by M. Durand-Claye, and to which he devoted himself until his premature death unfortunately took him from us, have received the attention of his devoted successors, who have already brought to fruition interesting solutions which prompt us to hope for a completely satisfactory system in the near future.

Three glass reservoirs, containing water from the Seine, from the Ourcq and the Vanne, allow us to perceive the difference of quality which exists between these three sources of supply, the first of which, with its yellow color, is anything but appetizing, and the second is not much less doubtful, while the third, alone, presents the limpidity and transparency which one has a right to demand in potable water. Nevertheless, one should not believe, as many persons do, that the water that we see in this reservoir, and which has been taken within the limits of Paris, is the same that is distributed from time to time through each quarter. The water there used is taken up-stream and before it has been soiled by its passage through the suburbs and city.

In the same pavilion the Administration has exhibited the plans and the comparative views of the city taken at different epochs since 1789 up to the last months of 1889. We here see the march of progress in this immense city, expanding without cessation like a drop of oil, and as it enlarges crossed by great arteries which establish across its mass conduits for aeration, and at the same time suppress the agglomerations of former days.

For artists and archæologists and lovers of old Paris, whom these new transformations displease and who regret the picturesque past, the authorities have had the forethought to paint or photograph before demolition the quarters which to-day have disappeared, or are on the point of disappearing; and as a consolation such persons have very pretty pictures by M. Pansyer, representing St. Julien le Pauvre, the Rue Galande, the Place Maubert, the ruins of the Opéra Comique, the flower-covered relics of the Cour de Comptes; and there has even been evoked for them the manor-houses of Clichy and Monceau such as they were in 1789, and also the quarter of the Bastile, which can thus be compared with their present aspect. Not far from these antiquities the City of Paris has exhibited some decorative paintings executed for its various mairies, the "Abreuvoir" and the "Lavoir" of M. D. A. Baudoin, and for the Mairie d' Arcueil-cachan "L' Automne et l'Ete," by M. A. Séon; "The Marriage," by M. Glaize, and a fine painting, "The Defense of Paris in 1814," by M. Schommer. Other compositions are signed by Cormon, Gervex and Boulanger.

Finally, to make an end of the important works which she has caused to be executed, the City of Paris exhibits models, at a reduced scale, of the new Sorbonne, of the Ecole de Medicine, and of the Ecole Pratique, at present in course of construction, also plans and photographs of buildings erected during the last ten years, such as schools, maries, etc. The department of sidewalks and plantations is represented by a reduced model of the Crematory at Père Lachaise, plans and views of the new cemeteries at Pantin and Bagneux, as well as the future square of Montmartre.

The second pavilion of the City of Paris is more especially consecrated to instruction. After attending to the healthfulness of matter, attention must be given to the healthfulness of the mind and moral culture. By the side of the models of the school-rooms, where children find school-furniture studied with painstaking care and proportioned to their stature, have been placed the works executed by the school-children themselves of every kind, primary, maternal and professional. These works, in a general way, prove an average aptitude for the industrial arts, and indicate a real taste for beautiful forms. A hall is wholly set apart for the pupils of the special schools. Finally, around the two pavilions are arranged the numerous statues, purchased, or ordered by the City of Paris, archers, halberdiers, officers of the watch of the fourteenth to the seventeenth centuries, and we recognize, as we pass, the "Sauveteur" of M. Mombur, the "Science" of M. Blanchard, the "Art" of M. Marqueste, and especially the proud "Porte-falot" of Fremiet, which decorates the lower part of the staircase of the new Hôtel de Ville.

PALACES OF THE LIBERAL AND FINE ARTS.

The two Palaces of the Fine Arts and the Liberal Arts are of equal dimensions and similar aspect. They cover an area of 21,000 square metres. They are composed of a large central nave, measuring 209.31 metres in length by a width of fifty-three metres and one-half. The nave is surrounded with galleries on the lower floor and first story. On the garden under the porticos are restaurants. Each of these palaces is connected with the Industrial section of the foreign countries by a large vestibule thirty metres wide by 115 in length, one of which, that of the Fine Arts, contains the exhibition of sculpture, and the other contains a large part of the musical instruments. These two palaces are entirely of iron, terra-cotta and ceramic work. The entrance is executed by a large porch of three arches, and the wings on either side are pierced by wide bays. Each is crowned with a dome fifty-five metres high and thirty-two in width. These two palaces are striking examples of the richness which can be introduced in a moment by the artistic employment of terra-cotta and ceramic work, especially when the ceramic artists bear such names as Müller, Loebnitz and Parvillée, to say nothing of MM. Bréult, Boulanger and Mortreux, whose work we met in the ceramic division, or which we shall meet in our walks through the foreign pavilions. With M. Müller, who has given his name to a kind of brick covered with enamel on one of its faces, ceramic work becomes a portion of the very fabric itself as well as of its ornamentation. This principle applied with rare talent to the covering of the two domes of the palaces has given a very curious and interesting result. This covering is composed of enamelled tiles of more than 600 varieties which are not superposed one upon another, but butt together side by side, and form a mosaic rather than a covering of tiles. Each dome contains about 50,000 pieces arranged in ninety rows and twelve divisions. The general tone is blue. The principal ornamental motive consists of a cartouche which bears in the centre two large letters "R.F." in gold. The cartouche stands out on a background of cream-white, bordered with a meander. The effect is very brilliant and chatoyant. At the base of each dome twenty-four vases in pottery, three metres high, are arranged on the consoles of the attic which supports the roof, and in which are pierced bull's-eyes decorated in tones of blue and natural terra-cotta. The domes of the pavilions at the angle of the palace on the side of the Seine are in the same way covered with enamelled porcelain tiles. This is a new product invented by M. Parvillée and has a great decorative richness. Above each bay of the two palaces is repeated a terra-cotta frieze two metres high, which bears children holding cartouches and standing out from a golden background. Pillars between the bays are encased in terra-cotta fluted panels with interlacements of laurel and oak leaves. The ironwork of these pillars is exposed and encloses the terra-cotta work like a Spanish net, with very original effect and very interesting constructive frankness. Finally, the balustrade crowning each palace is also of terra-cotta, and is formed of small pilasters and between them is repeated a motif of bucklers bearing lions' heads. The balustrade is composed of 7,500 pieces and weighs 450,000 kilogrammes, and covers a space of 2,000 square metres.

Independently of the exhibit indicated by its name and character, the Palace of the Liberal Arts encloses one of the great curiosities of the Exhibition of '89; that is the "retrospective history of labor and anthropologic science." "The aim of this exhibit," said M. Jules Simon, in a report which