Centennial Exposition

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the artistic and industrial pursuits of their gender. They had to build their own structure because they lost their spot in one of the larger pavilions (the Main Building) due to an unexpected increase in the participation of foreign countries. Their aim was to employ only women in the construction of the pavilion and even to power it, and they succeeded with the exception of the design by Hermann J. Schwarzmann. Their overarching goal was to advance women's social, economic, and legal standing, abolish restrictions discriminating against their gender, encourage sexual harmony, and gain influence, leverage, and freedom for all women in and outside of the home by increasing women's confidence and ability to choose.

1016: 1546:'s headquarters during the winter of 1779–80. Featuring costumed presenters and a "colonial kitchen" complete with a spinning wheel, the reconstructed mansion was accompanied by a polemical narrative about "old-fashioned domesticity". This quaint hearth-and-home interpretation of the colonial past was counterposed to the theme of progress, with the overarching theme of the exposition serving to reinforce a view of American progress as evolving from a small, hardy colonial stock rather than from a continual influx of multi-ethnic waves of immigration. It sparked an era of "Colonial Revival" in American architecture and house furnishings. 1251: 7114: 893:

1,402 ft (427 m) long and 360 ft (110 m) wide, with a wing of 208 ft (63 m) by 210 ft (64 m) attached on the south side of the building. The length of the building was 18 times its height. With eight entrances, it occupied 558,440 sq ft (51,881 m), had 1,900 exhibitors, and took six months to construct. The exhibits focused on machines and evolving industries. Machinery Hall was the show case for the state of the art industrial technology that was being produced at the time. The United States of America alone took up two-thirds of the exhibit space in the building.

944:, it was the largest art hall in the country when it opened, with a massive 1.5-acre (0.61 ha) footprint and a 150 ft (46 m) dome atop a 59 ft (18 m)-high structure. The central domed area is surrounded by four pavilions on the corners, with open arcades to the east and west of the main entrance. It provided 75,000 sq ft (7,000 m) of wall surface for paintings and 20,000 sq ft (1,900 m) of floor space for sculptures. The exposition received so many art contributions that a separate annex was built to house them all. Another structure was built for the display of 1043:, a frame for stretching and drying lace curtains, and a stocking and glove darner. The Centennial women not only showed domestic production but also employed a popular means for justifying female autonomy outside of the home by demonstrating to visitors the many ways women were making a profitable living. Exhibits demonstrated positive achievements and women's influence in domains such as industrial and fine arts (wood-carvings, furniture-making, and ceramics), fancy articles (clothing and woven goods), and philanthropy as well as philosophy, science, medicine, education, and literature. 1396: 38: 389: 400: 4197: 1150: 741: 377: 921: 1142: 533:, brother of philanthropist William Welsh, who had raised funds for the Great Sanitary Fair in 1864. The board was authorized to sell up to $ 10 million in stock via $ 10 shares. The board sold $ 1,784,320 ($ 45,381,205 in 2023) worth of shares by February 22, 1873. Philadelphia contributed $ 1.5 million and Pennsylvania gave $ 1 million. On February 11, 1876, Congress appropriated $ 1.5 million in a loan. 733: 885: 864:

long, sunken parterre leading to Horticultural Hall became the exposition's iconic floral feature, reproduced on countless postcards and other memorabilia. This sunken garden enabled visitors on the raised walkways to see the patterns and shapes of the flowerbeds. After the Exposition, the building continued to be used for horticultural exhibits until it was severely damaged by

681:, an engineer for the Fairmount Park Commission, was appointed the main designer of the exposition. In 1869, Schwarzmann began working for the Fairmount Park Commission, which administered the site of the 1876 Centennial Exposition. It is one of the great urban parks of the United States; its importance in landscape history was surpassed only by 1086:, New York City. The British buildings were extensive and exhibited the evolved bicycle, with tension spokes and a large front wheel. Two English manufacturers, Bayless Thomas and Rudge, displayed their high-wheel bikes (called "ordinary bikes" or "penny farthings") at the exposition. The bicycle displays inspired 768:

brick-laid design with stained glass or painted glass decorations. The Interior walls were whitewashed, and woodwork was decorated with shades of green, crimson, blue, and gold. The flooring of the building was made of wooden planks that rested directly on the ground without any air space underneath them.

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In the days following the opening ceremony, attendance dropped dramatically, with only 12,720 people visiting the exposition the next day. The average daily attendance for May was 36,000 and for June 39,000. A severe heat wave began in mid-June and continued into July, hurting attendance. The average

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The orientation of the building was east–west in direction, making it well lit, and glass was used between the frames to let in light. Skylights were set over the central aisles of the structure. The corridors of the building were separated by fountains that were attractive and also provided cooling.

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for the principal buildings, conducted in two rounds; winners of the first round had to have details such as construction cost and time prepared for the runoff on September 20, 1873. After the ten design winners were chosen, it was determined that none of them allowed enough time for construction and

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More than 200 buildings were constructed within the exposition's grounds, which were surrounded by a fence nearly three miles long. There were five main buildings in the exposition. They were the Main Exhibition Building, Memorial Hall, Machinery Hall, Agricultural Hall, and Horticultural Hall. Apart

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Guards were required to live onsite and were housed at six police stations strategically located throughout the Exposition. A magistrate's office and courtroom were located at the only two-story police station located on the grounds and was used to conduct prisoner hearings. Officers slept in cramped

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The Women's Pavilion was the first structure at an international exposition to highlight the work of women, with exhibits created and operated by women. Female organizers drew upon deep-rooted traditions of separatism and sorority in planning, fundraising, and managing a pavilion devoted entirely to

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Inside, nurserymen, florists, and landscape architects exhibited a variety of tropical plants, garden equipment, and garden plans. In dramatic fashion, the exposition introduced the general public to the notion of landscape design, as exemplified the building itself and the grounds surrounding it. A

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The building took eighteen months to complete and cost $ 1,580,000. The building was surrounded by portals on all four sides. The east entrance of the building was used as an access way for carriages, and the south entrance of the building served as a primary entrance to the building for streetcars.

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The structure of the building featured a central avenue with a series of parallel sheds that were 120 ft (37 m) wide, 1,832 ft (558 m) long, and 75 ft (23 m) high. It was the longest nave ever introduced into an exhibition building up to that time. On both sides of the

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At the Vienna Exposition, there was no convenient way for visitors to reach the fairgrounds, and exorbitant rates were charged by carriage drivers. Drawing lessons from this failure, the Philadelphia exposition was ready for its visitors, with direct railroad connections to service passenger trains

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Cooling temperatures, news reports, and word of mouth began increasing attendance in the final three months of the exposition, with many of the visitors coming from farther distances. In September the average daily attendance rose to 94,000 and in October to 102,000. The highest attendance date of

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Within the building, exhibits were arranged in a grid, in a dual arrangement of type and national origin. Exhibits from the United States were placed in the center of the building, and foreign exhibits were arranged around the center, based on the nation's distance from the United States. Exhibits

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from these buildings, there were separate buildings for state, federal, foreign, corporate, and public comfort buildings. This strategy of numerous buildings in one exposition set it apart from the previous fairs around the world that had relied exclusively on having one or a few large buildings.

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A project of the Women's Centennial Executive Committee, the Women's Pavilion was commissioned in 1873 by the United States Centennial Board of Finance with the expectation that it would generate enthusiasm for the celebration of the fair and increase subscriptions to exposition stock. Elizabeth

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Amenities available to the visitors within the hall were rolling chairs, telegraph offices, and dinner for fifty cents. Machinery Hall had 8,000 operating machines and was filled with a wide assortment of hand tools, machine tools, material handling equipment, and the latest fastener technology.

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In the Main Exhibition Building, columns were placed at a uniform distance of 24 ft (7.3 m). The entire structure consisted of 672 columns, the shortest column 23 ft (7.0 m) in length and the longest 125 ft (38 m) in length. The construction included red and black

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that ran power to all the machinery in the building as well as other parts of the world's fair. The 1,400 horsepower engine was 45 ft (14 m) tall, weighed 650 tons, and had 1 mi (1.6 km) of overhead line belts connecting to the machinery in the building. It symbolized the

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Situated high atop a hill presiding over Fountain Avenue, Horticultural Hall epitomized floral achievement, which attracted professional and amateur gardeners. Unlike the other main buildings, it was meant to be permanent. Horticultural Hall had an iron and glass frame on a brick and marble

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Designed by Joseph M. Wilson and Henry Pettit, Machinery Hall was the second largest structure in the exposition and located west of the Main Exhibition Building. With a superstructure made of wood and glass resting on a foundation of massive masonry, it had a main hall painted light blue,

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After the Exposition, the structure was turned into a permanent building for the International Exhibition. During the auction held on December 1, 1876, it was bought for $ 250,000. It quickly ran into financial difficulties but remained open through 1879 and was finally demolished in 1881.

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Duane Gillespie, president of the Women's Centennial Committee, led the effort to gather 82,000 signatures in two days to raise money for the pavilion. Gillespie also helped convince Congress to grant additional funding. It took only four months to raise the funds for the pavilion.

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Although not financially successful for investors, the Centennial Exposition impressed foreigners with the industrial and commercial growth of the country. The level of exports increased, the level of imports decreased, and the trade balance grew in favor of the United States.

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temperature was 81 °F (27 °C), and on ten days during the heat wave the temperature reached 100 °F (38 °C). The average daily attendance for July was 35,000, but it rose in August to 42,000 despite the return of high temperatures at the end of the month.

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for design and construction of the Main Exhibition Building. A temporary structure, the Main Building was the largest building in the world by area, enclosing 21.5 acres (87,000 m). It measured 464 ft (141 m) in width and 1,880 ft (570 m) in length.

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nave were avenues 100 ft (30 m) in width and 1,832 ft (558 m) in length. Aisles 48 ft (15 m) wide were located between the nave and the side avenues, and smaller aisles 24 ft (7.3 m) in width were on the outer sides of the building.

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gun of 57t was the showpiece of its contribution and drew quite some attention. It was kind of a tradition for Krupp to promote its trade mark by exhibiting its heaviest gun at each world's fair. However, the Philadelphia 57t gun was considerably lighter than the British

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The formal name of the exposition was the International Exhibition of Arts, Manufactures, and Products of the Soil and Mine, but the official theme was the celebration of the United States centennial. This was reinforced by promotional tie-ins, such as the publication of

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After the exposition, Memorial Hall reopened in 1877 as the Pennsylvania Museum of Art and included the Pennsylvania Museum School of Industrial Art. In 1928 the museum moved to Fairmount at the head of the Benjamin Franklin Parkway, and in 1938 was renamed the

1222:. The final month of the exposition, November, had an average daily attendance of 115,000. By the time the exposition ended on November 10, a total of 10,164,489 had visited the fair. Among the attendees who were duly impressed by the exposition were 528:

as president. The Centennial Commission's commissioners included one representative from each state and territory in the United States. On June 1, 1872, Congress created a Centennial Board of Finance to help raise money. The board's president was

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was chartered on January 19, 1876, to be the "financial agent of the board at the Centennial Exhibition, receiving and accounting for daily receipts, changing foreign moneys into current funds, etc.," according to an article three days later in

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that the United States Centennial be celebrated with an exposition in Philadelphia. Naysayers argued that the project would not be able to find funding, other nations might not attend, and domestic exhibits might compare poorly to foreign ones.

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ultimately forced repayment. John Welsh enlisted help from the women of Philadelphia who had helped him in the Great Sanitary Fair. A Women's Centennial Executive Committee was formed with Elizabeth Duane Gillespie, a great-granddaughter of

701: 553:, as president. In its first few months, the group raised $ 40,000. When the group learned the planning commission was not doing much to display the work of women, it raised an additional $ 30,000 for a women's exhibition building. 685:. Schwarzmann was the chief architect for the Centennial Exposition, designing Memorial Hall, Horticultural Hall, other small buildings, and the landscaping around them. His work for the Centennial Exposition was informed by the 494:. With reference to the numerous events of national importance that were held in the past and related to the city of Philadelphia, the City Council resolved in January 1870 to hold the Centennial Exposition in the city in 1876. 1132:

had a cross-shaped building that held exhibits from various government departments. The remaining structures were corporate exhibitions, administration buildings, restaurants, and other buildings designed for public comfort.

796:, education, and science. Offices for foreign commissioners were placed in proximity to the products exhibited along in the aisles along the sides of the building. The walkways leading to the exit doors were ten feet wide. 3678: 1486:, had commissioned from the workshop of Désiré Froc-Robert & Sons in Paris. After the exposition, the altar was installed at the Basilica of the Sacred Heart on Notre Dame's campus where it remains to this day. 3652: 779:

The exterior of the building featured four towers, each 75 ft (23 m) high, at each of the building's corners. These towers had small balconies at different heights that served as observation galleries.

633:. Centennial Guards policed exhibits, kept the peace, reunited lost children, and received, recorded, and when possible, returned lost items, the most unusual of which were front hair pieces and false teeth. 3775: 1173:

At the same time, the exposition was designed to show the world the United States' industrial and innovative prowess. The exposition was originally scheduled to open in April, marking the anniversary of the

689:, which Schwarzmann visited to study the buildings and the grounds layout. The Vienna International Exposition in 1873 was marred by disastrous logistic planning and was taken as a cautionary example. 567:. The Commission decided to classify the exhibits into seven departments: agriculture, art, education and science, horticulture, machinery, manufactures, and mining and metallurgy. Newspaper publisher 1266:

featured a steam locomotive and passenger car that straddled a single elevated iron rail. Mass-produced products and new inventions were on display within Machinery Hall. Inventions included the

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as the director general of the Exposition. The Fairmount Park Commission set aside 450 acres (1.8 km) of West Fairmount Park for the exposition, which was dedicated on July 4, 1873, by

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Pennsylvania and the Centennial Exposition: Comprising the Preliminary and Final Reports of the Pennsylvania Board of Centennial Managers Made to the Legislature at the Sessions of 1877–8

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Pennsylvania and the Centennial Exposition: Comprising the Preliminary and Final Reports of the Pennsylvania Board of Centennial Managers Made to the Legislature at the Sessions of 1877–8

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Pennsylvania and the Centennial Exposition: Comprising the Preliminary and Final Reports of the Pennsylvania Board of Centennial Managers Made to the Legislature at the Sessions of 1877–8

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Philadelphia passed an ordinance that authorized Mayor William S. Stokley to appoint 500 men as Centennial Guards for the exposition. Among soldiers and local men hired by the city was

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were showcased at the exposition. For a fee of 50 cents, visitors could climb the ladder to the balcony, and the money raised this way was used to fund the pedestal for the statue.

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in the Union war effort. It anticipated the combination of public, private, and commercial investments that were necessary to mount the Centennial Exposition. Both had a similar

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The architecture of the exposition mainly consisted of two types of building, traditional masonry monuments and buildings with a structural framework of iron and steel.

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the entire exposition was September 28. The day, which saw about a quarter of a million people attend, was Pennsylvania Day. It celebrated the 100th anniversary of the

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which powered most of the other machines at the exposition. The official number of first day attendees was 186,272 people, with 110,000 entering with free passes.

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to create a United States Centennial Commission. The bill, which passed on March 3, 1871, provided that the U.S. government would not be liable for any expenses.

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and 32nd Street. A branch office operated during the exposition on the fairgrounds. The Centennial Commission ran out of funds for printing and other expenses.

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parts, with a wood and iron frame resting on a substructure of 672 stone piers. Wrought iron roof trusses were supported by the columns of the superstructure.

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agreed to head and pay for a Philadelphia commission sent to Europe to invite nations to exhibit at the exposition. Despite fears of a European boycott and

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How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda

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to garner international recognition of his regime and to counter anti-Mexican public opinion in the United States. Prominent Mexican painters including

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Eleven nations had their own exhibition buildings, and others contributed small structures, including the Swedish School house referenced below, now in

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appearance, including the waving flags, a huge central hall, the "curiosities" and relics, handmade and industrial exhibits, and also a visit from the

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foundation and was 383 ft (117 m) long, 193 ft (59 m) wide, and 68 ft (21 m) tall. The building was designed in the

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https://web.archive.org/web/20160304064854/http://larouchejapan.com/japanese/drupal-6.14/sites/default/files/text/1876-Centennial-Exhibition.pdf

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26 of the 37 U.S. states constructed buildings along States Drive in the exhibition grounds. Only three such state houses are still extant: the

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competition in 1867–69. Memorial Hall became the prototype, both from a stylistic and organizational standpoint, for other museums such as the

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Memorial Hall was designed by Herman J. Schwarzmann, who basically adopted an art museum plan submitted by Nicholas Félix Escalier to the

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The north side related the building to the Art Gallery and the west side served as a passageway to the Machinery and Agricultural Halls.

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For Mexico, which was emerging from a long period of internal disorder and foreign invasions, the exposition was an opportunity for the

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The Great Sanitary Fair in 1864 was the model for the Centennial Exposition; it raised $ 1,046,859 for medicine and bandages during the

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The Illustrated History of the Centennial Exposition Held in Commemoration of the One Hundredth Anniversary of American Independence

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How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States

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part of Philadelphia. A small hospital was built on the exposition's grounds by the Centennial's Medical Bureau, but despite a

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along with new types of mass-produced sewing machines, stoves, lanterns, guns, wagons, carriages, and agricultural equipment.

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to begin making high-wheel bikes in the United States. He started the Columbia Bike Company and published a journal called "

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Sons of Temperance Fountain, Independence Square (moved from Centennial Exhibition grounds at Belmont and Fountain Avenues)

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regime of the late nineteenth century, with many individual women sending examples of woven textiles and embroidery.

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were constructed near the exposition's grounds. A Centennial Lodging-House Agency made a list of rooms in hotels,

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also emulated its form. Finally, Memorial Hall was the architectural inspiration for the German capitol, the

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Mexico participated in the pavilion's exhibits, indicating the growth of a sector of elite women during the

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every 30 minutes, trolley lines, street cars, carriage routes, and even docking facilities on the river.

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precision competition. Until the start of 2004, many of the exposition's exhibits were displayed in the

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was performed. The opening ceremony concluded in Machinery Hall, with Grant and Pedro II turning on the

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displayed the first automatic screw-making machinery and won the Gold Medal in the first international

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The Swedish Cottage, representing a rural Swedish schoolhouse of traditional style, was re-erected in

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exhibited the "largest knife and fork in the world" made by Chinese immigrant workers, among others.

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The main exhibition building; at 21½ acres, it was the largest building in world history at the time.

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soldiers and dedicate themselves to the survival of the nation, and the Great Central Fair bolstered

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https://web.archive.org/web/20151116042008/http://libwww.library.phila.gov/CenCol/exhibitionfax.htm

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The idea of the Centennial Exposition is credited to John L. Campbell, a professor of mathematics,

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quarters, which fostered health issues. Eight guards died while working the Exposition, six from

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The fairs provided a creative and communal means for ordinary citizens to promote the welfare of

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The Centennial Commission turned to third-place winner's architect Henry Pettit and engineer

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structures pieced together. The building's exhibits included products and machines used in

368:. Nearly 10 million visitors attended the exposition, and 37 countries participated in it. 1149: 1007:, which includes a faithful 20x30-foot model of the exposition grounds and 200 buildings. 8: 7457: 7096: 6985: 6631: 6388: 6011: 5890: 5870: 5855: 5835: 5820: 5591: 5390: 5120: 5024: 4911: 4888: 4637: 4122: 3961: 3951: 3810: 3647: 3206: 3139: 3114: 3104: 2115: 1455: 1304:& Sons Company displayed a slice of their 5 ¾ inch diameter cable to be used for the 1263: 1255: 1095: 1040: 1004: 976: 514: 2842: 2757:

Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia

2646: 2571: 2442: 19:"Centennial Exhibition" redirects here. For the 1939–1940 exhibition in Wellington, see 6923: 6883: 6453: 6408: 5930: 5920: 5850: 5313: 5176: 5146: 4699: 4369: 3840: 2681:

The International Centennial Exhibition of 1876; or Why the British Started a World War

2509: 2462: 2374: 2250: 1463: 1187: 1157:, a 1,000-foot-tall (300 m) tower conceived in 1874 by engineers Clarke and Reeves 849: 483: 459: 428: 408: 381: 7462: 2803: 2208: 388: 7050: 7040: 6574: 6534: 6358: 6066: 5940: 5915: 5875: 5860: 5810: 5741: 5711: 5568: 5527: 4876: 4811: 4642: 4627: 4519: 4483: 4447: 4186: 3870: 3405: 2778: 2604: 2598: 2577: 2556: 2537: 2500:

Anon (1992). "The history and lore of Beaver Co.: the Chinese in Beaver Falls 1872".

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to be held in the United States and coincided with the centennial anniversary of the

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at its original location in Fairmount Park, the Maryland House, which was moved to

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technology that was transforming the United States into an industrial powerhouse.

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making foreign goods not worthwhile, no European country declined the invitation.

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A stock certificate for five $ 10 shares issued by the Centennial Board of Finance

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http://www.assemblymag.com/articles/83790-then-now-the-1876-centennial-exposition

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The third-largest structure at the exposition was Agricultural Hall. Designed by

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International Exhibition of Arts, Manufactures, and Products of the Soil and Mine

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of 1870–71, did not send a very big contribution. Its main contributor were the

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Philadelphia city officials appropriated $ 50,000 to make up for the shortfall.

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International Exhibition. 1876, Official Catalogue, John R Nagle and company.

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The interior of the main exhibition building looking west from the grandstand

660: 638: 599: 424: 204: 191: 2589: 345:, Pennsylvania, from May 10 to November 10, 1876. It was the first official 7452: 7330: 6822: 6539: 6519: 6493: 6413: 6220: 6165: 6150: 5996: 5981: 5976: 5505: 5435: 5236: 5221: 5115: 5083: 4765: 4673: 4622: 4601: 4596: 4591: 4457: 4359: 4316: 4201: 2790: 2581: 2415:. Berkeley and Los Angeles: University of California Perss 1996, 39–41, 55. 1535: 1505: 1479: 1271: 1122: 1083: 954: 833: 706: 682: 630: 471: 416: 376: 342: 165: 43: 2892:

Centennial Guard Box, Traffic Triangle, Benjamin Franklin Parkway vicinity

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An illustration of opening day ceremonies at the Centennial Exposition in

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Anon (1993). "Gone but not forgotten: the Beaver Falls Cutlery Company".

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The United States Centennial Commission organized on March 3, 1872, with

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A stereoscopic view of Horticultural Hall (1875–76, demolished 1954) in

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A Century After, Picturesque Glimpses of Philadelphia and Pennsylvania

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exhibit included a pavilion, house, and garden with one of the first "

920: 629:, best known for investigating one of America's first serial killers, 419:, in 1864, also known as the Great Sanitary Fair, was one of the many 6626: 5385: 5231: 3554: 3549: 3443: 3436: 3430: 3425: 3420: 3265: 3244: 3237: 3231: 3226: 3221: 3216: 3211: 2185:. Philadelphia Parks & Recreation: Fairmount Park. Archived from 1572:, built in 1879–1881 to house exhibits from the Centennial Exposition 1337:

The Sholes and Glidden typewriter (also known as the Remington No. 1)

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Philadelphia Exhibition 1876, Cast-steel Manufactory of Fried. Krupp

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International Exhibition of 1876, St. George's House, States Drive

2621:. Philadelphia: Allen, Lane & Scott and J. W. Lauderbach 1875. 1454:, which had recently been founded after the German victory in the 5262: 3400: 3390: 3365: 3350: 3335: 3189: 3179: 2894:", 1 photo, 1 photo caption page, supplemental material 2826:

by J. S. Ingram; published by Hubbard Bros., Philadelphia, 1876 (

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Weber, Austin. "Then & Now: The 1876 Centennial Exposition."

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created a committee to study the project and seek support of the

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The exposition also featured many well-known products including

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One of the major attractions on display in the building was the

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International Exposition of 1876, Memorial Hall, Belmont Avenue

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Philadelphia Exhibition 1876 Report to the Federal High Council

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Calney, Mark. "The Centennial Exhibition—The State Buildings."

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The French contribution centered on art. Its showpiece was the

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Some of the sandstone that was used to build the hall was from

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in 1954 and was subsequently demolished. As a replacement, the

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Memorial to the 56 Signers of the Declaration of Independence

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Historical Society of Pennsylvania's collection of paintings

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Wainwright, Nicholas; Weigley, Russell; Wolf, Edwin (1982).

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