everywhere, landscapes and figures."[23] Not only was Van Gogh a collector of the new art brought to Europe from a newly opened Japan, but many other French artists from the late 19th century were also influenced by the Japanese artistic world-view, to develop into Japonism.

The Paris street near Champs de Mars, Rue de L'Exposition was named in hommage to this 1867 universal exhibition.

Jules Verne visited the exhibition in 1867, his take on the newly publicized discovery of electricity inspiring him heavily in his writing of Twenty Thousand Leagues Under the Sea.

A famous revival of the ballet Le Corsaire was staged by the Ballet Master Joseph Mazilier in honor of the exhibition at the Théâtre Impérial de l´Opéra on 21 October 1867.

The World Rowing Championships were held on the Seine River in July and was won by the underdog Canadian team from Saint John, New Brunswick which was quickly dubbed by the media as The Paris Crew.

Gallery[]

  • Engraving of the Exposition Universelle (1867).

  • Adjutant Daniel Nordlander (upper left), with Adjutant Fritz von Dardel, Ordonnance Officer Ferdinand-Alphonse Hamelin, General Henri-Pierre Castelnau, King Charles XV of Sweden and Prince Oscar, future King Oscar II of Sweden

  • The Japanese delegation to the Exposition Universelle.

  • Chinese and Japanese exhibits at the 1867 Exposition Universelle.

  • Japanese Satsuma pavillion at the French expo 1867.

  • Siamese elephant pavillon at the Exposition.

  • Model of Plongeur, made for the Exposition Universelle (1867). Musée National de la Marine (Rochefort).

  • Flint Biface.

  • Commission awarded to one of the members of the (Australian state of) Victoria stand in 1867.

  • Brazilian exhibit at the 1867 Exposition Universelle.

  • M. le Colonel de Salis' CARTE DE SEMAINE, A PARIS valable jusqu'au AVRIL 23. No doubt he was there to visit his brother, William's stand for the Australian State of Victoria.

  • Sudden Mania to Become Pianists created upon hearing Steinway's Piano at the Paris Exposition. After a lithograph by "Cham", Amédée de Noé. From: Harper's Weekly, issue August 10, 1867, reporting on the 1867 Paris Exposition

See also[]

  • Rejtan (painting) (won gold medal at the exposition)

Notes[]

  1. ^ Bela Menczer, "Exposition, 1867." History Today (July 1967), Vol. 17 Issue 7, p429-436.
  2. ^ Karabell, Zachary (2003). Parting the desert: the creation of the Suez Canal. Alfred A. Knopf. p. 222. ISBN 0-375-40883-5.
  3. ^ Horne, 1965; p. 6
  4. ^ Kirkland, 2013; p. 239
  5. ^ Alistair Horne (1965). The Fall of Paris: The Siege and the Commune: 1870-71. St. Martin's Press. p. 6-7.
  6. ^ Stephane Kirkland (2013). Paris Reborn: Napoléon III, Baron Haussmann, and the Quest to Build a Modern City. St. Martin's Press. p. 241-242.
  7. ^ Administrator. "Orologi". Archived from the original on 2014-12-05.
  8. ^ Marchese, Vincenzo Fortunato (1879). Memorie dei pi insigni pittori, scultori e architetti domenicani.
  9. ^ Idrocronometro[circular reference]
  10. ^ https://docs.google.com/viewer?a=v&q=cache:Bug7LKOP08YJ[permanent dead link]
  11. ^ https://www.comune.roma.it/PCR/resources/cms/documents/storia-idrocronometro.pdf+idrocronometro+%22storia+del+progetto%22&hl=en&gl=us&pid=bl&srcid=ADGEESiGp8xz15iBCs0S33njoGp3ahPhWhYboWzWGkSevHXbmopZpVjeB2eeLuARhkOU9xVdGNOrRBDcpo6ZpFLZ7y_EBpxiRVc5gL1pc4NOloVKHcCyAiFEo2ZnRZtTWxchmaZPm8u5&sig=AHIEtbSmcoAIHFoLacFIXx-vRZzoi9hdJQ
  12. ^ Karabell, Zachary (2003). Parting the desert: the creation of the Suez Canal. Alfred A. Knopf. pp. 220-232. ISBN 0-375-40883-5.
  13. ^ Karabell, Zachary (2003). Parting the desert: the creation of the Suez Canal. Alfred A. Knopf. pp. 225. ISBN 0-375-40883-5.
  14. ^ Karabell, Zachary (2003). Parting the desert: the creation of the Suez Canal. Alfred A. Knopf. pp. 225. ISBN 0-375-40883-5.
  15. ^ Pope, Harrison G. Jr., Tabernanthe iboga: an African Narcotic Plant of Social Importance Economic Botany volume 23, pages 174–184 (1969).
  16. ^ Furst, Peter T. (ed.) Flesh of the Gods: The Ritual Use of Hallucinogens, pub. George Allen & Unwin 1972 Copyright 1972 by Praeger Publishers , Inc. (Chapters 6 and 7 copyright 1972 by R. Gordon Wasson), ISBN 0 04 573009 1, Chapter 9, "Tabernanthe iboga: Narcotic Ecstasis and the Work of the Ancestors" by James W. Fernandez, Page 237.
  17. ^ Lotsof, H.S. (1995). "Ibogaine in the Treatment of Chemical Dependence Disorders: Clinical Perspectives". 3. MAPS Bulletin: 19–26. Archived from the original on 22 January 1997. Cite journal requires |journal= (help)
  18. ^ A.D.A.M., Inc. "5-Hydroxytryptophan (5-HTP)". University of Maryland Medical Center.
  19. ^ Emanuele, E; Bertona, M; Minoretti, P; Geroldi, D (2010). "An open-label trial of L-5-hydroxytryptophan in subjects with romantic stress". Neuro Endocrinology Letters. 31 (5): 663–6. PMID 21178946.
  20. ^ Les Plantes Utiles du Gabon (with ), Paris, Le Chevalier, 1961, 614 p. (Coll. Encyclopédie biologique, 56).
  21. ^ Bibliographies de l'Ecole Navale
  22. ^ "Welcome". Japanese art gallery in Paris - Yakimono. Archived from the original on 2014-05-05.
  23. ^ Van Gogh, letter to his sister Wilhelmina, Arles, 30 March 1888

Further reading[]

  • This article incorporates text from a publication now in the public domain: Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). New International Encyclopedia (1st ed.). New York: Dodd, Mead. Missing or empty |title= (help)
  • Menczer, Bela. "Exposition, 1867." History Today (July 1967), Vol. 17 Issue 7, p429-436 online.

External links[]

Retrieved from ""