e 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
caesarism 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