Help on Tele2, tariffs, questions

Russia at the World Exhibition in Paris in 1900 - St. Petersburg: Publication by I. Shustov, 1900. - 56, 116, 71, 5 p. : ill.; 43.

Russia at the World Exhibition in Paris in 1900 - St. Petersburg: Edition of I. Shustov, 1900. - 56, 116, 71, 5 p. : ill.; 43.

[From the Introduction]

To determine the state of culture and progress by the end of the 19th century, the government of the French Republic organized the World Art, Industrial and Agricultural Exhibition in Paris in 1900, in which, at the invitation of France, Russia and forty-nine foreign countries took part.

According to the plan of Paris, an area of ​​1,080,000 square meters was allocated for the exhibition. meters with the provision of 24,000 sq. m. to Russia. meters (5,270 sq. fathoms).

The exhibition occupied the space between Place de la Concorde and Avenue d'Antin and Avenue des Champs Elysées; Place des Invalides (Esplanade des Invalides), the embankments of the Seine from the Pont Alexandre III, the Trocadero and the Champs de Mars. In addition, a place has been allocated in Vincennes Park for rolling stock of railways, items for constructing a railway track and its equipment. Temporary competitions in all kinds of sports were also held here.

Part one

Introduction

Russia at the World Exhibition in Paris in 1900

Biographies of exhibition participants

Russia in the exhibition groups and in the pavilion of Russian outskirts

Part two

Exhibitors

Awards given to Russian exhibitors at the World Exhibition in Paris in 1900

Alphabetical list of exhibitors for Russia's participation at the World Exhibition in Paris in 1900

Sample pages

There was a lively discussion in the press on every issue raised. Here is a note from a contemporary about the dawn of the automobile industry: “We can say that since 1900, with the Paris Exhibition, a new era in Europe begins in the relative development of motorism and the replacement of horse-drawn carriages on the streets.
Cars will probably replace horse-drawn carriages in the 20th century. The automobile exhibition in Vincennes and the Champ de Mars seems to have fully confirmed this. We were amazed by the abundance of cars at the exhibition. The same can be said about cars on the streets of Europe, mainly in Berlin and especially in Paris. In Paris there are even crews of cab drivers (that’s what the first taxis were called. - N.M.). Of the French cars, the companies that pay attention are Peugeot Brothers and Boto."

The little Palace, Exposition Universal, 1900, Paris, France

But it should be noted that the art of exhibition improved from exhibition to exhibition. Fundamental requirements for the exhibition pavilion and for the display of products are gradually emerging. By the end of the century, the Art Nouveau style had a great influence on exhibitions, displacing the carelessness of eclecticism with its rationalism. The influence of Art Nouveau became evident at the Paris Exhibition of 1900. A division appears not only by country and company, but also by department and industry. Models and layouts are created to show production processes. Old methods of display were also constantly improved - dioramas and panoramas (the first diorama was arranged 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 drawings, tables, diagrams and the latest invention - photography - to serve at exhibition stands. Already at the first world exhibition in 1851, the problem of movement of visitors around the exhibition area arose. This is how the first exhibition transport (omnibuses) appeared. Later, at the exhibition in Chicago (1893), “moving sidewalks” were used for the first time, moving up to 10 thousand visitors daily on a conveyor belt. There was a problem with visitor fatigue. The organization of recreation areas entailed the creation of an entire entertainment industry, which coincided with the desire of the organizers to recoup huge expenses and, as they said then, “not to play into a deplorable deficit.” Theatres, restaurants, as well as various attractions, profitable shows, the so-called “NAILS”, appear.
Any exotic with the aroma 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 the latest technical ideas and progress into the entertainment industry: electricity, cinema. In Paris, "the exhibition as such... faded into the background before the spectacle."
The idea of ​​​​creating a children's entertainment town "Disneyland" in America was born in the middle of the 20th century after Disney, an animator and businessman, came into the hands of the album "Paris World's Fair 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 produce it, its price has dropped tenfold. Aluminum has already been used to make brooches and cufflinks, binoculars, spoons and forks. To increase hardness, aluminum alloys with other elements were created. They began to use it on car parts and electrical installation wires. The French showed at the exhibition a bridge made of aluminum 15 m long and weighing 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 using the new method during this time amounted to 28 thousand tons.
At the exhibition in Paris, visitors were again surprised by the lamps of the Russian engineer A.N. Lodygin - they had filaments made of molybdenum and tungsten, unlike the already known carbon ones presented right there. When the press made noise about Edison's lamps with bamboo thread, the authors of the World Exhibition catalog described Lodygin's experiments in creating incandescent lamps and recalled: "It follows from this that the production of coals for lamps by calcining organic products was first used in Russia, and not abroad."

But what amazed connoisseurs even more was the world’s largest three-phase current dynamo with a power of 4,500 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 entire scientific world was presented with the main results of Russian creativity in the field of electrical engineering in the "Essay on the work of Russians in electrical engineering from 1800 to 1900", published in Russian and French. An explanatory catalog of exhibits , exhibited by the VI Electrical Engineering Department of the Russian Technical Society."
The Paris exhibition demonstrated the inventions of the successors to the work of the founders in the field of electric lighting, Lodygin and Yablochkov. V.N. Chikolev designed an arc lamp with a differential regulator to bring the electrodes closer together, using a small electric motor for regulation. Later, designers used this Chikolev principle in floodlights. He also proposed a photographic method for studying and testing reflective spotlights. An electric candle by V. Tikhomirov, an electric arc lamp by Repyev, and a regulator for meadow lamps of the Maykov-Dobrokhotov system were exhibited.

Russian inventions in the field of creating electric machines were also presented: a dynamo without iron by D.A. Lachinov, a disk dynamo and transformer by A.I. Poleshko, and dynamos by A. Klimenko.
The exhibits reminded us that original electrolytic methods for bleaching fabrics were created in Russia: A.P. Lidova and V. Tikhomirova, S.N. Stepanova. The battery systems of Khotinsky, the original galvanic cells of P.N. Yablochkov, V.A. Tyurin (the latter created high-sensitivity torsion balances) were also exhibited.
Along with this, as indicated in the report of the General Commissioner of the Russian Department, “the first Russian telegraph apparatuses were presented, proving that the Russians were often 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 and was not supported by those in power.

In the aeronautics section, the exhibits of Russian aviators Pomortsev, Kuzminsky and Young were successful: measuring instruments, airplanes, parachutes, torque meters and gas turbine engines. Meteorologist Major General M.M. Pomortsev invented a number of aeronautical and other instruments; since 1895 he has been the chairman of the VII (aeronautical) department of the Russian Technical Society.
Russian engineer P.D. Kuzminsky, inventor of the gas turbine, was also involved in aeronautics and was one of the initiators of the creation of the VII department of RTO. He repeatedly proposed using a high-speed and at the same time lightweight turbine engine for aeronautics. Seven years before the exhibition in Paris, he announced to the War Ministry his readiness to build an airship of his own design, but the proposal remained unanswered.
The World Exhibition of 1900 brought each participating country to a kind of report on its achievements. What else was different about the Russian exposition at such a significant show?

In the Russian displays at the exhibition, as usual, a large place was given to luxury goods, jewelry made of precious metals and stones, and furs. The central exhibit in the Russian pavilion, which architecturally reproduced the Moscow Kremlin in miniature, was a huge pyramid of 35 thousand pairs of galoshes, representing the daily production of Russian-American manufactory in St. Petersburg. Russia then ranked first in the world in the production of galoshes.
The ensemble of white stone buildings inspired by 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 design of the artist K.A. Korovin, several wooden houses and a church were built - like a street in a Russian village. He received the Legion of Honor for the design of the exhibition.
The rooms contained handicrafts from all over the country: Caucasian weapons and carved silver items, Novotorzh embroidered shoes, embroidery, lace, knives, as well as glazed ceramics, kvass, and beetroot. The porcelain and earthenware factory of M.S. Kuznetsov from St. Petersburg, which exhibited porcelain dishes, tea and table sets, cups, glasses, figurines, as well as toiletries, washroom coffee utensils, 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.

For the high quality of gold and silver threads, distinguished by their particular fineness and softness, the gold-plating factory, founded in 1785 by the great-grandfather of K.S. Stanislavsky, received the highest award "Grand Prix", and Konstantin Sergeevich himself and other factory workers 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 purchased a thousand pieces in Dymkovo for this purpose, and they went to Paris for a franc each.

For a long time, Shemogod carving has been known in Rus': an openwork section covering tueskas, caskets, and birch bark boxes. The best crafts of master I.A.Veprev were awarded a diploma from the World Exhibition in 1900. Another wooden miracle - the Russian nesting doll - was born in 1891, when turner V. Zvezdochkin carved it in a carpentry workshop in Abramtsevo, and 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 its original shape and unique 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 still occupies a secondary place among other branches of the mining 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."

Le palais des illusions (Hénard architecte)

Russia's explored mineral reserves were small. Even at the beginning of the twentieth century. in reference books for the country, which occupied the first place in the world in terms of area, among the explored world reserves, coal was listed as slightly more than 3%, 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, and 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 mountain districts, Lunievsky coal mines. And although the Ural factories looked “with an undesirable completeness,” the exposition made such a strong impression that the exhibition organizers awarded personalized bronze medals to the surveyor of the Lunievsky coal mines, Ivanov, and the manager of the Tagil copper mine, Burdakov.

The Palace Lumineux, night, Exposition Universal, 1900, Paris

Among the metal products, the works of state-owned factories attracted attention: a wonderful set of Zlatoust edged weapons, Kusinsky artistic casting, steel braids of varying degrees of hardening. Art products made from cast iron from Kyshtym factories were successfully sold. The Druzhkovsky plant from Donbass put out a 100-meter rail. In Paris, miniature working models of a three-line Russian combat rifle of the 1891 model were demonstrated along with Izhevsk hunting weapons. These exhibits were a great success - the Izhevsk arms and steelworks were awarded the highest award, the Grand Prix.
An outstanding exhibit of the 1900 exhibition was a huge palace-pavilion made of cast iron. Kasli masters first presented it at the All-Russian Industrial and Art Exhibition of 1896 in Nizhny Novgorod. The author of the sketch of the palace-pavilion was the architect A.I. Shirshov. According to his design, models were made at the factory, and then a huge number of openwork parts were cast from cast iron. The protruding cornice of the palace facade is supported by strict columns - two to the left and to the right of the entrance. The walls are mesh openwork plexuses. There are cast iron products at the entrance and inside, and the pavilion itself is surrounded by a fence.

Part of the Russian pavilion

At the World Exhibition in Paris, a superb work of Russian polishing and jewelry art - a precious mosaic map of France - attracted everyone's attention. It was made at a grinding factory in Yekaterinburg under the direction of master 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 made of light gray marble, and the departments are made of jasper of different colors. Rivers are platinum threads set in jasper, cities are precious stones set in gold, city names are written in gold letters. There are 126 of all cities on the map: Paris - large ruby, Le Havre and Marseille - emeralds, Lyon - tourmaline, Bordeaux - aquamarine, Cherbourg - alexandrite, Toulon - chrysoberyl, Rouen - sapphire, Lille - phenocite, Reims - peridot, Nantes - beryl, Nice - hyacinth; 21 cities are made of amethysts, 55 of tourmaline and 38 of rock crystal. The map is set in a slate-colored jasper frame. Admiring spectators appreciated the wonderful collection of Ural stones, shown in such a unique form. Made with subtle artistic taste and exceptional craftsmanship, the card received a high award at the World Exhibition, and its author V.V. Mostovenko, director of the factory, received the Commander's Cross of the Legion of Honor.

Posters about the opening and closing of the exhibition

127 different congresses coincided with the exhibition: on acetylene, history, religion, traveling salesmen and bakers, organizers of Sunday holidays and opponents of tobacco abuse, supporters of thread standardization, etc. Among the Russians at the physics congress were P.N. Lebedev, M.A. Chatelain, K.A. Timiryazev and others.
Kasli casting
V.I. Vernadsky took part in the VIII session of the International Geological Congress, held during the World Exhibition, which made a great impression on the scientist. He spent a lot of time at the exhibition, studying the current state of ore mining, the most important ore deposits of the whole world. In a letter to his son dated August 19, 1900, he wrote: “The exhibition is amazing in its size. The most interesting and important new things are observed in technology and art. In technology - new metals, new light bulbs (without coal and without glass) - solid steel at red heat. And in every country you can see a lot of new things."

Exhibition plan. Clickable

The unusual layout of the Russian pavilion was dictated by the unique and extremely inconvenient location allocated for its construction. It was a very narrow and long space along the wall of the Trocadero. Korovin coped with the task brilliantly and wittily, placing four separate buildings along one axis and connecting them with open passages-galleries.
In the fall of 1899, the construction of the pavilion was roughly completed in Moscow, then it was dismantled and transported to St. Petersburg for shipment to Paris by sea. 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 lit up with a crimson-red light and a cannon was fired, signaling the closing of the exhibition. This is how the 19th century ended. at world exhibitions.
Russia received 1,589 awards for the exhibition, including 212 highest, 370 gold medals, 436 silver, 347 bronze and 224 honorable mentions. The gold medal of the 1900 exhibition, along with the Eiffel Tower, was awarded to the railway bridge over the Yenisei River.

Les pavillons des nations de Exposition universelle de 1900

Bulletin of Chelyabinsk State University. 2014. No. 26 (355). Philology. Art history. Vol. 93. pp. 157-162.

K. A. Simchuk

WORLD EXHIBITIONS OF PARIS OF THE 19TH CENTURY: CITY-FORMING ROLE AND PUBLIC SIGNIFICANCE

Five World Exhibitions held in Paris in the second half of the 19th century are considered: in 1855, 1867, 1878, 1889, as well as the largest exhibition of 1900. All of them were of great public importance for the cultural and economic life of France, and also played a big role city-forming role at the time of their implementation and for subsequent decades.

Key words: world exhibitions, city formation, style, eclecticism, modernism.

In this article we touch on the very important role of the Paris exhibitions in shaping the modern appearance of the city and in the search for new architectural styles.

The enormous number of exhibits (which required a vast, well-lit interior space for placement and convenient viewing), a large flow of visitors, and the need for rapid construction and dismantling of pavilions led to the search for new architectural forms and technical techniques.

For pavilions of World Exhibitions of the second half of the 19th century. characterized by a gap between the innovative engineering solution of structures that used metal, glass, reinforced concrete, improved metal frame structures, which made it possible to dramatically increase the span of floors (up to 110 m in the “Gallery of Machines” by architect F. L. Duter at the Paris exhibition of 1889), and palace-type facades, designed in historical architectural styles, and more often covered with lush eclectic decor.

In 1855, the World Exhibition of Industry, Agriculture and the Fine Arts was held, which became the second world exhibition and the first held in Paris. Pavilions of 34 countries occupied an area of ​​16 hectares. It is estimated that over 5 million people visited the exhibition.

The exhibition took place on the triangle bounded by the Champs Elysées, the Quai de la Reine and the Avenue Montagne, from May 15 to November 15, 1855 (Fig. 1). Held under the patronage of Prince Napoleon, the exhibition was designed to surpass in scope its London predecessor, which was held in London's Hyde Park from May 1 to October 15, 1851 and became a milestone in the history of the Industrial Revolution.

Napoleon III wanted the pavilions of the World Exhibition in Paris to surpass the Christian

steel palace in London. The Palace of Industry was erected in Paris - the main exhibition pavilion, located between the Seine and the Champs Elysees1. Stone was used only for the external facades, which were 1 m thick and 18 m high. The building itself was made of iron and glass. The Palace of Industry was 260 m long and 105 m wide, the main nave was 190 m long and 48 m wide. It was surrounded on four sides by galleries two stories high and 30 m wide. Arched trusses formed a span of 24 m, which created a large exhibition space2. The Palace of Industry was used as the main exhibition building in Paris until 1897, when it was dismantled and replaced by the Grand Palais in 1900.

The Palace of Industry is one of the latest manifestations of the architectural and artistic concept of classicism in line with the emerging eclecticism. Its facades were made in the neo-Renaissance style3. Through the Palace of Industry one could enter the Panorama rotunda and the Gallery of Machines, 1200 m long and 17 m high, located along the Seine embankment, running from the Place de la Concorde to the Pont Alma4.

The Gallery of Machines building was used during the world's fairs of 1855, 1878 and 1889, as well as for the art salons of 1857 and 1897, agricultural and horticultural exhibitions, horse competitions, public holidays and ceremonies.

According to the plan of the architect E. Lefuel, the Palace of Arts was erected on Avenue Montagne. The horseshoe-shaped façade was designed in the Renaissance style. The World Exhibition, held from April 1 to October 31, 1867, was visited by more than 10 million people. This was the second World Exhibition held in Paris, and the seventh in the world, with 41 countries taking part.

Rice. 1. Pavilions of the World Exhibition in Paris in 1855. The territory is limited by the Avenue des Champs-Élysées and the Seine embankment

The exhibition represented the culmination of the urban renewal of the city during the Second Empire and had enormous political and economic significance. The chosen venue was the Champ de Mars, the main site for military parades in Paris, with an area of ​​48 hectares, as well as the 21-hectare Island of Billancourt, located downstream of the Seine from the Boulevard Périférique5.

The main exhibition building, all made of iron and glass, had an elliptical shape of enormous dimensions: 490 * 360 m, with an open garden in the center and an external gallery of machines covered with glass (Fig. 2). This exhibition building was built by engineer J.-B. Kranz and architect L. Hardy.

Rice. 2. Pavilions of the World Exhibition in Paris 1867 on the Champ de Mars

The construction of the Machine Gallery, which became the center of attention, was entrusted to the young metal structure engineer G. Eiffel.

Around the main building in the gardens, designed according to the ideas of the engineer J. C. Alphand and the master of landscape art J.-P. B. Des Champs (the main associates of the Prefect of Paris, Baron Haussmann), there were at least a hundred more small national and industrial pavilions. The territory needed to be leveled and enlarged. For this purpose, Trocadero Hill was leveled and the resulting land was used to create a park on the Champ de Mars6.

Starting from this exhibition, the participating countries began to place their exhibitions in specially built national pavilions: every visitor was able to see a Tyrolean village, a Russian hut, an Egyptian caravanserai, an eastern minaret, Turkish baths, a Chinese theater, an English cottage, an American ranch, a Dutch farm, a Japanese kiosk and a reconstruction of the Roman catacombs.

The first station was built on the Champ de Mars, the tracks of which reached the small ring around Paris, which simplified the supply of material to the huge construction site. Later the station served for visitors to the exhibition.

The World Exhibition of 1878 was designed to restore the international prestige of France, which had been shaken after its defeat in the Franco-Prussian War. The exhibition attracted at least 13 million visitors, it was significantly larger than all previous ones, the area of ​​​​the main building on the Champs de Mars was 27 hectares, and the palace on Trocadero hill occupied about 22 hectares (Fig. 3). The station on the Champ de Mars was enlarged, the number of tracks increased to four. The Jena Bridge connected the two parts of the exhibition, located on both banks of the Seine7.

Rice. 3. World Exhibition in Paris 1878

The pavilions occupy the territory of the Champ de Mars and the Chaillot hill. "Iron Palace" on the left, Trocadero Palace on the right

The exhibition complex, also called the “Iron Palace”, where almost all nations were represented, was built on the Champ de Mars. It was a rectangular building in shape with entrances from the north and south.

The so-called “Street of Nations”, 730 m long, was dedicated to examples of residential construction in almost all European countries, some countries in Asia, Africa and America with typical facades of houses from the participating countries. This exhibition occupied half of the main building. On the other side there was an exposition of France and its colonies. In the center of the building there was an exhibition dedicated to fine art and the city of Paris itself.

On the northern bank of the Seine, the architect G. Da-viu and the engineer J. Bourdet built the Trocadero Palace, the architecture of which used Moorish and neo-Byzantine motifs. The palace was decorated with towers 76 m high and flanked by two semicircular galleries. In the architectural design of the palace one can trace some features of the Giralda tower of the Seville Cathedral and Italian palaces of the Renaissance. The Trocadero Palace served as the venue for ceremonial meetings of ambassadors and foreign princes. It had a hall for celebrations and a large concert hall. The palace building stood until 1937.

Engineer J.-S. Alfan, a specialist in gardens and the installation of fountains and waterfalls, was responsible for organizing open spaces.

The 1889 Universal Exhibition was held in Paris from May 6 to October 31 and was timed to coincide with the centenary of the storming of the Bastille. It was visited by more than 28 million people (Fig. 4). The engineer G. Eiffel was commissioned to build the famous Eiffel Tower, which was supposed to be dismantled at the end of the exhibition. It fully demonstrated the country's technical breakthrough. The exhibition area covered approximately 96 hectares, including the Champ de Mars, the Trocadéro, the Quai d'Orsay and the Esplanade des Invalides. J.-S. Al-fan was responsible for holding this exhibition.

The main symbol of the exhibition was the Eiffel Tower, completed in 1889 and serving as the entrance to the exhibition. The tower was built of wrought iron. Visitors to the exhibition were allowed to climb to the second tier even during the construction of the tower.

The “Gallery of Machines” was as important as the Eiffel Tower. The gallery was designed by the architect F. Duter and engineer V. Contamen. It served as an exhibition pavilion at the 1900 exhibition until it was dismantled in 1910. The 110 m wide and 420 m long gallery caused a real sensation; at that time it was the largest indoor space in the world. It was constructed from wrought iron rather than cast steel, as originally planned, sparking lively debate about the practical and artistic properties of these materials.

The Palace of Fine and Liberal Arts was also built on the Champ de Mars by the architect J. C. Formige.

The Palace of Industry was built by J. Bouvard, a large dome was erected in the center, and this building was the first to be illuminated with electricity during the exhibition8. The War Palace was located on the Esplanade des Invalides, its facade was 150 m long with a portico in the form of a triumphal arch in the center.

The facade of the Russian pavilion reproduced the most beautiful monuments of Russian-Byzantine architecture in Moscow: the Terem Palace, the towers of St. Basil's Cathedral, the bell tower of Ivan the Terrible, and the Sukharevskaya Tower. The entrance to the pavilion was stylized as one of the Kremlin gates.

The World Exhibition of 1889 was interesting both from the point of view of the latest industrial developments and from the point of view of architectural forms.

the 216-hectare site was divided into two zones: 112 hectares on the Champ de Mars and the Trocadéro hill, the esplanade des Invalides and the Cour la Renne passage along the Seine, near the Place de la Concorde; 104 hectares in the Bois de Vincennes, where an agricultural exhibition was held and various sports competitions were held (Fig. 5). The exhibition of 1900 occupied an area 10 times larger than the area of ​​the first Paris exhibition of 1855. It was visited by over 50 million people (a world record at that time) and brought an income of 7 million francs to the French treasury.

Rice. 5. Plan of the World Exhibition in Paris 1900. The territory of the hill of Chaillot and the Champs de Mars (right), the esplanade of the Invalides and the Grand and Petit Palaces (left)

A large number of objects were built especially for the exhibition. New stations were built: Orsay, Lyon, Invalidov9. On July 19, the first line of the Paris metro opened, the station entrances were made by E. Guimard. During the exhibition, the trolleybus network and electric railway were in operation.

New bridges were built and existing ones were expanded to make it easier for visitors to move around the exhibition without disrupting the normal life of the city. The single-arch Alexandre III Bridge was built across the Seine between Les Invalides and the Champs-Elysees. The bridge was founded to commemorate the Franco-Russian Union by Emperor Nicholas II in October 1896 and was erected in four years. The Jena Bridge was widened for the duration of the exhibition; a new Debilly pedestrian bridge was built; The Alma Bridge was doubled with a temporary metal bridge for the duration of the exhibition, and another passage was built under the Invalides Bridge.

New squares and intersections have emerged: Alma Square and the square at the junction of Bosque and Rapp avenues have been created, avenues have been laid

d "Antin north of the Place de l'Opéra and the Boulevard Tours-Maubourg along the esplanade des Invalides, traffic along the quai des Debilly and the d'Orsay was organized in tunnels.

According to the project of R.-F. Meltzer built a pavilion of Russian outskirts, repeating the architecture of the Moscow and Kazan Kremlins. Nearby, Kustarnaya Street was built with typical Russian mansions, huts and a rural wooden church. Near the Eiffel Tower there was an Alcohol Pavilion, where there was an alcohol rectification plant and souvenir bottles of Russian vodka were sold.

The monumental gate, built by the architect R. Binet, as a triumphal entrance to the exhibition from the Place de la Concorde, also served as a place for purchasing tickets. The gate consisted of a dome and three arches, under which there were 56 ticket offices for those wishing to visit the exhibition.

“A building dedicated by the Republic to the glory of French art” is what can be read on one of the pediments of the Grand Palace of Fine Arts. The Grand Palace was built by a group of architects: A. Deglan, A. Louvet, A. Thomas and C. Giraud. The building was built for an exhibition of sculptures, horse and motorcycle shows10 (Fig. 6).

Rice. 6. Alexander III Bridge, Grand and Small Palaces (left and right, respectively)

The architecture of the building combined traditional and modern elements. From the outside, it resembled buildings in the neo-Baroque style; the new style manifested itself here mainly in metal decor. Although looking rather heavy from the outside, the Great Palace, thanks to its iron and glass ceilings, seemed airy and light inside. In 1925, the Grand Palace was one of the venues for the International Exhibition of Modern Decorative and Industrial Arts.

The Small Palace was built by the architect C. Giraud in the Art Nouveau style for an exhibition of French art, but became famous primarily due to the general design and metal structures. As in the Grand Palace, neo-Baroque and Art Nouveau styles were combined here. The Ionic columns, large entrance portal and dome echoed the Cathedral of the Invalides, located on the other side of the Seine.

To summarize, we can say that in the middle of the 19th century. modern construction materials for the first time begin to play the artistic role that was previously assigned only to masonry and wood. The construction of train stations allowed Paris to welcome millions of guests during the World Exhibitions of 1855, 1867, 1878, 1889 and 1900.

The pavilions and buildings of the World Exhibitions themselves became exhibits demonstrating the achievements of architecture and construction technology (for example, the Gallery of Machines in 1855, the Eiffel Tower in 1889), as well as design art, often defining the main trends in their development for many years to come. Not only were train stations built for the exhibitions, but new bridges were also built across the Seine - Alma, Bercy, National, Pont Alexandre III, and new streets were laid. Some buildings created for the World Exhibitions have survived to this day and are significant urban planning elements of Paris. Such as the Eiffel Tower, the Trocadéro Palace (built later than the period we are considering, but on the site of the Chaillot Palace), the Grand and Petit Palaces on the Champs Elysees and some others.

Notes

2 Cm.: Lemaistre Felix. Paris in miniature. Guide pittoresque du voyageur suivid "une description du palais de l"Industrie, ed. Garnier frères, 1856. P. 56.

3 Cm.: Gaillard Marc. Paris, Les Expositions Universelles de 1855 à 1937, Paris: Les Presses Franciliennes, 2003. P.42-43.

4 Cm.: Robin Charles. Op. cit.P. 21-22.

5 Cm.: Gaillard Marc. Op. cit. P. 51-52.

6 Cm.: Miltoun Francis Royal palaces and parks of France, L.C. Page and Co, 191, p. 84.

7 Cm.: Bowie Karen. Op. cit. P. 110-112.

8 Cm.: Aimone Linda et Olmo Carlo. Les Expositions Universelles 1851-1900, Belin, 1993 edition originale: Le EsposizioniUniversali, 18511900, Umberto Allemandi& C., 1990. P. 63-65.

9 Cm.: Bowie Karen. Op. cit. P. 90.

10 Cm.: Chemetov P., et Marrey B. Architectures. Paris 1848-1914. Paris, 1980. P. 96-97.

1 See: Robin Charles. Histoire illustrée de l'Expositionuniverselle, ed. Furne, 1855. P. 12-14.

The world's first Ferris wheel, the first typewriter, the first telegraph machine, the first computers and space satellites - all this becomes public knowledge at the World Exhibitions (Expo), where different countries demonstrate their achievements. In recent years, exhibitions have also been used by countries as a tool to maintain their national image.

Vanity fair or humanity’s idea of ​​an ideal world, what World Exhibitions are and what remains as a legacy after their end in the TASS material.

History of Expo

The predecessor of the World Exhibitions Expo are considered to be large exhibitions of industrial products in Paris, held since 1798.

In 1849, the British Society for the Encouragement of Arts, Manufactures and Commerce and its president, Prince Albert (husband of Queen Victoria of Great Britain) proposed holding a similar exhibition in England. Unlike the Paris exhibitions, where only the French showed their products, the British invited industrialists from around the world.

From May 1 to October 11, 1851, the Great Exhibition of Industrial Works of All Nations was held in London's Hyde Park. It was subsequently recognized as the first World's Fair. Its motto was: “Let all peoples work together on a great cause - the improvement of humanity.”

For the exposition, the Crystal Palace, an exhibition hall, was built, which became a model for the pavilions of subsequent major exhibitions.

Starting from 1867 (World Exhibition in Paris), participating countries began to build national pavilions to display their exhibits.

On November 22, 1928, the Convention on International Exhibitions was adopted in Paris. According to this document, since 1930 World Exhibitions have been held under the auspices of the International Exhibitions Bureau (BIA). The members of the Bureau are 168 states, including Russia.

When the organization was created, the status of “World” was given to 34 exhibitions that had taken place earlier. Since 1986, all World Exhibitions have been called Expo.

In total, 61 World Exhibitions have been held since 1851. The record holder for the number of visitors (more than 73 million people), the number of participating countries (192) and the cost of holding (more than $5 billion) was Expo 2010 in Shanghai (China). http://tass.ru/ekonomika/2027250

And now a photo from the history of the World Exhibitions:

After the end of the exhibition, as a result of long debates in English society, it was possible to achieve the transfer of the palace to a new location. In the first 30 years after its reconstruction (1854-1884), regular sports competitions, exhibitions and concerts were held in the palace. There were also greenhouses and a menagerie, which were destroyed by the first fire in 1866.

The second fire at the Crystal Palace occurred in 1936. The main building was completely destroyed. The School of Art - one of the last buildings of Paxton's time, burned down in 1950. The only memories left of the first pavilion of the World Exhibitions are photographs and the tradition of constructing pavilions

Starting from 1867 (World Exhibition in Paris), participating countries began to build national pavilions to display their exhibits. Later, the tradition of creating exhibition symbols emerged. Thus, the Eiffel Tower was built as a “gate” to the Paris exhibition of 1889. In the photo: the beginning of construction of the tower, 1887.

The 1893 World's Fair in Chicago was dedicated to the 400th anniversary of the discovery of America and was officially named in honor of Christopher Columbus. It demonstrated for the first time an electric motor, a dynamo and an alternating current generator. The world's first Ferris wheel was built especially for the exhibition. The 75 m diameter wheel was designed by Pittsburgh engineer George W. Ferris. It was he who won the competition to create a “calling card” for the exhibition, which could outshine the Eiffel Tower. In the photo: Ferris wheel. It was driven by two steam engines with a capacity of 1000 hp. With. and worked until 1904.

There are three periods in the history of the development of world exhibitions. The first - from 1851 to 1938 - is called the period of industrialization. During these years, the main purpose of exhibitions was trade and demonstration of industrial inventions and achievements. In the photo: 47-meter towers of the main entrance to the World Exhibition in Barcelona in 1929. The towers, reminiscent of the bell tower of the Cathedral of San Marco in Venice and called Venetian, were built by the architect Ramon Reventos. This is now the entrance to the Barcelona Trade Fair

The 1935 International Exhibition in Brussels became a kind of arena of struggle for new and old trends in architecture. A striking example is the exhibition pavilion, made in the Art Deco style and known as the Grand Palace (pictured). The pavilion still remains a symbol of Expo in Brussels

The exhibition in Paris in 1937 was held under the motto “Art and Technology in Modern Life.” In the photo: Soviet pavilion at the exhibition

Two buildings remained from the Paris exhibition: the Palace of Tokyo (now the Museum of Modern Art of Paris) and the Palais de Chaillot (pictured). Currently, the Palais de Chaillot houses the Museum of Man, the National Maritime Museum, the Museum of Monuments of France and an aquarium.

The second period in the history of World Exhibitions, under the slogans of cultural exchange and looking to the future, began with the exhibition in New York (1939 -1940). Its mottos were “The Dawn of a New Day” and “Building the World Tomorrow.” The total exhibition area was almost 5 square meters. km (this record has not yet been broken). The exhibition was visited by over forty million people. In the photo: view of the exhibition area

The symbols of the exhibition in New York were the Trilon and the Perisphere - a 210-meter trihedral obelisk and a ball with a diameter of 56 meters. They were connected by the world's longest escalator, and inside the ball was a diorama called "Democracy". Both structures have not survived. In the photo: Exhibition area: Constitution Alley. In the foreground is the Freedom of the Press statue. A giant statue of George Washington stands against the backdrop of the Trylon and Perisphere at the end of the alley

The first Expo after World War II was the exhibition in Brussels in 1958. Photo: general view of the exhibition area

The emblem of the exhibition in Brussels is Atomium. This building symbolizes the atomic age and the peaceful use of atomic energy. Designed by architect Andre Waterkein and built under the direction of architects Andre and Michel Polak. It still remains one of the landmarks of Brussels. In the photo: Soviet tourists near the Atomium, 1958.