1. Bulletin de l'Exposition Universelle de Paris 1889 , 15 October 1888, 3.

2. For an explanation of the different confrontations, see Blenda Nelms, The Third Republic and the Centennial of 1789 (New York, 1987), 13-17.

3. See Richard D. Mandell, Paris 1900 (Toronto, 1967), ix.

4. The nine groups were: Group 1, the arts; Group 2, education; Group 3, furniture; Group 4, textiles; Group 5, raw and manufactured products (the extractive arts); Group 6, mechanical industries and electricity; Group 7, food products; Group 8, agriculture; and Group 9, horticulture. The groups were subdivided into a total of 83 classes. See RUP 1.

5. See Walter Benjamin, "Paris, Capital of the 19th Century," in Reflections , ed. Peter Demetz, trans. E. Jephcott (New York, 1986), 146-58. In interpreting the significance of nineteenth-century world's fairs, three authors have elaborated on Benjamin's concept of "pilgrimage of the commodity fetish." See the translation of the German study by Werner Plum, Exposiciones mundiales en el siglo XIX (Bonn, 1977), 3-9; the Brazilian work by Francisco Foot Hardman, Trem fantasma (São Paulo, 1988), 49-66; and the French study by Philippe Hamon, Expositions (Berkeley, 1992).

6. See Nelms, Third Republic , 11-64.

7. The 1889 Paris fair officially ended on November 6.

8. See François Furet and Mona Ozouf, eds., A Critical Dictionary of the French Revolution (Cambridge, 1989), 882-90.

9. See Greenhalgh, Ephemeral Vistas , 27-41.

10. See, for example, Fernando Rosenzweig, "La industria" in HMM, El porfiriato: Vida económica , 465-94; and Stephen Haber, Industry and Underdevelopment (Stanford, 1989).

11. For an example of this encouragement of private exhibitors, see EXP, Box 30, Exp. 23.

12. Tout-d'Union , 1 September 1891.

13. See Nelms, Third Republic , 30-31.

14. For an explanation of the diplomatic causes and consequences of the boycott, see Brigitte Schroeder-Gudehus, "Les Grandes Puissances devant l'Exposition Universelle de 1889," Le Mouvement Social , no. 149 ( 1989): 15-24.

15. Émile Durer, "Edison," Revue Illustrée 8 (June-December, 1889): 174-78.

16. In this regard, see Burton Benedict, "International Exhibitions and National Identity," Anthropology Today 6 (June 1991):7-9; and the analysis by Greenhalgh, Ephemeral Vistas , 82-111.

17. La Revue Diplomatique , August 1886, 5. Meulemans published various articles on Mexico and other Latin American countries in La Revue Diplomatique ; he included some of these articles in a volume published in order to be distributed during the 1889 Paris fair. See Auguste Meulemans, Revue Diplomatique: Chefs d'état, ministres et diplomates (Paris, 1889).

18. See Greenhalgh, Ephemeral Vistas , 3-26, 52-81; and R. Rydell's examination of American imperialism in American world's fairs, All the World's a Fair (Chicago, 1984).

19. See J. L. Phelan, "Pan-Latinism, French Intervention in Mexico (1861-1867) and the Genesis of the Idea of Latin America," in Conciencia y autenticidad históricas .

Escritos en homenaje a Edmundo O'Gorman , ed. J. Ortega y Medina (Mexico City, 1968), 279-98.

20. In this regard, see the transformation of the concept of modern after 1850, in Gumbrecht, "History," 92-101.

21. RUP 7:359-68.

22. Émile Monod, L'Exposition Universelle de 1889 , 4 vols. (Paris, 1890), 591-97, quoted by Hélène Trocmé, "Les États-Unis et l'Exposition Universelle de 1889," Revue d'Histoire Moderne et Contemporaine 37 (April-June 1990):288.

23. Merle Curti, "America at the World Fairs, 1851-1893," American Historical Review 55, 4 (1950):856.

24. Opinion of a traveler in Mexico, Mary Blake, Mexico Picturesque, Political, Progressive (Boston, 1888), 8.

25. Francisco Inacio de Carvalho Moreira, Relat ó rio sobre a Exposição International de 1862 (London, 1863), xv, quoted in French by Marcus Olender, "Le Premier Centenaire de la révolution et la participation brésilienne à l'Exposition Universelle de 1889 à Paris: espaces et mentalités," in L'Image de la Revolution Française , ed. M. Vovelle, vol. 3 (New York, 1990), 2167. See also the collection of photographs that were exhibited by Brazil at international expositions, by Maria Inez Turazzi, "Poses e trejeitos na era do espectáculo: a fotografia e as exposições universais (1839-1889)," reported in Domingo: Jornal do Brasil , 12 July 1992; in particular, for Brazil's presence at the 1976 Philadelphia exhibition, see Sandra Jatahy Pesavento, "Exposições universais: Palcos de exibiçõo do mundo burgues: Em cena, Brasil e Estados Unidos," Siglo XIX , no. 12 (1992):63-87. For the Brazilian presence at the 1889 Paris fair, see ''L'Exposition du Brésil au Champ de Mars à Paris," La Nature 17 (1889):342-43. For an analysis of this presence, see Olender, Les Images ; José Luiz Foresti Werneck da Silva, "La Participation de l'Empire du Brésil à l'Exposition Universelle Internationale de 1889 à Paris: La Section brésilienne aux Champ-de-Mars," Revista do Instituto Histórico e Geografico Brasileiro , no. 364 (1989):417-20; and Foot Hardman, Trem fantasma , 67-96.

26. See Olga Vitali, "1889: La Argentina en la Exposición Mundial de Paris," Todo es Historia , no. 243 (1987):29-37; on Argentina's building, see Marta Dujoune, "La plástica: El realismo y el impresionismo," in J. L. Romero, Buenos Aires: Historia de cuatro siglos , vol. 2 (Buenos Aires, 1983), 131-39.

27. Eugen Weber, Peasants into Frenchmen (Stanford, 1976), 3.

28. For Mexican views on the French Third Republic, see Charles Hale, The Transformation of Liberalism in Late Nineteenth-Century Mexico (Princeton, 1989), 38-40. See also Charles Hale, "Fundación de la Modernidad Mexicana," Nexos , no. 170 (1992): 45-54.

29. See Hale, Transformation of Liberalism , 39.

30. El Imparcial , 1 May 1899.

31. El Siglo XIX , 31 August 1891.

32. F. Bulnes, El porvenir de las naciones latinoamericanas ante las recientes conquistas de Europa y Norteamérica (estructura y evolución de un continente ) (Mexico City, 1899), 110-14.

33.

O France! c'est de toi que m'est venu le Livre,
C'est de ton esprit clair que mon esprit s'enivre,
Ma voix de ta voix est l'écho;

Mes fils aiment tes fils; tes fêtes sont mes fêtes
Et c'est pour te chanter qu'aujourd'hui mes poètes
Prennent leur lyre à Mexique.
Leurs accents toucheront ton coeur, car leur génie
Est né sous le soleil de ta glorie infinie
D'un éclair que ton front jeta:
Alarcon et Corneille ont pu marcher ensemble,
Ignace Ramirez à Voltaire ressemble
Comme Juarez à Gambetta.
France, j'ai Jean Peza, mon doux François Coppée;
Guillermo Prieto chante mon épopée
En Béranger de mon drapeau;
Gorostiza, pour moi, c'est Collin d'Harleville;
Sierra c'est Sainte-Beuve et Casasus, Delille,
Altamirano, Mirabeau!

Auguste Genin, France-Mexique (Mexico City, 1910), 3.

34. See, for example, the coverage of Mexico's awards ceremony in Tout-d'Union , 1 September 1891.

35. For an explanation of the mystification of the French Republic in monuments, see Mona Ozouf, "Le Panthéon: L'École normale des morts," in Nora, Les Lieux de mémoire , vol. 1, 139-66; and Charles Rearik, "Festivals in Modern France: The Experience of the Third Republic," Journal of Contemporary History 12 (1977):435-60. On the debate over the commemorative monument for the centennial celebration of the French Revolution, see Nelms, Third Republic , 65-105.

36. See Nelms, Third Republic , 249.

37. See Jean Marie Mayeur and Madeleine Reberioux, The Third Republic from Its Origins to the Great War, 1871-1914 , trans. J. R. Foster (Cambridge, 1984), 42-65. See also Jean-Luc Pinol, Le Monde des villes au XIXe siècle (Paris, 1991), 29-31.

38. Pascal Ory, Les Expositions Universelles de Paris (Paris, 1982).

39. RUP 9:25. It was not until the Paris Universal Exhibition of 1900, for which Picard served as general commissioner, that his concept of social economy was developed through the establishment of a tenth group, on social economy. See André Gueslin, L'Invention de l'économie sociale (Paris, 1987), especially his explanation of the role played by Charles Gide in social economic thought (pp. 157-60). See also Charles Gide, Économie sociale: Rapports du jury international, Exposition Universelle de 1900 (Paris, 1901).

40. For the growth of the so-called Professors' Republic, see Christophe Charle, La République des universitaires, 1870-1940 (Paris, 1994), especially his discussion of the emergence of a "social model of intellectuals" and the role of intellectuals in politics (pp. 291-307).

41. See Gueslin, L'Invention , 4.

42. Letter from Manuel Flores to Carlos Pacheco, March 1888, reproduced in José Francisco Godoy, México en París (Mexico City, 1891), 216-18. In the 1880s there were indeed various asociaciones mutualistas in Mexico, most of them linked to artisan and crafts organizations. In this regard, see David W. Walker, "Porfirian Labor Politics: Working Class Organization in Mexico City and Porfirio Díaz, 1876-1902," The Amer-

icas 37 (1981):257-89; and John M. Hart, Anarchism and the Mexican Working Class, 1860-1931 (Austin, 1987), 43-59.

43. Porfirio Díaz's letter to Vicente Riva Palacio, 25 May 1891, Vicente Riva Palacio's letters, Genaro Garcia Collection, University of Texas at Austin.

44. See RUP 3:337-38.

45. See, for example, Report Serrano-Davis, EXP, Box 84, Exp. 18; reproduced by José Francisco Godoy, La ciudad de Chicago y la Exposición Universal de 1893 (Chicago, 1892), 94-95.

46. See Claude Nicolet, L'Idée républicaine en France (1789-1924 ) (Paris, 1982), 251-67.

47. William Henry Bishop, "A Paris Exposition in Dishabille," in Atlantic Monthly , May 1889, 621. For a similar opinion of the fair as an "electoral device," see William Henry Hulbert, France and the Republic (London, 1890), lxxxix-xcvi.

48. See Mayeur and Reberioux, Third Republic , 55-65.

49. See F. Crouzet, "Essai de construction d'un indice annuel de la production industrielle française au XIXe siècle," Annales 25 (January-February 1970):56-99.

50. Harry W. Paul, "The Debate over the Bankruptcy of Science in 1895," French Historical Studies 5, 3 (1968):300.

51. In 1889 P. Bourget published LeDisciple , challenging the general belief of the second part of the nineteenth century in l'idée scientifique du déterminisme universel . See Antoine Compagnon, La Troisième République des lettres: De Flaubert à Proust (Paris, 1983), 174-90.

52. See Zeev Sternhell, "The Political Culture of Nationalism," in Nationhood and Nationalism in France: From Boulangism to the Great War, 1889-1918 , ed. R. Tombs (London, 1991), 22-24.

53. See Avner Ben-Amos, "Les Funérailles de Victor Hugo: Apothéose de l'événe-ment spectacle," in Nora, Les Lieux de mémoire , vol. 1, 473-522.

54. See Arnold Hauser, The Social History of Art: Naturalism, Impressionism, the Film Age , vol. 4 (New York, 1985), 60-106, 166-225; Jerrold Seigel, Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, 1830-1930 (New York, 1987), 215-365; and Joshua Taylor, ed., Nineteenth-Century Theories of Art (Berkeley, 1987), 370-83, 415-30.

55. The English translation is quoted in Philippe Jullian, The Triumph of Art Nouveau (London, 1974), 33, and in Greenhalgh, Ephemeral Vistas , 116, and Findling, Historical Dictionary , 33-34.

56. See Stephen Kern, The Culture of Time and Space, 1880-1918 (Cambridge, 1983), 65-88, 314-18. See the discussion of the so-called reactionary modernism in Jeffrey Herf, Reactionary Modernism (Cambridge, 1984).

57. Émile Goudeau, "Une journée d'esposition," Revue Illustrée , no. 92 (1889):244.