Mystery The World's Fairs This Evidence Hidden History Chronological All World’s Fair's

It claims that many of our most beautiful buildings are the work of a lost civilization called the Tartarian Empire. What makes it so special is that they’re not talking about really old stuff like the pyramids, but much more recent examples like the early skyscrapers of New York and the pavilions constructed for international expositions during the late 19th and early 20th centuries. World fairs during the late 19th century and early 20th centuries showcased the technological, industrial, and cultural achievements of nations around the world, sometimes displaying cultural superiority over colonized nations through human exhibits. A world’s fair, world fair, world exposition, or universal exposition (sometimes expo for short), is a large international exhibition designed to showcase achievements of nations. These exhibitions vary in character and are held in various parts of the world. World fairs originated in the French tradition of national exhibitions that culminated with the French Industrial Exposition of 1844 held in Paris. This fair was followed by other national exhibitions in continental Europe and the United Kingdom. The best-known “first World Expo” was held in The Crystal Palace in Hyde Park, London, United Kingdom, in 1851, under the title “Great Exhibition of the Works of Industry of All Nations.” The Great Exhibition, as it is often called, was an idea of Prince Albert, Queen Victoria’s husband, and is usually considered to be the first international exhibition of manufactured products. It was arguably a response to the highly successful French Industrial Exposition of 1844; indeed, its prime motive was for Britain to display itself as an industrial leader. It influenced the development of several aspects of society, including art-and-design education, international trade and relations, and tourism. This expo was the most obvious precedent for the many international exhibitions considered world fairs. Since their inception in 1851, the character of world expositions has evolved. Three eras can be distinguished: industrialization, cultural exchange, and nation branding. The first era could be called the era of “industrialization” and covered roughly the period from 1800 to 1938. In these days, world expositions were especially focused on trade and were famous for the display of technological inventions and advancements. World expositions were the platforms where the state-of-the-art in science and technology from around the world were brought together. The world expositions of 1851 London, 1853 New York, 1862 London, 1876 Philadelphia, 1889 Paris, 1893 Chicago, 1897 Brussels, 1900 Paris, 1901 Buffalo, 1904 St. Louis, 1915 San Francisco, and 1933–34 Chicago were landmarks in this respect. Inventions such as the telephone were first presented during this era. The 1939–40 New York World’s Fair diverged from the original focus of the world fair expositions. From then on, world fairs adopted specific cultural themes forecasting a better future for society. Technological innovations were no longer the primary exhibits at fairs. Human zoos, also called ethnological expositions, were 19th-, 20th-, and 21st-century public exhibitions of humans, usually in a so-called natural or primitive state. The displays often emphasized the cultural differences between Europeans of Western civilization and non-European peoples or other Europeans with a lifestyle deemed primitive. Some of them placed indigenous Africans in a continuum somewhere between the great apes and the white man. Ethnological expositions have since been criticized as highly degrading and racist. Human Zoos America's Forgotten History of Scientific Racism and The Worlds Fair's - https://rumble.com/v2fch6u-human-zoos-americas-forgotten-history-of-scientific-racism-and-the-worlds-f.html The notion of human curiosity and exhibition has a history at least as long as colonialism. In the 1870s, exhibitions of exotic populations became popular in various countries. Human zoos could be found in Paris, Hamburg, Antwerp, Barcelona, London, Milan, and New York City. Carl Hagenbeck, a merchant in wild animals and future entrepreneur of many European zoos, decided in 1874 to exhibit Samoan and Sami people as “purely natural” populations. In 1876, he sent a collaborator to the Egyptian Sudan to bring back some wild beasts and Nubians. The Nubian exhibit was very successful in Europe and toured Paris, London, and Berlin. Both the 1878 and the 1889 Parisian World’s Fair presented a Negro Village (village nègre). Visited by 28 million people, the 1889 World’s Fair displayed 400 indigenous people as the major attraction. The 1900 World’s Fair presented the famous diorama living in Madagascar, while the Colonial Exhibitions in Marseilles (1906 and 1922) and in Paris (1907 and 1931) also displayed humans in cages, often nude or semi-nude. The 1931 exhibition in Paris was so successful that 34 million people attended it in six months, while a smaller counter-exhibition entitled The Truth on the Colonies, organized by the Communist Party, attracted very few visitors—in the first room, it recalled Albert Londres and André Gide’s critiques of forced labor in the colonies. Nomadic Senegalese Villages were also presented. In 1904, Apaches and Igorots (from the Philippines) were displayed at the Saint Louis World Fair in association with the 1904 Summer Olympics. The U.S. had just acquired, following the Spanish–American War, new territories such as Guam, the Philippines, and Puerto Rico, allowing them to “display” some of the native inhabitants. According to the Rev. Sequoyah Ade: To further illustrate the indignities heaped upon the Philippine people following their eventual loss to the Americans, the United States made the Philippine campaign the centrepoint of the 1904 World’s Fair held that year in St. Louis, MI [sic]. In what was enthusiastically termed a “parade of evolutionary progress,” visitors could inspect the “primitives” that represented the counterbalance to “Civilization” justifying Kipling’s poem “The White Man’s Burden.” Pygmies from New Guinea and Africa, who were later displayed in the Primate section of the Bronx Zoo, were paraded next to American Indians such as Apache warrior Geronimo, who sold his autograph. But the main draw was the Philippine exhibition complete with full size replicas of Indigenous living quarters erected to exhibit the inherent backwardness of the Philippine people. The purpose was to highlight both the “civilizing” influence of American rule and the economic potential of the island chains’ natural resources on the heels of the Philippine–American War. It was, reportedly, the largest specific Aboriginal exhibition displayed in the exposition. As one pleased visitor commented, the human zoo exhibition displayed “the race narrative of odd peoples who mark time while the world advances, and of savages made, by American methods, into civilized workers.” Human Zoos tells the shocking story of how thousands of indigenous peoples were put on public display in America in the early decades of the twentieth century. The harmful exhibition and practices displaying humans that are known today as “Human Zoos” took place for centuries, and their impact can still be seen today. Colonial exhibitions and fairs, circuses, zoos, and museums all took part in exhibiting people from across the world that were deemed other and, thus, curious to observe by white masses that deemed themselves superior and more civilized. In some cases, entertainment was elevated through the incorporation of thrilling performances and the display of exotic animals, further animalizing and dehumanizing exhibited humans. Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. This Is A Chronological List Of 600+ International Or Colonial World's Fairs. 1790s 1791 – Prague, Bohemia – first industrial exhibition on the occasion of the coronation of Leopold II as king of Bohemia, took place in Clementinum, considerable sophistication of manufacturing methods. For this occasion, Wolfgang Amadeus Mozart wrote his final opera La clemenza di Tito. 1798 – Paris, France – L'Exposition des produits de l'industrie française, Paris, 1798. This was the first public industrial exposition in France although earlier in 1798 the Marquis d'Avèze had held a private exposition of handicrafts and manufactured goods at the Maison d'Orsay in the Rue de Varenne and it was this that suggested the idea of a public exposition to Nicolas François de Neufchâteau, Minister of the Interior for the French Republic. 1800s 1801 – Paris, France – Second Exposition (1801). After the success of the exposition of 1798 a series of expositions for French manufacturing followed (1801, 1802, 1806, 1819, 1823, 1827, 1834, 1844 and 1849) until the first properly international (or universal) exposition in France in 1855. 1802 – Paris, France – Third Exposition (1802) 1806 – Paris, France – Fourth Exposition (1806) 1810s 1819 – Paris, France – Fifth Exposition (1819) 1820s 1823 – Paris, France – Sixth Exposition (1823) 1827 – Paris, France – Seventh Exposition (1827) 1829 – New York City, United States – American Institute Fair 1829 – Turin, Piedmont-Sardinia – Prima Triennale Pubblica Esposizione dell’anno 1829. In Turin, a second 'triennale' followed in 1832 before other national agricultural, industrial, commercial, and applied arts expositions there in 1838, 1844, 1850 and 1858. 1830s 1832 – Turin, Piedmont-Sardinia – Seconda Triennale Pubblica Esposizione dell’anno 1832. 1834 – Paris, France – French Industrial Exposition of 1834 1838 – Turin, Piedmont-Sardinia – Pubblica esposizione dell'anno 1838. 1839 – Paris, France – Ninth Exposition (1839) 1840s 1844 – Paris, France – French Industrial (Tenth) Exposition of 1844 1844 – Turin, Piedmont-Sardinia – Quarta Esposizione d'Industria et di Belle Arti. 1846 – Genoa, Piedmont-Sardinia – Esposizione dei Prodotti e delle Manufatture nazionali 1849 – Birmingham, United Kingdom – Exhibition of Industrial Arts and Manufacturers 1849 – London, United Kingdom – First Exhibition of British Manufacturers (1849) 1849 – Paris, France – Eleventh Exposition (1849) 1850s 1850 – Turin, Piedmont-Sardinia – Quinta Esposizione di Industria e di Belle Arti 1851 – London, United Kingdom – The Great Exhibition of the Works of Industry of All Nations – The Crystal Palace (typically listed as the "first world's fair") 1852 – Cork, Ireland – Irish Industrial Exhibition 1853 – Naples, Two Sicilies – Solenne Pubblica Esposizione di Arti e Manifatture 1853–1854 – New York City, United States – Exhibition of the Industry of All Nations 1853 – Dublin, Ireland – Great Industrial Exhibition (1853) 1854 – Genoa, Piedmont-Sardinia – Esposizione Industriale 1854 – Munich, Bavaria – General German Industrial Exhibition (Allgemeine deutsche Industrie-Ausstellung) 1854 – Melbourne, Victoria – Melbourne Exhibition (in conjunction with Exposition Universelle (1855)) 1855 – Paris, France – Exposition Universelle (1855) 1856 – Brussels, Belgium – International Exhibition 1857 – Manchester, United Kingdom – Art Treasures Exhibition at the Royal Botanical Gardens, Stretford 1857 – Lausanne, Switzerland – Lausanne Exhibition 1858 – Dijon, France – Dijon Exposition [fr] 1858 – Philadelphia, Pennsylvania, United States – Philadelphia Technological Exhibition 1858 – Turin, Piedmont-Sardinia – Sesta Esposizione Nazionale di Prodotti d'Industria 1860s 1860 – Montreal, Quebec, Canada - Grand Exhibition of the Industrial Products of United Canada at the Crystal Palace (Montreal) 1861 – Brisbane, Queensland – First Queensland Exhibition 1861 – Melbourne, Victoria – Second Victorian Exhibition 1861 – Metz, France – Exposition Universelle (1861) 1861 – Amsterdam, Netherlands – Fisheries Exposition 1862 – Geelong, Victoria - Exhibition of Art, Science and Industry 1862 – London, United Kingdom – 1862 International Exhibition 1864 – Bayonne, France – Franco-Spanish Exposition 1865 – Cologne, Prussia – International Agricultural Exhibition 1865 – Bergen, Norway – International Fisheries Exhibition 1865 – Batavia, Dutch East Indies – Industrial and Agricultural Exhibition 1865 – Dunedin, New Zealand – New Zealand Exhibition 1865 – Dublin, United Kingdom – International Exhibition of Arts and Manufactures 1865 – Freetown, Sierra Leone – Sierra Leone Exhibition 1865 – Porto, Portugal – 1865 International Exhibition 1866 – Ballarat, Victoria – National Industrial Exhibition 1866 – Melbourne, Victoria – Intercolonial Exhibition of Australasia 1866 – Boulogne-sur-Mer, France – International Fisheries Exposition 1866 – Arcachon, France – International Exposition of Fish and Water Products 1866 – Stockholm, Sweden – Scandinavian Industrial Exhibition 1867 – Paris, France – Exposition Universelle (1867) 1867 – The Hague, Netherlands – International Maritime Exhibition 1867 – Aarhaus, Denmark – International Maritime Exhibition 1867 – Vienna, Austria – International Maritime Exhibition 1867 – Gothenburg, Sweden – International Maritime Exhibition 1868 – Le Havre, France – International Maritime Exposition 1869 – Amsterdam, Netherlands – International Exhibition of Domestic Economy 1870s 1870 – Sydney, New South Wales – Intercolonial Exhibition (1870) 1871 – Córdoba, Argentina – Exposición Nacional 1871 – London, United Kingdom – First Annual International Exhibition (1871) 1871 – Naples, Italy – International Maritime Exposition 1872 – Hamilton, Bermuda – Industrial and Loan Exhibition 1872 – Copenhagen, Denmark – Second Scandinavian Exhibition of Arts and Industry 1872 – London, United Kingdom – Second Annual International Exhibition (1872) 1872 – Christchurch, New Zealand – New Zealand Interprovincial Exhibition 1872 – Lima, Peru – Lima International Exhibition 1872 – Lyon, France – Exposition Universelle et Internationale (1872) 1872 – Kyoto, Japan – Exhibition of Arts and Manufactures (1872) 1873 – London, United Kingdom – Third Annual International Exhibition (1873) 1873 – Vienna, Austria – Weltausstellung 1873 Wien 1873 – Sydney, New South Wales – Metropolitan Intercolonial Exhibition (1873) 1874 – London, United Kingdom – Fourth Annual International Exhibition (1874) 1874 – Dublin, United Kingdom – International Exhibition of Arts and Manufactures (1874) 1874 – Rome, Italy – Esposizione internazionale (1874) (never held) 1874 – Jamestown, Saint Helena – St. Helena Industrial Exhibition 1874 – Marseille, France – Exhibition of Modern Inventions and Discoveries 1874 – Philadelphia, Pennsylvania, United States – Franklin Institute Exhibition 1875 – Melbourne, Victoria – Victorian Intercolonial Exhibition 1875 – Nizhni Novgorod, Russia – Nizhni Novgorod Fair (1875) 1875 – Sydney, New South Wales – Intercolonial Exhibition (1875) 1875 – Santiago, Chile – Chilean International Exhibition 1876 – Brussels, Belgium – International Exposition of Hygiene and Life-saving Apparatus 1876 – Helsinki, Finland – Finnish General Exhibition 1876 – Adelaide, South Australia – Adelaide Industrial Exhibition 1876 – Philadelphia, Pennsylvania, United States – Centennial Exposition 1876 – Brisbane, Queensland – Intercolonial Exhibition (1876) 1876 – London, United Kingdom – London Loan Collection of Scientific Apparatus 1877 – Cape Town, Cape Colony – South African International Exhibition 1877 – Tokyo, Japan – First National Industrial Exhibition (1877) (Ueno Park) 1877 – Sydney, New South Wales – Sydney Metropolitan and Intercolonial Exhibition 1877 – Adelaide, South Australia – Adelaide Industrial Exhibition 1878 – Paris, France – Exposition Universelle (1878) 1878 – Ballarat, Victoria – Australian Juvenile Industrial Exhibition (1878) 1878 – London, United Kingdom – International Fisheries Exhibition 1879 – Bendigo, Victoria – Juvenile Industrial Exhibition 1879 – Geelong, Victoria – Geelong Juvenile and Industrial Exhibition 1879 – Sydney, New South Wales – Intercolonial Juvenile Industrial Exhibition 1879 – Sydney, New South Wales – Sydney International Exhibition 1879 – Melbourne, Victoria – Intercolonial Juvenile Industrial Exhibition (1879) 1879 – Kilburn, United Kingdom – International Agricultural Exhibition 1880s 1880 – Berlin, Germany – International Fisheries Exhibition 1880 – Christchurch, New Zealand – Christchurch Industrial Exhibition 1880 – Adelaide, South Australia – Industrial and Juvenile Exhibition 1880 – Glasgow, United Kingdom – Glasgow Electrical Exhibition 1880-1881 – Melbourne, Victoria – Melbourne International Exhibition 1881 – Adelaide, South Australia – Adelaide Exhibition. 1881 – Matanzas, Cuba – Exhibition of Matanzas 1881 – Milwaukee, Wisconsin – Milwaukee Industrial Exposition 1881 – Paris, France – International Exposition of Electricity, Paris 1881 – Dunedin, New Zealand – Dunedin Industrial Exhibition 1881 – Atlanta, Georgia, United States – International Cotton Exposition 1881 – Budapest, Austria-Hungary – Országos Nőipari Kiállitás 1881 – London, United Kingdom – International Medical and Sanitary Exhibition 1881 – Tokyo, Japan – Second National Industrial Exhibition 1881-1882 – Perth, Western Australia – Perth International Exhibition 1882 – Lille, France – International Exposition of Industrial Art 1882 – Munich, Germany – International Electrical Exposition 1882 – Christchurch, New Zealand – New Zealand International Exhibition 1882 – London, United Kingdom – Crystal Palace Electric Exhibition 1882 – Edinburgh, United Kingdom – International Fisheries Exhibition 1882 – Bordeaux, France – Exposition internationale des vins 1882 – Buenos Aires, Argentina – South American Continental Exhibition (Exposición Continental Sud-Americana) 1883 – London, United Kingdom – International Electric Exhibition 1883 – Vienna, Austria-Hungary – International Electrical Exposition 1883 – Cork, United Kingdom – Cork Industrial Exhibition 1883 – Amsterdam, Netherlands – International Colonial and Export Exhibition 1883 – Calcutta, India – Calcutta International Exhibition 1883 – Marseilles, France – International Maritime Exposition 1883 – Christchurch, New Zealand – All Colonial Exhibition 1883 – Madrid, Spain – Exposition of Mining and Metallurgy 1883 – South Kensington, United Kingdom – International Fisheries Exhibition 1883 – Parramatta, New South Wales – Intercolonial Juvenile Industrial Exhibition 1883 – Hobart, Tasmania – Tasmanian Juvenile and Industrial Exhibition 1883 – Launceston, Tasmania – Art and Industrial Exhibition 1883 – Louisville, Kentucky, United States – Southern Exposition 1883 – New York City, United States – World's Fair (1883) (never held) 1883 – Caracas, Venezuela – National Exposition of Venezuela 1883–1884 – Boston, Massachusetts, United States – The American Exhibition of the Products, Arts and Manufactures of Foreign Nations 1884 – Nice, France – International Exposition of Nice 1884 – Amsterdam, Netherlands – International Agricultural Exhibition 1884 – London, United Kingdom – London International Universal Exhibition 1884 – South Kensington, United Kingdom – International Health and Education Exhibition 1884 – Cape Town, Cape Colony – South African Industrial Exhibition 1884 – Durban, South Africa – Natal Agricultural, Horticultural, Industrial and Art Exhibition 1884 – New Orleans, Louisiana, United States – World Cotton Centennial 1884 – Melbourne, Victoria – Victorian International Exhibition 1884 of Wine, Fruit, Grain & other products of the soil of Australasia with machinery, plant and tools employed 1884 – Edinburgh, United Kingdom – First International Forestry Exhibition 1884 – Turin, Italy – Esposizione Generale Italiana 1884 – Adelaide, South Australia – Grand Industrial Exhibition 1885 – Melbourne, Victoria – Victorians' Jubilee Exhibition (1885) (Jubilee of Victoria Exhibition) 1885 – Port Elizabeth, Cape Colony (now South Africa) – South African Exhibition 1885 – Antwerp, Belgium – Exposition Universelle d'Anvers (1885) 1885 – Nuremberg, Germany – International Exposition of Metals and Metallurgy 1885 – Budapest, Hungary – Hungarian National Exhibition 1885 – Wellington, New Zealand – New Zealand Industrial Exhibition 1885 – Zaragoza, Spain – Aragonese Exposition 1885 – London, United Kingdom – International Inventions Exhibition 1886 – London, United Kingdom – Colonial and Indian Exhibition (1886) 1886 – Edinburgh, United Kingdom – International Exhibition of Industry, Science and Art 1886 – Liverpool, United Kingdom – International Exhibition of Navigation, Commerce and Industry (1886) 1886 – Bendigo, Victoria – Juvenile and Industrial Exhibition 1886 – Launceston, Tasmania – Launceston Industrial Exhibition 1886 – Perth, Western Australia – West Australian Exhibition 1887 – Le Havre, France – International Maritime Exposition 1887 – Atlanta, United States – Piedmont Exposition 1887 – Geelong, Victoria – Geelong Jubilee Juvenile and Industrial Exhibition (1887) 1887 – Manchester, United Kingdom – Royal Jubilee Exhibition 1887 – London, United Kingdom – American Exhibition 1887 – Newcastle, United Kingdom – Royal Mining Engineering Jubilee Exhibition 1887 – Rome, Italy – Esposizione mondiale (1887) 1887 – Madrid, Spain – Exposición General de las Islas Filipinas 1887–1888 – Adelaide, South Australia – Adelaide Jubilee International Exhibition (1887) 1888 – Glasgow, United Kingdom – International Exhibition (1888) 1888 – Brussels, Belgium – Grand Concours International des Sciences et de l'Industrie (1888) 1888 – Barcelona, Spain – Exposición Universal de Barcelona (1888) 1888 – Cincinnati, Ohio – Cincinnati Centennial Exposition (1888) 1888 – Lisbon, Portugal – Exposição Industrial Portugueza (1888) 1888 – Copenhagen, Denmark – The Nordic Exhibition of 1888 (Nordiske Industri-Landbrugs og Kunstudstilling) 1888–1889 – Melbourne, Victoria – Melbourne Centennial Exhibition 1888–1889 – Melbourne, Victoria – Victorian Juvenile Industrial Exhibition (1888) 1889 – Paris, France – Exposition Universelle (1889) – Eiffel Tower 1889 – Dunedin, New Zealand – New Zealand and South Seas Exhibition (1889) 1889 – Buffalo, New York, United States – International Industrial Fair (1889) 1890s 1890 – Buenos Aires, Argentina – Agricultural Exhibition 1890 – Vienna, Austria-Hungary – Agricultural and Forestry Exposition 1890 – Bremen, Germany – Nord-West-Deutsche Gewerbe und Industrie-Ausstellung 1890 – London, United Kingdom – International Exhibition of Mining and Metallurgy 1890 – Edinburgh, United Kingdom – International Exhibition of Science, Art & Industry 1890 – Ballarat, Victoria - Australian Juvenile Industrial Exhibition 1891 – Moscow, Russia – Exposition française 1891 – Frankfurt, Germany – International Electrotechnical Exhibition 1891 – Kingston, Jamaica – International Exhibition (1891) 1891 – Prague, Austria-Hungary – General Land Centennial Exhibition (1891) at the Prague Exhibition Grounds 1891 – Adelaide, South Australia – Industrial Exhibition of South Australian Industries, Products and Manufactures 1891 – Port of Spain – Trinidad and Tobago Exhibition 1891–1892 – Launceston, Tasmania – Tasmanian International Exhibition (1891) 1892 – Grenoble, France – International Alpine Exposition of Grenoble 1892 – Genoa, Italy – Esposizione Italo-Americana (1892) 1892 – Washington, D.C., United States – Exposition of the Three Americas (1892) (never held) 1892 – London, United Kingdom – Crystal Palace Electrical Exhibition 1892 – Kimberley, Cape of Good Hope – South African and International Exhibition 1892–1893 – Madrid, Spain – Historical American Exposition 1893 – Chicago, Illinois, United States – World's Columbian Exposition – Palace of Fine Arts and the World's Congress Auxiliary Building 1893 – New York City, United States – World's Fair Prize Winners' Exposition (1893) 1894 – San Francisco, California, United States – California Midwinter International Exposition of 1894 1894 – Antwerp, Belgium – Exposition Internationale d'Anvers (1894) 1894 – Santiago, Chile – International Mining and Metallurgical Exposition 1894 – Lyons, France – Exposition internationale et coloniale 1894 – Manchester, United Kingdom – British and Colonial Exhibition 1894 – Porto, Portugal – Exposição Insular e Colonial Portugueza (1894) 1894 – Fremantle, Western Australia – Fremantle Industrial Exhibition 1895 – Adelaide, South Australia – Exhibition of Art and Industry 1895 – Hobart, Tasmania – Tasmanian International Exhibition (1895) 1895 – Ballarat, Victoria – Australian Industrial Exhibition (1895) 1895 – Bordeaux, France – Bordeaux Exposition [fr] 1895 – Kyoto, Japan – National Japanese Exhibition 1895 – Christchurch, New Zealand – Art and Industrial Exhibition 1895 – Atlanta, Georgia, United States – Cotton States and International Exposition (1895) (Atlanta Exposition) 1895 – Montevideo, Uruguay - National Agricultural Exhibition 1896 – Rouen, France – National and Colonial Exposition 1896 – Kiel, Germany – International Shipping and Fishery Exposition 1896 – Budapest, Austria-Hungary – Hungarian Millenary Exhibition 1896 – Wellington, New Zealand – Wellington Industrial Exhibition 1896 – Nizhny Novgorod, Russia – Pan Russian Exhibition 1896 – Malmö, Sweden – Nordic Industrial and Handicraft Exhibition 1896 – Berlin, Germany – Great Industrial Exposition of Berlin 1896 – Mexico City, Mexico – International Exposition (1896) (never held) 1896 – Cardiff, United Kingdom – Cardiff Fine Arts, Industrial, and Maritime Exhibition 1896 – Geneva, Switzerland – Exposition National Suisse 1897 – Brussels, Belgium – Exposition Internationale de Bruxelles (1897) 1897 – Arcachon, France – Arcachon International Exposition 1897 – Guatemala City, Guatemala – Exposición Centroamericana 1897 – London, United Kingdom – Imperial Victorian Exhibition 1897 – Brisbane, Queensland – Queensland International Exhibition 1897 – Chicago, Illinois, United States – Irish Fair (1897) 1897 – Nashville, Tennessee, United States – Tennessee Centennial and International Exposition 1897 – Stockholm, Sweden – General Art and Industrial Exposition of Stockholm 1897 – Kiev, Russian Empire – Agricultural Exhibition 1898 – Buenos Aires, Argentina – National Exhibition 1898 – Jerusalem, Ottoman Empire – Universal Scientific and Philanthropic Exposition (1898) 1898 – Auckland, New Zealand – Auckland Industrial and Mining Exhibition 1898 – Dunedin, New Zealand – Otago Jubilee Industrial Exhibition (1898) 1898 – Omaha, Nebraska, United States – Trans-Mississippi Exposition 1898 – Bergen, Norway – International Fisheries Exposition (1898) 1898 – Munich, Germany – Kraft – und Arbeitsmaschinen-Ausstellung (1898) 1898 – San Francisco, California, United States – California's Golden Jubilee (1898) 1898 – Turin, Italy – Esposizione Generale Italiana 1898 – Vienna, Austria-Hungary – Jubiläums-Ausstellung 1898 – Launceston, Tasmania – Tasmanian Juvenile Industrial Exhibition 1898 – Grahamstown, South Africa – Industrial and Arts Exhibition 1899 – Coolgardie, Western Australia – Western Australian International Mining and Industrial Exhibition 1899 – Como, Italy – Como Electrical Exhibition 1899 – Omaha, Nebraska, United States – Greater America Exposition 1899 – Philadelphia, Pennsylvania, United States – National Export Exposition 1899 – London, United Kingdom – Greater Britain Exhibition 1900s 1900 – Paris, France – Exposition Universelle (1900) – Le Grand Palais 1900 – Adelaide, South Australia – Century Exhibition of Arts and Industries (1900) 1900 – Christchurch, New Zealand – Canterbury Jubilee Industrial Exhibition 1901 – Bendigo, Australia – Victorian Gold Jubilee Exhibition 1901 – Buffalo, New York, United States – Pan-American Exposition 1901 – Glasgow, United Kingdom – Glasgow International Exhibition (1901) 1901 – Vienna, Austria-Hungary – Bosnische Weihnachts-Ausstellung (1901) 1901 – Charleston, South Carolina, United States – South Carolina Inter-State and West Indian Exposition 1902 – Vienna, Austria-Hungary – International Fishery Exposition 1902 – Turin, Italy – Esposizione Internazionale d'Arte Decorativa Moderna 1902 – Hanoi, French Indochina – Hanoi exhibition (Indo China Exposition Française et Internationale) 1902 – Lille, France – International Exposition of Lille 1902 – Cork, United Kingdom – Cork International Exhibition 1902 – Wolverhampton, United Kingdom – Wolverhampton Art and Industrial Exhibition 1902 – St. Petersburg, Russia – International Fisheries Exhibition 1902 – New York City, United States – United States, Colonial and International Exposition (1902) (never held) 1902 – Toledo, Ohio, United States – Ohio Centennial and Northwest Territory Exposition (1902) – (never held) 1903 – Melbourne, Australia – Australian Federal International Exhibition 1903 – Osaka, Japan – Fifth National Industrial Exhibition 1904 – St. Louis, Missouri, United States – Louisiana Purchase Exposition (also called Louisiana Purchase International Exposition and Olympic Games ): 1904 Summer Olympics 1904 – Cape Town, South Africa – Cape Town Industrial Exhibition 1905 – Portland, Oregon, United States – Lewis and Clark Centennial Exposition 1905 – Liège, Belgium – Exposition universelle et internationale de Liège (1905) 1905 – London, United Kingdom – Naval, Shipping and Fisheries Exhibition 1905 – New York City, United States – Irish Industrial Exposition (1905) 1906 – Vienna, Austria-Hungary – Hygiene Exhibition 1906 – Milan, Italy – Esposizione Internazionale del Sempione 1906 – London, United Kingdom – Imperial Austrian Exhibition 1906 – Marseille, France – Exposition coloniale (1906) 1906 – Bucharest, Romania – Romanian General Exposition 1906 – Tourcoing, France – International Exposition of Textile Industries 1906–1907 – Christchurch, New Zealand – International Exhibition (1906) 1907 – Bordeaux, France – International Maritime Exposition [fr] 1907 – Tokyo, Japan – Tokyo Industrial Exhibition 1907 – Bergen, Norway – Nordic Marine Motor Exhibition 1907 – Dublin, United Kingdom – Irish International Exhibition 1907 – Hampton Roads, Virginia, United States – Jamestown Exposition 1907 – Chicago, Illinois, United States – World's Pure Food Exposition (1907) 1907 – Mannheim, Germany – Internationale Kunst-Ausstellung (1907) 1908 – Marseille, France – Exposition of Electricity 1908 – Trondheim, Norway – Scandinavian Fisheries Exhibition 1908 – Zaragoza, Spain – Hispano-French Exposition of 1908 1908 – London, United Kingdom – Franco-British Exhibition (1908) 1908 – Edinburgh, United Kingdom – Scottish National Exhibition 1908 – New York City, United States – International Mining Exposition (1908) 1908 – Rio de Janeiro, Brazil – Exhibition of the centenary of the opening of the Ports of Brazil 1908 – Marseille, France – Exposition International de l'Electricite 1909 – London, United Kingdom – Imperial International Exhibition 1909 – Nancy, France – Exposition Internationale de l'Est de la France 1909 – Seattle, Washington, United States – Alaska-Yukon-Pacific Exposition 1909 – New York City, United States – Hudson-Fulton Celebration 1909 – San Francisco, California, United States – Portolá Festival (1909) 1909 – Quito, Ecuador – National Ecuadorian Exposition 1910s 1910 – Vienna, Austria-Hungary – International Hunting Exposition 1910 – Santiago, Chile – International Agricultural and Industrial Exposition 1910 – Bogotá, Colombia – Exposición del Centenario de la independencia (1910) 1910 – Nanking, China – Nanyang Industrial Exposition 1910 – Brussels, Belgium – Brussels International 1910 1910 – Buenos Aires, Argentina – Exposición Internacional del Centenario 1910 – Nagoya, Japan – Nagoya Industrial Exhibition 1910 – London, United Kingdom – Japan–British Exhibition 1910 – San Francisco, California, United States – Admission Day Festival (1910) September 8, 9, 10 1910 – Vienna, Austria-Hungary – Internationale Jagd-Ausstellung (1910) 1911 – Charleroi, Belgium – Charleroi Exposition 1911 – Havana, Cuba – Cuban National Exposition 1911 – Roubaix, France – International Exposition of Northern France 1911 – Dresden, Germany – International Hygiene Exhibition 1911 – London, United Kingdom – Coronation Exhibition (1911) 1911 – London, United Kingdom – Festival of Empire 1911 – Rome, Italy – Esposizione internazionale d'arte (1911) 1911 – Wellington, New Zealand – Coronation Industrial Exhibition 1911 – Turin, Italy – Turin International 1911 – Omsk, Russia – Western Siberian Exhibition 1911 – Glasgow, United Kingdom – Scottish Exhibition of National History, Art and Industry 1911 – New York City, United States – International Mercantile Exposition (1911) 1912 – Manila, Philippines – Philippine Exposition (1912) 1912 – London, United Kingdom – Latin-British Exhibition 1912, 1917 – Tokyo, Japan – Grand Exhibition of Japan (planned for 1912, postponed to 1917 and then never held) 1913 – Melbourne, Australia - Great All-Australian Exhibition 1913 – Leipzig, Germany – International Building Trades Exposition 1913 – Auckland, New Zealand – Auckland Exhibition 1913 – Ghent, Belgium – Exposition universelle et internationale (1913) 1913 – Amsterdam, Netherlands – Tentoonstelling De Vrouw 1813–1913 1913 – Kiev, Russian Empire – All Russian Exhibition 1913 – Knoxville, Tennessee, United States – National Conservation Exposition 1914 – London, United Kingdom – Anglo-American Exhibition 1914 – Malmö, Sweden – Baltic Exhibition 1914 – Boulogne-sur-Mer, France – International Exposition of Sea Fishery Industries (1914) 1914 – Lyon, France – Exposition internationale urbaine de Lyon 1914 – Tokyo, Japan – Tokyo Taisho Exposition 1914 – Cologne, Germany – Werkbund Exhibition (1914) 1914 – Bristol, United Kingdom – International Exhibition (1914) 1914 – Nottingham, United Kingdom – Universal Exhibition (1914) (work begun on site 1913 but never held) 1914 – Semarang, Dutch East Indies – Colonial Exhibition of Semarang (Colonial Exposition) 1914 – Christiania, Norway – 1914 Jubilee Exhibition (Norges Jubilæumsutstilling) 1914 – Baltimore, United States – National Star-Spangled Banner Centennial Celebration 1914 – Genoa, Italy – International exhibition of marine and maritime hygiene 1915 – Casablanca, Morocco – Casablanca Fair of 1915 1915 – San Francisco, California, United States – Panama–Pacific International Exposition Palace of Fine Arts 1915 – Panama City, Panama – Exposición Nacional de Panama (1915) 1915 – Richmond, United States – Negro Historical and Industrial Exposition (1915) 1915 – Chicago, United States – Lincoln Jubilee and Exposition (1915) 1915–1916 – San Diego, California, United States – Panama–California Exposition 1916 – Wellington, New Zealand – British Commercial and Industrial Exhibition 1918 – New York City, United States – Bronx International Exposition of Science, Arts and Industries 1918 – Los Angeles, United States – California Liberty Fair (1918) 1920s 1920 – Adelaide, Australia – All-Australian Peace Exhibition 1920 – Shanghai, China – American-Chinese Exposition 1921 – Riga, Latvia – International Exhibition of Agriculture and Industry 1921 – Wellington, New Zealand – Exhibition of New Zealand Industries 1921 – London, United Kingdom – International Exhibition of Rubber and Other Tropical Products (1921) 1922 – Marseille, France – Exposition nationale coloniale (1922) 1922 – Tokyo, Japan – Peace Exhibition (1922) 1922 – Christchurch, New Zealand – Exhibition of New Zealand Industries 1922–1923 – Rio de Janeiro, Brazil – Exposição do Centenario do Brasil (1922) 1923 – Auckland, New Zealand – Dominion Industrial Exhibition 1923 – Los Angeles, United States – American Historical Review and Motion Picture Exposition (1923) 1923 – Calcutta, India – Calcutta Exhibition (1923) preparatory to British Empire Exhibition 1923 – Moscow, Soviet Union – All-Russian Agricultural and Domestic Industries Exhibition 1923 – Gothenburg, Sweden – Gothenburg Exhibition (1923) (Jubileumsutställningens i Göteborg) (Liseberg) 1923–1924 – Hokitika, New Zealand – British and Intercolonial Exhibition 1924 – Wembley, London, United Kingdom – British Empire Exhibition 1924 – New York City, United States – French Exposition (1924) 1924–1925 Buenos Aires, Argentina – Industrial Exposition 1925 – Adelaide, Australia – All-Australian Exhibition 1925 – Wellington, New Zealand – Dominion Industrial Exhibition 1925 – San Francisco, California, United States – California's Diamond Jubilee (1925) 1925 – Paris, France – International Exhibition of Modern Decorative and Industrial Arts 1925–1926 – Dunedin, New Zealand – New Zealand and South Seas International Exhibition 1926 – Philadelphia, Pennsylvania, United States – Sesquicentennial Exposition 1926 – Berlin, Germany – Internationale Polizeiausstellung (1926) 1927 – Lyon, France – Foire internationale (1925) 1927 – Stuttgart, Germany – Werkbund Exhibition 1928 – Cologne, Germany – International Press Exhibition 1928 – Long Beach, United States – Pacific Southwest Exposition (1928) 1929 – Newcastle upon Tyne, United Kingdom – North East Coast Exhibition 1929 – Hangzhou, China – Westlake Exposition 1929–1930 – Seville, Spain – Ibero-American Exposition of 1929 1929–1930 – Barcelona, Spain, – 1929 Barcelona International Exposition 1930s 1930 – Adelaide, Australia – All-Australian Exhibition 1930 – Antwerp, Belgium – Exposition internationale coloniale, maritime et d'art flamand 1930 – Liège, Belgium – Exposition internationale de la grande industrie, sciences et applications, art wallon ancien 1930 – Oran, Algeria – Oran Exposition 1930 – Dresden, Germany – International Hygiene Exposition 1930 – Stockholm, Sweden – Stockholm Exhibition (1930) (Utställningen av konstindustri, konsthandverk och hemslöjd) 1930 – Trondheim, Norway – Trøndelag Exhibition 1931 – Paris, France – Paris Colonial Exposition 1931 – Berlin, Germany – International Building Exposition 1932 – Tel Aviv, Palestine – Levant Fair 1933 – Tokyo, Japan – Women's and Children International Exhibition 1933–1934 – Buenos Aires, Argentina – Industrial Exposition 1933–1934 – Chicago, Illinois, United States – Century of Progress International Exposition 1934 – Melbourne, Australia – Centenary All Australian Exhibition 1934 – Porto, Portugal – Portuguese colonial exhibition 1934 – Tel Aviv, Palestine – Levant Fair 1935 – Yokohama, Japan – Grand Yokohama Exposition 1935 – Moscow, Soviet Union – All-Union Agricultural Exhibition (VSKhV) 1935 – Brussels, Belgium – Brussels International Exposition (1935) 1935 – Porto Alegre, Brazil – Farroupilha Revolution centennial fair 1935 – Taipei. Taiwan – The Taiwan Exposition: In Commemoration of the First Forty Years of Colonial Rule 1935–1936 – San Diego, California United States – California Pacific International Exposition 1936 – Adelaide, Australia – Adelaide Centennial Exhibition 1936 – Stockholm, Sweden ILIS 1936 1936 – Tel Aviv, Palestine – Levant Fair 1936 – Cleveland, United States – Great Lakes Exposition 1936 – Dallas, Texas, United States – Texas Centennial Exposition 1936–1937 – Johannesburg, South Africa – Empire Exhibition, South Africa 1937 – Cleveland, Ohio, United States – Great Lakes Exposition 1937 – Dallas, United States – Greater Texas & Pan-American Exposition 1937 – Berlin, Germany – International Hunting Exposition 1937 – Düsseldorf, Germany – Reichsausstellung Schaffendes Volk 1937 – Miami, United States – Pan American Fair (1937) 1937 – Paris, France – Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937) 1937 – Nagoya, Japan – Nagoya Pan-Pacific Peace Exposition 1938 – Berlin, Germany – International Handiworks Exposition 1938 – Glasgow, United Kingdom – Empire Exhibition, Scotland 1938 1938 – Helsinki, Finland Second International Aeronautic Exhibition 1939 – Wellington, New Zealand – New Zealand Centennial Exhibition 1939 – Liège, Belgium – Exposition internationale de l'eau (1939) 1939 – Zürich, Switzerland – Schweizerische Landesausstellung 1939 – Moscow, Soviet Union – All-Union Agricultural Exhibition 1939–1940 – New York City, United States – 1939 New York World's Fair (exhibits included The World of Tomorrow, Futurama, Trylon and Perisphere) 1939–1940 – San Francisco, California, United States – Golden Gate International Exposition 1940s 1940 – Lisbon, Portugal – Portuguese World Exhibition 1940 – Chicago, Illinois, United States – American Negro Exposition 1940 – Los Angeles, California, United States – Pacific Mercado (never held) 1940 – Naples, Italy – Mostra Triennale delle Terre Italiane d’Oltremare (Triennial Exhibition of Overseas Italian Territories) 1940 – Tokyo, Japan – Grand International Exposition of Japan (1940) (never held) 1942 – Los Angeles, California, United States – Cabrillo Fair (1942) (never held) 1942 – Rome, Italy – Esposizione universale (1942) (E42) (never held) 1943 – Stockholm, Sweden – Norwegian Exhibition 1947 – Paris, France – International Exhibition on Urbanism and Housing 1948 – Brussels, Belgium – Foire coloniale (1948) 1949 – Stockholm, Sweden – Universal Sport Exhibition 1949 – Lyon, France – International Exhibition on Urbanism and Housing 1949–1950 – Port-au-Prince, Haiti – Exposition internationale du bicentenaire de Port-au-Prince 1950s 1951 – Lille, France – The International Textile Exhibition 1951 – London, United Kingdom – Festival of Britain – Skylon 1952 – Colombo, Ceylon – Colombo Exhibition 1953 – St Louis, Missouri, United States – intended to commemorate the Louisiana Purchase's sesquicentennial, but never held 1953 – Manila, Philippines – the Philippines International Fair of 1953, 1 February – 30 April 1953, to show off the recovery of the Philippines from WW2 and as the first democracy in the Far East 1953 – Jerusalem, Israel – International Exhibition and Fair Jerusalem Israel Conquest of the desert 1953 – Rome, Italy – Agricultural Exposition of Rome EA 53 Rome 1954 – Naples, Italy – Oltremare Exhibition – Campi Flegrei 1954 – Bogota, Colombia – First International Industry and Commerce Fair of Bogota 1954–1955 – São Paulo, Brazil – Fourth Centenary Exhibition 1955 – Turin, Italy – International Expo of Sport Turin 1955 1955 – Helsingborg, Sweden Helsingborg Exhibition 1955 1955 – Ciudad Trujillo (Santo Domingo), Dominican Republic – Feria de la Paz y Confraternidad del Mundo Libre 1956 – Beit Dagan, Israel – Exhibition of citriculture 1957 – Berlin International Building Exposition 1958 – Brussels, Belgium – Expo '58 (Exposition Universelle et Internationale de Bruxelles) – Atomium 1959 – New Delhi, India – World Agricultural Fair 1959 – Moscow, Soviet Union – VDNKh 1960s 1960 – cancelled (planned site: Caracas, Venezuela) 1961 – Turin, Italy – Exposition International du Travail Expo 61 1962 – Seattle, United States – Century 21 Exposition – Space Needle 1964 – Lausanne, Switzerland – Expo 64 – Schweizerische Landesausstellung 1964–1965 – New York City, United States – 1964/1965 New York World's Fair (note: not sanctioned by the Bureau International des Expositions) – Unisphere 1965 – Munich, Germany – International Exhibition of Transport and Communication 1967 – Montreal, Quebec, Canada – Expo 67, (Universal and International Exhibition of 1967) 1968 – San Antonio, Texas, United States – HemisFair '68 – Tower of the Americas 1970s 1970 – Osaka, Japan – Expo '70 (Japan World Exposition) 1971 – Budapest, Hungary – Expo 71 (Exhibition World of Hunting) 1974 – Spokane, Washington, United States – Expo '74 (International Exposition on the Environment) – Riverfront Park 1975 – Okinawa, Japan – Expo '75 (International Ocean Exposition) 1980s 1981 – Plovdiv, Bulgaria – Expo 81 1982 – Knoxville, Tennessee, United States – 1982 World's Fair (International Energy Exposition) – Sunsphere 1984 – New Orleans, Louisiana, United States – 1984 Louisiana World Exposition [a.k.a., 1984 World's Fair] (Theme: "Fresh Water As A Source of Life") 1984 – Liverpool, United Kingdom International Garden Festival Liverpool'84 1985 – Plovdiv, Bulgaria – Expo 85 1985 – Tsukuba, Japan – Expo 85 1986 – Vancouver, British Columbia, Canada – Expo 86 (1986 World Exposition) to date, the last World's Fair to be held in North America 1988 – Brisbane, Australia – Expo '88 (World Expo '88) – Skyneedle 1989 – Nagoya, Japan – World Design Exhibition 1989 1990s 1991 – Plovdiv, Bulgaria – Second World Exhibition of inventions of the young 1992 – three expositions (1 was cancelled) celebrating 500 years since Christopher Columbus reached the Americas Seville, Spain – Seville Expo '92 Universal Exposition, port where Columbus started his voyage Genoa, Italy – Genoa Expo '92 Specialized Exposition, city where Columbus was born Columbus, Ohio, United States - AmeriFlora '92 Horticultural Exposition, city named in honor of Columbus Chicago, Illinois, United States (Cancelled) – meant to generically represent the Americas-side of Columbus' voyage 1993 – Daejeon (Taejon), South Korea – Expo '93 1995 – Vienna, Austria which was proposed to be a joint exhibition with Budapest. This was never held 1996 – cancelled (planned site: Budapest, Hungary) 1998 – Lisbon, Portugal – Expo '98 1999 – Kunming, China – World Horticultural Exposition 2000s 2000 – Hanover, Germany – Expo 2000 2000 – Greenwich, London, United Kingdom – Millennium Dome 2002 – cancelled (planned site: Metro Manila, Philippines) 2002 – cancelled (planned site: Gold Coast, Queensland, Australia) 2002 – Biel, Murten, Neuchâtel and Yverdon-les-Bains in Switzerland – Expo.02 2004 – cancelled (planned site: Seine-Saint-Denis, France) 2004 – Barcelona, Spain – Universal Forum of World Cultures 2005 – Aichi, Japan – Expo 2005 2008 – Zaragoza, Spain – Expo 2008 2010s 2010 – Shanghai, China – Expo 2010 2012 – Yeosu, South Korea – Expo 2012 2015 – Milan, Italy – Expo 2015 2017 – Astana, Kazakhstan – Expo 2017 2020s 2021–2022 – Dubai, United Arab Emirates — Expo 2020 2023 – Buenos Aires, Argentina — Expo 2023 – Cancelled Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. Great Exhibition London, Great Britain, 1851​ The London "Crystal Palace Exhibition" was the first prominent worldwide industrial exhibition. A whole 28 countries with a total of 17,062 exhibitors on a total area of over 80,000 square meters took part and received about six million visitors in six months, a quantity comparable to about one third of the total population of Great Britain at that time. To appreciate the full scale, it is necessary to imagine that the gigantic glass house, fitted with cast-iron frame elements, was estimated to be three times the size of St Paul's Cathedral or four times the size of St Peter's Basilica. In total, it is said, 4,000 tons of iron were processed for columns, trellis girders and gutters and about 153,000 square meters of glass were produced. 80 glaziers are said to have installed 18,000 panes in one week and more than 5,000 workers are said to have been employed on the building during the construction phase. A civil engineer remarked about the Crystal Palace: Add to this the fact that simple automation processes for the mass production of glass did not develop until 30 years later. So everything had to be produced by hand, and the distance from the glassworks in Smethwick to Hyde Park, where the Crystal Palace was originally built, was around 209 km. And as if all this wasn't fantastic enough, the glass palace was completely dismantled after the exhibition, and then re-built in a larger form in Sydenham Hill and used as a museum there. To bring visitors to the London exhibition site, two stations were newly built, both confusingly called "Crystal Palace" and differing only in their underground and overground locations respectively. The fire that destroyed the Crystal Palace in 1936 made the "High Level Station" virtually redundant, which is why it was eventually demolished. The beautifully tiled subway, supposedly built by Italian masons and stonemasons, however, survived. Incidentally, parliamentary buildings made of wood and plaster were erected especially for the "Festival of the Empire", which was one of the largest single events at London's Crystal Palace and took place on 12 May 1911. These buildings were also intended to be used only temporarily and were connected by an electric tramway, the so-called "All-Red Route". For example, the replica of the Canadian and New Zealand Parliament Buildings, the former visible on the left in the foreground of the Crystal Palace. On November 30, 1936, however, the Crystal Palace fell victim to a devastating major fire. The fire burned with great intensity all night, even 20 hours later there were reportedly still pockets of fire. The British press considered the destruction of the Crystal Palace a serious blow to the political power of England, and the public wondered "how steel and glass can burn so fiercely". It is important to know that in glass production the raw materials are heated to about 1,600 to 1,800 °C, but finished glass can melt between 600 and 800 °C. The melting point of cast iron is relatively low when compared to other alloys. Cast iron, when compared with other alloys, has a relatively low melting point of around 1150°C. But the question is where the temperatures should have come from and whether furnishings would already have been sufficient to generate heat of this magnitude. Incidentally, there has never been an official investigation into this incident, and the fire is still considered unsolved to this day. LONDON, ENGLAND 1851 The Great Exhibition of the Arts & Industries of All Nations Dates Open - May 1 to October 11, 1851. No Sunday openings. Was also open Monday and Tuesday, October 13-14 to exhibitors with the Closing Ceremony on October 15. Attendance - Total paid and season ticket admissions, 6,039,195. International Participants - 50 nations and 39 colonies/protectorates. Total Cost - 335,742 pounds ($1,678,710) Site Acreage - Entire site within Hyde Park covered 26 acres. The Great Exhibition building sat on 19 acres within the entire site. Sanction - Prior to the Bureau of International Exhibitions. Although often called a Universal Exhibition due to its broad scope, it would not be considered a Universal style exhibition in the 21st century due to its size. The exhibition was organized by a Royal Commission with Prince Albert playing a central role. The government supported the idea in principal, but not financially. Ticket Cost - Adult admission prices ranged from 1 shilling (25 cents) to 5 shillings ($1.25) to 2 shillings and 6d (63 cents) to 1 pound ($5.00), depending on the day. The average daily price was 59 cents. Exhibitions were part of the landscape in continential Europe as well as the English isles from the beginning of the late 1800s with the Society of Art hosting annual exhibitions from 1845 forward. When the idea of hosting the next in the series of national exhibition for 1851 was brought forward, the idea of turning it into an international event was broached. This idea was not a new one, as other events had both solicited foreign contributions, i.e. Birmingham 1849, only to receive none, and the French national exhibition in the same year desired to be international, but the idea did not go over well with French manufacturers who did not want to compete against foreign products. On June 30, 1849, Prince Albert met with several colleagues, including Henry Cole, who had recently visited the Paris national exhibition and their idea, although turned down, of making in an international event. Prince Albert concurred and the committee agreed on six goals. 1) ... that the exhibit would have four divisions, (raw materials, machinery, manufactured products, and sculpture and plastic art generally.) 2) ... that it would be held in a temporary building in Hyde Park. 3) ...that the scope would be International. 4) ...that substantial prizes should be offered. 5) ...that a Royal Commission, with Prince Albert at its head, should carry out the plans. 6) ... and that funds would be raised by voluntary subscriptions and collected by the Royal Society of Arts. On January 3, 1850, a Royal Commission was granted charter by the Government, taking over responsibilily from the Society of Arts. A subscription fund was launched on January 25, with the first list headed by the Queen and Prince Albert. By end of February, 70,000 pounds were subscripted, but more donations came in slowly. After that hesitant beginning, the guarantee fund rose to 350,000 pounds. The site problem was overcome by the approval of Hyde Park. And Joseph Paxton solved a third problem, of a temporary building of sufficient scope, by proposing the glass and iron Crystal Palace, which required only 17 weeks to erect building. Inside the huge nineteen acre construction, half of the gallery exhibit space was taken by British goods and the remaining space, foreign. More than 40 different countries and their possessions were represented, including France, the most prominent. The opening ceremonies were held on May 1 with Queen Victoria and her husband, Prince Albert, present and pleased. Attendance of over 6 million traipsed past the exhibits during the fair, and after the even was completed, a surplus of 200,000 pounds remained as profit. The surplus was used to acquire land in South Kensington, adjacent to the site. Subsequent years saw the granting of help to the foundations of educations institutions to build on that land and establish a system of scholarships, some of which last until this day. The Crystal Palace itself was rebuilt in a larger version at Sydenham, and used as centre of popular entertainment, instruction, and cultural activities until it was destroyed by a fire in 1936. Nations Austria, Belgium, Bolivia, Brazil, Chile, China, Denmark, Egypt, France, Great Britain, States of Zollervein (Germany not established until 1870, individual kingdoms/states were listed: ... Anhalt, Bavaria, Baden, Bremen, Brunswick, Hesse, Hesse-Darmstadt, Nassau, Prussia, Saxony, Saxe-Meiningen , Frankfurt, Hamburg, Hanover, Lubeck, Oldenburg, Mecklenburg-Strelitz, Mecklenburg-Schwerin, Nuremburg, Thuringia, Wurtemburg...), Greece, Haiti, Holland, Mexico, New Granada (Columbia), Persia Portugal, Italy (Italy not established until 1861, individual kingdoms/states lited until then: ... Rome, Sardinia, Tuscany, Naples ...), Russia, Spain, Sweden & Norway, Switzerland, Tunis, Turkey, United States of America. Colonies/Protectorates Algiers, Society Island, East Indies, Indian Archipelago, Jersey Guernsey, Ceylon, Ionian Islands, Malta, Cape of Good Hope, Natal, West Coast of Africa, Canada, Nova Scotia, Newfoundland, New Brunswick, St. Helena, Mauritius, Ile Maurice, Seychelles, St. Domingo, Grenada, Montserrat, St. Kitt's, Barbados, Antigua, British Guiana, Bahamas, Trinidad, the Bermudas, South Australia, Western Australia, New Zealand, New South Wales, Van Diemen's Land, Labuan and Borneo, Hong Kong, Jamaica, Madere. Historian's Perspective Thomas Prasch - "The London sequence features a steady decline in interest and level of national profile after the stellar debut of the Crystal Palace in 1851. It is worth noting that the designers of the exhibition (Henry Cole and his circle most centrally) did not intend a triumphant display of national pride even in 1851, but rather sought to highlight the weaknesses of English production, especially in regard to design. The notion of the Crystal Palace as a great triumph of English supremacy, therefore, does not fit their own intentions. ... concerns before opening over crowd control, especially the behavior of working-class visitors. This changed almost immediately after opening. For 1851, practically the only significant voice of dissent was John Ruskin, but it's a great dismissal: he compared the Crystal Palace to a "giant cucumber frame." "Well, it's the first world's fair, that counts for a lot. Also significant displays of new technology, most of it industrial but also photography. The building itself becomes a prototype for glass-and-steel buildings for the rest of the century. The themes for the S. Kensington fair all involve the developing program of Cole and his circle for a reinvigoration of English design and a bridge between arts and technology. This was served the the development of the major museums at S. Kensington (Victoria & Albert, museums of science, naturual history, etc.) Over the course of the quarter century after 1851. So the themes are designed very much for the English industrial context and fit very well. In the London sequence, the funding for the first fair was by subscription and generally fairly secure, although cost overruns presented some problems in the rush toward completion. The profits of 1851 in turn finance later fairs." Season Tickets Price: 3 pounds 3 shillings for men ($15.75), 2 pounds 2 shillings for women ($10.50) Number of Season Tickets Sold: 25,605 and used 773,766 times, for average use of 30.22. Expo Tidbits What musical instrument did Antoine Sax introduce at the London fair of 1851? False teeth, chewing tobacco, and rubber (vulcanized) boots were introducted by Charles Goodyear. The first International yacht race was held. The term "Crystal Palace" was first applied by "Punch" in an issue sold 11-2-1850. Panes of glass used: 293,655. Iron used: 4500 tons. The interior color scheme: (red, light blue, white). There were hanging banners for each country and class of material in red with white lettering & borders. The exterior was white or stone color, picked out in blue. Total amount of exhibit space - 991,857 square feet. Largest attendance - October 7 - 109,915 with 93,224 in the Crystal Palace at one time on the same day. April 1 to September 30, 1851. 4,237,240 people arrived in London, 50% more than in same period of the previous year. Nothing but refreshment sold inside the Crystal Palace with Messrs. Schweppes held catering concession. Legacies Colebrookdale Gates (in north transept) which divides Kensington Gardens from Hyde Park. Exhibition Road. Paxton's Head public house Knightsbridge. Prince Albert's model dwellings in Kennington. The Memorial to the exhibition behind Albert Hall. Mosaic in the quadrangle of Victoria and Albert Museum. The Catalogue of the exhibition in the Prince Consort's right hand in statue on Albert Memorial. 87 acres of land in South Kensington bought with the surplus where now stands Victoria and Albert Hall, the Science Museum, the Natural History Museum, the Geological Museum, the Imperial College of Science & Technology, the Royal College of Art, and the Royal College of Music. Some Legacy Institution Links Crystal Palace Foundation and the Crystal Palace Museum Victoria and Albert Museum Joseph Paxton Society London 1851 - Outside the Great Exhibition Other London commercial exhibits and government attractions around London had a banner year in 1851 due to the opening of the Crystal Palace. Windsor Castle drew 31,228 in 1850, 129,400 in 1851. British Museum 720,643 in 1850, 2,230,242 in 1851. Tower of London-Armory 32,313-1850, 233,561-1851. Tower of London Crown Jewels 32,888 to 209,000-1851. Reports from the Participants "Greece" The Great Exhibition of 1851 - the mental Olympic games of the united world! GREECE. 25 Finsbury Circus, London, February 27, 1852 GENTLEMEN - As the labours of the Greek Committee in connexion with the Great Exhibition of 1851 are now terminated, the Committee desire me, before separating, to express to His Royal Highness Prince Albert, and the Royal Commissioners, their most grateful thanks for the unceasing support and valuable facilities invariably afforded them upon every occasion, during the tenure of their office, in their efforts to carry into effect the part assigned them in those gloriously conceived and newly revived Olympic games, in which not the physical, but the mental powers of the united world have been called into friendly competition, in order to augment and advance the sources of happiness, and the well-being of mankind. The Committee feel it a pleasurable duty to request the Royal Commissioners to convey to the indefatigable Captain Owen their especial acknowledgments for his constant urbanity, valuable advice and assistance, upon all occasions when referred to; which not only lightened their exertions, but proved most advantageous, by enabling them to complete their arrangements in an efficient manner. I have the honour to be, with the highest respect and consideration, GENTLEMEN, Your most obedient, most humble Servant, (In the absence of the President of the Greek Committee,) P. RALLI (Signed) D.P.SCARAMANGA The Secretary. The Royal Commissioners of the Great Exhibition of 1851 Source: OFFICIAL DESCRIPTION AND ILLUSTRATED CATALOGUE OF THE GREAT EXHIBTION 1851, published by Spicer Brothers, December 1852 Much thanks to John Greatrex at the Crystal Palace Foundation for pointing out this report. Those in Charge The Royal Commission included... Lord John Russell, then Prime Minister, Sir Robert Peel, Lord Stanley, W.E. Gladstone, Lord Granville, Vice President of Government. Henry Labouche're, Charles Barry, architect, Robert Stephenson and William Cubitt, engineers, Sir Charles Eastlake, President of the Royal Academy, and Sir Charles Lyell, geologist. Detailed work continued in hands of the Trustees, Treasurers, and an Executive Committee formed from the Society of Arts. Scott Russell and Sir Stafford Northcote were the two joint secretaries with Henry Cole on Executive Committee. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. 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This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. 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Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. How Many World Fairs Did Paris Host in the 19th Century? World Fairs were significant events during the 19th century, and the legendary fairs in Paris showcased artistic and industrial excellence. The 19th century was a momentous period in Parisian history, when significant breakthroughs in art, industry and science were made. One of the most outward expressions of Parisian success were the Paris World Fairs, which cemented the city’s place as a world-leading political capital. These vast events spread out across the entire city and included new temporary and permanent buildings, along with displays of industrial developments and works of art from around the world. Some of the highlights of the Paris World Fairs even went on to become iconic, permanent landmarks, including the Eiffel Tower, and the head of the Statue of Liberty, which later made its way to the United States. Below are the five Paris World Fairs that altered the course of history. 1. The First Paris World Fair: 1855 The very first Paris World Fair took place in 1855. It was organized by Emperor Napoleon III as a promotional tool to assert his new position in power, signifying a landmark moment in France’s history. The World Fair centered around a brand-new exhibition hall – the Palais de l’Industrie on the Champs Elysees. Two new smaller buildings also accompanied this space – the Galerie des Machines and the Palais des Beaux-Arts. Inside these exhibition rooms were a series of world-renowned exhibits dedicated to industry. Meanwhile, a temporary construction next to the Galerie des Machines was designed by the architect Hector LeFuel to house artworks from around the world. 2. The Fair of 1867 The second World Fair in Paris was also organized by Napoleon III to take place in 1867. Again, the event was a powerful strategic move, aimed at bringing attention and political gain to Paris. The main exhibition space for the 1867 Paris World Fair was the Palais du Champ-de-Mars, built by Frederic LePlay, with help from the up-and-coming engineer Gustave Eiffel. This exhibition hall was circular in design, and the fair designers took advantage of this layout, arranging industrial exhibits in the outer circles, while the inner circles were dedicated to art. In the center, a small building housed a display dedicated to currency and coins from around the world. It was a momentous event, larger than the previous one, with a series of pavilions, restaurants and amusement parks constructed around the central building to draw huge crowds. 3. Paris World Fair of 1878 By contrast, the 1878 Paris World Fair took place in a very different political climate. Against the backdrop of the Prussian War, the Paris commune and the downfall of the empire, France was in a vulnerable and unstable state. The officials of the Third Republic decided that a World Fair could bolster France’s popularity on the international stage, even if they could barely afford it. One of the highlights of the fair was the recently completed Head of the Statue of Liberty, which went on display for a brief spell in a Parisian park before being shipped to the United States. Other highlights included the temporary construction of the Palais du Champ-du-Mars (Gustave Eiffel helped with its design!), and the permanent Palais du Trocadero, which later became a concert hall. 4. 1889: The Year of the Eiffel Tower The 1889 Paris World Fair was the second to take place in a republican regime in France. It was a historically significant year for France, marking the 100th anniversary of the French Revolution, so the pressure was on to create something spectacular. The fair was larger and more ambitious than in previous years, taking place in the Palais du Trocadero and the Champ-de-Mars, while several temporary pavilions and pop-up spaces formed satellites around it. Meanwhile, East of the main site, the Esplanade des Invalides showcased a display dedicated to colonial art. But by far the greatest and most controversial aspect of the fair was the unveiling of the Eiffel Tower, which divided public opinions and caused an international sensation. Only meant to be temporary for 20 years, the tower is now an iconic landmark for the city. 5. The Grand Event in 1900 The fifth World Fair in Paris was in 1900, a centenary display of epic and ambitious proportions. Paris was also hosting the Olympic Games in the same year, making the city the center of public attention around the world. A series of new buildings popped up, including the Grand Palais and the Petit Palais, while the government extended the Esplanade des Invalides and Petit Palais. They even painted the Eiffel Tower bright yellow to mark the occasion! A series of visitor attractions pulled in tourists far and wide – these included moving walkways (trottoirs roulants), the Electricity Palace, and a series of night-time water and light displays to dazzle the public at the dawn of a new age. Dates Open - May 15 to November 15, 1855. Exhibition was open on Sundays. Attendance - 5,162,330 visitors, of which 4,180,117 for the industrial exhibition and 935,601 for fine arts. International Participants - 42 nations and kingdoms and more than 17 colonies. Other sources state 53 foreign states and 22 foreign colonies represented, plus France, three provinces of Algeria, and 8 French colonies. Total Cost - Total Cost $2,257,000, with Palace of Industry (paid for by French government bringing total cost to aorund $5.7 million). Loss of $1.6 million reported. Site Acreage - 34 total acres with 24 acres covered. Location was the Champ de Elysees. Sanction and Type - Prior to the Bureau of International Exhibitions. Paris 1855 would be considered a small scale registered event today. Ticket Cost - Season ticket - $20, Daily ticket 20 cents (1 franc), Friday (reserved day) $1, Sundays 8 cents. The French were still at war in the Crimea with Russia and London had hosted the first World's Fair in London in 1851, so Napoleon Bonaparte III (not the original) announced that this time their series of national expositions would be international and it would be held in 1855 with a newly constructed Palais de l'Industrie as its main building. On March 27, 1852, Napoleon III decreed construction of the overdue Palais de l'Industrie, originally meant to hold national expositions. It was to be built by a private holding company, the Compagnie du Palais de l'Industrie, which would hold title until 1899, then it would revert to the government. Government donated the land where today's Grand-Palais is, guaranteed shareholders 4% interest on investment, and conceded to Compagnie the right to charge admission for events there. The 1855 Universal Exposition was announced by decree on March 8, 1853. The exposition was to be the first to include the fine arts. They were housed in the Palais des Beaux-Arts, a temporary building behind the Palais de l'Industrie. The universal exposition of Art encompassed the works of 28 countries, including France, Spain, Italy, Belgium, Germany, which was not yet unified, (work exhibited under sponsorship of Prussia, Bavaria, Saxony, and other smaller principalities), and Great Britain. Russia did not participate due to the Crimean War against France. In some sections of the exposition, Russian businessmen did exhibit. Exhibitors filled the four buildings despite their late finish; the total number of exhibitors were 23,954 with French 11,986, and foreign 11,968. 21,779 of the exhibits were in the section on industry, 2,175 for the fine arts section. Above photo. From stereograph of the Palais de Industrie 1855, George Stacy, 1865. Courtesy Library of Congress. Below: Lithograph of the interior of the Palais de l'Industrie during a ceremony for exhibitors, November 15, 1855. Photo courtesy University of Maryland Digital Collections. The Palais de Industrie was the main building of the fair, one of four constructed. It was permanent, 765 feet by 354 feet, made of stone, 545,934 square feet, with a roof of reinforced glass. It would last until torn down in 1897. There was a large second building, round, surrounded by a large gallery which displayed the Crown Jewels of France. A third building was a large temporary annex, 446,955 square feet, on the right bank of the Seine River; it held machinery and raw materials. The fourth building was the Palais de Beaux Art with 173,768 square feet. The outcome of the exposition was a financial loss borne by the state and the Palais not considered as special as the London Crystal Palace. The short span between those two fairs may have contributed to the loss, although the appearance of Queen Victoria and Prince Albert to the fair showed that it did have international backing. They were the first British monarchs to set foot on French soil for over four hundred years, since 1422. That cemented the Franco-British alliance, no small feat of itself. Some state that the confusing exhibit classifications were the cause to the loss. Probably hard to pin it on that. Perspective of Historians Historian Margit Mogenson - "All these exhibitions were projects of the official France and as such born to provide "national pride" - for the emperor (1855 and 1867) and for the republic (1878). However it is more difficult to say to which extent the citizens and the public agreed or matched the official policy, especially early in the period (1855)." International Participants Nations and Colonies Listed as Exhibitors: Germany (not country till 1870); Anhalt-Dessau et Coethen, Grand Duchy of Baden, Bavaria, Brunswick, Frankfurt, Hanover, Hesse, Grand Duchy, Duche de Nassau, Prussia, Saxony, Duche de Saxony, Hanseatic Towns, Wurtemburg, Other German States. Austria, Belgium, Denmark, Spain and Colonies, Pontifical States, Greece, Italy, of which (not nation till 1861); Sardinia, Two Sicilies, Toscany. Luxembourg, Norway, Netherlands (Pays-Bas) and Colonies, Portugal and Colonies, United Kingdom, United Kingdom Colonies - (Australia, Canada, British India, Guyana, others including Malta, Ionian Isles, West Africa, Cape of Good Hope, St. Helena, West Indies, Tasmania, New Zealand). Sweden, Switzerland, Turkey, Egypt, Tunisia, United States, Latin America - Guatemala, Costa Rica, Argentina, Paraguay, Peru, New Granada (Columbia), Hawaii. French Colonies - Martinique, Guadaloupe, Reunion, Senegal, Algeria, Gabon, French India, French Oceania, French Guyana Expo Tidbits Loss of the exposition measured against possible $10-30 million estimated benefit to Paris in 1855 from visitors. Estimated 160,000 foreign visitors, including 40,000 British. British government spent $250,000 for expenses of their national exhibit. The McCormack reaper and Goodyear treatment of Indian rubber recieved grand medals of honor. Paris 1855 introduced the sewing machine. High one day attendance: Sunday, September 9, 1855 - 123,017. Legacies Palais de l'Industrie (until 1897). Those in Charge Organizers for the fair included Frederic LePlay, Commissaire ge'ne'ral, and Prince Napoleon, President of Exposition, cousin to Napoleon III himself. Sources: London Times; New York Times; Fair News; Ephemeral Vistas; Historical Dictionary of World's Fairs by Alfred Heller; History of Fairs and Expositions; Worlds Fairs from 1851-1893; Les Fastes du Progres; Official Report of Paris Exposition; Reports of the U.S. Commissioners to Vienna 1873; Bureau of International Exhibitions; Art & Politics of the Second Empire, Mainardi; World's Fairs from London 1851 to Chicago 1893; History of the Louisiana Purchase Exposition. In 1855, the second World’s Fair opened in Paris; Response to the British challenge of the World’s Fair of 1851 . Presented as the "Exhibition of Agricultural, Industrial and Fine Arts Products", it focuses on fine arts and agriculture, enabling to enhance the many French artists and the wealth of local products, including wine. For Napoleon III , it is a matter of affirming the existence of the Second Empire , a young regime faced with European and multi-decadal powers. In response to the Crystal Palace, Napoleon III built the Palace of Industry, also designed as a large canopy. Organized in 30 classes divided into 8 groups, the Exhibition welcomes all nations under the same buildings, so as to be able to compare; A formula that will soon give way to separated National Pavilions. The Palais de l'Industrie exhibits industries, textile and chemical products, as well as furnishings in which cabinetmakers are standing out like Fourdinois, awarded a Grand Medal of Honor for an enamelled ebony cabinet, or Jeanselme to whom Napoleon III purchased a large hunting buffet for his antechamber at the Palace of Saint-Cloud. The house Tahan also makes sensation with a large aviary which is several times reproduced in the international newspapers, and exhibits unique furniture inlaid with the porcelain marquetries of Julien-Nicolas Rivart . The World’s Fair is also the occasion to present small and great inventions which in the long term have led to technical and social revolutions, visible all along the Seine in the Galerie Annexe des Machines. In 1855 were presented : the pendulum of Foucault, Mr. Loysel's percolator to make coffee flow, and the technique of galvanoplasty, which was taken over by the firm Christofle for the realization of bronze and will contribute to its success, or the Singer sewing machine that marks the beginning of the modern era of fashion. Between the Palais de l’Industrie and the Galerie Annexe des Machines, the Rotonde des Panoramas, designed as the central pivot of the Exhibition, hosts luxury industries. Finally, 5,000 paintings are presented in a specific building called the Palace of Fine Arts. The 1855 World’s Fair is a turning point for French painting, which consecrated the great romantics and gave a chance to a certain Gustave Courbet to make his counter-exhibition with the Pavilion of Realism. The exhibition is a success with 14,000 participants and approximately 5,000 visitors, including Queen Victoria at the inauguration, or the Emir Abd-El-Kader, a great opponent of the colonization of Algeria, to whom Napoleon III gave freedom. And in a crowd of anonymous, some young still unknown artists are present, such as Degas, Pissarro, Renoir. Paris hosted five World Fairs. The first of these World Fair’s occurred in 1855 and was called the Exposition Universelle. It came about after Britain hosted the 1851 Great Exhibition of Works of Industry of all Nations. Napoleon III, nephew to Napoleon Bonaparte, hoped to outdo England’s famous exhibition with its Crystal Palace that was used to house that exhibition. He also hoped to increase France’s reputation and popularize his political role in the world. Although Paris’s Exposition Universelle was not a financial success, it did become a political success in that it legitimized the Second French Empire and put Paris on the map as an international city. The Exposition Universelle ran from May 15 to November 15, 1855 and the number of visitors coming to Paris to attend the exposition had newspapers reporting on the constant crowded state of Paris. Everywhere people looked there were crowds. The number of visitor was overwhelming and caused a correspondent of Scottish Guardian to report, “Anything like the crowds now flocking into Paris form all points of the compass I never saw during a residence of many years, and I am very certain that the like was never seen in all foregoing times.” To handle the immense crowds trains arrived regularly but still the railway system could not handle the crush of visitors or the quantity of luggage that accompanied these travelers. Those that did not have reservations found it impossible to locate somewhere to stay. One foreign visitor reported “vainly for two hours I tried all the by-streets that I could think of … At every door the uniform answer, ‘quite full’ was given.” Moreover, hotel and lodging-keepers were exhausted from turning people away. To count all the visitors that attend the Exposition Universelle, there was a new invention — the turnstile. Official reports stated that 5,162,330 visitors attended. Moreover, for the first time visitors paid an entrance fee, which generated complaints and created controversy throughout Paris. That may have been part of the reason why the exhibition was not a financial success: It generated about one-tenth of its actual cost, which has been estimated to be upwards of $5,000,000 dollars. The center of the exposition was its main building known as the Palais de l’Industrie. It was located on the Champs Elysées, and construction of this grand building began in 1852. It was argued that a massive building was needed so that future exhibitions could be accommodated, and, for that reason, a stone structure 850 feet long and 350 feet wide was built. Unfortunately, despite the building’s massive size, the Palais de l’Industrie still could not house all the industrial products and two other temporary structures were also erected — the Galerie des Machines and the Palais des Beaux-Arts. There were other problems with the Palais de l’Industrie that London’s Morning Post noted stating: “The main building itself is ill adapted for the purpose; you have four stone walls, of no use but to keep out light, with a structure of iron and glass, wholly independent of the walls, put down within them. The unnecessary quantity of iron used would lead to the belief that the contracts were to be paid by the cwt. The galleries as so wide (85 feet), and so heavily constructed, that beneath them is in darkness; and there, in consequence, you may wander in solitude through long alleys with ranges of cases on either side — gloomy, depressing, and deserted. The staircases … are the best features of the building, and are unquestionably effective and elegant. On entering the great nave — full, by the way, of charming things … — the small size of the building surprises one. You find that from ‘out to out’ it is not very far from half the length of the building in Hyde-park (834 feet), but it does not look one-fourth the length. Why is this? A little examination will give a reason. The arched roof has gable ends at the terminations, and these ends occur not at the extremities of the building … but in line with the face of the latter; and then, to make the matter worse, these ends are glazed with stained glass, representing — one, France … Another error in judgement is shown in the great size of the stalls or cases, which are built up is the nave twice as high at they should be, or need to be. Look, again, at the shafting for the machinery in motion, in the Annex … ponderous and absurd; and with all its heaviness not without a great weakness in construction.” Despite the problems that the English may have saw with the Exposition Universelle, a catalog described how Frenchmen viewed the exposition: “We wished that the Universal Exhibition should not be exclusively an attraction for the curious, but a great school for agriculture, industry, and commerce, and for the arts of the whole world.” Because of this there were a large variety of exhibits related to mining and metals, pharmacy and medicines, manufacturing and industry, furniture and decorations, and naval and military arts. The exposition also allowed visitors to see large-scale exhibitions and view the operation of such things as steamships and steam locomotives. Further, it “distinguish[ed] itself from the English model by integrating spiritual as well as material accomplishments.” There were many well-known visitors to the Exposition Universelle, including Britain’s Queen Victoria, her husband Prince Albert, and their daughter. Of their visit the Evening Freeman reported: “To-day, at half-past eleven o’clock, the Emperor, the Queen, Prince Albert, and the Princess Royal visited the Palais de l’Industrie. Admission was granted only to the imperial commissioners, the juries, season ticket holders, and exhibitors. The price of a season ticket is twenty-five francs, and numbers paid the sum to-day sooner than be deprived of so favourable an opportunity of seeing the Queen and the Emperor. At half-past eleven the cheers of the crowd outside, and a loud flourish of trumpets within, announced the arrival of the royal party, who were received by his Imperial Highness Prince Napoleon, president, and the other members of the Imperial commission. Her Majesty’s reception and that of the Emperor was far more enthusiastic and complimentary than on any other occasion since the arrival of the Queen at Paris. As they pass round the great halls the shouts of ‘Vive la Reine,’ ‘Vive l’Imperateur’ were frequent and warm. … His Majesty supported the Queen on his right arm. Prince Napoleon walked by the right hand side of her Majesty; Prince Albert, with the Princess Royal leaning on his arm, followed, the Prince of Wales walking at the other side of his sister. … The entire party were dressed en ville, the Queen wearing a blue bonnet and scarf, and the Emperor a black frock coat, grey trousers, light scarf, and yellow gloves. The royal party first walked round the Great Hall. On passing the glass-case containing the productions of Wm. Dargan and Co., Chapelized, her Majesty’s attention seemed at once arrested by seeing the name of that distinguished Irishman which appeared on a card over the glass-case. The Emperor directed her Majesty’s attention to the Irish fishery models, which she looked at, observing to her imperial host that she had seen them before. From the main apartment the royal party passed to the Panorama and Annex which they visited in succession.” Besides the exposition itself, there were also several associated events. At least one of these associated events was deemed “dreadfully mismanaged.” It was a fete given by the exhibitors to honor Napoleon III and the members of the Imperial Commission. Besides too few chairs for participants, the orchestra played “Vive l’Empereur” several times before Napoleon III actually appeared. There were also drunken young people who began dancing strangely having been “unusually excited by the champagne [poured] … with a most liberal hand.”[7] Another problem was related to “paletots and outside coats of the guests.”[8] These items became so mingled together it was impossible to know who owned which item and guests became so unruly trying to sort it out that police were called. This resulted in guests having to return the following day to claim their belongings. At the end of the exposition, medals were awarded for the best exhibited items. The medals were presented on November 15 when the winning objects were brought into the center nave making it easy for spectators to view the winning objects. There were 500 gold medals awarded that were valued at £40 each. There were also a proportionate number of silver and bronze medals. On one side of these medals was the “profile of the Emperor, with the words, ‘Napoleon III-Empereur.’ On the reverse … the Imperial arms ornamented with palms and wreaths, surrounded by the arms of the different nations, and surmounted by a scroll, bearing the inscription, Éxposition Universelle, Agriculture, Industrie, Beaux Arts — Paris, 1855.' With the first Exposition Universelle being deemed a success, more Exposition Universelle’s followed. The second exposition was held in 1867 and Napoleon III was able to more effectively exploit this exposition. By the time the third exposition was held in 1878, the Third Republic was in power, and, they, similar to Napoleon III, wanted to assert their dominance in the world. The next exposition occurred in 1889. It was also held under the Third Republic, as was the last exposition in 1900. However, the exposition of 1900 was much grander than previous expositions partly because Paris became the first city to host the Olympic games outside of Greece. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. How Many World Fairs Did Paris Host in the 19th Century? World Fairs were significant events during the 19th century, and the legendary fairs in Paris showcased artistic and industrial excellence. The 19th century was a momentous period in Parisian history, when significant breakthroughs in art, industry and science were made. One of the most outward expressions of Parisian success were the Paris World Fairs, which cemented the city’s place as a world-leading political capital. These vast events spread out across the entire city and included new temporary and permanent buildings, along with displays of industrial developments and works of art from around the world. Some of the highlights of the Paris World Fairs even went on to become iconic, permanent landmarks, including the Eiffel Tower, and the head of the Statue of Liberty, which later made its way to the United States. Below are the five Paris World Fairs that altered the course of history. 1. The First Paris World Fair: 1855 The very first Paris World Fair took place in 1855. It was organized by Emperor Napoleon III as a promotional tool to assert his new position in power, signifying a landmark moment in France’s history. The World Fair centered around a brand-new exhibition hall – the Palais de l’Industrie on the Champs Elysees. Two new smaller buildings also accompanied this space – the Galerie des Machines and the Palais des Beaux-Arts. Inside these exhibition rooms were a series of world-renowned exhibits dedicated to industry. Meanwhile, a temporary construction next to the Galerie des Machines was designed by the architect Hector LeFuel to house artworks from around the world. 2. The Fair of 1867 The second World Fair in Paris was also organized by Napoleon III to take place in 1867. Again, the event was a powerful strategic move, aimed at bringing attention and political gain to Paris. The main exhibition space for the 1867 Paris World Fair was the Palais du Champ-de-Mars, built by Frederic LePlay, with help from the up-and-coming engineer Gustave Eiffel. This exhibition hall was circular in design, and the fair designers took advantage of this layout, arranging industrial exhibits in the outer circles, while the inner circles were dedicated to art. In the center, a small building housed a display dedicated to currency and coins from around the world. It was a momentous event, larger than the previous one, with a series of pavilions, restaurants and amusement parks constructed around the central building to draw huge crowds. 3. Paris World Fair of 1878 By contrast, the 1878 Paris World Fair took place in a very different political climate. Against the backdrop of the Prussian War, the Paris commune and the downfall of the empire, France was in a vulnerable and unstable state. The officials of the Third Republic decided that a World Fair could bolster France’s popularity on the international stage, even if they could barely afford it. One of the highlights of the fair was the recently completed Head of the Statue of Liberty, which went on display for a brief spell in a Parisian park before being shipped to the United States. Other highlights included the temporary construction of the Palais du Champ-du-Mars (Gustave Eiffel helped with its design!), and the permanent Palais du Trocadero, which later became a concert hall. 4. 1889: The Year of the Eiffel Tower The 1889 Paris World Fair was the second to take place in a republican regime in France. It was a historically significant year for France, marking the 100th anniversary of the French Revolution, so the pressure was on to create something spectacular. The fair was larger and more ambitious than in previous years, taking place in the Palais du Trocadero and the Champ-de-Mars, while several temporary pavilions and pop-up spaces formed satellites around it. Meanwhile, East of the main site, the Esplanade des Invalides showcased a display dedicated to colonial art. But by far the greatest and most controversial aspect of the fair was the unveiling of the Eiffel Tower, which divided public opinions and caused an international sensation. Only meant to be temporary for 20 years, the tower is now an iconic landmark for the city. 5. The Grand Event in 1900 The fifth World Fair in Paris was in 1900, a centenary display of epic and ambitious proportions. Paris was also hosting the Olympic Games in the same year, making the city the center of public attention around the world. A series of new buildings popped up, including the Grand Palais and the Petit Palais, while the government extended the Esplanade des Invalides and Petit Palais. They even painted the Eiffel Tower bright yellow to mark the occasion! A series of visitor attractions pulled in tourists far and wide – these included moving walkways (trottoirs roulants), the Electricity Palace, and a series of night-time water and light displays to dazzle the public at the dawn of a new age. Dates Open - April 1 to November 3, 1867, 217 days, open Sundays. Attendance - 8,706,037 total admission. There are a variety of reports on the attendance at the Paris fair in 1867, ranging from 6.8 million to 15 million. The figure above represents the figure quoted in the Official Report as Total Admissions, which may or may not have included staff or free admissions. International Participants - 45 Nations and 33 Colonies. Total Cost - 22,993,818 francs ($4,596,800). Site Acreage - 171 acres. Sanction and Type - Prior to the Bureau of International Exhibitions. Paris 1867 would be considered a medium scale registered event today, similar to the events now held on the 05 cycle of a decade. Ticket Cost - Adult admission 40 cents, Per Capita admission 20.9 cents. Reports indicate that there were 400,000 free admissions. It was the second in the series of Exposition Universelles held in Paris on one hundred and seventy-one acres around the Champ de Mars. French manufactures, responding to the London fair of 1862, formed a holding company to raise funds for the fair, raising two million francs within two years. With the funds from the federal government and City, with Napolean III's blessing, it was decreed on June 22, 1863 and had a solid financial footing. National pavilions were included for the first time, and there were a variety of attractions, including a floating exhibit, lots of gardens and waterways, plus an American one room schoolhouse, a replica of the Palace of the King of Tunisia, and an English lighthouse. There were 52,200 exhibitors, of which 15,969 were French. The fair had a number of unique exhibits, introducing aluminum, natural gas heat, ice cream soda, the department store, and a fifty ton steel cannon to the world stage. Exhibits were spread around that one large exhibit building, twenty national pavilions, ten commercial exhibitor buildings, and did have agricultural and livestock displays. In the national pavilions, domestic life of the various nationalities were shown by families that had been brought to the fair from around the globe. The amusement zone was also regarded by many as the first. It was located outside the main fair and featured double decker captive balloon rides, excursion boats on the Seine, theatres, and national restaurants. Therefore, it was the first exposition to realize that entertainment was important as well as exhibits. On the first of June, Napoleon III held the last of his coronation ceremonies. Monarchies represented included the Czar of Russia, Prince of Wales, Kings of Prussia, Denmark, Sweden, and Portugal, the Sultan of Turkey, and the Khedive of Egypt. Overall the total number of buildings around the Champ de Mars numbered around one hundred and one, including an aquarium. The main building was one thousand five hundred and fifty feet long and one thousand two hundred and fifty feet wide. The exposition cost double that of the Parisian fair of 1855. The New York Times had a variety of opinions about the second fair, not all of them positive. They thought the main building was ordinary, looking like a big gasometer. They groused about the lack of chairs and the photograhic season passes, but they hailed the opening, at which Napolean III did not speak, as auspicious and that the grounds themselves were nice. The second Paris fair was a success, although some, more than the New York Times, had more criticisms, stating that there's was a lack of seriousness reflected in its carnival style. It exceeded its increased cost, with receipts of 27,114,660 francs, giving a profit of 4,160,840 francs. The fair had intended to be hopeful, projecting society as a machine capable of assisting the poor, harnessing the world, and resolving conflicts. If that worked, at least for the moment in 1867, it did not last. The exhibition was actually one of the last moments of glory for the Second Empire of France with the Franco-Prussian War only three years ahead. Perspective of Historians Historian Margit Mogenson - "All these exhibitions were projects of the official France and as such born to provide "national pride" - for the emperor (1855 and 1867) and for the republic (1878). However it is more difficult to say to which extent the citizens and the public agreed or matched the official policy, especially early in the period (1855)." International Participants Nations and Colonies Germany (not yet country till 1870) - Grand Duchy of Baden, Bavaria, Grand Duche of Hesse, Prussia, Wurtemburg. Andorra, Austria, Belgium, Denmark, France, Spain, Greece, Italy, Luxembourg, Netherlands, Pontifical States, Portugal, Romanian principalities, United Kingdom (Great Britain and Ireland), Russia, Sweden and Norway, Switzerland, Egypt, Morocco, Tunisia, Argentina, Bolivia, Brazil, Chili, Costa Rica, Equador, Haiti, Nicaragua, New Granada (Columbia), Paraguay, Peru, Salvador, Uruguay, Venezuela, United States, China (unofficial), Japan, Liou-Kiou Empire Ottoman (Turkey), Persia, Siam, Cambodia (PR), Annam (PR), Hawaii, Hungary, Mexico. French Colonies - Cochin China, Tahiti, iles Marquises, New Caledonia, Martinique, Guadeloupe, French Guyana, St. Pierre et Miquelon, Senegal, Cote d'Or et Gabon, Madagascar et Mayotte, Reunion, French India, Algeria. British Colonies - Barbadoes, Canada, Cape of Good Hope, Malta, Natal, Newfoundland, Queensland, South Australia, Victoria, Nova Scotia, New South Wales, Indian Department, British Guiana, Guiana. There may be some differences in the overall list here than were actually exhibiting at the exhibition. Some listed as having Imperial Commissions may not have technically exhibited. Expo Tidbits Receipts of theatres, concerts, etc. in Paris during the 1867 exhibition period were 16,533,365 francs, much greater than the corresponding period in 1866 when they were 9,640,216 francs. 159,950 persons crossed between Dover & Calais during the seven months of the exhibition. 184,405 was the largest attendance day, 1,602 was the smallest. Cost of trip to Paris from London and back, including one week's living in Paris, 3 pounds, or $15. 'L'Histoire du Travail' was the first international thematic exhibit ever attempted. It covered the the history of work. Legacies National pavilions, an amusement park, order and classification of exhibits would be copied at proceeding world's fairs. Those in Charge Sponsors of the fair were the French government and the City of Paris. There was an Imperial Commission and Frederic LePlay was Commissioner General. Prince Napolean was the overall controller. Sources: Louisville Courier, London Times; New York Times; Ephemeral Vistas; Historical Dictionary of World's Fairs by Alfred Heller; History of Fairs and Expositions; Worlds Fairs from 1851-1893; Reports of the United States Commissioners to the Paris Exhibition of 1867; Bureau of International Exhibitions; Official Report; Histoire General de l'Exposition Universel de 1867; Les Fastes due Progress; Fairs! Fairs! Fairs! The U.S. Information Agency and U.S. Participation at World Fairs Since WWII by Martin J. Manning; History of Centennials, Expositions, and World Fairs. In 1867, seven million people came to see Emperor Napoléon's answer to the challenge of the 1862 London International Exhibition. Eleven years after the first Great Exhibition of 1851, the British had proved to the world that it was no easy matter to repeat a resounding success. Napoleon decided, seven years after the first French exposition universelle, that the French could and should again surpass the efforts of their ancient rival and sometime ally. In a letter addressed to Emperor Napoleon, Eugène Rouher, one of the French commissioners to the London Exhibition of 1862, set forth the first proposal for the 1867 exposition: Sir: After the closure of the London Exposition, and before the distribution of awards, on the 25 of January, the principal exhibitors manifested their desire for a universal exposition to be opened in Paris in the year 1867. Many among this group will meet together to propose to the Imperial Commission a subscription by which the government may share the costs of this enterprise.1 It was time for the French people to proclaim once again that Great Britain was not the only nation capable of showing off its national resources of industrial and artistic talent. The second British exposition, held in 1862, was a failure for a number of reasons.2 Now was the chance, many French leaders felt, not just to match, but to beat the English at the enterprise of staging expositions. Visitors would see more than just a bigger and better show in 1867. In its attempt to classify and organize every branch of human activity, and to invest that activity with moral purpose, the second exposition universelle symbolized the encyclopedic ambitions of the Second Empire. Every aspect of the Parisian exposition, from the overall plan for exhibits to the final awarding of medals, would proceed from a single conviction: the bounty of nature could be transformed into universal harmony for the human race. To spread this message, the Empire enlisted the some of best talent in France to proclaim Paris not only the host of the exposition, but the seat of a new order for the human race. Victor Hugo was commissioned to write the introduction to the Paris Guide for 1867; Theophile Gautier, to introduce visitors to the treasures of the Louvre; Alphonse Viollet-le-Duc to show the proud heritage of the cathedrals of Paris. Hippolyte Taine, Alexandre Dumas fils, Ernest Renan, Sainte-Beuve — all contributed the powers of their pens to promote the glory of La France. The Paris Guide that year was a showcase for the intellectual power of France's writers, just as the great oval palace on the Champ de Mars would be the showcase for her industrialists and artists. It is possible that the Paris Guide was meant as a response of Renan’s earlier criticisms in his stinging 1855 essay, "The Poetry of the Exposition." The literary world was now included in the grand exposition, and some of France’s best writers had their chance to speak to the world. Perhaps most surprising was the appearance of Victor Hugo, whose long-time opposition of the regime of Napoleon III was well-known. But the opportunity for the grand old man of French literature was too great to resist. In the closing words of his Paris Guide essay, Hugo rang out the most noble aspiration of the age: Down with war! Let there be alliance! Concord! Unity!.. O France, adieu! Thou art too great to remain merely a fatherland. To become a goddess, thou must be separated from motherhood. Soon thou shalt vanish in a transfiguration. Thou shalt no longer be France: thou shalt be Humanity! No longer a nation, thou shalt be Ubiquity. Thou art destined to dissolve utterly, radiating outward, transcending thy frontiers. Resign thyself to thy immensity. Adieu, O people! Hail, Humankind! Submit to thy sublime and fateful enlargement, O my country; and as Athens became Greece, as Rome became Christianity, thou, France, become the world! 3 For Hugo, the cosmic drama was unfolding toward a glorious transcendence. It is the mission civilisatrice writ large: France brings the world to her hearth, and the visitors depart with the blessings and faith of Peace and Progress. A Greek city enlarged, by the fulfillment of its destiny, into the voice and conscience of all Greek culture. A Roman city became the vessel of a religion that encompassed even more of the inhabited world. Now France (with Paris as her capital) becomes the seat and agent of a truly world-wide transformation: the emergence of a global civilization under the cultural and spiritual leadership of France. It was a noble vision of a cosmic human drama. But later witnesses have seen the play from start to finish: Opening act: the restoration of the Bonaparte line, and a revival of all the old hopes and fears that accompanied the First Empire. Second act: victory in the Crimean War and the first exposition universelle of 1855, and a confirmation of the hope that the Second Empire could surpass the First. Third act: the expansion of French industry and finance, and the remaking of the streets of Paris under the aegis of Baron Haussmann. Fourth act: the first stirrings of serious troubles for France muffled momentarily in the brilliant eclat of the exposition universelle of 1867. Fifth act: defeat and disgrace. Hugo was a great visionary, but no prophet. He could not foresee the coming of the Franco-Prussian War, the brutal siege and capitulation of Paris and France, the capture and exile of Napoleon III, the Prussian troops marching down the Champs Elysées, the massacres of the Commune Revolt during what historians call l'année terrible — the terrible year of 1870-71. Dazzled by the brilliance of a revitalized Paris and the splendors of the world's fair, Hugo was temporarily blinded to the old blood rivalries between nations — antagonisms that could not be banished by words or expositions. In 1867 Paris was a harvest banquet, a rich repast where all the fruits of autumn were there on the Champ de Mars for all to enjoy. But by the end of the fifth act in 1871, Parisians were reduced to trapping rats for food. PARIS, 1867 In the years before the calamities of l'année terrible, Paris was a marvel to behold. Visitors who had not been to Paris in a decade or more were astonished to experience the dramatic transformations in the look and life of the city. The will of the emperor and the ésprit de géometrie of Baron Haussmann had demolished many a slum, and many venerable but inconveniently situated old buildings; broadened streets and converged them into central focal points; and created an extensive municipal park system. Beneath the streets, gas lines for lighting and heating and new water and sewer pipes for home and industry brought the benefits of technology into the lives of every Parisian. The technological progress and "greatest good for the greatest number," so heralded at the first exposition universelle in 1855, was coming into being at last. On the refurbished avenues, new enterprises abounded. Mass merchandising was in evidence at Victor Baltard's gigantic food market, Les Halles — whose huge iron and glass vaulting may have been inspired by the Palais d'Industrie of the 1855 fair. The great department stores — Le Printemps (founded 1865), La Samartaine (1869), Le Bon Marché — displayed inexpensive but well-crafted wares that fulfilled the "bargain store" idea of the first French exposition. The new railroad stations (Gare de l'Est, Gare du Nord) connected Paris to the ever-expanding webwork of railways (including the first railroad bridge designed by the young Gustave Eiffel). New banks, such as the Crédit Lyonnais (founded 1863) and the Société Général (1864), attested to the growth of the French economy. The optimistic views of the 1855 exposition universelle seemed to have been vindicated: French industry and finance could compete freely, without protective tariff laws, against any other nation in the world. To many visitors looking back on their experiences of Paris in the 1860s, the intellectual and artistic climate glowed with the luminescence of a sparkling autumn afternoon. French painters were among the most respected and best-rewarded in the world. The salon shows were events of serious festivity, where titled and wealthy patrons mingled with successful artists in a high-fashion ritual of beauty worship. In 1862 the first stone had been laid for Charles Garnier's Opera House, consecrating in full splendor the ritual of music in Paris. The Bibliothèque Nationale was newly-housed in Labrouste's iron and glass "palace of learning." Theaters thrived, and the exposition itself contributed to a sizable increase in theater revenues during the year.5 In the cafés of the boulevards and Montmartre, artists and aesthetes discussed the Meaning Of It All. There, at the Moulin de la Galette, Manet and Zola could be seen at one table, sharing wine and visions of color and character, while at a solitary table in the rear, Baudelaire penned his absinthine lament over the passing of the old Paris. From the café windows in the evening, they could look down on the Champ de Mars and see the gaslights of the international restaurants, glowing with exotic allure in the mile-around ellipse of the exposition palace. AT THE ENTRANCE GATE Imagine yourself a traveler to the exposition universelle of 1867. Even before entering the fairgrounds you get a taste of the excitement of Second Empire Paris. On clear weekend days, throngs of fairgoers shoulder each other in front of the ticket booths on the Quai d'Orsay. a one-legged cocoa vendor, veteran of the Crimean campaign, pours you a paper cup of rich chocolate from the urn strapped to his back. The municipal carriage line stops, and several citizens of the British Empire disembark, uttering cries of "Shocking!" as they survey the exhibits: Several young men, sporting moustaches in the manner of the Emperor, discuss in amused accents the peculiar paintings by a ridiculous young man named Edouard Manet, who has presumed, as Gustave Courbet did a dozen years before, to open his own one-man show directly across from the exposition grounds. Standing patiently in line is a well-known industrialist. He hopes to catch glimpses of his German competitors' newest products in iron. He has already been favorably impressed by the advances in electroplating, which have saved the many cast iron fountains of Paris from rusting away into nothingness, and looks forward to inspecting the "galvanoplasty" exhibits of all the industrial nations. His wife, a member of the newly-formed Croix Rouge (Red Cross), looks forward to the American exhibit, whose new devices for aiding the wounded in war have received a grand prize. The children, too, should enjoy another American exhibit, the "planetarium," invented by a Mr. Barlow of Lexington, Kentucky.5 But the eldest daughter has other ambitions: she hopes to catch a glimpse of the Empress Eugènie, and to be noticed by the dashing cavalry officer who danced with her last evening in the Chinese pavilion. The young son has eyes only for the gigantic cannon exhibited by the Krupp Company, and for the immense working model of the Suez canal that all his friends are talking about. As you are about to enter the Palais du Champ de Mars, you see the famous American humorist, Mark Twain, emerging from the building in haste to see the Emperor reviewing the troops at the Arc de Triomphe. You ask him what he thought of the show. With a wave of his cheroot, he informs you that he was there "nearly two hours," and goes on to say: It was a wonderful show, but the moving masses of people of all nations we saw there were a still more wonderful show. I discovered that if I were to stay there a month, I would still find myself looking at the people instead of the inanimate objects on exhibition. I got a little interested in some curious old tapestries of the thirteenth century, but a party of Arabs came by, and their dusky faces and quaint costumes called my attention away at once. Twain departs by the exit at the quay. At the gate itself, the toll-takers are steadily collecting the entrance fees that will make the 1867 exposition universelle a most profitable event for the government. THE PARK Few visitors to the exposition of 1867 went directly to the central exhibit hall. Surrounding the main building was a vast, four-sectioned park. The area was originally meant to be a continuation of the interior exhibition space: a place where nations could erect large pavilions or displays that would not conveniently be housed inside. Such was the plan. In reality, the effect of the park was "picturesque confusion," if one found it charming and amusing to visit, or "a trivial game," if one thought it contrary in spirit to the tone of high seriousness espoused by the Imperial Exposition Commission. Most visitors apparently wandered among the wonders of the park without too much thought for deeper meanings. One could amble contentedly from a rustic American one-room schoolhouse — representative of the ideal of free education for everybody — to the replica of the Tunisian "Bardo of the Bey" (king's palace),7 pass through the underground grottoes of the aquarium, then relax beneath an ornate kiosk with its novel zinc roofing, iron railings, and curiously carved wood. From this vantage point, one could admire the series of trophy vases awarded to medal winners at previous expositions, placed along the path that led to the "galvanoplastic" exhibit in the French section of the park. But Victor Fournel, a contemporary critic and merciless deflator of what he considered the pretensions of the exposition, could see little value in the entire park: From the Trocadero you can see the colossal amusement park, installed by the city of Paris for the diversion of everyone. The distractions of this park are a stumbling block for most visitors. Only the most stoic characters can resist the seductions they find here. . . In their desire to complete the grand Exposition, the planners have risked watering it down, or turning it from a serious lesson into a trivial game. In spite of the number of serious and useful exhibits that make up a true supplement to the Exposition, the double character of a bazaar and a pedlar's festival dominate the mood of the park. All the exhibits that border the grand avenue summarize, in a striking manner, everything incoherent, sloppy and fantastic in this decorative ensemble, where it seems as though a gigantic fairy has jumbled and dumped all his theatrical sets. 8 Even writers such as François Ducuing, who found pleasure in the variety of the park, also found much to object to in the individual exhibits. He especially despised the English lighthouse — which to our eyes so strangely presages the Eiffel Tower. "The English have put up their electrical tower," Ducuing wrote, "and it dishonors the Champ de Mars with its fleshless skeleton." But perhaps Ducuing was only writing patriotically. The French, too, had erected a lighthouse in the park. Almost fifty meters in height, the towering structure illuminated the Parisian sky every night for the duration of the exposition. Possibly it was the memory of this sky-reaching illumination that inspired the commissioners of the 1889 world's fair to propose a 300-meter tower as the “spike” for the exposition of that year. One of the strangest additions to the park was a full-size Gothic cathedral, designed by Charles Leveque of Amiens. Its intent was to afford suitable exhibition space for a number of arts connected with such a setting. There was a collection of altars, representing styles from the twelfth century onwards; a grand organ by the master organ builder of the nineteenth century, Cavaillé-Coll; painted glass, chandeliers, candelabra, ivory figurines and wax images of saints. The total effect, all writers agreed, was quite lovely. But the unintentional symbolism of the placement of this cathedral equated it with the Egyptian temples and cast-iron light houses which surrounded it. The Catholic religion, as embodied in its most venerable form, the Gothic cathedral, is thus reduced to the level of one exhibit among many. The profane setting of the building in the park thereby replaced its sacred connotations with historical ones. Visitors entered Leveque's edifice, not to worship, but to study. Appreciation of styles took precedence over worship. The church, once the sponsor of fairs, now itself becomes a fair exhibit. Once past the fairyland setting of the park itself, the stoic visitors had still another round of temptations to brave before actually entering the exhibit hall. The series of international restaurants ringed the palace of industry were the special favorites of fairgoers, who could linger until 11 p.m. (the main hall closed at 6 o'clock), hear evening concerts, and dine in the glow of gaslight. As always, the critic Fournel was offended: "No matter where you enter, the long line of refreshment stands embraces the main building with a belt of bottles, hams, and lobsters, and gives the whole affair the vulgar air of a marketplace." 10 The innovations of the park would be copied in virtually every subsequent world's fair. All previous international exposition in Europe had been thoroughly serious affairs, or at least festive in a sober manner. The park and the ring of restaurants brought a carnival atmosphere to the 1867 exposition — an atmosphere that would be present, in varying degrees, at all world's fairs thereafter. Since many entrepreneurs were beginning to see international expositions as golden opportunities to make money, it should come as no surprise that enterprising speculators began to offer inside the gates the kinds of popular entertainment of Parisian cafés and cabarets — many of which had grown up in conjunction with the old medieval fairs of Paris. Even so, the park was not so vulgar or inappropriate as Fournel would have us believe. The park did help fulfill the grander and more noble goals of the exposition by allowing exhibitors to build on a larger and more innovative scale than they could within the strict confines of the main exhibit hall. Lovely or logical as the exhibit palace was, it could not hold everything. And the park structures — lighthouses, school buildings, palaces and all — could not distract from the overwhelming presence of the main exhibit hall. In many subsequent world's fairs, the park structures would come to dominate all others and often remained in the host city as permanent monuments. Once past the attractions of Tunisian palaces and spiced hams, the visitor confronted the Palais du Champ de Mars, the main exhibit hall: a vast iron-and-glass ellipse a mile in circumference. From the first, its architecture was heavily criticized by contemporary observers. Eugène Rimmel, himself an exhibitor at the exposition, gave voice the prevailing opinion: The external appearance of the structure is far from attractive; much as the [British] Exhibition of 1862 was open to criticism, its two noble domes atoned for the heaviness of the edifice, whilst in this instance the monotony of the grey dull building is but poorly relieved by the meager flagstaffs which form its only ornament. The interior of the palace is not more striking than the exterior; its continual curves so fatiguing to the eye, do not offer at any point those long vistas which usually form the beauty of this species of building; the only spot which really presents a pretty aspect, is the central garden, whence the different courts radiate11 The report of the American commissioners echoed this sentiment, but went on to point out the reason why the palace departed so radically from traditional architectural practice: The buildings erected for previous great exhibitions are generally known as palaces, but the structure on the Champ de Mars had nothing in its appearance, as our previous remarks have hinted, suggestive of the name. In its plan and construction architectural effects were subordinated to the great end in view — the exhibition of the objects of all nations in such a manner as to invite and facilitate comparison and study.12 The Palais du Champ de Mars was conceived by Frédéric Le Play, General Commissioner for the 1867 Universal Exposition. But the task of design was given to Jean-Baptiste- Sébastien Kranz, an experienced engineer, who in turn contracted Gustave Eiffel to carry out his plans. The Palace did indeed defy tradition insofar as it did not try of be a church, a city hall, or an aristocratic chateau in the accepted historical styles. Nor did it attempt to be a greenhouse or a railway station — the two most common types of structure that employed glass and iron. It was a structure designed first and foremost as an exposition building, whose dimension would be determined solely by the requirement of its contents. The domes, interior barrel vaulting, and incidental ornamentation of all previous exposition palaces had drawn their models and inspiration from past structures, as the very term palace indicates. But the 1867 “palace” turns its back on tradition, and resolutely faces the necessity of rational classification in an exposition. Hear the voice of Chief Commissioner Le Play: The Imperial Commission had, as its point of departure, a methodical classification, at whose base there is a double grouping of products: by the nature of the objects, and by their nationality. This condition has been achieved by a circular arrangement with two systems of division. The first is formed by concentric zones, which will house similar products of all nations; the second, of radiating sections, each one given over to a particular nation. 13 The Palace design represents a serious effort by thoughtful people to classify and bewildering variety of the products of human ingenuity. All previous — and subsequent — expositions have had to deal with the problem of organizing its offerings in such as way as to help visitors find and understand what they were seeing. During the fairs of the middle ages and later, it was the nature of the product alone that mattered: one visited the cloth section or the toys section of the fair, where members of all nations displayed their wares. Since the time of the first world's fair at London in 1851, the guiding principal was exhibition of products by nation. Within the confines of the space allotted to them, nations could display whatever they wanted, and wherever they pleased. In the Palais du Champ de Mars in 1867, however, the first effort was made to integrate these two organizing principals — nations and products — into one coherent system. As such as system, it represents more than a convenient arrangement of products. It is a philosophy, realized in architectural space, concerning the nature and purpose of human achievement. The classification system of the 1867 exposition universelle recognized ten fundamental divisions of human endeavor. Each of these ten groups was further divided into classes, or subgroups: Group I — works of art (subdivided into five classes) Group II — apparatus and application of the liberal arts (eight classes) Group III — furniture and other objects for use in dwellings (thirteen classes) Group IV — clothing, including fabrics and other objects worn upon the person (thirteen classes) Group V — industrial products, raw and manufactured, of mining forestry, etc. (seven classes) Group VI — apparatus and processes used in the common arts (twenty classes) Group VII — food, fresh or preserved, in various states of preparation (seven classes) Group VIII — livestock and specimens of agricultural buildings (nine classes) Group IX — live produce and specimens of horticultural works (six classes) Group X — articles whose special purpose was meant to improve the physical and moral conditions of the people (seven classes) In general, the classification scheme worked well. Thoughtful people might pause, though, at seeing grouped together, in the Industrial Products section, India-rubber baths and corkscrews, fishing tackle and pills. Guns were classified as types of clothing, and housed in Group IV — a fact that reveals much about the nature of life in nineteenth century Western civilization. Perfumers were surprised to find themselves in the section devotes to "Furniture and Other Objects for Use in Dwellings" — a classifications that reveals the vision, held by the Imperial Commission, that attractive fragrances were domestic in the their location and domesticating in their purpose. All entries were on display for the general public and for the judges who would award prizes in all ten groups.14 Agricultural and horticultural exhibits were located on Billancourt Island in the Seine. Exhibits too large to fit into the main exhibition hall were erected in the park. Groups I through VII were housed in the palace. The innermost ring of the ellipse contained a special exhibit, the "History of Labor." The courtyard at the very center of the palace featured a garden and two pavilions devoted to a display of weights, measures, and monetary currencies of the world. The most striking feature of the classification system was Group X. Products in this category were arranged not by national origin or nature of material, but by the intentions of their creators. Emperor Napoleon himself entered a design for a workers' housing project in the competition, and was (of course) awarded a grand prize: That the Emperor should win a grand prize surprised no one; but it was a matter of universal comment that the Emperor had deigned to enter at all. Such an act clearly gave the signal that France, though the personage of the Emperor, set great store by this "physical and moral improvement" category. Group X represents the bon marché (bargain) classification of the 1855 exposition carried to the next higher power. These special categories clearly represent the legacy of Bonapartist reform, and the conviction of the exposition commissioners that international exhibitions should do more than promote rivalry between businesses, nations, or cultures, do more than educate or entertain. If future expositions could persuade the nations of the world to dedicate themselves to the physical and moral improvement of the human race, one of the major ideals of the Emperor and his commissioners would be fulfilled. THE OUTER CIRCLE: POWER AND IRON If Group X represented the peaceful universal aspirations of the Second Empire, the outer ring of the Palais du Champ de Mars represented the realities of Europe in the nineteenth century. Here, in the highest, widest, and longest section, the great machines loomed over fairgoers, and the setting perfectly matched the nature of the exhibits. Since it was here, in the heavy machinery section, that each nation put forth its largest and technologically most impressive inventions for the control and application of mechanical force, this gallery constituted the main arena of the 1867 exposition universelle. It was here that the United States made its first truly impressive showing as a force to be contended with in future industrial development. Among the Americans' proudest achievements was the telegraphy exhibit, under the supervision of Samuel F.B. Morse, and Chicago's "Lake Water Tunnel" display. In previous world's fairs, the United States had little serious attention from the leading European nations. In 1867, though, American manufacturers were determined to make their presence felt, even though they knew they ranked below France, Prussia, and England as major industrial forces. Grand prizes went to Cyrus Field and the Anglo-American Transatlantic Telegraph Company; David Hughes, for his novel printing telegraph; C.H. McCormick for his reaping machines; and to the United States Sanitary Commission, for the exhibit of ambulances and other materials used for the relief of those wounded in war.15 The most impressive French display was the Suez Maritime Canal exhibit. A large working-model showed the details of this monumental engineering feat. The success of French engineers, particularly with the colossal dredging machines, promised a great future for the construction of canals in the years ahead and concomitant improvements of maritime commerce. (Smaller versions of the hydraulic machinery were being used to bring water and ventilation to the exposition building itself.) One of the strangest machines in the French section was a contraption that turned rabbit skins into felt hats. One observer reported (humorously, we hope): "They put in a live rabbit at one end of the machine, and it emerged at the other end as a trimmed, embellished, and garnished hat."16 The exhibit that most forcibly captured popular attention was the one mounted by the Krupp ironworks of Prussia. The Krupp company was awarded a grand prize for its innovative methods of steel production — methods so far in advance of previous procedures that this company alone produced more steel in 1861 than the entire world had produced by the time of the first English international exposition of 1851. At the Krupp display in the outer gallery visitors could see a single 80,000-pound cast-steel ingot, whose fracture at the exposed end showed a flawlessly uniform grain. But it was not the gigantic ingot that gathered the largest crowds. The most awe-inspiring feature of the Krupp exhibit was the 50-ton steel cannon, capable of firing 1,000 pound shells. Notices in front of the cannon proclaimed that the titanic guns were intended primarily for coastal defense, since their shells could pierce and destroy iron-plated ships. Imagine this scene: Here, in the gallery of machinery, is a group of young French military men — quite dashing with their trim beards and ornate sabers — paying more attention to the young ladies in crinoline than to the latest product of Prussian ingenuity. They casually inspect the gigantic Krupp cannon, the very 50-ton monster that would, in three years, hammer Paris into the quickest, most humiliating defeat in her history, and force Emperor Napoleon III into an ignominious capture and disgraced exile. There it is, on display for all to see. But the young officers are not concerned. They still recall Victor Hugo's noble scorn of the instruments of war: TOWARDS THE INNER CIRCLE As visitors moved from the outer gallery through the inner circles of the palace, they beheld a collective display of ingenuity and inventiveness unequaled in the history of the human race. One visitor calculated the time it would take to make even a cursory examination of the exhibits: The gates were opened every morning at eight o'clock and closed every evening at six. By giving a single minute to each exhibitor, and by employing faithfully all the intervening time, it would have been possible to dispose of six hundred in a day. But even at that rapid rate, it would have taken three months of unintermitted labor to complete the list. Many of these exhibitors, moreover, presented not single objects, but scores and hundreds. There is no extravagance at all in the assertion that the number of objects in the Exhibition, each individually interesting and worthy, if time allowed, of a separate examination, amounted to several million.18 The orderly two-part classification of all exhibits helped save the exposition from lapsing into a chaos of unrelated impressions. But even with this system there were problems in laying out the exhibits. France received the majority of space. The amounts allocated to other nations were in direct proportion to the esteem or respect in which the French government held each country. After France, the next six countries, judged by the exhibit space they received, ranked as follows: Great Britain, "Prussia and north Germany," Austria, Belgium, the United States, and Russia, in that order. Many countries complained of their cramped quarters. Some observers noted that the system — prestige plus the requirements of the two-fold classifications within the ellipse of the Palais — had assigned some nations far more room than they needed, others not enough. Prestige and logic were often at odds. THE ARTS OF THE FIRST CIRCLE Though the 1867 exposition avowedly centered around the industrial arts, it was the fine arts that still held the most prestige. An atmosphere of grime still seemed to hover over even the most prodigious mechanical displays. The fine arts, as the very name suggests, exuded an aura of refinement and dignity. Beside the thoughtful and polished canvases of the painter, such metallic monsters as the Krupp cannon seemed like swaggering bullies from the iron mills. The drama of the art exhibit at the 1867 exposition resembled surprisingly the scenario played out at the 1855 fair: two official practitioners battled for top honors while the eventual winner — in the eyes of most latter art historians, at any rate — lurked outside the fairgrounds, outside the pale of official acceptance. In 1855, it had been Ingres vs. Delacroix, with Courbet opening his own one-man show apart from the Palais des Beaux Arts. In 1867, Jean-Louis-Ernest Meissonier and Jean-Léon Gérôme contended for top honors within the gates, while across the quay in his own gallery Edouard Manet displayed the works he was sure the exposition art committee would have rejected. Viewed more than a century after the event, the fine arts competition of the 1867 Exposition Universelle evokes yet another image of autumn: the fall of academic art. Meissonier and Gérôme were two of the most highly regarded artists of their time. The death of Ingres in 1867 left vacant the throne of "king of painters." After Meissonier won top honors at the exposition, there seemed no doubt that he was the monarch of the fine arts. His clever genre scenes and dramatically staged historical canvases brought him great wealth and international acclaim. Who — except Emile Zola, for years a champion of the cause of new and unconventional artists — could have guessed that the painter of Déjuner sur l'Herbe and Olympia, both exhibited by Manet in his gallery on the Avenue de l'Alma across the quay from the exposition, would in time utterly displace his rivals?18 In 1867, at the twilight of the Second Empire, the ancien régime of art still enjoyed its applause, its medals of honor, it wealthy patrons. In the wars and revolutions to follow, the old art and empire would fall like the last leaves of autumn. Far from the glittering restaurants, away from the banging and clanging of machines in the outer gallery, the works of art clustered close to the center of the Palais du Champ de Mars. But the innermost ellipse, surrounding the open-air garden and central pavilion, offered the visitor a novel display: the Gallery of the History of Labor. Here was yet another attempt by the Second Empire to win the hearts of the working people by granting dignity to their enterprise. The Gallery of the History of Labor gave archeological justification for the elevation of “the common man.” The History of Labor showed, in it successive displays, the advance of the human race from the Stone Age down to the year 1800. Almost entirely French in its makeup, the exhibit could have been seen as equating the rise of civilization with the rise of France. But even patriotic foreign visitors had to admit that this retrospective, with more than 5,000 artifacts drawn from private collections around the world, was a noble undertaking. Though Franco-centric in its selection of objects, the History of Labor evinced genuine internationalism. Visitors were invited to reflect, not only on the superiority of the products of their nation or their professions, but on the aeons-long rise of human civilization. Universal in its scope, there was one patently aristocratic assumption in this panorama of human labor: that the most worthwhile products of human labor were the applied arts. The selections in the part of the exhibit devoted to prehistoric and ancient cultures did show tools and other instruments of labor; but, in the main, the displays of objects dating from the Middle Ages to the year 1800 featured decorative works almost exclusively. Jewelry settings, book bindings, huge and ornate vases, delicate bonbon boxes, chimney ornaments and ivory fans — this view of the products of labor dominated the gallery. Reflections and echoes of this archeological impulse could be encountered everywhere in the 1867 exposition. From kiosks in the park to the furnishings and fine arts in the palace, the past imposed its compelling fascination on the minds of artists and artisans throughout nineteenth-century Europe. It was almost as if the designers of the History of Labor, surrounded by the overwhelming feats of mechanical ingenuity at the exposition, desperately turned to the ornamental embellishments of past styles for assurance. In 1867 there was only an inchoate sense that the new world of steam and steel would some day generate its own international aesthetics and economics, immensely greater in scope than achieved by the European luxury products so proudly set forth in the Gallery of the History of Labor. The effects of the History of Labor exhibit were profound and far-reaching. As Daniel Boorstin observed: The exhibition in Hyde Park in 1851, which purported to survey all the works of humankind, still gave no glimpse of prehistory. Then, at the Universal Exhibition in Paris in 1867, the Hall of the History of Labor showed an extensive collection of artifacts from all over Europe and from Egypt. The official guide to Prehistoric Walks at the Universal Exhibition offered three lessons from the new science: the law of the progress of humanity; the law of similar development; and the high antiquity of man. (Daniel Boorstin, The Discoverers, page 610) THE TRUE INTERNATIONALISM At the very heart of the 1867 exposition universelle was a garden. After weary visitors had wended their way past cannons and corsets, statues and stone axes, they could relax in the fragrant garden courtyard in the center of the Palais du Champ de Mars. But even here, within the garden, one final pavilion offered itself for inspection and contemplation. It featured an assemblage of money, weights and measures from various countries around the world. The placement of this pavilion was a masterpiece of planning. After the vast collection of objects at the exposition — gathered from all over the world, and from every era of human history — this exhibit invited the visitor to reflect on concepts and systems that bound them all together. Every country had a different kind of currency, it was true; but every country did have some medium of exchange. Every culture had its unique system of weights and measures; but all peoples used some system for weighing and measuring. The exhibition commissioners hoped that this display would prompt influential people — especially those engaged with international commerce — to formulate an international standard for money, weights, and measures. The commission's optimism was justified. Partly as a result of this exhibit, an International Bureau of Weights and Measures was constituted in Paris in 1875. During the summer and autumn months of 1867, the photographer Nadar would take passengers and his camera up over the Champ de Mars in his hydrogen-filled balloon. From this spectacular overview visitors had time and space to survey the entire exposition without being overwhelmed by the sheer number and diversity of objects, the exotic attraction of the international costumes and cuisine, or the carnival concert of steam engines, carillons and street hawkers all sounding off together. What they saw was a Paris resplendent with new boulevards and fountains, cafés and parks. Baron Haussmann had given the city a new raiment, and Victor Hugo had envisioned a new role for the Queen City in the emerging world-nation. Paris was prosperous, the Emperor was victorious, France was the leader of the new world. From the Suez to Indochina, the new French empire seemed to reduce even the Sun King's light to a pale dawn compared to the brilliant promise of the Second Empire. As they watched Nadar snap photographs from his aerie in the heavens, it must have seemed, to oldtimers especially, that a Golden Age had truly come to pass. Paris had never seemed lovelier. But the practiced eye could see thunderheads gathering on the horizon. Polish patriot Berezowski attempted to assassinate Czar Alexander II while he visited Paris in 1867. In June of that year, Emperor Maximilian was executed by insurgents in Mexico, and the sad presence of his widow, Charlotte, in Paris during the summer and autumn months gave a melancholy cast to some of the official ceremonies at the exposition. Victor-Emmanuel II of Italy, angered at France's attempts to intervene in Italian internal affairs, conspicuously stayed away from the exposition. Opposition to Emperor Napoleon's domestic and foreign policies grew stronger every month. Industrialists began to complain of the renewed foreign competition that followed free-trade legislation. The political ardor of the working classes soared with the impassioned speeches of republicans and revolutionaries. Opponents of the Empire began to speak out more boldly, denouncing the direction in which Napoleon was taking the country. Adolph Thiers, from the beginning the most insistent critic of the Second Empire, felt that there were no blunders left to commit. And in this year, General von Moltke of Prussia published The Campaign of 1866 in Germany, which recounted the story of his crushing defeat of the Austrians, and presaging what was in store for the French in 1870. It was easy to ignore the distant thunder, so beguiling were the wonders of Paris in the year of her second international exposition, in the autumn months of her Second Empire. Throughout the bitter years that followed, the sweet optimism of the 1867 Exposition Universelle would haunt the memories of the millions of visitors who had tasted its vanished delights. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893.

Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. The 100th anniversary of the United States was celebrated in a grand manner by the 1876 Centennial Exhibition, recognized as the first true world fair in the western hemisphere in terms of the number of participating nations of the world as well as its size and success. The official name of the fair was the International Exhibition of Arts, Manufactures, and Products of the Soil and Mine. Treasures and artifacts from around the world were displayed at world fairs, many new and exciting ideas were introduced and innovative products were unveiled. Nations came together to highlight progress in all aspects of human life: scientific, technological, economic and social. As such, the Centennial Exhibition was a stage for displaying the ingenuity and industrial power of the United States and demonstrating the progress of the fledgling nation for the world to see. Philadelphia was chosen for the exhibition location for its historical significance as the site of the signing of the Declaration of Independence, the seat of the Continental Congress, and for practical reasons such as the ease of access by every state of the nation as well as the nations of Europe by sea. The exhibition grounds in the beautiful Fairmount Park along the Schuylkill River were designed by Herman J. Schwarzmann. The exhibition opened on May 10, 1876 and lasted for six months with 37 countries participating. By the time it closed on November 10, 1876, it had about 10 million visitors. Over 57 million pounds of goods were put on display in the exhibition buildings. Ten years in the making, the event involved many people and groups starting with John L. Campbell, a professor at Wabash College, Indiana, credited with the idea of the centennial exhibition. The Pennsylvania legislature and the Franklin Institute lobbied Congress to take up the idea, and the general public helped finance this immense undertaking by purchasing stocks issued by the Centennial Board of Finance. Two bodies were tasked with executing this unprecedented event: the United States Centennial Commission, led by General Joseph R. Hawley, was responsible for the general executive management and the Centennial Board of Finance, led by John Welsh, was in charge of negotiating all the contracts and making sure the funds were available. In addition, the Women's Centennial Executive Commission, led by Elizabeth Duane Gillespie, great-granddaughter of Ben Franklin, played an important role in raising funds for the exhibition and promoting inventions by women. Some inventions and new products exhibited are still popular with consumers to this day such as popcorn and Heinz ketchup. Some, like typewriters, were in use for another century before giving way to more advanced technologies, while others, such as the Singer sewing machine, went through many transformations, and are today nothing like what was exhibited almost 150 years ago. This story is about Alexander Graham Bell’s first public demonstration of his first telephone at the 1876 Centennial Exhibition that ushered a new era of communication. In a matter of months there was an opportunity for Bell to demonstrate his invention to the world. Bell’s future father-in-law Gardiner Greene Hubbard, a Boston businessman, saw great potential in Bell's telephone and backed the idea financially. Hubbard was one of the three prominent Bostonians appointed by the Massachusetts Board of Education to a committee in charge of organizing the education and science exhibit of the state. He made repeated visits to the exhibition and secured space for Bell’s prototypes of multiple telegraph and speaking telephone apparatus as well as a display of Visible Speech charts. Having seen the attention other inventors were getting by demonstrating their inventions in person, Hubbard decided that Bell needed to be there to demonstrate his apparatus for the awards committee on June 25, 1876. However, there was a little snag, as the time of the planned demonstration coincided with an examination Bell was scheduled to give that very weekend. He wanted to send Willy Hubbard, his fiancé’s cousin to demonstrate his invention. Hubbard insisted that it was important for Bell to travel to Philadelphia and demonstrate the transmission of vocal sounds personally. As later told by Bell’s daughter Elsie Bell Grosvenor in a letter to Lamar Trotti, the screenwriter of the film The Story of Alexander Graham Bell in 1939, two people appear to have played major roles in Bell’s successful public experiment. Gardiner Greene Hubbard’s daughter, Mabel Gardiner Hubbard, who used to be one of Bell's deaf students, and was his fiancé at the time, overcame Bell’s strong objections to skipping the scheduled examination. Mabel insisted that Willy wasn’t qualified to properly demonstrate the experiment and explain it to the judges, and Bell had to be there in person. To enhance her persuasive efforts she also used a little bit of trickery and tears, including a threat to break off their engagement. Bell found himself on the train heading to Philadelphia. Bell’s instruments suffered damage on the way to Philadelphia. In his letter to Mabel, full of trepidation about the upcoming experiment, he wrote that “seven of my glass cells were smashed to pieces. The cones of my telephones were completely flattened.” He managed to put it back together in a workable shape for the demonstration. Bell also mentioned in a letter that an organ exhibitor offered to fix his organ used for the demonstration of transmitting sound and the Superintendent of the Atlantic and Pacific Telegraph company kindly offered to lend him as much battery power as needed for the demonstration. The other person who influenced Bell’s success at the exhibition was Dom Pedro II, the Emperor of Brazil, and a prominent figure at the Centennial Exhibition who had the honor of starting the famous Giant Corliss engine at the ceremonial opening of the Exhibition along with President Ulysses Grant. The Corliss engine powered every building on the exhibition grounds. The Emperor of Brazil, known to be progressive and devoted to culture and sciences, had spent months touring the United States before the exhibition and happened to have visited the Boston school for the deaf where Alexander Graham Bell taught. The Emperor also happened to be among the judges of the electrical exhibits Bell was participating in. In her letter to Trotti, Elsie Bell Grosvenor describes the scene when the Emperor encountered Bell at the Exhibition, as she had heard from her father. Bell himself wrote about this scene in his letter to his parents shortly after the demonstration as well. At the end of a very hot day, the judges making rounds in the exhibition were quite weary and not very interested in looking at another thing. Dom Pedro II, recognizing Bell, came over to greet him and took interest in his instrument. One of the other judges was Sir William Thompson, a prominent English scientist. Bell wrote that after explaining what his invention was about, he offered to test the transmission of the human voice. Bell went to a distant room and sang into the telephone. Willie Hubbard reported to Bell that Sir William heard his voice distinctly and then exclaimed when he heard and understood Bell’s full sentence: “Do you understand what I say?” The Emperor then listened and exclaimed in surprise “I have heard! – I have heard!”-wrote Bell. The success at the Centennial Exhibition earned Bell an award in the Group XXV Instruments of Precision, Research, etc. category and a lasting fame. The Report of the Massachusetts Commissioner to the Centennial Exhibition at Philadelphia includes the following: “...In this connection should be mentioned Prof. A. Graham Bell’s “Visible Speech,” in ten volumes and six charts. This gentleman also contributed greatly to the interest of this department by exhibiting his recent wonderful inventions and discoveries in telegraphy and telephony, with apparatus by which words spoken by the human voice are to be carried to great distances by means of the telegraph wire.” Dates Open - May 10 to November 10, 1876 (exposition period). Open 159 days. No Sundays. Gates also open from November 10 to December 16. Attendance - Total Attendance (including staff) - 9,910,966. Paid Attendance - 8,004,274, Total Visitor Attendance (paid & free) 8,095,349. An additional 213,744 were added to total through December 16 (10,164,489) with 43,327 additional paid (8,047,601). International Participants - 34 Nations and 20 Colonies, according to the Official History allotment of space. Total Cost - $9,021,849.97, including $2.5 million appropriation for buildings by the city and state. Site Acreage - 285 acres. 236 acre enclosed by fence with some exhibits outside. Sanction and Type - Prior to sanctioning by the Bureau of International Expositions. Would be considered a Universal style Registered event today like those on the 0 years of the decade. Was officially recognized by the United States government with Foreign nations invited on July 5, 1873. Ticket Cost - Admission to exhibition 50 cents. The per capita $ per admission was $0.479, with $.062 spend on concessions. The Philadelphia Centennial International Exhibition is, in our opinion, the least known most important historical event in United States history. Almost nobody knows about it. And why do we say that? Well, coming one decade after the Civil War, and in an era when the United States was not considered a nation on a par with European or Asian powers, the Centennial with its industrial might on display, flabbergasted the heads of state of foreign nations. These exhibits, including Alexander Graham Bell with his telephone, Edison with the phonograph, McCormick with the reaper, Colt with the repeating pistol, and most of all, Corliss with his gigantic engine, showed the world that not only was the nation still recovering from Civil conflict an equal to them in innovation and power, but within two generations, would be the most powerful nation on earth. It's hard for us today to imagine a time when the U.S.A. was not thought of in that way. Prior to 1876, and the Centennial Exhibition, we were rubes without a cube, a backwards colony that recently could not get its act together, in a Civil War that England and France would have preferred go the other way. After the Philadelphia Centennial International Exhibition, with President U.S. Grant as President, no nation in the world would ever quite think of us in the prior way again. And the star of this show was the Corliss Engine. The engine had been around in various forms for a quarter century, but not in quite the large form exhibited at the Centennial. When it powered eight hundred machines in Machinery Hall with a network of shafts over one mile in length at the opening ceremony, pressed into service by President U.S. Grant and Emperor Dom Pedro II of Brazil, the dignitaries in attendance were in awe. Today you can see a representation of the Corliss engine and other exhibits from the Centennial at the National Museum of Industrial History in Bethlehem, Pennsylvania. Of course, the fair had more to offer than just that remarkable engine and even those other industrial marvels that sat in the buildings of the International Exhibition of Arts, Manufactures and Products of the Soil and Mine. Seated around the two hundred and eighty-four acres of Fairmount Park was the Torch and Arm of the Statue of Liberty, one of the first working monorails brought to the fair by General Roy Stone (cost 3 cents to travel 500 feet), as well as elevators by Otis. Buildings covered seventy-one acres, two hundred and fifty of them, including five main exhibition halls. Thirty thousand exhibitors filled them. How well thought of were these exhibits? After the fair, forty-two freight cars transported them to the Smithsonian. The portion of the Statue of Liberty exhibited in Philadelphia was shipped to New York to wait for the rest of the statue. The original Centennial Corliss engine was tranported to the Chicago Pullman rail car factory. Ground was broken for construction of Memorial Hall on July 4, 1874, even though financing, due to the depression, was difficult. Getting money from Congress was not easy either. It took until February of 1876 before they appropriated $1,500,000. Fair buildings were complete when the fair opened, along with sixteen bridges, sixteen fountains, and five and one half miles of railroad track. The narrow gauge railway within the expo grounds cost 5 cents to ride and was used by 3,812,794 people. Opening ceremonies were held at 10:00 a.m. on May 10 with President U.S. Grant presiding. One hundred thousand people thronged in front of Memorial Hall. President Dom Pedro II of Brazil and his wife were on the dais, the first reigning monarchs to visit the United States. The main exhibition hall was the largest structure in the world at the time. It had eleven miles of walkways and covered twenty-one acres. By the end of the exhibition, it was considered an unqualified success, far surpassing the expectations of the government and the fair authority. Beyond the promotion of the United States as an equal to European power, it served as reparation to the Civil War, bringing together the states for an event of national significance, the 100th Anniversary of its founding, the reading of the Declaration of Independence in the center of Philadelphia. It did not, however, do as well financially. Part of that problem was a disagreement on how federal funds would be spent and whether they had to be repaid. The fair authority was a private concern, advanced that $1.5 million by the federal government. In court proceedings after closing, the court said it was a loan and not a grant, causing the private subscribers of the centennial to fail getting their original subscriptions back. Now, there were criticisms. The London Times reported that many of the exhibits were not finished when the fair opened, and that the summer was hot, hurting attendance. The New York Times reported on the opening that the attendance was so high by the time President Grant came back for dinner that night, all the food at the principal restaurant was gone. Historian's Perspective Thomas Prasch - "Philadelphia clearly benefitted from the fact that the fair coincided with the national centennial. National profile was thus very much part of its design from the start." International Participants Nations and Colonies Nations - Great Britain (B) and Ireland (Colonies of India, Straits Settlements, South Australia, Queensland, New South Wales, Victoria, Tasmania, New Zealand, British Guiana, Gold Coast, Ceylon, Seychelles/Mauritius, Trinidad, Jamaica, Bahamas), Canada (B), Cape of Good Hope, Bermudas, Orange Free State, Liberia, France (B), Germany (B), Grand Dutchy of Luxembourg, Austria and Hungary, Russia, Norway, Sweden (B), Denmark, Netherlands, (Incl. East Indian Colonies), Belgium, Switzerland, Italy, Spain (2 colonies) (B), Cuba, Phillipine Islands, Portugal (B), Turkey (Egypt & Tunisia), Egypt, Tunis, Japan (B), China, Brazil (B), Chili, Argentine Republic, Peru, Venezuela, Hawaii, Mexico, United States. Countries that accepted invitation but not exhibit in Main Building; Bolivia, Greece, Uruguay. Note: (B) indicates nation/colony had their own building. A variety of sources list different international participants. Some are listed with buildings, exhibits, and/or as concessions. Use the above as a guide, not gospel. Expo Tidbits William T. Sherman, Philip Sheridan, President U.S. Grant, and Governor Hartranft were among the Civil War soldiers at fair. The Fair Commission published notices of adequate rooms in Philadelphia, including 150,000 in hotels, 20,000 from the Centennial Lodging-House Agency, 40,000 of accomodations with relatives and friends, 13,000 in boarding-houses, 5,000 for patrons of husbandry (Grangers), 5,000 at Camp Scott for military organizations, 5,000 camp in Fairmount Park for military, and 20,000 in suburban hotels. Hotel prices ranged from $1.50 to $5.00 per day, boarding houses $1 to 2.50, Centennial Lodging Agency $1.25 per day, including meals $2.50. Eight hotels were built near the exhibition. Grand Exposition Hotel, located at the corner of Girard and Lancaster Avenues, was advertised as the largest hotel in world. It was made of brick with 1,325 rooms and a capacity of 3,500. The United States Hotel, 42nd & Columbia, charged $4 per day. Atlas Hotel, 48th to 52nd St., contained 1,500 rooms, housing 3,000 people. Globe Hotel was located at Elm and Belmont Avenue, had five stories, and fed 30,000 people a day. The Transcontinental Hotel stood opposite the main entrance to the exposition with 500 rooms. There were a number of small hotels near 51st and Elm Ave., including the Elm Avenue Hotel, Metropolitan, the International and Congress Hall, housing 200 to 800 guests each. Largest attendance day was September 28, 1876, Pennsylvania Day with 274,919. One exhibit on site was "Old Abe" a war eagle that had been in thirty-six Civil War battles. Legacies There are two buildings of significance that remain from the fair. The Art Gallery, which became known as Memorial Hall, at one time served as the Pennsylvania Museum of Art from 1877 to 1928, before it moved to a new building on the parkway. After that, Memorial Hall was used in various ways, including as a school that today is the University of the Arts, and Fairmont Park recreation and offices. In 2008, the Please Touch Museum renovated the building and moved in. They have exhibits and a scale model of the Centennial, beside their children based exhibits. The Ohio Building still remains. It is currently used as a cafe. Two comfort stations for the original Horticultural Hall remain near the Japanese House. They have or are still being renovated for exhibits and comfort. The original Horticultural Hall, which was meant to be permanent, remained until 1954 as a horticultural center, when, after damage by Hurricane Hazel, it was demolished. Twenty years later, it was replaced by the current Horticultural Center. Those in Charge Hermann Joseph Schwarzmann was principal assistant and consulating engineer for commissioners of Fairmount Park, and designed many of the buildings. He became the Engineer of the Exhibition Grounds. Major-General George Gordon Meade was a Fairmount Park Commissioner. General Joseph R. Hawley was president of the Centennial Commission. Alfred T. Goshorn was elected Director-General of the Centennial. A separate Board of Finance was established by Congress and authorized to raise $10 million by selling public stock with John Welsh elected president of the board. Photo column top: Main Exhibition Building and Machinery Hall, the two largest structures at the Philadelphia Centennial International Exhibition, 1875, Brett Lithographing Company. Courtesy Library of Congress. Center: Art Gallery (Memorial Hall) today as the Please Touch Museum. Bottom: Ohio Building today. Sources: U.S International Exhibition 1876 (Official Record); Worlds Fairs from 1851 to 1893; Story of Exhibitions; New York Times; London Times; Fair News; Historical Dictionary of World's Fairs by Alfred Heller; World of Fairs; Centennial Guide - Philadelphia 1876; All The World's A Fair; "The Search for Common Ground: British Participation in the American Exhibitions of 1876 and 1893" by Thomas Prasch; Footsteps at the American World's Fairs by Stanley K. Hunter; Official History - Portland 1905; Monorail Society; The Glorious Enterprise; Centennial Philadelphia; Philadelphia, the Centennial Exposition. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. 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This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining.. How Many World Fairs Did Paris Host in the 19th Century? World Fairs were significant events during the 19th century, and the legendary fairs in Paris showcased artistic and industrial excellence. The 19th century was a momentous period in Parisian history, when significant breakthroughs in art, industry and science were made. One of the most outward expressions of Parisian success were the Paris World Fairs, which cemented the city’s place as a world-leading political capital. These vast events spread out across the entire city and included new temporary and permanent buildings, along with displays of industrial developments and works of art from around the world. Some of the highlights of the Paris World Fairs even went on to become iconic, permanent landmarks, including the Eiffel Tower, and the head of the Statue of Liberty, which later made its way to the United States. Below are the five Paris World Fairs that altered the course of history. 1. The First Paris World Fair: 1855 The very first Paris World Fair took place in 1855. It was organized by Emperor Napoleon III as a promotional tool to assert his new position in power, signifying a landmark moment in France’s history. The World Fair centered around a brand-new exhibition hall – the Palais de l’Industrie on the Champs Elysees. Two new smaller buildings also accompanied this space – the Galerie des Machines and the Palais des Beaux-Arts. Inside these exhibition rooms were a series of world-renowned exhibits dedicated to industry. Meanwhile, a temporary construction next to the Galerie des Machines was designed by the architect Hector LeFuel to house artworks from around the world. 2. The Fair of 1867 The second World Fair in Paris was also organized by Napoleon III to take place in 1867. Again, the event was a powerful strategic move, aimed at bringing attention and political gain to Paris. The main exhibition space for the 1867 Paris World Fair was the Palais du Champ-de-Mars, built by Frederic LePlay, with help from the up-and-coming engineer Gustave Eiffel. This exhibition hall was circular in design, and the fair designers took advantage of this layout, arranging industrial exhibits in the outer circles, while the inner circles were dedicated to art. In the center, a small building housed a display dedicated to currency and coins from around the world. It was a momentous event, larger than the previous one, with a series of pavilions, restaurants and amusement parks constructed around the central building to draw huge crowds. 3. Paris World Fair of 1878 By contrast, the 1878 Paris World Fair took place in a very different political climate. Against the backdrop of the Prussian War, the Paris commune and the downfall of the empire, France was in a vulnerable and unstable state. The officials of the Third Republic decided that a World Fair could bolster France’s popularity on the international stage, even if they could barely afford it. One of the highlights of the fair was the recently completed Head of the Statue of Liberty, which went on display for a brief spell in a Parisian park before being shipped to the United States. Other highlights included the temporary construction of the Palais du Champ-du-Mars (Gustave Eiffel helped with its design!), and the permanent Palais du Trocadero, which later became a concert hall. 4. 1889: The Year of the Eiffel Tower The 1889 Paris World Fair was the second to take place in a republican regime in France. It was a historically significant year for France, marking the 100th anniversary of the French Revolution, so the pressure was on to create something spectacular. The fair was larger and more ambitious than in previous years, taking place in the Palais du Trocadero and the Champ-de-Mars, while several temporary pavilions and pop-up spaces formed satellites around it. Meanwhile, East of the main site, the Esplanade des Invalides showcased a display dedicated to colonial art. But by far the greatest and most controversial aspect of the fair was the unveiling of the Eiffel Tower, which divided public opinions and caused an international sensation. Only meant to be temporary for 20 years, the tower is now an iconic landmark for the city. 5. The Grand Event in 1900 The fifth World Fair in Paris was in 1900, a centenary display of epic and ambitious proportions. Paris was also hosting the Olympic Games in the same year, making the city the center of public attention around the world. A series of new buildings popped up, including the Grand Palais and the Petit Palais, while the government extended the Esplanade des Invalides and Petit Palais. They even painted the Eiffel Tower bright yellow to mark the occasion! A series of visitor attractions pulled in tourists far and wide – these included moving walkways (trottoirs roulants), the Electricity Palace, and a series of night-time water and light displays to dazzle the public at the dawn of a new age. PARIS, FRANCE 1878 Exposition Universelle Dates Open - May 1 - November 10, 1878, including Sundays. Open 194 days. Attendance - Paid Attendance 12,623,847, Total Visitors 13,209,909, Total Attendance (including staff) - 16,159,719. International Participants - 44 nations and 22 colonies . Total Cost - 55,389,961 francs ($11,054,330). Site Acreage - 192 acres of Champ de Mars on one bank of the Seine and Trocadero Hill on the other. Sanction and Type - Prior to the Bureau of International Exhibitions. Paris 1878 would be considered a medium scale registered event today. Ticket Cost - Adult Admission Price (1 franc) $0.20, Per Capita Price - $0.191 (Total visitors), $0.156 (Total attendance). Price of season ticket 100 francs. The third Universelle Exposition in Paris, known as the Exhibition of the Works of Art and Industry of all Nations, followed in the footsteps of the previous two. It was held on one hundred and ninety-two acres on both side of the Seine River, of which seventy of them were covered in exhibit halls around the site. There were fifty-two thousand exhibitors, about half French and the other international. And what were its stars? How about the phonograph, typewriter, and the refrigerator. It was a difficult fair for France to host, as the losses in the war left the Third Republic with little extra money as they rebuilt from the 1870-1 conflict. There were also questions about pending conflicts; one clue to that, Germany was not exhibiting and it was now a coordinated nation. So, it was natural that the 1878 exposition was a more serious affair than that of 1867, although it did have its whimsy. Sixty-one thousand gallons of water cascaded down the southeast face of Trocadero Hill to the river ever hour. The head of the Statue of Liberty, Bartholdi's Light was exhibited outside the main building as it waited to be shipped to New York. Exhibitors and hotel keepers were delighted at the larger fair than that of 1867, despite the cost. Of course, there were other detractors past those worried about money. The clergy urged the public to stay away, stating that the opening ceremony was without religion. Above photo. Gallery D'Iena, Paris Exposition 1878. Below: Advertisement for Glycerine toothe paste, a Gold Medal winner at the Paris Exposition Universelle 1878, 1889. Photos courtesy Wikipedia Commons. The main building, the Palace of Industry, was a temporary structure two thousand one hundred and thirty-two feet long by one thousand one hundred and forty-eight feet wide. It included the Rue de Nations, where facades led to national displays, returning to the traditional idea of a single building instead of national pavilions for the majority of exhibits, except for a few small pavilions outside. The Fine Arts Building, the Trocadero, was a lavish permanent structure. From the Trocadero to the Seine was the Parc where fountains, restaurants, an aquarium, and foreign pavilions, including Egypt, Algeria, Tunisia, Morocco, Persia, China, Japan, Norway, and Sweden were located. Other pavs on the eastern edge of the Palace of Industry were Netherlands, Portugal, Denmark, Belgium, Switzerland, Russia, Austria-Hungary, Italy, England, Spain and the United States. The total number of of biuldings was twenty-five, including two major exhibit halls, seventeen national pavilions, two commercial exhibitor buildings, one art palaces, one colonial pavilion and it did have agricultural and livestock displays. The fair did not turn a profit, even after the Trocadero was sold. Many thought it was worth it, after the Franco Prussian War eight years before and the political changes to the Third Republic, to prove that the new regime could put on such a show and that they were still in the forefront of nations despite the defeat to Germany. It also had the effect of calming the nation after the political upheavals in 1877. Who Came to the Fair? The New York Times stated on November 21, 1878, that the number of visitors since May 1 to Paris (per lodging records, not including staying with friends, relatives, etc.) was a total of 203,157. United States 13,573. English 58,916, Germany 21,788, Austria 8,501, Belgium 28,830, Algeria 1382, Bolivia 54, Brazil 1164, Canada 719, China 81, Columbia 156, Chilie 81, French Colonies 795, Costa Rica 39, Denmark 1707, Egypt 659, Ecuador 53, Spain 10,004, Greece 854, Guat. 42, Hond. 13, Neth. 6682, India 386, Italy 14,968, Japan 163, Lux. 2238, Morocco 68, Mexico 1409, Nic., 11, Paraguay 11, Oceania 69, Peru 186, Persia 83, Pa Plata 18, Poland 1952, Port. 1687, Romania 1442, Russia 5725, San Salvador 45, Sweden/Norway 2705, Swiss 11,980, Tunisian 96, Turkey 898, Uruguay 16, Venezuela 148, 1674 others. Heads of state also came. The procession on opening day included the Prince of Wales and Queen Isabella. The Crown Prince of Denmark attended later. International Participants Nations and Colonies United States, France, Great Britain, Algeria (COL-FRANCE), Andorre, Annam (COL-FRANCE), Argentine Republic, Austro-Hungary, Belgium, Bolivia, China, Cochin China (COL-FRANCE), Denmark, Egpyt, French Guinea (COL-FRANCE), French India (COL-FRANCE), Gaboon (COL-FRANCE), Germany, Greece, Gaudaluope (COL-FRANCE), Guatemala, Hayti, Italy, Japan, Luxembourg, Madagascar, Martinique (COL-FRANCE), Mexico, Morroco, Netherlands, New Caledonia (COL-FRANCE), Nicaragua, Norway w/Sweden, Nossi Be, Persia (the Shah), Peru, Portugal, Reunion (COL-FRANCE), Russia, San Marino, San Salvador, Senegal (COL-FRANCE), Siam (the King), Spain, Sweden (See above w/Norway), Switzerland, Tahiti (COL-FRANCE), Tunis, Uruguay, Venezuela, India (COL-GBRIT), St. Martin (COL-NETH.), Brazil, Monaco, Canada, Turkey, New South Wales (COL-GBRIT), Victoria (COL-GB), Mauritius (COL-GB), South Australia (COL-GBRIT), Cape of Good Hope (C-GBRIT), Portuguese colonies (COL-PORTUGAL), Cambodia (COL-FRANCE), St. Peter's & Michael (COL-FRANCE), Finland (w/Russia), Serbia, Romania. Expo Tidbits Gustav Eiffel designed the roof of the main entrance and the side pavilions. Two innovations at the fair included rails under the floors which were used to bring in and take out exhibits easily, plus a better ventilation system, which was also beneath the floor. Thomas Cook & Sons, excursionists, carried more than 75,000 American and English visitors to the fair, purchasing from the Minister of Finance over 400,000 admission tickets, lodging average 450 persons per night. Total appropriation for United States exhibits was $190,000 while Great Britain spent $335,000. Largest day attendance was June 10 (Whit Monday) 200,613. (182,240 paid). Total number of persons visiting Paris in 1878 during the six months of the fair was 571,792, 308,000 more than the year before, thus giving Paris added $15 million in indirect benefits. Legacies International congresses on various topics were held in Trocadero Palace, some with far reaching effect. Victor Hugo headed a Congress for the Protection of Literary Property which led to the eventual formation of international copyright laws. The Congress for Amelioration of the Condition of Blind People led to the world adoption of the braille system. Trocdero, the Fine Arts Palace, was a permanent building that was also used for the Paris 1889 and Paris 1900 fairs. It was torn down in the 1930's and replaced for the 1937 exposition. Thai pavilion still stands on the Domaine de Mantelon, at least as of 1993. It was inspired by the Grand Palace of Bangkok and included exhibits from the king. The ornamental gateway was purchased by James Duncan and installed on his estate near Dunoon, Scotland. It became know as the "Golden Gate" and the estate is now the Younger Botanical Gardens. Those in Charge Yes. Yes. French President McMahon decreed that the exposition would be held on April 4, 1876, and it was santioned by law on July 29, 1876. Commissioner General was J.B. Krantz, Senator of Finance. Sources: Story of Exhibitions; "Oh, So Many Fairs" by Mike Gregory, Fair News November 1993; "France and the King of Siam: An Asian King's Visits to the Republican Capital" by Robert Aldrich; The Anthropology of World's Fairs; London Times; New York Times; Ephemeral Vistas; Historical Dictionary of World's Fairs by Alfred Heller; History of Fairs and Expositions; Worlds Fairs from 1851-1893; Les Fastes du Progres; Reports of the U.S. Commissioners to the Paris Universal Exposition of 1878. Bureau of International Exhibitions. The International Exposition or World’s Fair served for over 150 years as a primary arena for the display of national prestige. Manufactured product and the resources that produced it – natural, inventive, managerial – provided the common means by which nation could be measured against nation. Progress was regarded as visible, tangible and local. Gold, silver and bronze medals were awarded to objects. Achieving individuals were inducted into Legions of Honor. In today’s world focused on speed, process, and individual celebrity, certainly in terms of public visibility, the Olympics have superseded the International Exposition as an arena for estimation by others. For over one hundred years, the Library has been building its collection of materials relating to international expositions. Frederic Vinton, librarian from 1873 to his death in 1890, recognized the importance of these materials by listing them in his 894 page Subject Catalogue of the Library of the College of New Jersey (Princeton, 1884), under the headings: London international exhibition, 1851; Paris expositions, 1844, 1867, 1878 ; Philadelphia exposition, 1876; Vienna exposition, 1873. Since then, such materials have been gathered by such units as the Art Library, the Geology Library, the Architecture Library, Graphic Arts, the Theatre Collection, Numismatics, General Rare Books, as well as in the general circulating collection. This latest addition, an Album Guide is the rare first edition of this charming large format guide for English and American visitors to the Exposition Universelle in Paris in 1878. It is not listed in WorldCat. he following description of the contents is provided by Ed Smith of Pickering & Chatto (London) — “The work, complete with a large folding coloured Paris street map (and on the verso a map of the regional railways) provides all the information necessary for the visitor in negociating the language barrier on their way to, and at, the exhibition. After a brief introduction ‘to the elements of the language’, the first section provides useful phrases on the journey to France (‘the Landing and Custom House’, ‘At the Railway Station’ etc). This is then followed with further phrases useful at the hotel, when eating and drinking, at the Tobacconist or Hairdresser, and even when needing to take a bath. Part II gives details of exchanges and weights and measures, Paris Omnibuses (apparently much more comfortable than in London), Theatres, Music Halls, Promenades and Gardens, and a list of the entertainments to be given at the exhibition. The final section contains the professional and commercial list, bankers, doctors, milliners, perfumers, chemists and dentists, to name but a few. The work concludes with an advertisements section, both for Paris and London businesses. … This exposition was on a far larger scale than any previously held anywhere in the world. It covered over 66 acres (267,000 m²); the main building in the Champ de Mars occupying 54 acres (219,000 m²). The illustrations and illustrated advertisements are of particular interest, as they are documenting the ephemeral nature of exhibitions, certain business, commercial design and places of entertainment, such as the 22 theatres colour-illustrated seating plans, together with price lists. On p. 7 is a half-page size woodengraved bird’s eye view of the exhibition ground. Each double-page of this album has a large view of thestreet, landmark or square where the businesses advertised for are located. The highlights among the illustrated advertisements are: a full-page woodengraved composition of views of the workshops and the large shop of the manufacturer of sweets and chocolate Au Fidèle Berger (p. 2), a full-page tinted lithograph of the Grands Magasins de la Paix (p. 40), and a half-page advert for a shoe manufacturer printed in black, silver, gold and bronze (p. 46), a full-page advertisement for the ‘magnificent Summer Garden’, the Alcazar d’ Été near the Champs Élysées. There is advertising for various shipping companies, as well as a section of illustrated advertisements for hotels in Paris and French holiday resorts. Numbered page 99-100 is a large folding handcoloured map, Le nouveau guide de l’étranger dans les 20 arrondissements de Paris, (Paris : J. Gaultier, 1878), 50 x 67 cm. Provenance: From the fashion shop run buy the Madames Biays in the Rue d’Échelles, whose advert is on p. 53, with their name stamped in gilt on front cover.” https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. Chicago World's Fair, USA, 1893​ On May 1, 1893, the city of Chicago held the "World's Colombian Exposition" to celebrate the "discovery" of America by Columbus 400 years earlier. In fact, the World's Columbian Exposition in Chicago was to be the largest to date. 70,000 exhibitors from 46 nations were present - 25,000 of them from the USA alone - to present their technical achievements, marking the beginning of a new era. Not only a film projector, the first dishwasher, a fully electric kitchen, an elevated train with electric drive and a rolling footbridge could be marvelled at, but also the amusement park with fairground stalls, circus performances, artificial ice rinks and an 80-meter-high Ferris wheel attracted numerous visitors. The organizers of the fair which, given the historical background, may have been a coded message as well - except that the term "old world" may mean something different than what we learn nowadays. The Chicago Expo, which makes us think involuntarily of ancient Rome, was nicknamed the "White City" and was the inspiration for the Emerald City in the book "The Wizard of Oz". Here is one of the sketches that illustrator W.W. Denslow made in response to the Chicago Expo for "The Wizard of Oz": The tops of the domes are studded with crystals - hence the name Emerald City in the book. Here, Denslow stands against the backdrop of the Expo site after the devastating fire and on the verge of complete demolition. Interestingly, Indian Researcher Praveen Mohan describes in his videos that many ancient Indian temples were originally studded with crystals at the top. Some, like the Somawathiya pagoda, still have those crystals today. Does "The Wizard of Oz" contain an unconscious collective memory of humanity, or did Denslow possibly know something that is no longer available to us today? In any case, the Chicago World's Fair was one of the most impressive exhibitions ever in architectural terms. According to the story presented to us, over 200 buildings were built on the shores of Lake Michigan on an area of 278 hectares, in only 3 years. Paradoxically, the construction period coincides with the period of economic depression, and the Panic of 1893 was the most severe economic crisis in the history of the United States to date. Who would have thought that in such a time there were enough workers and resources to build an almost paradisiacal city? Were these buildings actually designed by architects Daniel Burnham and Frederick Law Olmsted and meant to be understood as a homage to Greco-Roman architecture, or did some of them already exist before the Expo began? Were they showing the public the remains of the old world one last time, only to destroy them afterwards? Considering the immense effort that was necessary to construct the buildings, the official explanation hardly seems plausible, especially since there are only a few photos of the construction phase, or precise records of the course of the complex construction projects. This discrepancy between the functionality of the building as an exhibition object and the effort of construction is most evident in the colossal "Manufacturers and Liberal Arts Building". This 200 meters wide and 500 meters long building required twice as much steel as the Brookyln Bridge, and was four times the size of the Roman Coliseum. It may even have been one of the largest buildings ever built. Covering an almost unimaginable area of about 20 football fields, this huge building housed numerous items from manufactories around the world that supposedly represented the level of technical expertise that had emerged since industrialization. This construction alone would have taken years and consumed numerous resources, even if you believe the official narrative of a temporary building. Nevertheless, the building was completely demolished after the Expo. Of the more than 200 buildings, 14 (!) had similar dimensions to the "Manufactures and Liberal Arts Building" and they too were almost all destroyed after the 130-day duration of the exhibition. Today only two buildings remain, the so-called "Museum of Science and Industry" and the "World's Congress Auxiliary Building". Considering the high effort of the construction, the question arises why only two of these buildings were allowed to remain standing, since other possible uses would have been quite conceivable and it sounds very unbelievable that such immense resources were simply wasted. Another interesting building at the Columbia Exposition was the main train station on the Expo grounds, whose entire rail system consisted of 35 tracks. By comparison, the main station in Munich, one of the largest stations in Germany, has only 34 tracks. Allegedly, the entire station was only temporary in nature, but it begs the question of how it would even be possible to build a station in such a way that it was stable and functional, but still "temporary" in nature? The only photo of the alleged construction of the station building shows a building already completely finished amidst mud - it appears to have been nothing more than freshly painted. Of the construction process itself, according to our research, not a single photo exists. A few months after the Expo, the station burned to the ground along with other buildings at the exhibition. Cause of the fire: Arson by unknown. The official story is this: A security guard at the Expo, conveniently called C. Mason, noticed the fire in the casino, and also immediately tried to sound the alarm. Unfortunately, none of the five devices to activate the fire alarm worked, which he tried out in quick succession. Fortunately, he eventually found a phone, so he was finally able to report the fire. By then, however, it was already too late, and due to changed official procedures, only ten fire trucks were able to arrive at the scene instead of the usual 20. It is also possible that this fire and subsequent demolition shortly after the Expo ended is related to the Great Chicago Fire of 1871. There are some contradictions with this fire. Officially, the cause of the Great Chicago Fire was that a cow knocked over a lantern. Evidence for this theory was never presented. Were the remains of the old world destroyed here in two phases, first with the city fire that claimed the lives of some 17,500 buildings, and later with the demolition of the Expo site? Were there even two separate fires? Were there fires at all? Questions upon questions. Supposedly, by the mid-19th century, Chicago had rapidly developed from a small Indian settlement into the huge metropolis we know today. But again, there is no documentation of the logistics of city planning. Interestingly, Chicago appears with the name Chilaga on old maps. So was this possibly an important Old World city and was Chilaga deliberately renamed Chicago to obscure its history? If we look at the "White City" of the Expo mentioned earlier from this point of view, the area could in fact have been a government district of Chilaga that was converted to a modern Expo area. So, did the 27 million people who visited the "exhibition" actually witness the destruction of one of the last parts of Chilaga? The statue of the Republic, which was on display at the Chicago World's Fair, holds in its right hand a sphere on which an eagle with outstretched wings is enthroned, while its left hand adorns a staff with a Phrygian cap, which was a symbol of the Scythians or Tartars and presumably symbolized freedom and justice. In the course of the Age of Enlightenment, the Phrygian cap continued to be used as a symbol of freedom. Significantly, in the same year that the Chicago Expo was being planned, the new University of Chicago was founded, considered one of the most important private American university foundations of the era, generously supported by oil magnate John D. Rockefeller. And this very university bears in its coat of arms a griffin burning in a fire, in which one could also recognize a symbol for the destruction of the old world empire. Some symbols, such as the double-headed eagle, the mythological griffin, the quadriga (i.e. four-horse), and the lion, we encounter again and again in the context of the old world. CHICAGO, UNITED STATES 1893 World's Columbian Exposition Dates Open - May 1 to October 30, 1893. 179 days open to public, including all Sundays, except 4 - May 7, 14, 21 & July 23. (Those 4 were open to exhibitors, passholders, etc., amounting to a total of only 27,144 visitors). Attendance - 21,480,140 Paid; 27,539,521 Total. International Participants - 50 Nations and 26 Colonies. Total Cost - $27,291,715. (Total expenditure $28,340,700 less Div.-Chi. $500,000 & Capital stock 10% $548,985 for Actual Expenses of $27,291,715.) U.S. States and Territories spent an additional $6.02 million and Foreign Exhibitors $6 million. Site Acreage - 686.1 acres in what is now Chicago's Jackson Park. Sanction and Type - Prior to the Bureau of International Exhibitions. Would be considered a Universal style Registered event today like those on the 0 years of the decade. Act of Congress provided that the President of the U.S. would issue a proclamation of time and place and extend invitations to foreign nations to participate in the World's Columbian Exposition. Ticket Cost - Various different types of tickets were used, including Souvenir Tickets (4 designs, Columbus, American Indian, Washington, Lincoln: 6 million ordered, good for any day). Plain Tickets (good only on date of sale) 25 million ordered. Passes for free admissions, including photo pass, complimentary card of admission to high dignitaries, workmen's passes (good for 1 month), return checks were used for those with passes who had to leave and re-enter the grounds each day. Daily ticket 50 cents. After May 22, a children's ticket (age 6-12, under 6 free) cost 25 cents. Later, during October 10-21, children from 6-18 admitted for 10 cents. Originally gates were open from 8 a.m. to 7 p.m., extended to open 7:30 a.m. to 11 p.m. The World's Columbian Exposition may have been the most majestic World's Fair of all-time with resplendent buildings that would be credited for starting the trend of architecture that would extend to many government buildings in the United States for centuries. To many, it was the White City. Alabaster coatings, actually staff plaster, on the temporary buildings, of which most were constructed, gleaned in the sun. Nearly two hundred acres of the fair site was covered by the buildings. The fair, on the more whimsical side, introduced the Ferris Wheel within the eighty-five acres of amusement known as the Midway Plaisance. The Ferris Wheel seated 2,160 passengers, the all-time biggest. Chicago had not won the right to hold the Columbian in an easy fashion. Washington, D.C. began developing a plan for a three year exposition in 1885 that would begin with the Centennial Anniversary of the Constitution's adoption and last through the 400th Anniversary of America's discovery. New York, Chicago, and St. Louis also wanted to host. Chicago won, chosen as host city by Congress with approval on April 25, 1890. Above photo. Palace of Mechanical Arts, 1893, Francis Benjamin Johnston. Below: East entrance to the Manufacturer's Building, 1893, Souvenir Photo Company. Photos courtesy Library of Congress. Jackson Park was an uninviting tract of swamps, sand, and scrub prior to the event, but over the next three years would be transformed into an ornamental arrangement of lakes, canals, and buildings on built-up land, using 120,000 cubic yards of dirt. Once the buildings were constructed, the expo authority held a dedication on October 21, 1892 in a program lasting three days. That program was used to disseminate information about the exposition the following year. Opening Day of the expo occurred on Monday, May 1. The Opening ceremonies were held in the Grand Plaza at the west end of the Court of Honor with President Cleveland in attendance. The paid admission that day was 128,965. Low attendance followed during the first week, and an impending financial crises loomed overhead, culminating eight days later with the failure of Chemical National Bank of Chicago and its branch at the exposition. That low attendance did not last. There were seven distinct parts of the exposition: the Basin and the Canal with architecture of the Grand styles; the wooded island; the Government location where the United States and other foreign pavilions were built; Federal State location with the Fine Arts building as its hub; the Midway Plaisance; Live Stock, outdoor Agricicultural Exhibits, Convent of La Rabida, Leather, Forestry, Dairy and Anthropological buildings; plus a region of railway yards, storehouses, bonded warehouses, and workshops of fair and concessionaires. Of course, the buildings and exhibits within them were the stars, plus that Midway. The buildings covered one hundred and sixty-seven acres. Administration 1.18 acres, Agriculture 13.35, Art 5.98, Electricity 6.09, Fisheries 2.16, Government 3.57, Horticulture 5.46, Machinery 18.26, Manufactures 30.88, Mines 5.65, Transportation 16.16, Womans 1.89, Minor buildings 37.43, State Buildings 10.35, Foreign buildings 3.11, Concession (Midway buildings, booths, etc.) 18.38, Other 7.27. Beyond the exhibits within those buildings, the World's Columbian was known for its Congresses with different Congresses held each week, over two hundred in all, including the Department of Woman's Progress, Department of Public Press, Temperance, Moral and Social Reform, Music, and more. It was a success by any means, even turning a profit, per World's Fair accouting. The White City spurred the City Beautiful Movement plus a building boom in similar architectural style at state capitals around the nation, and amazed the public who came. Receipts of concessionaires themselves totaled $16,583,051.53, of which the exposition took nearly a 25% cut. Minute Walk in History World's Columbian Exposition 1893 From the World's Fair that many historians think of as the best, one that spawned many a city hall, the White City movement in architecture, and continued the idea, begun in Philadelphia 1876, that the United States was now an equal to its European counterparts. Filled with public domain photos from the 1893 World's Columbian Exposition Illustrated, the World's Columbian Exposition, and the Library of Congress, with words from the official broadsheet of the fair, as well as music written for the fair, the Chicago Day Waltz, step back in time to one of the best world expos ever. Historian's Perspective Prasch - "Chicago was pioneering in several ways. The White City created for the fairground, on land largely reclaimed from Lake Michigan, was an architecturally unified ensemble. This was in some ways controversial - especially among architects, who found the style regressive and unmodern - but it was hugely popular among mass media and fairgoers. Chicago also featured a systematic anthropological approach to the display of non-European peoples, even if this was undercut to a large degree by the Midway. This was already implicit, I think, in, say, London 1886, or Paris 1878, but not, I think, in this kind of systematic way. Perhaps more significantly, Chicago pioneered the "Midway Plaisance," site of Ferris Wheel and Little Egypt's bellydancing and much else. Some of this was carried over from previous fairs, as well, but reaches new heights in Chicago, where the separate entertainment sphere, given over to private enterprise, is most fully developed. And no fair would be complete without a midway after 1893. The city made its case in the competition for a site, and pretty much proved it in its carrying out of the fair." Leonard Levitan - "Chicago 1893 introduced the Ferris Wheel, Picture Postcards, and established the Souvenir as a valuable momento, kicking off a giant new industry in America. They produced hundreds of unique items for that event and it is a collector's paradise today. It also introduced grand European architecture and the concept of intelligent urban planning to America whose cities at that time were growing helter skelter with no fixed plan as immigrants folled in (i.e. - New York). It is no coincidence that Fredric Olmstead was one of the planners. Every bank built in America after 1893 showed this influence. Sources: Report of the President of the Board of Directors of the World's Columbian Exposition, Chicago 1892-3; World's Columbian Exposition Illustrated - Devoted to the Interests of the Columbian Exposition, Art and Literature; Book of the Fairs, Columbian; The Final Official Report of the Director of Works of the World's Columbian Exposition, Daniel Burnham; Chicago's Great World's Fairs; Chicago's White City of 1893; "The Chicago World's Fair of 1893, the World's Columbian Exposition," Norman Bolotin and Christine Laing; Story of Exhibitions; New York Times; London Times; Historical Dictionary of World's Fairs; Fair News. International Participants Nations and Colonies Algeria (C), Argentina, Austria, Australia (C), Barbados (C), British Guiana (C), British India (C), British West Indies (Leeward Islands)(C), Great Britain and possessions, Belgium, Brazil, Bolivia, Bulgaria, Cape of Good Hope (C), Canada, incl. Alberta, China, Chile, Ceylon (C), Corea (See Korea), Costa Rica, Cuba (C), Curaco (Dutch W Indies) (C), Columbia, Dahomey (C), Danish West Indies (C), Denmark, Dutch Guiana (Suriname) (C), Dutch West Indies (C), East Indian (C), Ecuador, Egypt (C), France and possessions, Germany, Greece, Guatemala, Haiti, Hawaii (Sandwich Islands), Honduras, Hungary, Islands of the Pacific, Italy, Jamaica (C), Japan, Jahore (C), Korea, Liberia, Madagascar (C), Mexico, Monaco, Morocco, Netherlands and colonies), New Zealand (C), New South Wales (C), Nicaragua, Norway (Norway, even though twinned with Sweden at time, considered nation with separate building), Orange Free State, Paraguay, Peru, Persia, Phillipine Islands (C), Poland (listed w/Russia), Portugal, Puerto Rico (C), Russia, Salvador, Samoa , San Domingo (C), Scandinavian (Not country, but could have been several together), Servia, Siam, Sweden, Spain, Syria (C), Switzerland, Tunis (C), Trinidad (C), Turkey, United States, Uruguay, Venezuela. Nations/Colonies with Buildings - 19. Costa Rica, Colombia, Guatemala, Venezuela, Spain, Ceylon, New South Wales, Turkey, Brazil, Canada, Sweden, Japan, France, Germany, Great Britain, Haiti, Norway, East India. State Buildings - Arkansas, Iowa, Ohio, California, Joint Territories, Pennsylvania, Kentucky, Kansas, South Dakota, Connecticutt, Louisiana, Colorado, Maine, Massachusetts, Texas, Delaware, Maryland, Utah, Michigan, Florida, Minnesota, Virginia, Missouri, West Virginia, Montana, Vermont, New York, Wisconsin, New Hampshire, Washington, New Jersey, Idaho, Nebraska, Illinois, North Dakota, Indiana. A variety of sources list different participants. The Official Report Pass List and Official Report Department of Works, plus the Illustrated History, and other lists at times differ. Some are listed with buildings, exhibits, and/or as concessions. Use the above as a guide, not gospel. Expo Tidbits Chicago Day, held on the anniversary of the burning of Chicago on 10-9-1871, was the highest attendance day with 716,880 paid admissions. The exposition used more electricity than the whole city of Chicago at that time. There was a Moveable Sidewalk taking visitors down Casino Pier and back, even though the tower that was supposed to be built at the end as an attraction had never been built. An intramural railway circled the grounds, cost 10 cents for a 20 minute ride at 12 mph. There was also a Sliding Railway and Ice Railway as well as Gondolas plying the various canals and lakes. The Midway Plaisance included the following attractions; Congress of Beauty, Irish Industrial Association, Hindoo Jugglers, Electric Scenic Theater, Venice Murano Co., Donegal Castle, Hagenbeck Arena, Japanese Bazaar, Samoan Village, Japanese Village, Jahore Bungalow, Turkish Village, Streets in Cairo, Bernese Alps, Frances Triocea, Pompeii Pavilion, Moorish Palace, Persian Palace, Eiffel Tower, Algerian Village, Volcano of Kilauea, Old Vienna, Lapland Village, Captive Balloon, Dahomey Village, Great East Show, Chinese Village, French Cider Press, Bulgarian Booth, German Village, and more. Capacity of restaurants on site was 30,000 people per hour. Legacies Field Columbian Museum, now the Museum of Science & Industry in Palace of Fine Arts Building in Jackson Park. The museum opened to the public on June 2, 1894. There was land for University of Chicago, Chicago's first elevated transit line, and other benefits, including the tangible and more intangible: it provided employement during hard times, spurred investment throughout the state, increased outside recognition of Chicago's potential, attracted visitor dollars and generated tax revenue, and helped propel the area's image as economic powerhouse. From the Midway, the original Ferris Wheel would make it to St. Louis in 1904, but eventually turn to scrap. It left a legacy of those wheels at amusement parks which still lasts today. The Maine Building was moved to Maine in Poland Spring and is open to the public in the summer. The Dutch House was moved to Brookline, Massachusetts and is now a tourist attraction. The Norway Building is located in Blue Mounds Wisconisin, and is open to visitors. Those in Charge Daniel Burnham was the leader and architect of the 1893 fair. Grand plan of the exhibition layout was designed by Frederick Law Olmstead, with all principal buildings with both land and water frontage. Lyman Gage chosen president of corp with Thomas B. Bryan and Potter Palmer as Vice President. Gage later replaced prior to opening by William Baker and he, during the fair term, by H.N. Higinbotham. George R. Davis was Director-General. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. The Exposition Universelle, Internationale et Coloniale was a world’s fair including a colonial exhibition held at Parc de la Tète d’or in Lyon, France in 1894. The exposition was originally planned as a national exposition to be held in 1892, but the short interval since the Paris 1889 Universal Exposition led to a postponement of two years and a call for international participation. 3.8 million people visited the exposition. The 1894 Exposition in Lyon included the first known exhibition of incubators and human babies at a World’s Fair by Alexandre Lion. Dr. Lion operated storefront “institutes”” with incubators and human babies in several cities in France, and also had incubator pavilions at many international exhibitions in both Europe and the United States around the turn of the century. INTERNATIONAL EXHIBITION 1894 Only twenty-two years after the first failed attempt at’Exposition Universelle in Lyon, the one of 1894 was a great success. It has the particularity of’ to have been organized just between the two universal exhibitions of Paris of 1889 and 1900. Always having a vocation of’information of the visitors on the novelties of the industrial world, it has been the opportunity of many festivities and entertainments. At the Head of’Or park, there are three exhibitions: a Universal and International Exhibition, a Workers' Exhibition, and finally a Colonial Exhibition. Thus it was normal to’ have as attraction villages featuring natives of the French colonies to delight the public amateur of’exotism. From this Exhibition,we especially remember the date of June 24 when the President of the Republic Sadi Carnot is brutally murdered while’il was on an official visit to Lyon. From Idea to First Project The idea of making a Lyonnaise Exhibition was born shortly after the closure of the Universal Exhibition in Paris in 1889, in the head of the publicist Henri Martin who wishes to take advantage of the success of the latter. The idea appeals to the daily press and to the public. The conditions are rather favorable to project the holding of’an Exhibition in Lyon because this city, at the crossroads in France, is a place of passage. However, there is a shadow on the table : the burning’ failure of the’Exposition of 1872 remains in the minds when one speaks of’Exposition in Lyon. Henri Martin must redouble his effort to convince the mayor. In his letter addressed to the mayor to submit the’idea, he specifies that this kind of demonstration can generate considerable gains but can above all bring a moral benefit to the city of Lyon. On June 24, 1890, the proposed draft was discussed at’a special meeting of the municipal council. In September, the city of Lyon commits to concede free of charge some parts of the Parc de la Tete d’Or but will not make any subsidy. It therefore grants its moral support but is hardly more involved in’organization. The concessionaire undertakes him to build the buildings on the granted land but above all to constitute a guarantee by paying a capital of four million francs to the city before December 31, 1890. However, despite the support of’a syndicate of’entrepreneurs, Henri Martin is unable to produce such a considerable sum on the date requested, which leads to the nullity of the project. But the’ project failure is not synonymous with’abandonment. The Second Project, Budget and Administrative Organization In August 1891, the Municipal Council, under the leadership of Mayor Antoine Gailletton, decided to take charge of the project. The city will therefore take effective direction of the International Exhibition, with the assistance of a guarantee company, which will bear the hazard of losses and profits. It was a certain Jean Claret, a public works contractor who became the city's concessionaire. Its mission is to establish the exhibition buildings and organize the interior operation. In 1894, there were not one but three Exhibitions planned: a Universal and International Exhibition, a Colonial Exhibition, and finally a Workers' Exhibition. The Chamber of Commerce takes charge of the Colonial Exhibition and receives a subsidy of 250,000 francs from the city to do so. In January 1893, about fifty workers' unions met to form a purely workers' exhibition within that of Lyon. 100,000 francs have been allocated to them by the City Council. In total, the city will participate to the tune of’a million francs. The General Council of the Rhone, in turn, voted a credit of 200,000 francs to ensure the participation of the department in the’Exposition. The city of Paris invests 30,000 francs, Mr. Claret, for his part, 300,000 francs. On March 22, 1894, only a few days before the planned opening, the’ State finally agreed to grant its moral and pecuniary patronage with a sum of 380,000 francs, voted by Parliament. The Land : Parc de la Tete d'Or The site chosen is the same as’en 1872 : the Park of the Head of’Or. This park is a real advantage compared to the other cities organizing’Exhibitions. Indeed, they tend to hold them in large spaces, mostly bare and without any apparent charm. Here it’ is the opposite, the park created in 1857 as a real network of urban’aeration presents a quite grandiose and charming decor. The main element of decor is the lake of the park, surrounded by the main alley where are placed the facilities of leisure and’accommodation. It also has the’ advantage of’ being located two minutes from the station of Brotteaux and fifteen minutes from the city, connected to the city by many tram lines. Preparation of the City A universal exhibition is in essence linked to the city that receives it, the two maintain special relationships. To host a Universal Exhibition, the city has prepared for its visitors. Indeed, the Metallic Tower having just been built, it is about to offer the public elevators to contemplate the panorama of Mont-Blanc. The development of Place des Terreaux, embellished by the Bartholdi fountain on Hirsh's plans, dates from 1892; the buildings of the Prefecture, inaugurated on January 1, 1891, the very recent construction of three bridges : the Morand bridge inaugurated on July 14, 1890, the Lafayette bridge on October 23, 1890, the Pont du Midi on July 13, 1891. Constructions At the end of the XIXe century, the Universal Exhibitions are like real cities artificially created and ephemeral. Despite their temporary character, their millions of visitors require the construction of resistant buildings. Thus, in Lyon, visitors enter this new city through two large entrances with monumental gates: the so-called "main" one" from the banks of the Rhone and the one located in front of the rue Tete d’Or. The nail building of the’Exposition Lyonnaise was the main palace also called the "Cupola". Serving mainly to receive and stage the products of the’Exposition, this gigantic rotunda (47,751 m² in area, 242 meters in diameter, 55 meters in height) marked the spirits. Circular in shape and composed of’immenses vaulted galleries of glass and’steel,it is the central building around which gravitate the multiple pavilions. Pavilions of the International and Universal Exhibition The pavilions have varied architectural styles and work by themes. A few can be cited : the Palais dit de l'’enseignement which contains the triple exhibition of the city of Lyon, the Rhone department and the city of Paris, the Pavilion of the Press, next to the Central Office of Posts and Telegraphs where the visitor wishing to follow the’actuality can consult different newspapers, including, the Palace of the religious arts which is a vast construction with ogival bays decorated with stained glass windows, the Pavilion of the’Social Economy, the Palace of Fine Arts and’agriculture, the Pavilion of the’Exposition ouvrier, located between the Coupole and the Palais des Beaux-Arts, the railway pavilion, the, the civil engineering pavilion, the forest pavilion, which is a rustic cottage. Pavilions of the Colonial Exhibition The pavilions of the’Colonial Exhibition are of another architectural genre because indeed, they try to’imitate the architecture of the countries staged. This pleases the public eager for’exotism and oriental charms. There are four pavilions executed by Messrs Bouilheres and Teysseire : The first is the Palais de l’Algeria, in Arabic style, inspired by the Mustapha Palace, the’ residence of Governor Jules Cambon. This is’ the largest colonial palace of the’Exposition with its 1,536 m² of surface, and the 1,540 m² of the oriental’art room. The whole is dominated by an 18m high minaret. The Palace of Tunisia is a replica of the Souk-el-Bey Mosque in Tunis. It covers an area of 580 m², not to mention its « souk ». The Palace of’Indochina represents an Annamite Pagoda of the early nineteenth century. It has an area of 1,483 m². This palace has a total of five exhibitions:’Annam, Tonkin, Cochinchine, Cambodia and the collections of products from all French colonies of the Permanent Museum of Paris. The last pavilion is that of the’West Africa. In its 630 m², the colonies represented are Dahomey, Congo,’Ivoire Coast, Sudan, Senegal and Guinea. It was built a little hastily, set back and did not’a the artistic cachet of the other three. Service Infrastructure In addition to the’ exhibition buildings, other services are offered to visitors. In fact, not far from the Cupola is a Medical Office with 20 doctors providing the necessary care for injured or indisposed people. Also, to ensure safety, a Police Office is established in the’ enclosure, towards the’entry. The fire stations are distributed throughout the’Exposition. In addition, at various places in the park, there are sanitary facilities in the form of demountable and hygienic cabins without the’eau effect. And finally, countless’ restaurants and cafes take place in the’ of the Park. There is enough to satisfy all the tastes and all the purses. Popular restaurants « to portion » just like good bourgeois cooking houses are concentrated around the Lake. For bars, counters and other taverns, it is noted that the’offre has largely exceeded demand and that some have had to close shop. Colonial palaces also have their own restaurants and bars « exotic » as for example the "Indigenous Restaurant". Transport In order to have access to these buildings, a whole transport network has been set up. First of all’, visitors can go to the’Exposition with eight tram lines or with the service of « » square cars parked at strategic points. Given the size of the land occupied by the’Exposition, an electric tram traveling about 3.8 km in 17 minutes was installed. In the’Colonial Exhibition we can also find some exotic means of locomotion such as rickshaws, rides on the backs of’ans or camels. To stroll on the lake, pleasure craft are made available: Venetian gondolas, steamers, electric or petroleum boats, boats, canoes or canoes. Attractions The Universal Exhibition in Lyon has been measured at the largest with its innumerable attractions. First, to enter the Exhibition as a whole, visitors rise to the challenge. The first panorama to observe is that of the circular promenter allowing to go around the Coupole, accessible by two stairs or four elevators. Another mode of’ascension is done by the captive Ballon, considered as the symbol of the’Exposition Lyonnaise as it offers a magical panorama. Taking place in the middle of’ an aerostatic park of 5 hectares, the’ invention of the Parisian manufacturer Henri Lachambre climbs up to 35Om. Led by the’aeronaut of Paris Leon Laire, the climbs last 13 minutes and are done day and night. Finally, for the more affluent, every Sunday free climbs take place in an aerostat called « l’Annam ». For 200 francs, Antonin Boulade took the curious up’ to 2,000 meters above the Lyon region. In the XIXe century, the popular masses have an attraction for’optic illusions. During the’Exposition, two new entertainment techniques by the’image were implemented: the panorama and the diorama. The panoramas are the first devices offering simulations of’environment, whether’s are landscapes or scenes of’history. Placed in front of the realization, the spectator really has the’impression of’being present in the reproduced decor. Three scenes are set up here: the Battle of Nights, the coronation of Czar Alexander III and the Battle of the Dogba. The diorama is an invention of Jacques-Louis Daguerre where monumental decorations painted double-sided on a support in translucent canvas, they change continuously with variations in daylight. Here, the painter Constantin Zukowski traces the main phases of Jacquard's working life there, the illustrious Lyonnais hut. Other attractions making the Exhibition look like a fair: mirror labyrinth, roller coaster, underground and showy mine. The latter was put out of order by report. Colonial Exhibition The general public of this time is sensitive to the exoticism of distant lands. To respond to this feeling of adventure that accompanies the discovery of the continents, the exhibitions at the end of the century take the initiative to present visitors to "folklorized" peoples". The’illusion is given to visitors to discover "physically" distant countries by immersing them in an evocative setting. In 1894, there is a desire to make a trip around the world by doing only’un tour of the park. Indigenous villages are then installed to present exotic life scenes. The’indigenous exhibition, stripped of private life and exhibited to the eyes of the spectators is placed in an artificially reconstituted setting and must pretend to live daily as in his country. There is the Arab encampment, the village with the tribes of the Fellatahs and Aissahouas, the senegalese, sudanese and dahomean villages and the annamite village. An exotic atmosphere is restored. In small bazaars, native merchants sell exotic souvenirs cheap and picturesque, giving the’illusion of having visited distant countries. Tunisian concerts are given with belly dance performances or exotic plays annamites, egyptian or chinese. Inaugurations and Events L’official inauguration of the’Exposition took place on April 29, 1894. From there, the’ exhibition is open every day from 9am to midnight and its entry is subject to control : attendants receive the tickets of’entered of 1 francs or check the cards of’abonnement. From May 11 to 14, the 20th international gymnastics competition brings together 120 companies on the course of the Midi in a large enclosure with grandstands. On May 27th, the’Colonial Exhibition is inaugurated. The day ends with a great cosmopolitan festival organized in the vast enclosure of the velodrome of the’Exposition inaugurated on May 3. Night parties are possible thanks to the « Fairy electricity » that illuminates the whole park until midnight. The Dome and even the fountains benefit from the electric’lighting. On June 23 and 24, it’is the reception of the President of the Republic. Venetian nautical festivals on the Saone and a night party with’artifice fire on the lake were to be the’apotheosis of these days. The shooting contest takes place from July 7 to 18, organized in the’ of the’Exposition, in the so-called "stand dome" as well as’s military mounds of the Grand Camp. From 12 to 14 August, the major international music competition brought together 380 musical societies. And throughout the duration of the’Exposition, many concerts were given every evening in the Kiosk in front of the Cupola as well as in singing cafes. During the’ year 1894 and taking advantage of the success of the’Exposition, Lyon was also the host of many congresses and conferences. On October 21st, the awards are distributed to exhibitors. The official distinctions are awarded in the form of’or,’argent and bronze medals by international juries. President's Assassination On 23, 24 and 25 June 1894, President Sadi Carnot came to Lyon to officially dedicate the French exhibition. On this occasion, the city is splendidly decorated, the people of Lyon are proud to receive it and parties are given in his honor. On June 24 afternoon, in an enthusiastic crowd, the President visited the’Exposition and the great Cupola at length. S’en follows the official banquet at the Palais de la Bourse during which Mr. Carnot gives what will be his last speech. At about 21 a.m., he drove to the Grand Theatre. Desiring to enjoy the illuminations illuminating the Rue de la Republique and the crowd, the President made the two officers who hid his view retreat. This was the shooting window that the Italian’anarchist Jeremio Santo Caserio was waiting for to hit him with a dagger and scream « Vive l’anarchy ». Sadi Carnot succumbed to his injury. These tragic events dealt a blow to the’Exposition. All festivities were banned on June 30, the day of his funeral. Then gradually the’activity resumed, especially with the’aide of the international music competition of August 12, 13, 14. From 12 to 14 August, the major international music competition brought together 380 musical societies. And throughout the duration of the’Exposition, many concerts were given every evening in the Kiosk in front of the Cupola as well as in singing cafes. During the’ year 1894 and taking advantage of the success of the’Exposition, Lyon was also the host of many congresses and conferences. On October 21st, the awards are distributed to exhibitors. The official distinctions are awarded in the form of’or,’argent and bronze medals by international juries. End and Balance sheet The’Universal Exhibition of 1894 has known some elements detrimental to its full success. In addition to the’inclemence of time and the tragic attack of June 24, it was carried out at the same time as that of’ Antwerp. Thus, detractors wanting to harm the’Exposition lyonnaise go so far as’ to take part in the concurrent exhibition of the Belgian city. It can be noted that the’Exposition Lyonnaise has brave the’eternal competition with Paris. It has managed to assert its identity in the face of an omnipotent capital in a form of struggle for decentralization. Its audience was composed of both’initiated, curious’s, of’intellectuals as well as walkers. We note a record influx on Sundays, the only day of rest for the working classes. In addition, the neighboring departments provided the majority of its visitors. That said, with the establishment of "pleasure trains", in collaboration with the Paris-Lyon-Mediterranean network, visitors also came from all over France. The’Exposition de Lyon had a certain success in terms of attendance: there are about three million eight hundred thousand entries. The’Exposition has economically favored the Lyon trade: it is estimated a profit of 50 million francs. To obtain the recipes of the’Exposition itself, there are more than three million’-entered francs and seventeen hundred thousand francs for registration and concession of exhibitors. Despite these contributions, the expenses were large and the’Exposition ends on a deficit estimated at 120,000 francs on a budget of four million. The closing of the’Exposition, first postponed from October 30 to November 5, finally took place on November 11, 1894. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. How Many World Fairs Did Paris Host in the 19th Century? World Fairs were significant events during the 19th century, and the legendary fairs in Paris showcased artistic and industrial excellence. The 19th century was a momentous period in Parisian history, when significant breakthroughs in art, industry and science were made. One of the most outward expressions of Parisian success were the Paris World Fairs, which cemented the city’s place as a world-leading political capital. These vast events spread out across the entire city and included new temporary and permanent buildings, along with displays of industrial developments and works of art from around the world. Some of the highlights of the Paris World Fairs even went on to become iconic, permanent landmarks, including the Eiffel Tower, and the head of the Statue of Liberty, which later made its way to the United States. Below are the five Paris World Fairs that altered the course of history. 1. The First Paris World Fair: 1855 The very first Paris World Fair took place in 1855. It was organized by Emperor Napoleon III as a promotional tool to assert his new position in power, signifying a landmark moment in France’s history. The World Fair centered around a brand-new exhibition hall – the Palais de l’Industrie on the Champs Elysees. Two new smaller buildings also accompanied this space – the Galerie des Machines and the Palais des Beaux-Arts. Inside these exhibition rooms were a series of world-renowned exhibits dedicated to industry. Meanwhile, a temporary construction next to the Galerie des Machines was designed by the architect Hector LeFuel to house artworks from around the world. 2. The Fair of 1867 The second World Fair in Paris was also organized by Napoleon III to take place in 1867. Again, the event was a powerful strategic move, aimed at bringing attention and political gain to Paris. The main exhibition space for the 1867 Paris World Fair was the Palais du Champ-de-Mars, built by Frederic LePlay, with help from the up-and-coming engineer Gustave Eiffel. This exhibition hall was circular in design, and the fair designers took advantage of this layout, arranging industrial exhibits in the outer circles, while the inner circles were dedicated to art. In the center, a small building housed a display dedicated to currency and coins from around the world. It was a momentous event, larger than the previous one, with a series of pavilions, restaurants and amusement parks constructed around the central building to draw huge crowds. 3. Paris World Fair of 1878 By contrast, the 1878 Paris World Fair took place in a very different political climate. Against the backdrop of the Prussian War, the Paris commune and the downfall of the empire, France was in a vulnerable and unstable state. The officials of the Third Republic decided that a World Fair could bolster France’s popularity on the international stage, even if they could barely afford it. One of the highlights of the fair was the recently completed Head of the Statue of Liberty, which went on display for a brief spell in a Parisian park before being shipped to the United States. Other highlights included the temporary construction of the Palais du Champ-du-Mars (Gustave Eiffel helped with its design!), and the permanent Palais du Trocadero, which later became a concert hall. 4. 1889: The Year of the Eiffel Tower The 1889 Paris World Fair was the second to take place in a republican regime in France. It was a historically significant year for France, marking the 100th anniversary of the French Revolution, so the pressure was on to create something spectacular. The fair was larger and more ambitious than in previous years, taking place in the Palais du Trocadero and the Champ-de-Mars, while several temporary pavilions and pop-up spaces formed satellites around it. Meanwhile, East of the main site, the Esplanade des Invalides showcased a display dedicated to colonial art. But by far the greatest and most controversial aspect of the fair was the unveiling of the Eiffel Tower, which divided public opinions and caused an international sensation. Only meant to be temporary for 20 years, the tower is now an iconic landmark for the city. 5. The Grand Event in 1900 The fifth World Fair in Paris was in 1900, a centenary display of epic and ambitious proportions. Paris was also hosting the Olympic Games in the same year, making the city the center of public attention around the world. A series of new buildings popped up, including the Grand Palais and the Petit Palais, while the government extended the Esplanade des Invalides and Petit Palais. They even painted the Eiffel Tower bright yellow to mark the occasion! A series of visitor attractions pulled in tourists far and wide – these included moving walkways (trottoirs roulants), the Electricity Palace, and a series of night-time water and light displays to dazzle the public at the dawn of a new age. Dates Open - May 5 to October 31, 1889. Exhibition was open on Sundays. Attendance - 27,722,000 paid visitors, 32,350,333 total visitors. International Participants - 43 (16 unofficially) and more than 17 colonies. Total Cost - Cost to organizers: 41.5 million francs. Receipts: 24.5 million francs from gate, 25 million public grants from state and city. 8 million franc profit. Site Acreage - 237 acres, of which 72 were covered with buildings. Location was the Champs de Mars and the banks of the Seine River. Sanction and Type - Prior to the Bureau of International Exhibitions. Paris 1889 would be considered a large scale "Universal" registered event today. Ticket Cost - 1 franc with many free visitors. Ticket book of 25 tickets, 25-30 francs. More than one ticket required some days. It was the Fourth Exposition Universelle held in Paris, starting with 1855 and each decade gracing the City of Light; 1867, 1878, and now, 1889. It was held to celebrate the 100th anniversary of the start of the French Revolution, decreed by Monsiuer le President Jules Gre'vy in 1884. This did not please other heads of state, including the British Monarchy, and resulted in more than a dozen unofficial foreign pavilions, including Great Britain, Russia, Germany, and Italy. They were afraid of violent demonstrations, which never occurred. Queen Victoria even recalled her ambassador. But the main thing remembered from this exposition was not who came officially or even how many exhibited. Over sixty thousand exhibitors came. It was the construction of the predominantly privately financed Eiffel Tower. It was built by Gustave Eiffel with less than one quarter of its price ($6 million francs total) paid by the exposition. The income from the tower over the next twenty years would make Eiffel a rich man. Of course, many thought it as grotesque, overwhelming the better buildings of the city. But it lasted and turned him a profit by May. Over two million people paid to visit the Eiffel Tower during the fair. Since that day, well over one hundred million people have visited it. Of course, there was much more to Paris 1889 than just a big tower that would attract tourists for over a century. Edison's telephone and phonograph were exhibited. There was a large colonial section with native villages. In the Liberal Arts Palace, there was a great Terrestial Globe. The Palais du Trocadero from 1878 had horticultural exhibits. Providing much amusement during day and night was electricity, which was used throughout an international exhibition for the first time. Overall the total number of buildings numbered around eighty: there were four major exhibit halls, thirty-one national pavilions, two state or regional pavilions, two commercial exhibitor buildings, three art palaces or museums, eighteen colonial pavilions, as well as agricultural and livestock displays. The New York Times hailed the event in their article of May 5, 1889, "Eve of the Big Paris Show" calling it "Far superior than any of its predecessors." Many thought it surprising when the exposition turned a profit, but it did. And the protests didn't come, thought possible due to the celebratory French Revolution anniversary theme. The exposition was a source of national pride and with its exhibits of fine arts and technology, provided a success similar to the initial World's Fair in London 1851, and the previous Paris fair of 1867. Perspective of Historians Historian Heloise Barbuy - "I think that the Fair of 1889 brought the dimension of the show into the world fairs. Contributing to this was the strategy adopted for avoiding excessive seriousness which had made the fair of 1878 tiresome, as well as the popular concept: "have fun teaching", without missing its reflective nature. The evening opening of the Fair, made possible by the advent of electricity, opened the way for the organization of "evening festivities". This was included in the context of a society characterized by several other forms of shows based on visual culture. In Paris, 1889, there was no official theme, no slogan. The World's Fair commemorated the centennial of the French Revolution and, therefore, the underlying theme was the scientific and industrial progress of the last 100 years. The city of Paris - post-Haussmann and still being reurbanized by the followers of Haussmann - was a modern capital, a model for reurbanization projects around the world. It showed it was able to host a Fair commemorating one hundred years of material progress, as its organizers hoped it would. The overall appeal of the Fair came from its modern connotations which, at that time, attracted most of the visitors." International Participants Nations and Colonies Andorra, Greece, Monaco, Norway, San Marino, Serbia, Switzerland, Cape of Good Hope, Morocco, South African Republic, United States, Argentina, Bolivia, Chili, Columbia, Costa Rica, Dominican Republic, Equador, Guatemala, Honduras, Mexico, Nicaragua, Paraguay, Salvador, Uruguay, Venezuela, Japan, Persia, Siam, Turkey, Hawaii, Victoria (COL-GBRIT), New Zealand (COL-GRBRIT), Tasmania (COL-GBRIT). Unofficial International Participation - Germany (Alsace-Lorraine), Austria-Hungary, Belgium, Brazil, China, Denmark, Egypt, Spain, Great Britain and colonies, Haiti, Italy, Luxembourg, Netherlands, Peru, Romania, Russia and Finland, Sweden, Portugal. French Colonies - Algeria, Annam-Tonkin, Cambodia, Cochin China, Gabon, Gaudeloupe, Guyana, French India, Martinique, Mayotte et Comores, Nossi-Be', New Caledonia, Reunion, St. Peter & Michael, Senegal, Tahiti, Tunisia. Colonial pavilions - Algeria, Annam-Tonkin, Cambodia, Cochinchina, Congo (COL), Gabon, Guadeloupe, Guyana, New Caledonia, Senegal, Tahiti, Tonkin, Tunisia, Victoria colony, Cape colony, Spanish Colonies (COL), British India (COL), Java (COL). National pavilions - Argentina, Austria-Hungary, Belgium, Bolivia, Brazil, Chili, China, Costa Rica, Egypt, Equador, Spain, Finland, Guatemala, Hawaii, Hungary, Luxembourg, Madagascar, Morocco, Mexico, Monaco, Nicaragua, Norway, Paraguay, Netherlands, Portugla, Dominican Republic, South Africa, Romania (restaurant), Russia, Salvador, Siam, Sweden, Turkey, Uruguay, Venezuela. Expo Tidbits One of four elevators built in the Eiffel Tower was by American Elisha Otis; the others were French. U.S. garnered more medals than any other foreign nation. How did the exposition affect other Paris business? The railroad company made approximately $1.1 million higher receipts on 1.88 million more passengers. The Paris Omnibus Company $800,000. The Cab Company had 14 million more passengers with $300,000 increased revenue. A narrow guarge railroad ran around site, from monumental gate at Quay d'Orsay, running from 9 a.m. to midnight at interval of 10 minutes. 6,342,670 people used this during the fair. High one day attendance (October 3) - 387,877. Legacies Eiffel Tower. Palace for Fine Arts and that of Liberal Arts were to remain. Those in Charge Organizers for the fair included Antonin Proust, minister of instruction & fine arts, who was named president of the exposition. Sources: London Times; New York Times; Ephemeral Vistas; Historical Dictionary of World's Fairs by Alfred Heller; History of Fairs and Expositions; Worlds Fairs from 1851-1893; Les Fastes du Progres; Reports of the U.S. Commissioners to the Paris Universal Exposition of 1889. Bureau of International Exhibitions. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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Mystery The World's Fairs​ Maybe the History we've been told is a lie! Were some ancient buildings built by a different race and their true history was covered up? Did ancient peoples have advanced forms of technology that have now been forgotten ? Was the massive kingdom of Tartaria visible on ancient maps much more advanced than we realize? This sub is an open forum for collaborative discussion of all topics "Tartaria" related, including Mud Flood, Tesla, AntiquiTech, Free Energy, Conspiracies, Hidden History, etc. I wonder if this video has been posted here before? If yes, then i am not sorry for posting it again, because its just one helluva epic video. If not, I highly recommend watching it if you are interested in perhaps how Tartarian technology worked. I am still thinking about all the stuff he said and points out to us. As its a lot to deal with and can shake one up. I find it fascinating though. Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century? And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed. Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us? Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs". Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history. The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas. The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style. (Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.) No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining. Dates Open - May 1 to October 30, 1897. Not Open Sunday. Open 157 days. Attendance - Paid attendance during season 1,166,692, with total including 7,642 before/after dates, plus 99,493 season tickets for total paid attendance of 1,273,827. Total attendance (free includes mostly exhibitors, concessionaires, and employees) 1,679,579 during season, plus same as above, for total of 1,786,714. Wagon gate attendance, not in above, is estimated at 100,000. Total, in season, could be estimated at 1,879,072. International Participants - 16 Nations. Total Cost - $1,101,246.40. Site Acreage - 200 acres in West Side Park. Sanction and Type - Prior to the Bureau of International Expositions. Would be considered a Recognized Expo with Special characteristics like those on the 2-3 or 7-8 years of a decade. The U.S. Congress approved an appropriation for government exhibits and buildings ($130,000), and authorized foreign exhibitors to attend, with articles duty free. Ticket Cost - 50 cents adults, 25 cents children, 25 cents for all after 7 p.m. Per capita revenue per admission at Nashville 1897 was $0.373. The patrons spent an additional $0..112 on concessions. There was so much competition within the United States for hosting World's Fairs in the 1890's that Douglas Anderson, with idea for the fair in 1892, suggested six cities vie for the right. Nashville won, joining in with Chicago, with the World's Columbian in 1893, and smaller fairs in San Francisco 1894, Atlanta 1895, and Omaha 1898 in hosting of the world during that last decade of the 1800s. It was about civic pride. It was about patriotism. But it was also difficult to differentiate yourself from the competition. So Nashville built a replica of the Parthenon to host their fine arts display. It's still there. Well, a rebuilt version of it, and it's still a very popular tourist attraction. They drew in exhibits from sixteen nations, although most were unofficial, but did include official exhibits from Washington, and nearly all states participated. It was a fair that still tried to reconcile the wounds from the Civil War and show that southern cities had rejoined the national and international economy. There were the boyhood cabins of Abraham Lincoln, as well as one of Jefferson Davis, at the fair. There were railroad exhibits from George Pullman that had previously been exhibited at the World's Columbian. There was a separate Mexico pavilion and an amusement section called Vanity Fair. Yes, there was a lot of suxtaposition at this exposition, like many others, ticketed as the 100th anniversary of the state's founding. Fourteen principal buildings were constructed, about fifty total. Minerals and Forestry, 526' x 124' with an annex 72' x 162'. There was an auditorium seating six thousand. A Woman's Building - 160' x 65' that included rooms such as the Chattaanooga room, Georgia room, Mount Vernon room, etc. The Commerce Building was the largest structure at 591' x 256'. That's where the foreign exhibits were located. The Parthenon had fifty-eight columns and an art display worth over $1 million. That's alot for 1897. The Erectheon was reproduced for the History Building with 4200 square feet. There was a Children's Building, Transportation Building 400' x 120' on the western border of Lake Watauga, an Agricultural Building 525' x 200', Machinery Building 375' x 138', and Negro Building. They didn't reach their attendance goal of two million, in some measure due to the outbreak of yellow fever in the Gulf States, which caused quarantines in some areas and scared other visitors away. In the end, the Tennessee Centennial turned a profit, some quote it as $39, although profit in World's Fair terms is in some ways difficult to assess. The subscriptions that support the fair are sometimes called revenue. Historian's Perspective Judy Larson - "Arrogance from Chicago reporters toward (Atlanta, Nashville, Charleston) exposition. People (press) didn't expect much at all. Southern newspapers would have cartoons, characatures with southern dialects. Charleston suffered less from the cracker image problem. Art buildings. Nashville always complaining. Nashville went overboard on patriotism idea. (Theme) Nashville celebrating statehood, was about patriotism. Nashville with the Spanish-American War, which was probably a small positive since patriotism boosted it. However, cholera outbreak caused a greater unforseen problem." International Participants Nations and Colonies Great Britain, France, Germany, Austria, Russia, Italy, Switzerland, Norway, Sweden, Denmark, Belgium, China, Canada, Mexico, Chile, United States. States and cities with their own buildings: New York, Illinois, Alabama, Texas, Arkansas, and cities of Memphis, Knoxville, Cincinnati, and Louisville. Note: Above taken from the Official Report, although it is still sometimes difficult to tell whether certain nations or participants from those nations actually participated in a significant way. Take the above as a guide, not gospel. Expo Tidbits Eight hundred thousand people per year still visit the replica Parthenon. Other interesting numbers from the fair: They earned $435,399.95 from ticket revenues and $131,344.14 from the concessionaires take of $620,223.65. In a shocking turn of events, the amount Congress appropriated for the participation of the U.S. Government was not completely spent. Of the $100,000 for the exhibit and $30,000 for the bulding, only $97,917.41 was spent on the exhibit. No, we're not sure if that was of the $100,000 or the total $130,000, but its still surprising. Prominent visitors to the building included President McKinley on June 11 and 12. The two most costly buildings constructed were the Parthenon $34,611.75 and the Commerce Building $45,238.27. Largest attendance day was October 28 (Thomas Day) with 95,961 paid and 98,579 total visitors. The population of Nashville and suburbs at the time was about 150,000. The fair should have been held in 1896 to accurately reflect the Centennial of Tennessee, but was postponed until 1897 to give the fair enough time to complete construction. Its site in West Side Park had tranportation from the city center by street car and train for 5 cents. Legacies The Parthenon Building remained after the exhbition with Centennial Park established around it in 1902. By 1920, the original structure was beyond repair. It was rebuilt in concrete from 1902-1931 and renovated again in 1988. It currently serves as Nashville's Art Gallery with state of the art galleries, a gift shop, and office space. Those in Charge John W. Thomas, President of the Nashville, Chattanooga, and St. Louis Railway, was president of the exposition. Major Eugene Castner Lewis, Chairman of the Board of NC & SL railroad, was Director-General. He had orginated the idea of the Parthenon. The other officers of the exposition were V.L. Kirkman, Nashville, 1st Vice President; W.A. Henderson, Knoxville, 2nd Vice President; John Overton, Jr., Memphis, 3rd Vice President; Charles E. Currey, Secretary; W.P. Tanner, Treasurer. A.W. Wills was Commissioner-General. Robert T. Creighton was Engineer in Charge of the Buildings and Grounds. Sources: Report of United States Government Exhibit (Official Report); New York Times; Fair News; History of Centennials, Expositions, and World Fairs; Historical Dictionary of World's Fairs by Alfred Heller; Official History, Portland 1905. https://rumble.com/v36zig8-antiquitech-tartarian-empire-greatest-story-ever-un-told-video-very-old-900.html Purpose of the World Exhibitions​ If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few. https://rumble.com/v48fd59-antiquitech-tartarian-empire-old-world-2100-photographs-ultimate-compilatio.html The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection. The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role. Greatest Story Ever Un-Told 10 Parts Set and This 1893 World Columbian Exposition In Chicago Is Really A 1,000 Years Old City From Past Antiquitech Tartarian Empire and the True Believers in the “Tartaria” conspiracy theory that 100s of old world fairs 1801 thru 1940 era are convinced that the elaborate temporary fairgrounds built for events like the Panama-Pacific International Exposition in San Francisco in 1915 and 100s of other city were really the ancient capital cities of a fictional empire ! "Expositions are the timekeepers of progress. They record the world's advancement. They stimulate the energy, enterprise, and intellect of the people; and quicken human genius. They go into the home. They broaden and brighten the daily life of the people. They open mighty storehouses of information to the student. Every exposition, great or small, has helped to some onward step." President William McKinley, speaking at the 1901 Pan-American Exposition in Buffalo, NY. The 1893 World Columbian Exposition in Chicago inaugurated an age of great fairs and expositions in the United States whose influence is felt to this day. The Chicago Exposition and the similar events that followed in Buffalo, NY; St. Louis, MO; Seattle, WA, San Francisco, CA and New York, NY dramatized technology and the fine arts, and illuminated the era ahead, as industrialism took hold, immigration peaked, science moved ever forward, and a vibrant, multi-faceted American music culture grew throughout the country. Though the 1876 Philadelphia Centennial Exposition in Philadelphia had been a great success, the Chicago Exposition took its immediate inspiration from the Exposition Universelle held in Paris in 1889. Like all previous world's fairs, the Paris exposition hosted music and other entertainment among its exhibits, but in greater variety and on a much larger scale. A major work, Esclarmonde, was commissioned from French composer Jules Massenet and was performed nightly. Music from all over the world was heard, including Javanese gamelan, which was to have a profound effect on composer Claude Debussy. Fairgoers could also hear indigenous music at the village nègre, where some 400 Africans from European colonies spent the duration of the fair demonstrating their culture and crafts. A similarly conceived Algerian Village was also an attraction. The organizers of the Chicago Exposition would try to match or outdo the 1889 Exposition in every way. For awhile, they even thought of creating a structure taller than the Eiffel Tower built for the 1889 fair, and the tallest building in the world at the time. In the end, they settled for a spectacular city-within-a-city that sprawled over 600 acres and featured 65,000 exhibits. "The White City," so named for its many white buidlings that were made even brighter by the night-time illumination supplied by General Electric, captured the imagination of the country, and drew over 27 million paying customers during its run from May 1st to October 30th, 1893. Within its walls, fairgoers could marvel at the ever-multiplying technological wonders of the age, enjoy art exhibits, concerts and sports; listen to lectures on various topics, view short films in the world's first dedicated movie theater, or ride the original Ferris Wheel. The basic human desires for community, stories (the more outrageous the better) and the need to feel like a protagonist in a wider struggle are what pulls us from moments of real social, economic and cultural dislocation into fabricated histories. Buildings and cities are made to grow old, to outlast people, and to be a testament to these cultural histories. They’re a yardstick for a culture’s ability to endure. When they’re not given the chance to do this, the contradiction can break something loose, and send people scavenging for cultural memory that feels ancient enough to anchor them in an uncertain now. Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible. Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished. Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite. It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people. The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role. Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid. The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "to the top". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy. We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "Momo" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts. It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "Finally it's over!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side. Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth. Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance. This is a chronological list of international or colonial world's fairs. https://en.wikipedia.org/wiki/List_of_world's_fairs All elaborate temporary fairgrounds built are removed after the fair is over. Real Timeline Of Deception Part 0 Exploring Tartaria 1000 Years Exploring Tartaria - Old World Secrets Revealed https://rumble.com/v2u8ef4-real-timeline-of-deception-part-0-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 1 Exploring Tartaria 1000 Years The Timeline Deception - Part I - Exploring Tartaria https://rumble.com/v2ua8sa-real-timeline-of-deception-part-1-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 2 Exploring Tartaria 1000 Years The Timeline Deception - Part II - Exploring Tartaria https://rumble.com/v2ubf4w-real-timeline-of-deception-part-2-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 3 Exploring Tartaria 1000 Years The King of Tartaria - Exploring Tartaria https://rumble.com/v2ueih6-real-timeline-of-deception-part-3-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 4 Exploring Tartaria 1000 Years The Saints - Relics, Reliquaries, & The First Resurrection https://rumble.com/v2ugl92-real-timeline-of-deception-part-4-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 5 Exploring Tartaria 1000 Years The Saints - The Ruling Class - Exploring Tartaria https://rumble.com/v2uij7w-real-timeline-of-deception-part-5-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 6 Exploring Tartaria 1000 Years From Atheism, Agnosticism, New Age, Protestantism, to Roman Catholicism https://rumble.com/v2ujvr6-real-timeline-of-deception-part-6-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 7 Exploring Tartaria 1000 Years The Millennial Kingdom of God - Exploring Tartaria https://rumble.com/v2uldss-real-timeline-of-deception-part-7-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 8 Exploring Tartaria 1000 Years Magic of the White City 1893 Chicago World's Fair https://rumble.com/v2un20g-real-timeline-of-deception-part-8-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 9 Exploring Tartaria 1000 Years 1000 Years Added To Our History & Dark Ages Never Existed https://rumble.com/v2uo07i-real-timeline-of-deception-part-9-exploring-tartaria-1000-years-added-to-ou.html Real Timeline Of Deception Part 10 Exploring Tartaria 1000 Years Church History - Complete Documentary AD 33 to Present https://rumble.com/v2uprfu-real-timeline-of-deception-part-10-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 11 Exploring Tartaria 1000 Years Christmas Unveiled - Pied Piper - Templars Secret - Saturn's Workshop - Giants Stealing Children https://rumble.com/v2urmd0-real-timeline-of-deception-part-11-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 12 Exploring Tartaria 1000 Years Ancient Cloning Factories - Foundlings - Incubators - Test-Tube Babies https://rumble.com/v2uu8ck-real-timeline-of-deception-part-12-exploring-tartaria-1000-years-added-to-o.html Real Timeline Of Deception Part 13 Exploring Tartaria 1000 Years Homunculus Unveiled - Jesus - Artificial Generation - Liber Vaccae - Lost Esoteric Secrets https://rumble.com/v2uwmvc-real-timeline-of-deception-part-13-exploring-tartaria-1000-years-added-to-o.html Archaix Chronology Anunnaki Sumerian Gods Crystalinks Timelines 2040B.C. 2046A.D. https://rumble.com/v2v0zks-archaix-chronology-anunnaki-sumerian-gods-crystalinks-timelines-2040b.c.-20.html Archaix 2.0 Doomsday Chronology Five color charts with extensive Legend-chronology; exhibits 62 dates involving 300 events in linear timeline combining the Phoenix and Nemesis X Object appearances, the Mayan Long-Count baktuns and the Anunnaki NER 600 year periods, a history spanning over 74 centuries to May 2040 and November 2046. https://rumble.com/v2b2zqq-a-must-see-video-what-on-earth-happened-parts-14-all-13-parts-together-woeh.html The Lost History of Earth (Ewaranon) W0W - A Must See Video Lost Earth Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. https://rumble.com/v28b4q6-a-must-see-video-lhfe-part-8-history-of-a-lost-earth-all-7-parts-together-l.html The Secret Life of Symbols with Jordan Maxwell Knowledge of the Heavens, Life on Earth https://rumble.com/v28wyns-the-secret-life-of-symbols-with-jordan-maxwell-knowledge-of-the-heavens-lif.html Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity https://rumble.com/v2wigv2-ancient-religions-from-alpha-to-stone-age-to-omega-to-modern-times-to-infin.html This 11.5 Hrs. Full Documentary With Sound Is About Ancient Religions From Alpha To Stone Age To Omega To Modern Times To Infinity. Everything we were taught about the Earth, History, Science, Space, Energy and our Civilization was a lie. This mind blowing documentary will shift your perspective of the world monumentally. Proofs Earth Is Not A Spinning Ball What The Hell Happened 200 Times Collection https://rumble.com/v2u2d94-proofs-earth-is-not-a-spinning-ball-what-the-hell-happened-200-times-collec.html Proofs Earth Is Not A Spinning Ball When a photo of spherical Earth is pointed out to flat-earthers, they will dismiss it as CGI in the blink of an eye; even if they haven’t done any analysis at all. They do this because their belief in flat-Earth is not evidence-based, and any evidence contrary to their beliefs needs to be invalidated no matter how. They are so used to doing it, and sometimes they become confused by it themselves, to the point that they would take the slightest hint of digital manipulation of any picture of the Earth as evidence of the flat Earth. Mystery The World's Fairs 00 This Evidence Hidden History Chronological All World’s Fair's - https://rumble.com/v49zfro-mystery-the-worlds-fairs-this-evidence-hidden-history-chronological-all-wor.html Mystery The World's Fairs​ 01 London 1851 Crystal Palace Works Industry All Nations - https://rumble.com/v49xr6f-mystery-the-worlds-fairs-london-1851-crystal-palace-works-industry-all-nati.html Mystery The World's Fairs​ 02 Paris 1855 World's Fair L'Exposition Universelle de Paris # 1 - https://rumble.com/v49wmff-mystery-the-worlds-fairs-paris-1855-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 03​ Paris 1867 World's Fair L'Exposition Universelle de Paris # 2 - https://rumble.com/v49vttt-mystery-the-worlds-fairs-paris-1867-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 04​ Philadelphia 1876 Fair Centennial International Exposition - https://rumble.com/v49us5z-mystery-the-worlds-fairs-philadelphia-1876-fair-centennial-international-ex.html Mystery The World's Fairs​ 05 Paris 1878 World's Fair L'Exposition Universelle de Paris # 3 - https://rumble.com/v49soh6-mystery-the-worlds-fairs-paris-1878-worlds-fair-lexposition-universelle-de-.html Mystery The World's Fairs 06 Paris 1889 World's Fair Exposition Universelle de Paris # 4 - https://rumble.com/v49pdu3-mystery-the-worlds-fairs-paris-1889-worlds-fair-exposition-universelle-de-p.html Mystery The World's Fairs 07​ Chicago 1893 World's Fair World's Columbian Exposition - https://rumble.com/v49ryc5-mystery-the-worlds-fairs-chicago-1893-worlds-fair-worlds-columbian-expositi.html Mystery The World's Fairs 08 Lyon 1894 Fair L'Exposition Internationale et Coloniale - https://rumble.com/v49qjd3-mystery-the-worlds-fairs-lyon-1894-fair-lexposition-internationale-et-colon.html Mystery The World's Fairs 09​ Nashville Tennessee 1897 Centennial International Exposition - https://rumble.com/v49obhi-mystery-the-worlds-fairs-nashville-tennessee-1897-centennial-international-.html Mystery The World's Fairs​ 10 Omaha 1898 Nebraska Trans-Mississippi Exposition Part 1 - https://rumble.com/v49kvne-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs 11​ Omaha 1898 Nebraska Trans-Mississippi Exposition Part 2 - https://rumble.com/v49ls22-mystery-the-worlds-fairs-omaha-1898-nebraska-trans-mississippi-exposition-p.html Mystery The World's Fairs​ 12 Buffalo 1901 New York World's Fair Pan American Exposition - https://rumble.com/v49dg39-mystery-the-worlds-fairs-buffalo-1901-new-york-worlds-fair-pan-american-exp.html Mystery The World's Fairs 13 St. Louis 1904 World's Fair Louisiana Purchase Exposition - https://rumble.com/v49h2n9-mystery-the-worlds-fairs-st.-louis-1904-worlds-fair-louisiana-purchase-expo.html Mystery The World's Fairs​ 14 Louisiana 1904 Purchase Exposition St. Louis World's Fair - https://rumble.com/v49bv7t-mystery-the-worlds-fairs-louisiana-1904-purchase-exposition-st.-louis-world.html Mystery The World's Fairs 15​ Seattle 1909 World's Fair Alaska Yukon Pacific Exposition - https://rumble.com/v499353-mystery-the-worlds-fairs-seattle-1909-worlds-fair-alaska-yukon-pacific-expo.html Mystery The World's Fairs 16​ San Francisco 1915 Panama-Pacific International Exposition - https://rumble.com/v49aa13-mystery-the-worlds-fairs-san-francisco-1915-panama-pacific-international-ex.html Mystery The World's Fairs 17​ 1962 Seattle Chronological All International World’s Fair's - https://rumble.com/v49is0f-mystery-the-worlds-fairs-1962-seattle-chronological-all-international-world.html Antiquitech Tartarian Empire Old World's Fairs 18 Before The World's Fair 1851 Thru 1974 - https://rumble.com/v4968hi-antiquitech-tartarian-empire-old-worlds-fairs-before-the-worlds-fair-1851-t.html Chicago Old Museum Tell About 1,000 Year 19 Old World History Of 1893 World's Fair - https://rumble.com/v2cphwy-chicago-old-museum-tell-about-1000-year-old-world-history-of-1893-worlds-fa.html Chilaga Where Chicago Is Now On Map 20 of America and 1893 World’s Columbian Exposition - https://rumble.com/v2cqmdc-chilaga-where-chicago-is-now-on-map-of-america-and-1893-worlds-columbian-ex.html Antiquitech Tartarian Empire Greatest Story 21 Ever Un-told Rewriting Recorded History - https://rumble.com/v36porm-antiquitech-tartarian-empire-greatest-story-ever-un-told-rewriting-recorded.html Welcome To Our Channel 2.4 Million+ Views In 2023 & 596 Video's So Far This Year Alone - Thanks To Everyone Who Like Us... 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