As far ago as the center Ages, neighborhood fairs to be the possibility for French crafts and tradesmen to sell and also exchange their products and also wares. Throughout the magazine period, François de Neufchâteau, then internal Minister, had the idea to hold in September 1798 a collection of artists and also manufacturers, "a new sort that event, a publicly exhibition of assets of French industry, in bespeak to deal a fatality blow to English industry". The elevated arcades top top the Champs-Elysées would serve to encourage - cost-free of fee - manufactured products and production methods, with emphasis placed squarely ~ above invention and its usefulness ("the major characteristic that a work"s merit is invention, vital to public recognition is utility").

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A monument erected for the 1798 world’s fair in paris

Between 1801 and 1849 – regardless of of the regime – the event was hosted on ten additional occasions, each event of raising size. In 1798, there were 110 exhibitors; the 1849 version featured 4,452. The guiding principle continued to be constant: the promotion of anything considered useful or ingenious, a Saint-Simonian conception which celebrated the wonders of industry and also their creators, be it seamless garments or a lifesaving machine for shipwrecked seamen. For each exhibition, a temporary edifice to be erected, and later editions experienced discussions end the widening that the occasion to incorporate foreign participants. The government of the 2nd Republic adopted the idea, and it was made decision that the 1849 exhibition would certainly be global in scope. The proposal met, however, through disapproval indigenous French industrialists, that were protest to any sort of competition. That thus dropped to brothers to host the very first international exhibition, the “Great exhibition the the functions of sector of all nations”, which opened in London in 1851. More proof the the organisers' creation – and a development which would prove a high-water note in the background of style – to be the exhibition's surroundings in a revolutionary brand-new building specially created for the purpose: the crystal Palace, designed by Joseph Paxton. III’s decision

The exhibition in London was an unmitigated success: one million visitors v its doors, and five million pounds in profit. France additionally proved come be among the competition's success stories. This triumph and the success of succeeding exhibitions organized in Dublin, new York, brand-new Orleans and also Munich placed an finish to Malthusian opposition and III – the driving pressure behind the plan – green lit the project for France's an initial international exhibition in a collection of decrees. In between 1852 and also 1855, a number of announcements brought about a succession of developments: the building of the Palais des Expositions, the conversion (and momentary postponement) of the exposition nationale de l'industrie française that 1854 right into the global Exhibition – open to all nations and set for 1 May, 1855 – and also the development of a simultaneous good Arts exhibition, which would certainly be chaired by Prince Jerome, who enlightened opinions top top the occasion matched those that the French emperor. Almost all of the European countries – Russia, with whom France and Britain were at battle in the Crimea, refuse to get involved – embraced the emperor's invitation.At the same time, it was made decision that one edifice “capable the hosting publicly ceremonies… in line with the Crystal royal residence system” would certainly be constructed, hence bringing to an finish the paradox of building a temporary framework every five years that had endured under Louis-Philippe. The job was announced through a decree date 27 in march 1852, the morning ~ the London exhibition. The Champs-Elysées to be to it is in the place for the “Palais des art et de l'Industrie”, a new morphological construction, and a contact for style projects was launched. Hector Horeau, a visionary however seemingly cursed architect native the period, specialized much time come his proposal, imagining a big metallic construction; once again, his design failed to victory over the judges.Hittorff, architect behind the Champs-Elysées and also thus to whom the commission maybe should have actually been directed, presented his project: envisaging a pronounced, voluminous metallic structure, the style presaged a later construction, Victor Baltard's les Halles in Paris, yet was eventually deemed too little by the board of directors (should we attribute this refuse to an treatment from Haussmann, a constant thorn in Hittorff's side?). III eventually claimed in favour the a architecture by Alexis Barrault, an engineer v Saint-Simonian ties, with the building duties provided to 2 architects, Viel and also Desjardin. These two were the team behind the large building 250m long (larger than the Invalides facade) and also 180m wide, through a central nave flanked by two smaller aisles, i m sorry was constructed on the Carré Marigny (the present site of the Grand and Petit Palais) in 1853, and which ran parallel come the Champs-Elysées. Never before had such an edifice in metal and glass to be constructed; never prior to had a roof extended such a huge interior. The thirty-five metres in between the floor and the keystone would offer an entirely unobstructed view. The radius alone the the curved steel trusses measure up twenty-four metres in length.Sadly, the exterior verified in sharp comparison to the beauty, beauty of the interior, the an outcome of a long-held sentiment which asserted that steel architecture, although suitable for spanning large spaces, to be unworthy the display. The was because of this essential to camouflage it, hiding that from view – at least from the outside. The iron and also cast-iron frame was therefore enveloped – a design feature which ongoing to be employed because that years afterwards – in a sheath of masonry, oppressive in spite of its four-hundred and eight windows. Good effort to be made – ultimately in vain – to offer the structure animpressive allure: a huge arch – decorated with columns, bas-reliefs, coloured marble and crowned through a team frieze, La France couronnant l'Art et l'Industrie, sculpted through Elias Robert – straddled the enntrance gate (opposite the Elysée gardens), and projecting pavilions, statues, and also ornaments could all be uncovered dotted about its frame. Return the structure was practical and introduced countless innovations (such as steel fixings and inset glass), it was additionally ugly, a sin for which that was never ever forgiven.Despite that is five and a fifty percent hectares of interior space, the structure – contrasted to one “ox trampling over a bed of roses” by Mirabeau – showed too small for the 24,000 participants, and also exhibition organisers were compelled to develop an adjoining edifice – the Galerie des Machines, the very first of its type – i m sorry ran parallel come the banks of the Seine. In between these two giants organisers were also forced to exploit the rotunda developed by Hittorff in 1839, which would residence the battle of Eylau panorama, an arts attraction particularly in vogue at the time. This three structures were join by a number of galleries, and a second palace, on path Montaigne, was commandeered for the artistic wing of the exhibition. In total, the Exposition Universelle took up 90,000 square metres of floor-space.Jerome, nicknamed “Plon-Plon”, take it his function most seriously: his skilled oversight that the the supervisory board – i beg your pardon did not go unnoticed – was significant by numerous visits during the construction and also installation process. The Moniteur Universel to be subsequently relocated to talk about his monitoring of the project: “There is, the noted, a class to it is in taken from this time-consuming and also frequent visits conducted by S.I.H.: the personification of government in a an excellent industrial army”. Enlightened despotism in a nutshell.

The apotheosis the Saint-Simonianism

The exhibition was to it is in the consecration of forty years of peace in Europe because the fight of Waterloo. But the emperor likewise wanted to portray French weaponry and modern technology in a reputation light. Opening its doors as war was waging in the Crimea – with couple of positive outcomes to present for the allies' initiatives – the exhibition's inauguration speech is testimony to this circumstances. Bringing to fruition such an companies – in the midst of large-scale war – was to prove a truly superior achievement, and additionally highlights the paradoxical nature of the case in Europe at the time: together canon-fire erupted over the black Sea, and riots broke out in Saragossa and Barcelona, officials ongoing to urge that they to be fighting for rights, justice, and civilisation. The goal of the exhibition to be to lug people together, and also during his inauguration speech, the emperor did no hesitate to “invite all the individuals of the planet to join together in harmony”, in a combination of chauvinism and also candid internationalism.The exhibition was also intended to note the apotheosis the Saint-Simonianism. During the period, the practical worker of aristocratic socialism and Barthélemy Prosper Enfantin were often the inspiration and stimulus behind the practical illustrations of particular strongly-held principles: build production and also increase consumption, with widened accessibility to both; foster relations between nations and also peoples; it is in “the driving pressure in the tireless spread out of health in nations and peoples” (Raymond Isay); promote exploration and technological innovation; celebrate the marvels of art and also industry, and also those behind their conception. Plainly utopian in outlook, these principles were nevertheless manifested in acts which would have actually a clear resonance in society.A number of the organisers behind the exhibition to be impregnated by this doctrine. Michel Chevalier, chairman of the customer Economics commission, preserved that progression in industry, trade, and also transport would lead to an innovation in the public's general condition, “provided that this development conformed to criter of public morality and spiritual ethics”. Christian inspiration behind such beliefs was no unusual; Augustin Cochin also brought come the juries in which that participated an earnest society Catholicism. This principles likewise tied in through those hosted by III himself, who, during his period in exile, had actually deliberated long and also hard ~ above the social inquiries of the day and also envisaged the “eradication of pauperism”, an ideal that he hosted throughout his life, also if that realisation remained forever out of reach. As commissioner general for the exhibition, he called an individual he held in an excellent esteem, the economist Frédéric Le Play, who for years had studied the human being of occupational in plenty of countries throughout the globe and who in 1855 would certainly publish Les ouvriers européens, modèle de statistique sociale. Le beat would later be dubbed the founder the the “school of society peace”.The basic theme for the exhibition to be innovative: place the emphasis on work. Previous exhibitions before 1855 had constantly celebrated the manufacturers and also the owners. In 1855, the intention would be to honour the prototype builders, the designers, the craftsmen, and the workers, and also industry heads were asked come nominate their finest “co-operators” for awards. This initiative to be to meet with tiny success: factory owners in France saw small interest in singling the end their ideal workers only to view them poached by their market competitors. In ~ the very same time, the market mystique was commemorated as the driving pressure behind the intensifying economic evolution taking place in France. Approximately this point, France had actually lived under a routine of strictly protectionism. The 2nd emperor's remain in England however had left him v a deep interest in the ethics of free-exchange. Socially-minded and also proponent of universal (male) suffrage, his great was the the realm should bring well-being and also a “good deal” (bon marché, a new expression that played vital role in his ambitions) to the functioning classes. The French department keep Le Bon Marché was opened up in 1852, and the term came to be the regime's watchword. This focus meant finally realising the generous utopias, and also economic and also social flights of fancy envisaged through the thinkers the the vault years, an especially between 1830 and 1848. In regards to building advancement and trade, the exhibition had the effect of a starter's gun: together the inauguration day approached, efforts intensified and also construction work-related increased. Luigi Girard remarked, “Rents because that shops in the an ext elegant quarters have reached insane amounts. Parisians room complaining that provincials and also foreigners who room saturating the market and forcing price up.”The exhibition took much longer than intended to collection up, an event that would end up being the norm: the cool opening to be pushed ago to 15 May, and would for this reason –rather irritatingly because that organisers – coincide v the execution that Pianori, the French emperor's would-be assassin. Other sections of the exhibition to be inaugurated later, and the event's closing date was subsequently rescheduled for 15 November.

The Palais de l’Industrie

The Palais de l'Industrie, in impact a large catalogue of creation and also industry, was home to every participating country's made wares. Britain's presence at the exhibition was second only to France – simply as it had been for the French in London in 1851 – together the 2 nations' peaceful yet competitive connection continued, to run in parallel to their military collaboration in the Crimea.As well as the spectacular and grandiose constructions – such together Foucault's pendulum – that could be watched on display, the exhibition also provided a phase for the smaller inventor, who can present his or her future advancements to the public – also if part left tourists slightly mystified. It was in 1855 the an engineer named Vicat presented the public come his hydraulic lime, a key development in the cement industry, and it to be at the exact same exhibition the Lambot gift his boat made from reinforced concrete. Couple of visitors construed the point of this invention, also fewer foresaw the important role it would play in the year to come. Loysel's hydrostatic percolator, capable of producing fifty-thousand cup of coffee ~ above a everyday basis, was much better received, however. Likewise Madame Plé-Marin's aloe lace hats, or the collodion process, for arising multiple photographic prints, or even the baby bottle presented by a particular Weisner, plainly expert in marketing (as tape-recorded by Pascal Ory):“What attentive mother has actually not trembled in fear for their adored child as soon as they see the wet-nurse struck under by also the mildest the turns? Is the wet-nurse alright? will she give milk? will certainly it be good?– too ~ lady, execute not fret, over there is a means to ensure that you constantly have a great wet-nurse: cheap, undemanding, even-tempered, never rude, constantly gentle, amiable, and over all easy to keep. A wet-nurse who one have the right to carry around oneself, which will certainly not take up any kind of space… a model, ideal, yet practical wet-nurse. Come come, mine lady, dried those beautiful eyes, laugh to your crying baby, and send the end to M. Darbo: he will offer you a bottle, through or there is no teat. Decorated bottles, brightly coloured bottles, even a musical bottle if you so wish.”The ar of gastronomy was additionally well represented: it to be at the exhibition the the sixty-two Bordeaux crus were officially classified.

Decorative arts and machines

The decorate arts additionally found their residence in the Palais de l'Industrie, be separate – as was the share – indigenous the significant art works additionally exposed in ~ the exhibition. Often products of an impeccable, at times even virtuosic technique, they nonetheless formed part of an sometimes redundant, profoundly eclectic and overabundant decor, influenced by pseudo-Gothicism, Italian Renaissance, and “historicism” which had been misappropriated in the name of ornament worship, excess, and also a deeply-held fear of open space. The decorative arts in ~ the exhibition were additionally characterised by the usage of “fake”: genuine ebony was changed by blackened pearwood, cast-bronze to be exchanged because that “bronze sculpture”, a product the Barbedienne's electroplating. Ory again noted: “Stalls at the exhibition overflowing through 'superb objets d'art' room nothing yet a kaleidoscopic version of this century's plush interiors”. In particular, the Ruolz procedure – later on used by the Christofle manufactory – was honoured, v III ordering a hundred-piece company for the amount of eight-hundred thousands francs.Countries participating in the event displayed their exhibits side-by-side, under the exact same roof, v no separation, top to consistent comparison and little differentiation between the nations involved. In 1867, distinct national pavilions to be introduced throughout the exhibition; this formula reached its apogee in ~ the 1937 edition.At the moment that it to be built, Hittorff's rotunda was innovative, v a diameter of fourty metres, and a rely roof structure. The building, modified because that the exhibition, was destined to home the creations intended for the emperor and empress. Anything associated with the imperial residence – official decorative art, tapestries, porcelain – was arranged approximately the French crown jewels. Although the rotunda comes across as a an overview of the event, in effect the exhibition's rostrum, it additionally featured Colonel Colt's revolver, pianos by Erard and Pleyel, and a new instrument by the Belgian inventor, Adolphe Sax: the saxophone.The Galerie des makers – one-thousand two hundred metres long but only twenty-eight vast – ran parallel come the banks of the Seine, v resolutely classic entrances at either end. These brought about a large nave with metal semi-circular trusses. The section housed within was purely technical, a veritable holy place to industry in i beg your pardon France and also Britain squared increase in competition. Countless steam-powered equipments turned all day long, producing a deafening din. Cockerill's steam engine – capable of pulling a load of four-hundred and also fifty tonnes of coal – was displayed there, as was the Crampton locomotive, built by the Cail firm, which can reach an median hourly speed of one hundred kilometres. Likewise housed in the Galerie des makers was the Marinoni rotating press, a development behind the expansion and diversification that the press industry, sewing machines by Baker and also Grover, and Singer, which witnessed the beginnings of one intriguing commercial rivalry.

The mega-Salon de l’Art

The creative side of the occasion went because that novelty. In every previous exhibition due to the fact that 1798, art had actually been ignored or neglected. Even in London in 1851, it populated only a minor ar in proceedings. Because that the Paris edition, it to be accorded a element position much more in keeping with the widely-recognised prestige of French art in Europe.To accommodate this tide of put in order art, the French architect Lefuel – who had actually replaced Visconti for the works oversight in ~ the Louvre – was i was delegated to built a neo-Renaissance-style structure with a large concave enntrance gate porch on avenue Montaigne, at the time undeveloped and unfrequented. Artists and also sculptors of all nationalities were invited to exhibition their job-related at this creative universal exhibition, wherein they can present occupational from every phase of their career prior to a sixty-member jury. It to be to it is in a mega-salon, without geographical or historic limits, i beg your pardon would offer all travellers an all at once view of everything developed during the period.Ingres and Delacroix emerged victorious in the paint section, every one matching the various other for success, and also both accorded virtually an entire room to house their corresponding works. Ingres created his claim as the heir to the great artists in history, presenting in ~ the salon a retrospective of his work-related spanning fifty years, including Œdipe, Le voeu de luigi XIII, Odalisque, and Saint Symphorien. The jury to be unanimous in its praise; also Théophile Gautier, the Romantic doubter remembered because that his appearance in ~ the premiere of Victor Hugo's Hernani, hailed Ingres as a Zeus-like figure, “seated on his throne that gold and ivory, in ~ Art's summit, the abode that glorious achievement”. Lot like his Homère – also on display screen at the salon – Ingres underwent a kind of deification, and was supported to the rank of grand-officier that the Légion d'honneur, a grade never prior to awarded to an artist. Delacroix, for his part, gift a breathtaking series of popular works, consisting of Barque de Dante, Les femmes d'Alger, and also Entrée des croisés à Constantinople, depicting the dramatic enntrance gate of the west warrior right into the city. These to be joined by much more recent works, such together La chasse aux lions, and Les deux Foscari. Although vested the necklet and also grade that commandeur of the Légion d'honneur, that would need to wait 2 yearsto beinducted into the Institut. An ext than just intensifying your rivalry, 1855 showed the chance to see their job-related honoured by the ruling regime.Placing the two artists in the very same proximity did little however to improve their mutual hostility. In Ingres, this manifested itself in outright aggression; in Delacroix distrust. Maxime du Camp records how a banker unaware of the dispute succeeded in inviting the two painters to dinner whilst the exhibition to be still on. Finding out too so late of this insult, Ingres – the enjoy the meal finished, and with a cup that coffee in hand – advanced towards Delacroix, who was standing near the chimney, and also shouted:“- Monsieur! paint is integrity, the is honour!Shaking as he spoke, he spilt his cup that coffee end his shirt and coat. He cry out: 'This is as well much!' Seizing his cap he said:– ns am leaving; ns shall not stay a minute longer to it is in insulted prefer this!We hurried roughly him, make the efforts to calm him, stop him native leaving. Our initiatives proved in vain. Stopping in former of the door, the turned round:'Yes, monsieur, it is honour! Yes, monsieur, the is integrity!'Besides these 2 heavyweights, also present were artists whose work-related is much less appreciated today, yet who at the moment proved exceptionally popular with the general public: Decamps – who choose Delacroix and also Ingres had actually a room to himself – Meissonier, and Horace Vernet, all advocates of a much more academic, anecdotic and coherent format of painting. The chief d'oeuvre of this details movement's existence at the exhibition to be Winterhalter's L'impératrice Eugénie et ses dames d'honneur, presented because that the first time, which depicted theempire's leading ladyin a dazzling light. Over 5 thousand canvases in full were presented end the course of the exhibition, in ~ a close to unimaginable rate; one after ~ another, elbow brushing, each one a tiny item of a giant puzzle suspended native a picture rail.And what that Gustave Courbet, who for numerous years had actually sought to offer an different view that the world, one more realistic and plebeian in style? His human body of job-related would upon first impression seem to embody the an extremely leitmotif the the exhibition: the ties that bind men and also things to your time and also place, the illustration of society and its trends at the time. Thirteen the his canvases were offered to the exhibition, of which eleven – which room today extensively revered – were accepted, consisting of Les casseurs de pierres, La recontre, and Les cribleuses de blé. However the jury was to refuse the artist's two many cherished paints – the two, incidentally, because that which the is best known now – L'Enterrement à Ornans (which curiously had actually been welcomed for the vault year's salon) and also L'Atelier. The painter, profoundly wounded by the rejection, vowed revenge. Top top the very same street, way Montaigne, the opposite the Palais des Beaux-Arts, Courbet installed a free-standing booth in i m sorry he displayed forty the his works, consisting of the two which had actually been rejected. The artist fee a one franc entry fee, and also there was to be none the the jostling the the official exhibition, if Delacroix – acquisition time the end from the salon and also well put to referee – is to be believed: “I was there for practically an hour, alone, and also I found the rejected paint to be a masterpiece; I might not tear myself away from it. In this painting, they have actually dismissed among the most singular functions of ours time.”As far as sculptors to be concerned, the star that the present was the an excellent François Rude, whose statue the Maréchal Ney had actually been set up at the carrefour de l'Observatoire 2 years earlier. The range and strength of his oeuvre – among which to be Jeune pêcheur, Mercure, and Buste de femme – found numerous admirers amongst the general public, however his authorized in the exhibition to be to prove fatal. His exertions as member the the jury cost him his life, and also he passed far on the an extremely eve of the awards ceremony. Just one various other living sculptor was deemed an excellent enough to was standing at Rude's next at the exhibition. Yet Antoine-Louis Barye sent only one statue, Jaguar dévorant un lièvre, i m sorry was presented in the Palais de l'Industrie as the work of a “maker of bronze sculpture”, a profession the nevertheless lugged him a an excellent deal of money and fame. Honorary mentions should likewise go to Etex, who choose Rude was associated in sculpting the Arc de Triomphe; Dumont, the guy behind Génie de la Bastille; and also Duret, who Chateaubriand have the right to today – thanks to this author's efforts – be found in Chateaubriand's Vallée aux Loups property.France's very first universal exhibition, i m sorry featured twenty-four thousands exhibitors – including twelve thousand international nationals -, received only five million visitors. For the first time, an entrance fee was charged, and the visitors v the exhibition's doors to be counted by another invention, the turnstile. Sunday, at just 0.20 Francs, was provided over come the “working classes”, whilst the 3 Francs entry make Friday the fashionable day because that visiting. Anyone arriving on the various other days payment a traditional 1 france price. However, the imperial government – in maintaining with the socialised values – donated ten thousand complimentary entry ticket to workers, and also trains and special visits to be organised come encourage lock to to visit the exhibition.

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Illustrious visitors

A number of illustrious visitors additionally passed through the exhibition's doors. One of the very first was Abd el-Kader, freed by in 1852, and who verified an enthusiasm onlooker: “This place, the exclaimed in reference to Viel's construction, is a royal residence of intelligence,invigorted bythe breath the god!”Hot ~ above his heels to be the young King of Portugal, eighteen years-old and also looking much more like a student, and Queen Victoria, who saw Paris in between 18 and 26 August. No British monarch had collection foot in the French capital due to the fact that the century War. After ~ a prevent at the exhibition, the emperor and also the british sovereign returned to the Elysée. Whilst III strolled in the gardens and told stories which do the then aged thirteen Prince that Wales – the future Edward VII – laugh “very hard”, the queen was mounted in the salon de l'Hémicycle, receiving the diplomatic corps. Pull on in a white layered dress and also holding a white velvet bag with a gold-embroidered poodle design, Victoria looked more like a member the the petite bourgeoisie. At thegala event held in the queen's honour, the orchestra play “God conserve The Queen” III also took Victoria and her husband ~ above a curious visit to check out the ruins of Louis-Philippe's lock in Neuilly and, many notably, to a torch-lit ceremony to check out the coffin comprise Bonaparte, no yet laid to remainder in its significant tomb. The French public to be charmed through the brothers queen, whose an excellent grace and also lack of pretension showed a to win combination, and III make a gift that Meissonier's La Rixe – purchased because that twenty-five thousands Francs from the Beaux-Arts section of the exhibition – to Albert.The exhibition likewise had, the course, that is detractors: Renan raged at the idea that the whole of Europe being urged “to visit part merchandise”, arguing that the spiritual festivals that the Middle ages had “given means to industrial county fairs”. Baudelaire even coined a brand-new verb – one that remains famous today: américaniser.In numerous ways, the exhibition was like theatre, an event in i m sorry music had actually its component to play. Jacques Offenbach, then conductor of the orchestra in ~ the Comédie Française, rental a room top top the website of the contemporary Théâtre Marigny that was recognized for its amusing phantasmagorical theatre productions. Specify name the theatre the Bouffes d'été, he hosted concerts there throughout the exhibition's run, taking benefit of the consistent flow of visitors in and also out the the Palais de l'Industrie.Behind the scenes, the exhibition was additionally a control force, powering in specific the banking sector. Speculation and agiotage reached new heights and also 1855, notable for the worry of two federal government bonds, proved specifically to be a particularly active year, fiscally-speaking. A brand-new financial aristocracy was born, command by the Rothschild and Pereire families. It additionally influenced Paris' transformation: the omnibus present were combined in 1855, and also in 1856 a brand-new bridge to be thrown across the Seine as part of way Bosquet: the edifice, which would certainly be named after the well known Crimean battle at Alma, still features the original Deibolt zouave indigenous the 1856 construction. In anticipation of one increased variety of visitors to Paris, the Hôtel du Louvre – financed by the Pereire brothers and also designed through Alfred Armant, Rohault de Fleury and also Hittorff – was built and also became the first Parisian hotel come come v a lift. Now it is the Louvre des antiquaires. The event would end up on a high: the catch of the Malakhov and the autumn of Sebastopol which handed to the allies victory in the Crimea synchronized with success of a much more peaceful kind, top top the financial institutions of the Seine. In his report on the exhibition, Jerome described it – quite wishfully – together “the creator of an extensive bonds uniting Europe together one big family”.The awards ceremony for this reason took ar in a triumphal atmosphere. In the Palais de l'Industrie, by now cleared the its exhibits and also adorned with tapestries, Berlioz carried out one thousand musicians and choir singers in renditions of his car Deum and Cantate impériale. Afterwards, III – standing on a phase flanked by eagles – handed out 11,033 closely ordered certificates. The exhibition took no an ext than 3,000,000 Francs, against a perform of prices that totalled 11,500,000 Francs. However, the building trade profited extremely (after all, an additional avowed goal of Saint-Simonianism to be the breakthrough of technology), with developments in metalwork and early reinforced concrete constructions present at the event. The buildings erected because that the exhibition met varying fates: Lefuel's Palais des Beaux-Arts, the Galerie des Machines, and also the rotunda were soon after demolished, through the latter coming under in 1856.1 The huge Palais des arts et de l'Industrie also hosted later on exhibitions, in 1878 and also 1889, yet was demolished before the 1900 edition come be changed by the Grand and also Petit Palais. The sculptures by Elias Robert, Diebolt and Desboeufs that decorated the building's facade were mounted in the Parc de Saint-Cloud; travellers out because that a stroll room often totally unaware of the beginnings of these statues. An additional little-known fact: the enormous clock taken native the Palais de l'Industrie was put into the grand Palais. In 2001 it to be removed and also dismantled in preparation for reconstruction works. These works space still meant to walk ahead.The exhibition was in some ways a curious occurrence: a testament to the economic and also industrial success the the second Empire, certainly, but also an occasion in i beg your pardon two completely antonymic paintings might be perceived within a couple of feet of one another. That is intriguing to think about whether those who had a chance to suffer L'imperatrice Eugénie et ses dames d'honneur and l'Atelier nearly side by next remarked top top the paradox, or also appreciated the symbolism.