Xi’an， city of natural beauty will host _____ International Horticultural (园艺）Exposition in_百度知道
Xi’an， city of natural beauty will host _____ International Horticultural (园艺）Exposition in
Xi’an， city of natural beauty will host _____ International Horticultural (园艺）Exposition in 2011.A. a； the B. an； a C. the, a D. an, a答案选A,解释一下！
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由于拥有自然之美的城市不止西安一个，西安只是其中之一，所以用a；后面用the浮籂蹿既讷焕寸唯丹沥是因为已经指明了是什么展览会，是2011年的国际园艺展览，很明确，是唯一的，所以用the，表示特指。
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出门在外也不愁2nd China Helicopter Exposition opens in Tianjin - Xinhua |
2nd China Helicopter Exposition opens in Tianjin
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Visitors look at the performance of aerobatic flight at the Second China Helicopter Exposition in Tianjin, north China, Sept. 5, 2013. The exposition was opened on Thursday. (Xinhua/Liu Haifeng)
? ? ? ? ? ? ? ? ? ?From Wikipedia, the free encyclopedia
Not to be confused with .
Modern picture of The Palace of Fine Arts, the only building surviving today (reconstructed) still on the Exposition grounds
The Panama–Pacific International Exposition (PPIE) was a
held in , in the United States, between February 20 and December 4 in 1915. Its ostensible purpose was to celebrate the completion of the , but it was widely seen in the city as an opportunity to showcase its recovery from the . The fair was constructed on a 635 acre (2.6 km2) site in San Francisco, along the northern shore now known as the .
Among the exhibits at the Exposition was the , the
the locomotive is now on static display at the
line was also established to
so people across the continent could hear the . The
traveled by train on a nationwide tour from
to attend the exposition. After that trip, the Liberty Bell returned to , and has not made any further journeys since.
auto races were held February 27 and March 6 on a 3.84-mile (6.18 km) circuit set up around the Exposition grounds. The
also had an exhibition at the Exposition.
The centerpiece was the , which rose to 435 feet and was covered with over 100,000 cut glass Novagems. The 3/4 to 2 inch colored "gems" sparkled in sunlight throughout the day and were illuminated by over 50 powerful electrical searchlights at night.
In front of the Tower, the Fountain of Energy flowed at the center of the South Gardens, flanked by the Palace of Horticulture on the west and the Festival Hall to the east. The arch of the Tower served as the gateway to the Court of the Universe, leading to the Court of the Four Seasons to the west and the Court of Abundance to the east. These courts formed the primary exhibit area for the fair, which included the Food Products Palace, the Education and Social Economy Palace, the Agriculture Palace, the Liberal Arts Palace, the Transportation Palace, the Manufacturers Palace, the Mines and Metallurgy Palace, and the Varied Industries Palace. The Machinery Palace, the largest hall, dominated the east end of the central court.
At the west end of central court group was the . Further west toward the bay down The Avenue of the Nations were national and states' buildings, displaying customs and products unique to the area represented. At the opposite end of the Fair, near
was "The Zone", an avenue of popular amusements and concessions stands.
Constructed from temporary materials (primarily , a combination of plaster and burlap fiber), almost all the fair's various buildings and attractions were pulled down in late 1915. Intended to fall into pieces at the close of the fair (reportedly because the architect believed every great city needed ruins), the only surviving building on the Exposition grounds, 's , remained in place, slowly falling into disrepair (although the hall used to display painting and sculpture during the Fair was repurposed as a garage for jeeps during ). The Palace, including the colonnade with its signature weeping women and rotunda dome, was completely reconstructed in the 1960s and a seismic retrofit was completed in early 2009. The , an interactive science museum, occupied the northern 2/3 of the Palace from 1969 to 2013; the city-owned Palace of Fine Arts Theater, has occupied the southern 1/3 since 1970.
A panorama of the Palace of Fine Arts c.1919. The current building was rebuilt in the 1930s, again in the 1960s, and then seismically retrofitted after damage from 1989's Loma Prieta Earthquake, and again in 2009.
Souvenir booklet, "The Jewel City" 1915
Buildings from the Exposition that still stand today (other than the Palace of Fine Arts) include what is now called the
at Civic Center Plaza and the Japanese Tea house, which was barged down the Bay to
and currently operates as a restaurant. Also surviving are the one-third steam engines of the Overland Railroad that operated at the Exposition. They are maintained in working order at the Swanton Pacific Railroad Society located on Cal Poly San Luis Obispo's Swanton Ranch just north of Santa Cruz.
The Legion of Honor Museum, in Lincoln Park, was the gift of , wife of the
magnate and
owner/breeder . The building is a full-scale replica of the French Pavilion from the 1915 Panama Pacific International Exposition, which in turn was a three-quarter-scale version of the
also known as the H?tel de Salm in
by George Applegarth and H. Guillaume. At the close of the exposition, the French government granted Spreckels permission to construct a permanent replica of the French Pavilion, but World War I delayed the groundbreaking until 1921.
Postcard showing new buildings in San Francisco, with earthquake ruins and bear in foreground, and two small images of buildings of the Exposition at bottom
issued a set of four
to commemorate the exposition, with designs depicting a profile of
(5?), and the discovery of
(10?). The stamps were first put on sale in 1913, to promote the coming event, and perforated 12, and then reissued in 1914 and 1915, perforated 10. Their price the 2? of 1913 is available for under a dollar in used condition, while an unused 10? of 1915 goes for a thousand .[]
Commemorative
were also issued. The
authorized the
(also known as "The Granite Lady") to issue a series of five commemorative coins. Said coins were the 1915S silver Panama-Pacific half dollar and four gold coins. The denominations of the gold coins were $1, $2 1/2 (quarter eagle) and $50 (in two types: a round coin, and an unusual octagonal coin). The Pan-Pac coins have the distinction of being the first commemorative coins to bear the motto "In God We Trust", and were also the first commemoratives to be struck at a branch mint.
supervised the creation of a series of commemorative medals, an award medal, a souvenir medal, and diplomas.[]
In 2015, the California Historical Society, the Maybeck Foundation, and Innovation Hangar will partner with the City and County of San Francisco to commemorate the centennial of the transformative 1915 Panama Pacific International Exposition.
Festival Hall
Palace of Horticulture
California Building
The model of the Panama Canal
Palace of Fine Arts, by Exposition exhibitor
The State of Wisconsin Pavilion
The "India Block" at the Exposition.
(1939-40 SF World's Fair)
"Liberty Bell Attracts Crowd in Greenville During 1915 Stop". Greenville Advocate. July 3, 2007.
(1978). The United States Grand Prix and Grand Prize Races, . Garden City, NY: . pp. 32–33.  .
(1960). Five California Architects. New York: Reinhold Publishing Corporation. p. 6. ASIN B000I3Z52W.
. Archived from
Laura A. Ackley, "San Francisco's Jewel City: The Panama-Pacific International Exposition of 1915." Berkeley, CA: Heyday, 2014.
Lee Bruno, "Panorama: Tales from San Francisco's 1915 Pan-Pacific International Exposition." Petaluma, CA: Cameron+Company, 2014.
Abigail M. Markwyn, "Empress San Francisco: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition." Lincoln, NE: University of Nebraska Press, 2014.
Sarah J. Moore, Empire on Display: San Francisco's Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Wikimedia Commons has media related to .
(1915). From .
, from San Francisco Memories
, from the
from the History Center at the
, via Calisphere,
California Digital Library
: Hidden categories:Progress Made Visible:
American World's Fairs and Expositions
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Special Collections Department
PROGRESS MADE VISIBLE
THE CENTENNIAL EXPOSITION, PHILADELPHIA, 1876
The 1876 Philadelphia Centennial Exposition, the first exposition of its kind in the United States, was held to mark the 100th anniversary of the Declaration of Independence. It celebrated not only a hundred years of American independence, but also the country's recovery from Reconstruction and its emergence as an internationally important industrial power.
Ten years in the planning, the Centennial Exposition cost more than eleven million dollars and covered more than 450 acres of Philadelphia's Fairmount Park. More than ten million visitors visited the works of 30,000 exhibitors during its six month run.
The focal point of the exposition was Machinery Hall, where visitors could marvel at the engineering wonders of the age: electric lights and elevators powered by the 1,400-horsepower Corliss steam engine, locomotives, fire trucks, printing presses, mining equipment, and magic lanterns.
Introduced to the public for the first time were typewriters, a mechanical calculator, Bell's telephone, and Edison's telegraph. These and thousands of other artifacts became the basic collection of the new Arts and Industry Building of the Smithsonian Institution.
The other major attractions were the Main Building, devoted to manufactures of the U.S.
Memorial Hall, dedica and Horticulture Hall, a conservatory for the display of native and exotic plants. Everything at the Centennial was classified by department (Mining and Metallurgy, Manufactures, Education and Science, Art, Machinery, Agriculture, and Horticulture), subclassified, and further subclassified in a logical scheme that later became a model for the Dewey Decimal System.
The greatest impact of the Centennial Exposition was on the image of the United States.
Before 1876 Europe had generally considered the U.S. an upstart country, not yet quite eligible to join the ranks of first-class nations.
In this country, Americans had come throug the post Civil War years were marked by political scandal and lack of leadership. Visitors and businessmen from abroad were astonished at America's industrial productivity, its creativity, and its progressiveness.
The country was hailed as the land of progress and increasing economic power. The Centennial gave Americans pride in the present and confidence in an even greater future.
The Centennial was an opportunity for the United States to highlight its industrial and agricultural products.
The Country was just beginning to look towards a global economic presence. Representatives from other nations who came to display their own products also had an opportunity to see what they might purchase from American firms.
Various states also were represented at the fair.
Delaware, for example, emphasized its potential for economic development by describing its towns, transportation, and educational facilities.
Bricktop.Going to the Centennial, and a Guy to the Great Exhibition.
New York: Collin & Small, 1876.
Norway. Kommission for Verdensutstillingen i Philadelphia, 1876.
Norwegian Special Catalogue for the International Exhibition at Philadelphia, 1876.
Christiania: Printed by B. M. Bentzen, 1876
United States. Centennial Commission.
... Official catalogue ... Philadelphia:
Published for the Centennial Catalogue Company
by J. R. Nagle, 1876.
Delaware Building. Centennial International Exhibition. 1876.
Philadelphia: Published by Thos Hunter, Lith.
Phillip T. Sandhurst.
The Great Centennial Exhibition.
P Chicago:
P. W. Ziegler & Co. [1876].
Visitors were impressed by the engineering marvels of the age: huge engines and complex machines that could create the industrial products that would become America's economic future.
Progress could be measured by the number of "things" that could be produced.
The Masterpieces of the Centennial International Exhibition
Illustrated...
Philadelphia: Gebbie & Barrie [1876-78].
John W. Griffiths, manufacturer.
Bent Timber Ships and Universal Wood Bending Machinery: two
prize medals awarded at the International Exhibition, Philadelphia, 1876. [s.l. : s.n.]: 1876.
The Centennial was the first world's fair to have major representation of
the contribution of women. A Women's Centennial Executive Committee was established to lobby, fundraise, and gain support for a women's building. Inside the building everything was by women.
All disciplines within the arts, sciences, and humanities were represented with special emphasis on "women's sphere."
Exhibits ranged from the significant--a night signaling device, a model house made from interlocking bricks, and a life-preserving mattress for steam-boats--to the ephemeral--flowers made from fish-scales, a whistle made from a pigs tail. Response to the Women's Pavilion was mixed, from those who thought it showed women as too assertive to those who felt that it patronized women by emphasizing the domestic arts. Susan B. Anthony and other members of the National Woman Suffrage Association attempted to read "A
Declaration of Rights for Women" at the July 4th celebration, but were refused permission. They did manage to
distribute broadsides of their text which demanded
jury trials by one's peers, meaning the inclusion of women, no taxation without representation, and repeal of the word "male" in state constitutions.
The New Century for Woman. Woman's Centennial Committee, International Exhibition, Philadelphia.
Philadelphia, Pa.: The Committee, 1876.
Memoir of the Centennial Exhibition of 1876.
Philadelphia: J.H. Coates, 1876.
The Centennial Record.
Portland, Maine: G. Stinson and Company.
for reference assistance
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