World Exhibition (1867)

The history of the emergence of international exhibitions

The prototype of the World Exhibitions was the exhibitions that originated in Europe back in the 18th century in the form of various expositions presented in aristocratic salons. The purpose of such shows was the presentation of various artistic values ​​and raising the prestige of the royal power. Such displays, for example, include an exhibition of works of art held in 1757 in France. Initially, only artworks were displayed at such exhibitions, and later industrial exhibits and designs began to appear on them.

In some European centers - Paris (1743), Dresden (1765), Berlin (1786) - small trade shows began to be held, where samples of local industry were shown. According to a common point of view, the idea of ​​holding national exhibitions was first put forward in 1798 by the Minister of the Interior of France, François de Neufchato , and soon it was realized by the government of the country. So, on September 19, 1798, an exhibition was opened on the Field of Mars ^[1] , which lasted five days and at which 119 national industrialists and manufacturers in 58 wooden display cases demonstrated their products ^[2] .

The following exhibitions of 1801 and 1803 were held in the Louvre , and the exhibition of 1806 was held in the square in front of the House of Disabled Persons . Within 24 days, 1462 entrepreneurs were represented who demonstrated their products. Following the example of France, industrial exhibitions began to be organized and held in other cities and countries of Europe ( Munich - 1818, Berlin and Dresden - 1824, St. Petersburg - 1829, etc.) ^[2] .

The appearance of the World, or, as they were previously called, Great World Exhibitions, was historically predetermined and caused by the rapid development of industry by the middle of the XIX century, primarily in England, France and Germany ^[3] . International exhibitions are also associated with France and arose on the basis of the development and traditions of the French national exhibitions (ten were held before 1849) ^[1] , culminating in the International Exhibition of 1844 , which had a significant international impact and made such a strong impression. that some time later they began to regularly conduct Continental exhibitions ^[4] .

The first world exhibition (The Great Exhibition of Industrial Works of All Nations) was held in London Hyde Park in 1851 ^[5] . In France in the XIX century, world exhibitions were held in 1855 , 1867, 1878 , 1889 and in 1900 ^[6] . Starting from the First Universal Exhibition of 1855 (World Exhibition of Industrial, Agricultural and Fine Arts) and until the end of the 1930s, Paris became the main and most famous venue for international exhibitions, conceived as international competitions demonstrating the latest achievements of industry, science, technology, culture and art ^[7] .

Preparation and holding of the exhibition

The history of the preparation and appearance of the exhibition dates back to 1863, when in his decree, Emperor Napoleon III formally called on the nation to hold the next World Exhibition. World exhibitions were usually held under a specific motto, which determined the main theme of the exhibition ^[3] . As a fundamental idea of ​​this exhibition, the idea was proposed that the wealth of nature should serve the general harmony of peoples ^[8] . It was the second World Exhibition held in Paris, and the seventh in a row in the world. It represented 41 countries ^[6] . The preparation and holding of the exhibition was widely discussed in the press, including in the United States . So, Mark Twain in his novel "Simpletons Abroad" (1869) noted:

“Everyone went to Europe - I also went to Europe. Everyone went to the famous Paris exhibition - I also went to the famous Paris exhibition. In those days, shipping lines exported a total of about five thousand Americans a week from various ports in the United States. If this month I had a chance to meet a dozen acquaintances who had not gone to Europe the other day, then I did not have clear memories of this. ”

One of the eyewitnesses to the preparation for the exhibition wrote about the amazing timing and scale of the work ^[9] :

“Within a few months, the rocky, uneven and desolate terrain suddenly transformed into a blooming beautiful oasis. Streams, ponds, beautiful old trees, rare flowers, cascades, bright greenery, the huge building of the exhibition itself and at least forty other buildings, more or less remarkable in architectural terms, appeared. Nothing remained of the former Field of Mars under the skillful hand of Mr. Barille, the chief manager of all the structures. ”

Outstanding writers of France, including Victor Hugo , Teofil Gauthier , Alexandre Dumas (son) , Ernest Renan , Charles Augustin de Saint-Beuve , were involved in covering the exhibition and creating the Paris-Guide for the capital of the new World Exhibition ^{[8 ]} . On the basis of the preface to this peculiar guidebook and due to the fact that Hugo substantially supplemented and expanded it, exceeding the originally planned volume, he created the historical essay “Paris”, which eventually had to be published as a separate brochure in the form of an appendix to this guide.

It should be noted that not everyone in France took the exhibition so uniquely optimistic and in a positive light. So, the Goncourt brothers in their “ Diary ” on January 16, 1867 prophetically noted its negative aspects for culture: “The World Exhibition is the last blow to the existing: Americanization of France, industry, obscuring art, a steam thresher, pushing back a picture, night pots in covered rooms and statues exposed outside, in a word, the Federation of Matter ” ^[10] .

Emil Zola in his novel “Money” (Fr. L'Argent , 1891) from the cycle of novels “ Rugon-MacCara ” described the opening of the exhibition as follows ^[11] :

“The World Exhibition of 1867 opened on April 1 with an unprecedented triumph among continuous festivities. The most brilliant period of the Empire began, a period of diverse amusements that turned Paris into a world-wide hotel, decorated with flags, full of music and songs, a hotel in every corner of which gluttonous and indulged in debauchery. Never before has a single reign at the height of its glory convened peoples to such a grand feast. A long string of emperors, kings and princes was heading towards the sparkling Tuileries from all over the globe in a fabulous apotheosis.

Valentin Pikul in his historical novel “ The Battle of the Chancellors of Iron ” (1977) characterized the exhibition and the atmosphere reigning on it in this way: “... the Babylonian crowd of visitors, crowded hotels; horses with difficulty attracted crowded omnibuses , cabbies became kings of position; asphyxiating crowds on boulevards; specially built steamers buzzed along the Seine ( Mouhses ) - everything moved and hurried to the Field of Mars, where there was a noisy “fair of vanity of the“ human ” ^[12] .

Among the royal persons and representatives of high society who visited the exhibition, the following persons can be noted: Queen Consort of Portugal Maria Pia of Savoy , future King of Sweden and Norway Oscar II , King of the Belgians Leopold II with his wife Maria Henrietta of Habsburg-Lorraine , Emperor Alexander II, Sultan of the Ottoman Empire Abdul-Aziz , Prince of Wales and future King of Great Britain Edward VII , King of Bavaria Ludwig II , Arab Emir Abd al-Kadir , Shogun of Japan Tokugawa Yoshinobu , King of Prussia William I , From then von Bismarck . Marc Twain described the meeting of the emperor of France and the sultan of the Ottoman Empire during the exhibition as follows:

"Napoleon III - a representative of the highest modern civilization, progress, culture and sophistication; Abdul-Aziz - a representative of a nation, by its nature and customs, unclean, cruel, ignorant, conservative, superstitious, a representative of the government, whose three graces are Tyranny, Greed, Blood. Here, in brilliant Paris, under the majestic Arc de Triomphe, the first century meets the nineteenth.

An incident occurred at the exhibition that was of significant international and political significance: on May 25, Emperor Alexander II, returning from the parade along with Napoleon III and his sons, Grand Dukes Alexander and Vladimir , was assassinated by an emigrant and activist of the Polish liberation movement, Anton Berezovsky . During the departure from the hippodrome, Lonshan Berezovsky approached the crew and shot Alexander Nikolayevich, but they managed to stop him, the bullets hit his horse, and he managed to capture the Pole. This incident, which occurred on French territory, is named among the reasons that prevented the further rapprochement of France and Russia on the eve of the Franco-Prussian war ^[13] .

Cultural Program

The exhibition organizers updated the format of the exhibition by presenting a wide cultural program at it. According to the somewhat ironic words of art critic and critic V.V. Stasov , the French “put forward a lot of all kinds of internationales ventures”: “there was shooting internationale at the target, playing chess internationale, and racing ships internationale, and various other wonders” ^{[14 ]} . In addition, the concert and music part, which Stasov generally rated low, occupied a significant place at the exhibition. In his opinion, the members of the commission apparently decided that in this format “the world exhibition is already decisively becoming like a collection of Olympic games: ancient Greece and Rome always move in the depths of any French imagination” ^[15] .

To give the exhibition an even more solemn character, its organizers decided to hold a competition and perform a spirit-matching anthem and cantata with a solo, choirs and orchestra. The first competition revealed the best author of the text: he was seventeen-year-old Romain Cornu, who defeated 222 competitors by presenting a text called “Prometheus’s Wedding”. The second music competition for composing music on this text attracted more than a hundred competitors, and only four cantatas entered the last round. The honorary president of the jury was Joacchino Rossini , residing in France, the president was Daniel Ober , the jury included Hector Berlioz , Giuseppe Verdi , Ambroise Toma , Felicien David , Charles Gounod and others. When the music competition, held on condition of anonymity of the participants, was completed and upon awarding Since the prizes opened the envelope with the motto from the Hugo poem, it turned out that the prize was received by Camille Saint-Saens (the other participants who reached the finals were Weckerlen , Jules Massenet and Ernest Gyro ) ^[16] .

However, despite the victory of Saint-Saens, his cantata “ The Wedding of Prometheus ” (op. 19), tentatively scheduled to be performed at the exhibition on July 1, was replaced by “Anthem to Napoleon III and his Valiant People” with the words of Emilien Pacini written by Rossini, under by the pretexts that the cantata’s sonority will be lost in the huge room of the Palace of Industry, that the work is too long for this event and the lack of funds for the musical part of the exhibition ^[16] .

Rossini's anthem for soloists, choir and orchestra was first performed on July 1, 1867 in the presence of the Emperor, Empress Eugenia and the Ottoman Sultan Abdul-Aziz on the occasion of the presentation of awards and prizes at the exhibition. The orchestra consisted of 800 instrumentalists (of which 600 were civilian and 200 military) and 400 choristers led by Jules Cohen ^[17] . According to Stasov, this play by Rossini turned out to be “so not brilliant that it never occurred to anyone to repeat it” ^[15] . Rossini himself called his composition "feast music" ^[17] .

In total, more than 800 pieces of music were sent to the music competition on the given topic “Anthem to the World,” and the performance of choral societies, according to Stasov, must be recognized as generally unsuccessful: “they sang their morceaux , received any awards and went home, not whom without making any particular impression. " In addition, military bands from various European countries performed at the exhibition ^[15] .

Engineer Jean-Baptiste Krantz and architect Leopold Hardy (1829–1894) employed 26,000 workers to build an oval pavilion (490 by 380 m) with hundreds of small pavilions.

The main building, located on the Champ de Mars, was built of glass and iron, in the architectural plan it looked like an ellipse measuring 490 × 380 m and consisted of seven concentric circular galleries, each of which was reserved for demonstration of exhibits of any large thematic section, like then: Gallery of cars, Furniture and fashion, fine arts. Radial passages, the so-called streets, were structurally designed to divide the building's space into sectors, which were intended to accommodate exhibits of any one of the participating countries. The exhibits in each sector were deliberately arranged in such a way that, bypassing the exhibition palace in a circle, the visitor saw thematically homogeneous exhibits from different countries. The width of the galleries averaged 23 m, and the maximum height was about 26 m ^[8] .

Stasov compared the main building of the exhibition with the London Crystal Palace , built for the World Exhibition in 1851 . Calling them striking examples of modern architecture and noting that the French pavilion “bore features no less amazing and independent,” Stasov wrote about him:

“True, this palace was not beautiful from the outside, and Napoleon III himself, in spite of all the desire to brag about the exhibition he created, called this building a large, ugly“ gas meter ”. But the palace of the exhibition seems to have taken an example from eastern houses and buildings; they always have smooth, unpleasant, deserted walls on the street - and endless treasures of beauty and art inside, when you cross the threshold and go inside these gloomy walls that sadly hit you first. ”

The Russian critic and art historian was especially impressed by the interior of the palace, its convenience and thoughtfulness: “Nothing could be grander than the entrance hall, which cut through the portal and to the very heart of the building, concentric rings, one into the other, which made up the plan of the palace ", As well as individual buildings and pavilions" in all styles, in all tastes, which was dotted with a park around the main building, also presented an unprecedented, unprecedented exhibition of architectural beauty and creativity. "

Still quite critical of international exhibitions, P. P. Boborykin nevertheless noted: “the distribution system for nations and departments in this“ gas plant ”was very successful, and it helped the visitor to find everything he needed more.” Также Боборыкин отмечал, что вокруг главного здания были «потребительные заведения разных народов, попросту рестораны и кафе», в числе которых были представлены московские трактиры и чайные: «Купец Корещенко прославил себя на оба полушария. Его ресторан торговал бойко. И русских наезжало очень много в Париж; да и посетителей других национальностей влекло кулинарное и этнографическое любопытство. Во-первых — еда; во-вторых — цветные шёлковые рубашки московских половых ; в-третьих — две „самоварницы“, в сарафанах и кокошниках . Из них Авдотья стала быстро очень популярной, особенно между французскими любителями женского пола» ^[18] .

Главный выставочный павильон из-за своей эллипсовидной формы и парка посредине был, по характеристике Боборыкина, похож на «блюдо заливного, обсыпанного зеленью» ^[2] . Также центральный павильон часто сравнивали с гигантским крабом и с газовым заводом ^[19] . Ханс Христиан Андерсен , в своей сказке «Дриада» называя выставку «всемирным базаром», « фата-морганой », новым чудом света и боевой ареной мирного времени, писал ^[20] :

«На бесплодном, песчаном Марсовом поле», — говорили одни, — «распустился роскошный цветок искусства и промышленности, гигантский подсолнечник, и по лепесткам его можно изучить географию, статистику и всякую механику, искусства и поэзию, познать величину и величие всех стран света!» «На Марсовом поле», — говорили другие, — «вырос сказочный цветок, пёстрый лотос, распустивший над песком свои зелёные листья, словно бархатные ковры; распустился он раннею весною, летом достигнет апогея своей красоты, а осенью ветер развеет его лепестки, и от него не останется и следа!».

Кроме главного дворца, возвели ещё 211 больших и малых павильонов ^[21] . Начиная с этой выставки страны-участницы стали размещать свои экспозиции в специально построенных ими национальных павильонах. В 1867 году посетители смогли увидеть тирольскую деревню, русскую избу, египетский караван-сарай , восточный минарет , турецкие бани, китайский театр, английский коттедж, американское ранчо , голландскую ферму, японский киоск и реконструкцию римских катакомб ^[6] .

Густав Эйфель разработал стеклянную «Галерею станков» ( фр. Palais des machines ), функционировавшую также на Всемирных выставках в Париже в 1867, 1878 и 1889 годах.

На отдельной территории, на островах Бийянкур и Сеген (ниже по течению Сены ), располагалась сельскохозяйственная часть выставки ^[2] .

Наибольшую площадь в главном павильоне занимала экспозиция из Франции и её колоний — 63,5 тыс. м², Англия — 21 тыс. м², Пруссия — 12,7 тыс. м², Австрия — 8,3 тыс. м², США — 2,8 тыс. м² и Российская империя — 2,9 тыс. м² ^[8] .

Для освещения выставки применялись около 10 тыс. газовых светильников со стеклянными белыми колпаками. С этой целью от парижского газового завода был проложен чугунный трубопровод и газоразводящая сеть длиной 11 км. Общественный порядок на территории выставки обеспечивали 740 гвардейцев и полицейских ^[8] .

Выставку по традиции открывал семиметровый хрустальный фонтан французской фирмы Баккара .

Выставка состояла из 10 групп, разделённых на 95 классов ^[21] . Из около 50 тыс. экспонатов выставки более 11,5 тыс. представляли Францию и её колонии. Англия послала почти 3,4 тыс. своих экспонатов, Пруссия — 2,2 тыс., Россия — около 1,3 тыс. ^[8] .

52 200 участников из 42 стран ^[22] представили множество технических новинок, свидетельствовавших о новом применении электричества, — телеграфный аппарат Хьюга, электрические фары, подводный кабель. Электрические изобретения вдохновили посетившего выставку Жюля Верна на написание « Двадцать тысяч льё под водой ». Кроме этого романа, писатель упоминает выставку также в романе « Плавучий остров ». Также были продемонстрированы гидравлический лифт , шарикоподшипники , железобетон , гидрохронометр , механическая тестомешалка и более совершенные земледельческие орудия. Золотой медали удостоились Николаус Отто и Ойген Ланген за изобретение поршневого аэродвигателя ^[23] . На выставке была представлена очередная стальная болванка от компании Круппа весом в 38,4 т, которая была предназначена для выделки из неё вала пароходной машины и с одного конца была откована на 8 граней. Крупп выставил пушку, которая в рекламе представлялась как «монстр, какого ещё не видел свет» и имела следующие параметры: её ствол весил 50 т, а лафет — 40 т. На выставке прусскому промышленнику за неё присудили «Гран-при», а император Наполеон III даже пожаловал ему офицерский знак ордена Почётного легиона, а уже через три года во время франко-прусской войны, положившей конец империи, крупповская артиллерия будет обстреливать Париж. Также Пруссия представила образцовую гильотину, способную отрубать по 6—8 голов сразу ^[21] .

Англия вновь демонстрировала металлургическую продукцию Г. Бессемера . На выставке Пьером Мартеном был представлен разработанный им в 1864 году мартеновский процесс , который по сравнению с бессемеровским был медленнее, но давал более качественную сталь и позволял переплавлять в неё не только чугун, но и железный лом. Мартен показал на выставке металлические изделия, выполненные по его методу: стальные листы, бандажи для паровозов, ружейные стволы, лафеты и фасонные отливки значительных размеров. Дополняя друг друга, эти два новых металлургических способа превратили литую сталь в дешёвый массовый материал: «от столовых приборов и шпилек для волос до быстроходных кораблей и каркасов для небоскребов» ^[24] . Альфред Крупп получил Гран-при за применение нового (бессемеровского) метода производства стали (сам Бессемер удостоился за своё изобретение золотой медали) ^[8] .

Отдельный павильон занимал макет судоходного Суэцкого канала , работы по сооружению которого были начаты Фердинандом Лессепсом и компанией Суэцкого канала в 1859 году и закончены через два года после проведения выставки ^[8] . Интерес и восхищение публики вызвало небьющееся зеркало размером 7 на 4 м производства фирмы Сен-Гобен .

Официальным фотографом Всемирной выставки был назначен Пьер Пети . Среди известных посетителей также были Ганс Христиан Андерсен , русский царь Александр II и баварский король Людвиг II .

In the Gallery of Scientific History, the French archaeologist Jacques Boucher de Perth demonstrated archaeological finds: prehistoric teeth and items, flint tips for copies from Dordogne and axes found in the Somme Valley. The public paid special attention to a showcase with samples of prehistoric art, in particular, the image of a mammoth carved on a piece of a tusk, which was found in the cave of La Madeleine ^[25] .

Despite the resistance of the figures of Polish emigration in Paris and, in particular, Prince Adam Jerzy Czartoryski and his entourage, the painting “Reitan - the decline of Poland” was shown at the exhibition and received a gold medal. Emperor of Austria Franz Joseph I purchased a picture for his collection.

Representation of Russia at the exhibition

D.I. Mendeleev was appointed to the exhibition as an assistant to the general commissioner of the Russian department from Russia. In March 1867, as a member of the commission for the construction of the Russian pavilion at an exhibition in Paris, he left Russia with his colleague N. N. Zinin . During this mission, he became acquainted with the French and European chemical industries. At the exhibition, the then-poorly studied chemical element uranium , which was exhibited in the form of pieces of heavy dark metal, resembling iron in its appearance, was presented as a novelty. Mendeleev held a piece of uranium in his palm. Uranium was then considered a metal of little practical and scientific value, but later Mendeleev prophetically wrote about it: “The study of uranium, starting from its natural sources, will lead to many discoveries, I can safely recommend that those who are looking for objects for new research, especially carefully deal with uranium compounds ” ^[26] .

Mendeleev published a peculiar scientific report on the Paris exhibition in the form of an almost two-hundred-page book “On the modern development of certain chemical industries as applied to Russia and on the occasion of the 1867 World Exhibition” ^[27] , in which he examined European “works of industry” in the sense of “the practical significance of objects in relation to the vital interests of Russia. " This book is considered the first economic work of the Russian natural scientist ^[28] . In this work, Mendeleev, characterizing the exhibition, noted that “art and ethnographic objects occupied a much larger space than industrial works,” and wrote the following on this subject ^[27] :

“It is impossible to count as an exhibition of industry, in the usual sense of these words, neither these elegant, scattered everywhere in the park, arbors, kiosks, rural houses, nor these huge greenhouses and aquariums that are visible in the closed garden, nor these Moorish, Egyptian and Mexican palaces, nor are many coffee houses and restaurants of different nations. From the predominance of these objects, the exhibition has received a special character, which no industry exhibition has had so far. ”

Further, noting that ethnography and art gained dominance at this exhibition, Mendeleev wrote: “Hardly even this shows a direction for the better in the field of industrial exhibitions.” As the Russian scientist points out, the exhibition's priorities were: “First, ethnography, then fine arts, then cars, fabrics, products of metallurgy and agriculture ...” ^[27] Scientists Yuli Fritzsche , B. S. Jacobi and N. I. were also sent from Russia . Koksharov ^[29] .

The Russian department was located in eight galleries: the first two showed objects of archeology and artwork, the rest - products of industry and agriculture. Numerous wooden structures were demonstrated in the Russian section of the exhibition, including: a Russian hut, a stable for horses from the Imperial Stud Farm, rooms for carriages and horse harness, as well as a Kyrgyz yurt , Yakut uras and a reference office ^[30] . Valentin Pikul noted that for the first time Russia was so widely represented at the World Exhibition, but having no experience in this matter, "decided to hit Europe in the stomach." He described the Russian mission as follows ^[12] :

“Russian science and Russian craftsmen had something to brag about on the world market (they boasted at their place in Nizhny Novgorod!), But the Russian pavilion in Paris turned into the“ gluttonous row ”by official will. True, the case was excellent. Fraudulent hawks in pearl kokoshniks, serving as pavas, served as frowning poor guys with palekh trays. A crowd crowded here in order to taste cabbage with porridge from Russian cuisine, pies with kulebyaki, okroshka and topping. The French called the caviar indecent: cochonnerie russe, and once they tried the caviar, they spat out it under the table in silence, saying with indignation: “How can Russians digest such an abomination? ..” ”

In total, the Russian department totaled more than 1300 items ^[7] . As a result, Russian exhibits received 476 awards, including two large prizes (Grand Prix): the first to Academician B. S. Jacobi, the second to the Emperor of Russia for improving horse breeds; 21 gold medals were won, 93 silver medals, 211 bronze medals; 151 commendations, as well as 26 commemorative medals in the archeology department ^[21] .

During the exhibition, work was carried out to unify the international system of measures and weights. An international Committee of measures, weights and coins was organized and conducted its activities here. A report was made on behalf of the Committee by Academician B. S. Jacobi, who “showed that the metric system of measures belongs to the same category of objects as machines and tools, railways, telegraphs, logarithms tables that provide labor saving and real increase social wealth ” ^[21] .

Based on the materials of the exhibition, N. N. Zinin created the work “On Aniline Paints. Review of the Paris World Exhibition of 1867 ”, published next year in St. Petersburg. It is noteworthy that in this brochure, which tells the history of aniline dyes and the technology of their production, he, despite success and recognition at the exhibition, never mentioned himself as the discoverer of the “ Zinin reaction ” and thus about “to whom this huge industry industry owed its appearance ” ^[29] .

Stasov noted the outstanding architecture of the exhibition, which generally excelled in quality the building of the exhibitions at which he was present. So, according to him, the architecture presented at the Vienna World Exhibition of 1873 “cannot even equal the French from afar”: “A lot of work, knowledge, and skill were also spent here, but only French genius and French elegant taste were lacking” ^{[ 19]} . The exhibition in Paris and the next exhibition in Vienna in 1873 brought the exhibition out of one central pavilion, as it had been before, thus outlining the trend already realized in 1876 in Philadelphia - the construction of specialized pavilions where exhibits of a particular industry were displayed , which indicated another important aspect of international exhibitions: “they increasingly became a show of unique architectural structures, often representing vivid achievements of engineering and ” ^[3] .

For the first time, Japanese culture was presented at the national pavilion, which fascinated many artists, including Vincent Van Gogh .

It was during the exhibition that the Bateaux Mouches tourist boats along the Seine were first launched.

October 21, 1867 at the Paris National Opera , the premiere of the ballet "Corsair" , dedicated to the exhibition. Jacques Offenbach created the operetta “The Grand Duchess of Gerolstein” according to the libretto of his main co-authors Henri Méliak and Louis Halevy , which was staged on the opening day of the exhibition - April 12, 1867. Hans Christian Andersen was amazed at the national pavilions and future technological changes presented at the exhibition, which was reflected in his short story “Dryad” (1868), which the writer ends with the following words: “It all happened in reality. We ourselves were eyewitnesses to this during the Paris World Exhibition in 1867. Yes, our time is a fabulous, outlandish time! ” ^[20] .

Rue de L'Exposition street near the Field of Mars is named after this exhibition.

Victor Hugo , noting that the meeting of nations, similar to the meeting of 1867, is, in essence, a “great peace treaty,” wrote about its significance ^[31] :

“As for the exhibition of 1867, how it was implemented, it is not for us to judge this. She is what she is. We believe that she is magnificent; but the idea itself is enough for us. And what is the idea and what path it has traveled - the numbers will tell about it. In 1800, the first world exhibition had two hundred exhibitors; in 1867 there were forty-two thousand two hundred and seventeen. "

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  Monarchs of Europe at the opening of the exhibition

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  Floor Plan for 1867

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  Japanese pavilion

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  Chinese pavilion

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  Egyptian Pavilion

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  Exhibition Medal of 1867

• Mezenin N.A. Parade of world exhibitions. - M .: Knowledge, 1990. —160 p.
• Simchuk K.A. World Exhibitions of Paris of the 19th Century: City-Forming Role and Social Significance // Bulletin of Chelyabinsk State University. - 2014. - No. 26 (355). - S. 157-162 .
• Shpakov V.N. History of world exhibitions. - M .: ACT: Zebra E, 2008 .-- 384 p. - ISBN 978-5-17-050142-7 .
• Ducuing, François, Vol 1: L'Exposition universelle de 1867 illustrée: publication internationale autorisée par la Commission impériale . (Paris: Bureaux d'Abonnements, 1867).
• Ducuing, François, Vol 2: L'Exposition universelle de 1867 illustrée: publication internationale autorisée par la Commission impériale . (Paris: Bureaux d'Abonnements, 1867).
• Online Literature
• François Ducuing (Hrsg.): Exposition universelle de 1867 illustrée . (2 volumes). Sn, Paris 1867.
• Robert Bordaz: Le livre des expositions universelles 1851-1989. L'Exposition des Expositions Universelles inaugurée en juin 1983 . Union centrale des arts decoratifs, Paris 1983, ISBN 2-901422-26-8.
• Monika Meyer-Künzel. Städtebau der Weltausstellungen und Olympischen Spiele: Stadtentwicklung der Veranstaltungsorte . Dissertation Technische Universität Carolo-Wilhelmina, Braunschweig 1998, S. 45-46.
• Erik Mattie: Weltausstellungen. Belser, Stuttgart 1998, ISBN 3-7630-2358-5.
• The 1867 World's Fair

•   Wikimedia Commons has media related to the 1867 World's Fair
• Shpakov V.N. Paris Exhibition, 1867 (Russian) . Russian Union of Exhibitions and Fairs (2000). - article. Date of treatment July 23, 2013. Archived August 24, 2013.