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228 with the difference that for Philadelphians all the good dated from "after." But manufacturing and commerce had been heard of "before." Cramp's shipyard did not wait for its first commission until the Centennial, neither did Baldwin's Locomotive Works, nor the factories in Kensington; Philadelphia was not so dead commercially that it was out of mere compliment important railroads made it the chief centre on their route. All large International Expositions are bound to do good by the increased knowledge that comes with them of what the world is producing and by the incentive this knowledge is to competition, and as the Centennial was the first held in America it probably accomplished more for the country than those that followed. But I do not have to be an authority on manufacture and commerce to see that they flourished before the Centennial; I have learned enough about art since to know that its existence was not first revealed to Philadelphia by the Centennial. The Exhibition had an influence on art which I am far from undervaluing. Its galleries of paintings and prints, drawings and sculptures, were an aid in innumerable ways to artists and students who previously had had no facilities for seeing a representative collection. It threw light on the arts of design for the manufacturer. But we knew a thing or two about beauty down in Philadelphia before 1876, though beauty was a subject to which we had ceased to pay much attention, and from the Centennial we borrowed too many tastes and standards that did not belong to us. It set