Buildings. The conversion of the accepted locality into a convenient building site was begun early in 1897, and on April 22-Arbor Day-the corner stone that marked the inauguration of the building was laid on the site of the prospective Arch of States with full Masonic ceremonial, after which a series of short appropriate addresses were delivered, including one by Hon. J. Sterling Morton, former Secretary of Agriculture, who said:

"A truth and a tree outlive generations of men. That this admirably planned Trans-Mississippi Exposition may plant truths as to the economic and material resources of its vast and opulent empire in the minds of the tens of thousands of intelligent visitors and sojourners who may attend it, with as cheerful a certainty and as serene a satisfaction as we experience in planting these trees on the neverdeceiving, never-disappointing soil of the fertile Nebraska, is my sincere and intense desire."

A month later architects met in Omaha to consider the preliminary plans for the larger buildings, and during the following sixty days the plans were completed and the contracts let. By midsummer the construction was in progress all round the main court, and the bulk of the grading had been completed. The general scheme of the architecture was the concept of Messrs. Walker and Kimball, of Boston and Omaha, who were chosen to be the supervising architects of the Exposition. The main buildings were ranged along either side of the lagoon. At the west end stood the Government Building, flanked by imposing colonnades, which converged toward the west. The Arch of States, the main entrance, was on the south line at Twentieth Street. After passing through this arch the visitor arrived at the Court of the Grand Canal. To the west was the Fine Arts Building, while to the east was the Liberal Arts Building, followed by the Mines and Mining Building. Opposite was the Administration Arch, with the Palace of Agriculture on the west, and the Manufactures Building, followed by the Machinery and Electricity Building, on the east. The Grand Canal was spanned by a picturesque bridge, built with little arches, to permit the passage of gondolas and various small boats. Its ends terminated respectively at the Government Building on the west and at the viaduct on the east. Vine-shaded promenades of columns treated in the Pompeiian manner extended between all the buildings, and provided visitors with nearly a mile of continuous shade all round the lagoon. As the eastern end was approached the ground rose in terraces and was adorned with shrubbery and flowers mingled with pieces of statuary, ending in a great hemicycle stairway crowned by a kiosk or minaret on the viaduct. On either side of the esplanade beyond were fanciful structures with irregular spires. The buildings were covered with white staff. Intricate carving and classic statuary was imitated to a nicety, and the artistic effect produced by the finished buildings was such as has seldom been seen in this country. Statuary of heroic size surmounted some of the main buildings, and all these were done in staff. The imposing columns of the long colonnades and of the beautiful porticoes facing the main court were constructed of the same material. The landscape gardening was designed and executed by Rudolf Ulrich, of New York, under whose direction over 700,000 feet of ground was seeded and 14,500 square yards of sod laid and sprouted. More than 3,000 trees and nearly 9,000 shrubs, chiefly of varieties native to Nebraska, together with over 100,000 plants and flowers, were used in beautifying the "Magic City." Considering the buildings more in detail, and entering the grounds at the main entrance, the first structure to greet the visitor was the

Arch of States, which was designed by Walker & Kimball, and was 50 feet wide, 25 feet deep, and 68 feet to the top of the parapet. It was in the form of a triumphal arch, the opening being 20 feet wide and 35 feet high to the keystone. The arch was flanked on either side by exedras, which advanced in semicircles, partially embracing the plaza in front of it. In these exedras were the main ticket offices. It was originally intended that the Arch of States should be built of granite gathered from the various Trans-Mississippi States and Territories, and should remain a permanent memorial of the Exposition, but it was finally decided that the cost would be out of proportion to its utility, and the plan was abandoned. This arch, one of the most noticeable in the group of structures, was decorated with a frieze composed of the arms in colors of the different States, the whole being surmounted by sculptured figures bearing the shield of the United States.

Fine Arts Building. This structure, designed by Eames & Young, of St. Louis, Mo., was 246 feet long and 130 feet wide, and had its longer side parallel to the Grand Canal. It consisted of two separate, symmetrical, domed buildings connected by a peristyle, or open court, surmounted by colonnades. The building rested on a balustraded terrace, and was approached from the plaza by flights of steps, and also from the avenue bordering the lagoon between it and the building. Entrance was had through the portico and vestibule to the central dome for each building, and it was lighted from the top, forming a suitable place for the exhibition of statuary. Surrounding this central feature were the galleries, all lighted by skylights, and so arranged as to afford the greatest degree of wall surface for the display of pictures, and to allow for the proper circulation of visiting crowds. Two separate buildings offered a better opportunity for the classification of material, and at the same time brought the scale of the architecture to its proper relation with its surroundings, and in accord with the general scheme of the Exposition grounds. The colonnade connecting the two parts formed an effective architectural feature conspicuous from the canal and opposite avenue, and afforded a place for the installment of architectural fragments and models, which could not be so effectively arranged inside the wall. A touch of landscape art added special interest to the treatment of the court. In the exterior design a somewhat free rendering of classic motif was adopted, the usual severe simplicity of outline being modified sufficiently to bring it into accord with the purpose of the building. The basis of the design was the Corinthian order, which was applied in two dimensions-the larger emphasizing the entrance porticoes and repeated on the galleries fronting the lagoon and opposite side; the smaller was adjusted to the height of the flanking walls and connecting peristyle, and served as a tie to bind the separate elements into one composition. Mr. Armond H. Griffith, of Detroit, Mich., was in charge of the exhibit, and to him credit is also due for the collection and installation of the exhibition.

The Government Building.-In the place of honor, at the extreme west end of the grounds, stood the building erected by the United States Government, designed under the direction of the supervising architect of the Treasury Department in Washington. The style of architecture followed was classic, the Ionic order being used. The building was arranged in three sections, that at the center having a frontage on the lake of 208 feet and a height to the top of the balustrade over a cornice of 58 feet, with a depth of 50 feet. The main entrance facing the center of the lagoon was reached by a

broad flight of steps and through a colonnade. The entrance was flanked on either side by pavilions, capped by richly decorated domes. The main building was surrounded by a colossal dome which towered above all other buildings, and which was capped by a heroic figure representing "Liberty Enlightening the World." At night the dome was lighted by electricity, and the torch was 178 feet above the ground. The side sections, which were separated from the central portion of the building by colonnades connecting with the Fine Arts Building on the south and the Agricultural Building on the north, each had a frontage of 148 feet and were 100 feet deep, with a height at the top of the balustrade of 44 feet, making a total length of the building of 504 feet and height at pinnacle of 178 feet. The floor space approximated 50,000 square feet, which was apportioned to the exhibits of the executive department and the

was richly decorated in this manner, and on either side of it were figures representing the "Sower and the "Digger" from Millet's famous paintings, supported on either side by lesser figures and the arms of the State and nation. At each side of the great central arch were recessed niches, and crowning this central composition were three sculptured groups, those on either side representing the zodiac and the seasons, while the central figure crowning the whole composition represented "Prosperity," supported by "Labor" and "Integrity." At the corner pavilion there were figures representing the seasons and the favorable winds, and inscriptions relating to the subject of agriculture. Names of those who have been patrons of agriculture, or who have made notable inventions in that field of labor, were inscribed upon panels in the frieze. The superintendent in charge of this building was Prof. F. W. Taylor, of Lincoln, Neb.

Smithsonian Institution, with its dependencies, and the Fish Commission. It was conceded that this exhibit was "better rounded, more attractive, and decidedly more instructive than any previous display of the United States Government." The commission under whose direction the exhibits were prepared and cared for consisted of J. H. Brigham, representing the Department of Agriculture, Chair man C. E. Kemper, Treasury; F. W. Clarke, Interior: Lieut.-Commander E. M. Stedman, Navy; Major Henry C. Ward, War; W. H. Michael, State; J. B. Brownlow, Post Office; Frederick W. True, Smithsonian Institution; and William de C. Ravenel, Fish Commission; with William V. Cox, National Museum, as Secretary.

Agricultural Building. This building was designed by Cass Gilbert, of St. Paul, Minn., and was 400 feet long and 148 feet wide, with a total floor space of 84,260 square feet. The style of architecture was of Renaissance or classical type, and the decorations and ornament were entirely modeled from agricultural products; festoons of corn and other cereals, and even common market garden products, were given place in the decorations. The great semicircular niche forming the main entrance

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Administration Arch.-This building was designed by Walker & Kimball, and was 50 feet square and 150 feet high. Like the other buildings on the Main Court, the Administration Arch was Renaissance in style, and the graceful lantern that surmounted the sharply inclined roof was the highest point on the grounds, with the single exception of the colossal figure of Liberty Enlightening the World," which capped the dome of the Government Building. On the front of the arch near the main cornice line were the seals of the State of Nebraska and of the city of Omaha, one on either side. Statuary of heroic size was used above the cornice to heighten the architectural effect. On each of the four pavilions were four symbolic figures, and at the center of the south side, facing the lagoon, was a group symbolizing "Administration." Between the roof and the main cornice was an open space, which was utilized as a point of observation, it being above the roofs of other buildings. The arch was used by the president of the Exposition as a place of exchange of official courtesies in the entertainment of distinguished visitors, and also contained certain of the offices of administration. At either side of the

arch were covered colonnades, connecting with the Manufactures Building on the east and the Agricultural Building on the west.

Manufactures Building.—This structure was designed by John J. Humphreys, of Denver, Col., and was 400 feet long by 152 feet wide. Its façade, fronting on the lagoon, was accentuated at the center and end with pavilions 64 and 40 feet long, respectively, thereby presenting a sufficient variety of mass. The height of the building to the top of the main cornice was 40 feet, the height of order 30 feet, resting on a stylobate 10 feet high. The height of the center pavilion to the top of the crowning group of statuary was 85 feet, while the end pavilion was 65 feet to the top of the dome. The large windows, 10 feet wide by 24 feet high, were placed at intervals of 16 feet, and the roof having a large skylight area made the interior very bright and cheerful. The center entrance was 24 feet wide by 34 feet high, and very rich in decoration, flanked on either side by coupled columns and their accompanying pilasters, standing 6 feet from the walls. The main cornice broke around a projection of columns supporting pedestals for groups of statuary 12 feet high. The center of the pavilion was crowned by a colossal group of statuary. There were also single statues between columns resting on a stylobate projected out to receive them. The spandrels above the arch were decorated with bas-reliefs. The end pavilions, with their entrances, were crowned with shallow domes. The entire interior elaboration was confined to classic ornaments. The ceiling, a large barrel vault with intersecting crossvault, was richly coffered and elaborately deco rated. On the walls were emblematic paintings. The superintendent was H. B. Hardt.

Machinery and Electricity Building. This building was designed by D. H. Perkins, of Chicago, Ill., and was 304 feet long and 144 feet deep. The style of architecture followed was modern Renaissance, and was in harmony with the adjacent structures. There were triple entrances on the main floor level in the center of the main front, and similar groups in the centers of the east and west fronts, with four emergency exits in the north wall. In front of the building, flanking both sides of the main entrance, was an open portico 16 feet wide, running the entire front of the building. The center entrance feature projected beyond the portico, thus forming the grand-entrance vestibule. The main floor covered the entire area of the building. Above was a gal lery 32 feet in width, extending around the four outer walls. The gallery was reached by spacious staircases in the front corners of the building. This left a high central court 248 feet long by 80 feet wide, lighted from the skylights and clerestory windows above the roof. The ornamental spandrels and panels received all of their motifs and suggestions from machinery. The cresting at the top was composed of cogwheels, this principle being carried out in all of the decorations. The underlying principles and functions of machinery were symbolized by the groups of statuary on the top of the building. At each of the four corners were groups representing the early supremacy of man over the untamed forces of Nature. A higher supremacy was shown by the center group, which was the dominating feature of the entire design. In this, man, developed beyond the youthful stage, having wisdom, takes these same untamed. unharnessed forces of Nature and harnesses them to his chariot, making them do his bidding, symbolizing in a direct way the service which machinery does for man in using the power of steam, fire, electricity, and gravity. The superintendent of both the department of machinery and the department of electricity was Prof. R. B. Owens.

Mines and Mining Building.-S. S. Beman, of Chicago, was the architect of this building which was 304 feet long and 140 feet wide. The Greek Ionic style of architecture characterized this structure. On the façade, facing the lagoon was a circular dome 150 feet in circumference that formed a grand, open vestibule and which served as an approach to the building. The inner dome was richly ornamented with ribs and panels, while the outer one was formed by a series of steps rising in the shape of a cone to the apex. An outer row of dome columns was detached and the entablatures were broken at the head of each, over which was a statue on a pedestal with a background formed by the stylobate of the dome. This treatment produced a monumental effect, and while in perfect harmony with the architectural style, was both original and interesting. Flanking the central dome were beautiful Ionic colonnades which formed covered ways along the entire façade, stopping at the corner towers. Over these colonnades were balconies that opened out from the interior galleries of the building. The four corners of the building were marked by square, plain towers surmounted by ornate, open, columned pavilions that were circular in form. Dr. David T. Day, of the United States Geological Survey, was in charge of the department, and most of the exhibits were secured through his efforts.

Liberal Arts Building.-The architects of this building were Fisher & Laurie of Omaha, Neb., and in length it was 246 feet with a depth of 130 feet. The design was of the French Renaissance style of architecture. Its location was immediately to the east of the Arch of States. The exterior of the building presented the appearance of two stories. the first story or stylobate being low in treatment, with small windows cut into a plain wall surface. The second story was enriched by Corinthian columns, set in pairs with ornamental windows between, and the top of the building was finished with an open balustrade which added to the general effect. At each corner of the building were pavilions with ornamental pediments projecting sufficiently from the main line wall to show a strong corner treatment. Above the pediments at each corner of the building were octagonal bases on which were set groups of statuary. Each group was composed of four heroic figures, the main one, representing the Liberal Arts, being supported by two kneeling figures suggesting industrial art, while in front of all was a smaller figure supporting a shield on which the attributes of pottery and wrought iron were inscribed. The class of exhibits for which the building was used was indicated by the free use of statuary and ornament on the exterior. Mrs. Frances M. Ford was the superintendent of the building.

To complete the group of buildings forming the Grand Court of Honor, mention must be made of the Boys' and Girls' Building, which was designed by Walker & Kimball, and the cost of which, $9,000, was contributed by the children of the TransMississippi region, and of the Auditorium, which was designed by Fisher & Laurie, of Omaha, Neb. These two buildings occupied respectively the northeast and southeast corners of the Court of Honor. On the Bluff tract was the

Horticultural Building, which was 300 feet long. 130 feet wide, and 160 feet high. It was designed by Charles F. Beindorf, who succeeded in producing a building singularly striking in its splendid masses, effective features, and excellent grouping. While a classic motif was adopted, it was handled with an unconventional freedom that gave to the whole a rich Oriental effect. The basis of design was the chaste Ionic. The details were modeled from flowers, fruits, and foliage. On either side of the stately

central entrance were towers, or rather mosquelike minarets. This feature was reproduced on four sides, forming an octagon from which sprang the dome. Between these minarets were placed circular colonnades, surrounded by statuary emblematical of the seasons. Above the dome was an open observatory balcony from which could be obtained a grand view not only of the Exposition grounds, but of the city and adjacent lakes, the picturesque valley of the Missouri, and the city of Council Bluffs, five miles away. Above this open balcony was the belfry. At the ends of the wings were octagonal-roofed pavilions in harmony with and emphasizing the general form of design. The wide frieze was beautifully ornamented with cupids reveling amid fruits and flowers. On either side of the main entrance on a high stylobate were placed groups of statuary representing "Night” and “Morning," festooned, the one with morning-glory and the other with nightblooming cereus. The building was profusely decorated with flower urns, hanging baskets, and ornamental plants of every description from semitropic climes.

At the extreme north end of the grounds was the Transportation Building, designed by Walker & Kimball. It was 432 feet long, 249 feet wide, and covered more than three acres of ground. Being one of the farm group, it had its characteristic architecture of half timber and half plaster. Its whole surface was marked off into panels by an interesting network of framing timber, posts, brackets, and braces. A deeply recessed porch sheltered the east and west entrances, and a soft light pervaded all portions, shed from a skylight of new and interesting material which promises to soon replace glass for that purpose. Wide, overhanging, bracketed cornices gave the broad shadows so necessary to this style of architecture. Here were housed all forms of vehicles, from the bicycle to a Pullman train, as well as all farm machinery and implements. D. H. Elliott was the superintendent of the Department of Transportation and Agricultural Implements.

To the west and directly opposite the Transportation Building were the Apiary Building, of Swiss medieval architecture, designed by John McDonald, of Omaha, Neb., and the Dairy Building, in the German style, designed by F. A. Henninger. Likewise on the Bluff tract were the State buildings. These included the

Georgia Building, built of Georgia pines and filled with an interesting state exhibit of minerals and other native resources.

Illinois Building, designed by Wilson & Marshall, of Chicago, Ill. The architecture was a combination of Colonial, Greek, and Byzantine styles.

Iowa Building, designed by Josselyn & Taylor, of Cedar Rapids, Iowa. It was 90 feet long and 56 feet deep, and was of a composite style of architecture with Corinthian porches.

Kansas Building, designed by John F. Stanton, of Topeka, Kan. It was 57 feet long by 55 feet deep, and is described as "a dignified structure with broad porticoes and ample balconies."

Minnesota Building, designed by James A. McLeod, of Minneapolis, Minn. It was 100 feet long and 160 feet wide, two stories high, and made of native logs, somewhat resembling a Swiss cottage. Montana Building, a plain structure, 75 feet long by 60 feet deep.

Nebraska Building, designed by Craddock & McDonald, of Lincoln, Neb., and was of classic style following the Ionic order. It was 145 feet long, 90 feet deep, and 85 feet high.

New York Building, designed by Dunham Wheeler, of New York city, a one-story building surrounded by a broad portico.

Wisconsin Building, designed by A. C. Clas, of Milwaukee, Wis. It was in the classic style, with an imposing entrance through four immense fluted Corinthian columns.

Amusement Features.-These were grouped for the most part on the north side of the grounds on the thoroughfare at right angles to each other, and known, respectively, as North and East Midway Streets. The usual mechanical devices-such as a Giant Seesaw, a Scenic Railway, and Shooting the Chutes-were conspicuous, and as a novelty in this class of attractions there was a Union Pacific Miniature Train, said to be the smallest in the world, having a total length of 29 feet, including the locomotive, tender, 4 observation cars, 1 box car, and a caboose. Each diminutive car seated two children comfortably. The engine weighed about 450 pounds, and its nearest competitor was said to be a London locomotive weighing 5,000 pounds. Ethnological shows were common, and included an Afro-American village, a Chinese village, an English county fair, a Flemish village, a German village, an Irish village, a Japanese tea garden, a Moorish village, streets of all nations, Streets of Cairo, and the usual Wild West Show. There were a mammoth whale and an ostrich farm, as well as Hagenbach's trained animals for those who cared for natural history, and a baby incubator was a feature that attracted many. The little Cuban lady, Chiquita, only 26 inches in height and twenty-eight years old, was of interest. Cycloramas of Havana and the Maine," and of the great fight between the "Merrimac" and the "Monitor," were adjacent to each other on the North Midway. The weird Night and Morning, the Haunted Swing, the Mirror Maze, Lunette, and other optical illusions were conspicuous. Several vaudeville theaters, concert halls, and beer gardens completed the catalogue of amusement features in the Midway.

Likewise to be included under this heading were the daily concerts given in the Auditorium by famous orchestras and bands, including those led by Theodore Thomas, William H. Santelmann, and F. N. Innes. Also fireworks were conspicuous and frequent features that attracted visitors in the evenings.

The Congress of Indians.-An ethnological exhibit of rare interest was the gathering of over 500 Indians, representatives of 25 tribes, who, by permission of the Commissioner of Indian Affairs, were brought from various reservations and assigned to camping grounds within the Exposition tract. For this purpose an appropriation of $40,000 was obtained from Congress, and under the direction of Capt. William A. Mercer, U. S. A., the Indians were selected and brought to Omaha. As it was desired to exhibit the native methods of living so far as possible, the Indians came prepared accordingly to erect their various kinds of homes. The Sioux and other Indians from the plains raised their tepees of cloth decorated with the totem marks of their respective tribes. The Indians of the South built wickiups, which are little more than cloth spread over bushes, the tops of which were drawn together and tied. Those who came from Wisconsin prepared wigwams made almost wholly of birch bark stretched over poles. One of the homes that was conspicuous was a grass house made by the Wichitas of Oklahoma. In shape it was similar to the cloth tepees and cov ered with grass laid on the poles that run over the side of the structure. Also of interest was an adobe house built by the Santa Clara Pueblos, of New Mexico, that was identical with similar buildings erected centuries ago by the ancestors of these Indians. They came with their special costumes,