The City of Domes [12]
representation of the Department of Historical Furniture and Tapestries, known as the Garde Meuble, was to be made for the pavilion.
In the interview with the Minister of Commerce Baker argued that, without France, an Exposition could not be international, and that the participation of France at this time, with her flag flying in San Francisco, would be like winning a battle before the world. It would show the people of the United States France's gratitude for the money sent the wounded and the suffering, and would warm the hearts of the American people.
Thomson responded with enthusiasm, and soon the government became enthusiastic. Several thousand dollars were spent in cabling; Henri Guillaume, the distinguished French architect, experienced in many expositions, was sent out. When the Jason stopped at Marseilles it took, on board one of the most remarkable collections of art treasures ever shipped to a foreign country, the finest things in one of the world's great storehouses of treasure, including even the priceless historical tapestries, and a large collection of French paintings for the Fine Arts Palace, gathered by the French committee after great labor, due to the absence of many of the painters in the war.
When Captain Baker left France he had accomplished far more for the Exposition than he realized himself. Reports of his success in securing French participation preceded him to Italy and helped to prepare the way. The Italians listened to his proposition, all the more willingly because France had been won over. Besides, he had a warm supporter in Ernesto Nathan, ex-Mayor of Rome, who had paid an extended visit to San Francisco and had become an enthusiastic champion of the Exposition. In a few days he had made arrangements that led to the collection of the splendid display of Italian art, shipped on the Vega, together with many commercial exhibits. Captain Bakers work in France and in Italy, accomplished within three weeks, was a triumph of diplomacy.
Foreign Participation in General
Germany was not to be completely over-shadowed by France notwithstanding previous indifference on the part of the government. German manufacturers wished to be represented, and they actually received governmental encouragement. Austrians, not to be outdone by Italy, unofficially came in. In fact, despite the war, every country had some representation, England and Scandinavia and Switzerland included, even if they did not have official authority.
There are those who maintain that, in spite of criticism, the Fine Arts Department is now making a better showing than it could have made if there had been no war. American collectors, with rare canvases, were persuaded to help in the meeting of the emergency by lending work that, otherwise, they would have kept at home. It was thought that many of the Europeans would be glad to send their collections to this country for safe keeping during war time. But such proved not to be the case. A good deal of concern was felt about sending the treasures on so long a journey, subject to the hazards of attack by sea. Furthermore, from the European point of view, San Francisco seemed far away.
Looking for Art Treasures
A short time after Captain Baker sailed from New York another emissary went abroad for the Exposition, J. N. Laurvik, the art critic. A few weeks before Mr. Laurvik had returned from Europe, where he had represented the Fine Arts Department, looking for the work of the artists in those countries that were not to participate officially. At the time of the outbreak he was in Norway and he had already secured the promise of many collections and the co-operation of artists of distinction. His report of the situation as he left it persuaded the authorities that, in spite of the difficulties, he might do effective work.
When Laurvik arrived in Rome he found that Captain Baker had already prepared for his activities. Ernesto Nathan was devoting himself heart and soul to the cause. But the Italian authorities, for the most part, were absorbed in the questions
In the interview with the Minister of Commerce Baker argued that, without France, an Exposition could not be international, and that the participation of France at this time, with her flag flying in San Francisco, would be like winning a battle before the world. It would show the people of the United States France's gratitude for the money sent the wounded and the suffering, and would warm the hearts of the American people.
Thomson responded with enthusiasm, and soon the government became enthusiastic. Several thousand dollars were spent in cabling; Henri Guillaume, the distinguished French architect, experienced in many expositions, was sent out. When the Jason stopped at Marseilles it took, on board one of the most remarkable collections of art treasures ever shipped to a foreign country, the finest things in one of the world's great storehouses of treasure, including even the priceless historical tapestries, and a large collection of French paintings for the Fine Arts Palace, gathered by the French committee after great labor, due to the absence of many of the painters in the war.
When Captain Baker left France he had accomplished far more for the Exposition than he realized himself. Reports of his success in securing French participation preceded him to Italy and helped to prepare the way. The Italians listened to his proposition, all the more willingly because France had been won over. Besides, he had a warm supporter in Ernesto Nathan, ex-Mayor of Rome, who had paid an extended visit to San Francisco and had become an enthusiastic champion of the Exposition. In a few days he had made arrangements that led to the collection of the splendid display of Italian art, shipped on the Vega, together with many commercial exhibits. Captain Bakers work in France and in Italy, accomplished within three weeks, was a triumph of diplomacy.
Foreign Participation in General
Germany was not to be completely over-shadowed by France notwithstanding previous indifference on the part of the government. German manufacturers wished to be represented, and they actually received governmental encouragement. Austrians, not to be outdone by Italy, unofficially came in. In fact, despite the war, every country had some representation, England and Scandinavia and Switzerland included, even if they did not have official authority.
There are those who maintain that, in spite of criticism, the Fine Arts Department is now making a better showing than it could have made if there had been no war. American collectors, with rare canvases, were persuaded to help in the meeting of the emergency by lending work that, otherwise, they would have kept at home. It was thought that many of the Europeans would be glad to send their collections to this country for safe keeping during war time. But such proved not to be the case. A good deal of concern was felt about sending the treasures on so long a journey, subject to the hazards of attack by sea. Furthermore, from the European point of view, San Francisco seemed far away.
Looking for Art Treasures
A short time after Captain Baker sailed from New York another emissary went abroad for the Exposition, J. N. Laurvik, the art critic. A few weeks before Mr. Laurvik had returned from Europe, where he had represented the Fine Arts Department, looking for the work of the artists in those countries that were not to participate officially. At the time of the outbreak he was in Norway and he had already secured the promise of many collections and the co-operation of artists of distinction. His report of the situation as he left it persuaded the authorities that, in spite of the difficulties, he might do effective work.
When Laurvik arrived in Rome he found that Captain Baker had already prepared for his activities. Ernesto Nathan was devoting himself heart and soul to the cause. But the Italian authorities, for the most part, were absorbed in the questions