distinctive as that of the Moors, and the selection of their style for the present purpose was in good taste. It lends itself well to this class of building, designed especially for summer use; and many other examples of it will be found upon the grounds. The Mohammedan arch is suited better to materials, like wood and iron, which sustain themselves in part by cohesion, than to stone, which depends upon gravitation alone. Although it stands in stone in a long cordon of colonnades from the Ganges to the Guadalquivir, the eye never quite reconciles itself to the suggestion of untruth and feebleness in the recurved base of the arch. This defect, however, is obtrusive only when the weight supported is great; and the Moorish builders have generally avoided subjecting it to that test.

PLAN OF EXHIBITION GROUNDS.

Spain also has taken the liberty of widening the range of her contributions. Soldiers, for instance, find no place in the official classification of subjects for exhibition. She naturally thought it worth while to show that the famous infanteria of Alva, Gonsalvo, and Cuesta "still lived." So she sends us specimens of the first, if not just now the foremost, of all infantry. This microscopic invasion of our soil by an armed force will be useful in reminding us of the untiring tenacity which takes no note of time or of defeat, and which, indifferent whether the struggle were of six, fifty, or seven hundred years, wore down in succession the Saracens, the Flemings and the French.

JAPANESE BUILDING.

Samples in this particular walk of competition come likewise from the battle-ground of Europe, Belgium sending a detachment of her troops for police duty. We may add that the Centennial has brought back the red-coats, a detachment of Royal Engineers, backed by part of Inspector Bucket's men, doing duty in the British division.

After these first drops of the military shower one looks instinctively for the gleam of the spiked helmet at the portals of the German building, seated not far from that of Spain, and side by side with that of Brazil. It does not appear, however. Possibly, Prince Bismarck scorns to send his veterans anywhere by permission. Neither does he indulge us, like Brazil, with the sight of an emperor, or even with cæsarism in the dilute form of a crown prince. Such exotics do not transplant well, even for temporary potting, in this republican soil. It is impossible, at the same time, not to reflect what a capital card for the treasury of the exposition would have been the catching of some of them in full bloom, as at the openings of 1867 and 1873. A week of Wilhelm would have caused "the soft German accent," with its tender "hochs!" to drown all other sounds between Sandy Hook and the Golden Gate.

Let us step over the Rhine, or rather, alas! over the Moselle, and look up at the tricolor. It floats above a group of structures—one for the general use of the French commission, another for the special display of bronzes, and a third for another art-manufacture for which France is becoming eminent—stained glass. This overflowing from her great and closely-occupied area in Memorial Hall, hard by, indicates the wealth of France in art. She is largely represented, moreover, in another outlying province of the same domain—photography.

Photographic Hall, an offshoot from Memorial Hall, and lying between it and the Main Building, is quite a solid structure, two hundred and fifty-eight feet by one hundred and seven, with nineteen thousand feet of wall-space. Conceding this liberally to foreign exhibitors, an association of American photographers erected a hall of their own in another direction, upon Belmont Avenue beyond the Judges' Pavilion. This will serve to exhibit the art in operation under an American sun, and enable our photographers to compare notes and processes with their European fellows, who treat under different atmospheric conditions a wider range of subjects. This is the largest studio the sun, in his capacity of artist on paper, has ever set up, as the hall provided for him by the exposition is the largest gallery he has ever filled. Combined, they may reasonably be expected to bear some fruit in the way of drawing from him the secret he still withholds—the addition of color to light and shade in the fixed images of the camera. This further step seems, when we view within the camera the image in perfect panoply of all its hues, so very slight in comparison with the original discovery of Daguerre, that we can hardly refer it to a distant future.

Questions of finance naturally associate themselves with sitting for one's portrait, even to the sun. A national bank becomes a necessity to their readier solution, be they suggested by this or any other item of expense. Such an institution has consequently a place in the outfit of the Centennial. Here it stands within its own walls, under its own roof and behind its own counter. The traditional cashier is at home in his parlor, the traditional teller observes mankind from his rampart of wire and glass, and the traditional clerk busy in the rear studies over his shoulder the strange accent and the strange face. Over and above the conveniences for exchange afforded by the bank, it will introduce to foreigners the charms of one of our newest inventions—the greenback. This humble but heterodox device, not pleasant in the eyes of the old school of conservative financiers, is yet unique and valuable as having accomplished the task of absolutely equalizing the popular currency of so large a country as the Union. That gap of twelve or thirteen per cent. between greenbacks and gold is no doubt an hiatus valde deflendus—a gulf which has swallowed up many an ardent and confident Curtius, and will swallow more before it disappears; but the difference is uniform everywhere, and discounts itself. Whatever the faults of our paper-money, it claims a prominent place among the illustrations of the close of the century, for it is the only currency save copper and Mr. Memminger's designs in blue that a majority of American youth have ever seen. Should these young inquirers wish to unearth the money of their fathers, they can find the eagles among other medals of antiquity in the Mint department of the United States Government Building.

SWEDISH SCHOOL-HOUSE.

His fiscal affairs brought into comfortable shape, the tourist from abroad may be desirous of seeing more of the United States than is included in the view from the great Observatory. The landscape visible from that point, as he will find after being wound to the top by steam, is not flecked with buffaloes or even the smoke of the infrequent wigwam, as the incautious reader of some Transatlantic books of travel might expect. For the due exploration of at least a portion of the broad territory that lies inside of the buffalo range he needs a railway-ticket and information. These are at his command in the "World's Ticket and Inquiry Office," the abundantly comprehensive name of a building near the north-east corner of Machinery Hall. In a central area sixty feet in diameter