The odor of pomegranates / Zaida Ben Yusuf.

After the Paris exposition of 1889, France gloried in her triumph. The time between the expositions of 1889 and 1900 was an era of economic prosperity. When Germans announced they want to hold the next world expo, French politicians, industrialists, and intellectuals realized that the country which hosted the exposition at the threshold of the new century "will define the philosophy and express the synthesis of the 19th century." Participating nations architects were given complete freedom to construct their national pavilions in any style, and display whatever they wished therein. The sole limit was the space assigned to each. The buildings of the 1900 exposition fall into two distinct categories, each representing an essential element of the spirit of 1900: Traditionalist 19th century-styled and Art Nouveau - the new style appropriate to the twentieth century. The pavilion to symbolize the new era was the Palace of Electricity. Many expositions gave visitors an illusory trip to remote lands. The Trans-Siberian was a simulated Peking to Moscow railway and "Tour of the World," located at the base of the Eiffel Tower featured moving canvas of the sights and people throughout the world. More than 83,000 exhibitors and attendance of 51 million visitors made it the largest of any exposition. The 127 congresses had attracted over 80,000 participants. The Gare d'Orsay railroad station (now the Musée d'Orsay), and two of original entrances of Paris Métro stations by Hector Guimard., and the Pont d’Alexandre, the Grand Palais and the Petit Palais opened with the exposition. The exposition Universelle of 1900 was the last of its kind held in France.

Frances Benjamin Johnston (1864-1952) was an American photographer who is best known for her pioneering work in the field of architectural and landscape photography. She was born in Grafton, West Virginia, and after studying art and photography in Paris, she returned to the United States and established herself as a successful photographer. Johnston's work focused primarily on architecture, and she photographed many of the most significant buildings and structures of her time. She also photographed landscapes, gardens, and people, and her work often appeared in magazines such as House Beautiful, Ladies' Home Journal, and Country Life. One of Johnston's most notable projects was her documentation of historic architecture in the American South. In 1933, she was commissioned by the Carnegie Corporation to photograph historic homes and buildings in Virginia, Maryland, and North Carolina. This work resulted in a series of photographs that are now housed in the Library of Congress. Throughout her career, Johnston was also an advocate for women in photography, and she worked to promote the work of other women photographers. She was a founding member of the Women's Professional Photographers' Association and the Photo-Secession, a group of photographers who sought to elevate photography as an art form.