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THE WORLB's FAIRS 
at the sametimea church, thegrand stand 
of a race course and a railway Station. 
It is in truth, a motley mixture of dif 
ferent styles of areliitecture, but striking 
in general appearance. 
The name Trocadero is undoubtedly 
derived from the Spanish word “trocar,” 
to harter. It was very likely originally 
given to the hill, on whicli the exhibition 
building bas been erected, in memory of 
the taking of fort Trocadero on the island 
of Löon, in front of Cadiz, by the French 
expedition ander the Dukeof Angouleme, 
sent to aid the Spanish Bourbons against 
the insurgents in 1823. Perhaps this fort 
had been built upon a site, which origi 
nally served for a place of harter, a 
market or fair, and thus the etymological 
meaning of the word renders its appli- 
cation to an exhibition building quite ap- 
propriate. 
The centre of the Trocadero palace is 
occnpied by an immense concert hall, “la 
salle des fetes,” which holds 5000 persons, 
and is probably the finest one in the 
world. 
The rest of the building, that is the 
wings, was devoted to retrospective art. 
A department we usually find in Museums 
or in special exhibitions, such as the 
art treasures exhibition at Manchester or
	            		

21 — 
THE WORLü’s FAIRS 
the one at Munich in 1876, but less fre- 
quently at universal exhibitions, 
As Paris is in itself already a large in 
dustrial exposition,it was probably thought 
necessary to attract the general public to 
the exhibition, by giving Curiosities the 
prominent place. They were indeed the 
leading feature of this exhibition, both as 
regards the external appearance of the 
buildings and the objectsjexhibited. The 
Prince of Wales’ Indian collection, the 
crown jewelry, &c. were the chief attrac- 
tions in the maiu building, as were the 
antiquities in the Trocadero palace. 
It would, however, be unfair not to 
state, that there were also collections of 
plain staple goods in the exhibition, which 
prove that the Science of exhibiting is 
itself continually making progress. As 
an example we may well eite the collec- 
tive exhibition of the Tauners of France. 
It occupied three large rooms in the main 
building, and may be considered a charac- 
teristic representation of the commercial 
honesty and solidity of French nianu- 
facturers. No sign of any “smart” attempt 
of an individual exhibitor to put himself 
unduly forward, and reap for himself the 
whole advantage of the common under- 
taking. A general goodwill of all the 
participants to do their very best in con-