1893: A World's Fair Mystery
Peter Nepstad
built-in hints chicago commercial compass status display cover art detective feelie map feelies graphics history long-form Museum mystery parser smoking TADS TADS 2 treasure hunt walkthrough Xyzzy Awards 2002 XYZZY Best Setting
A theft on the fairgrounds! Precious diamonds stolen from the Kimberly Diamond Mining Exhibit! An urgent telegram from your old partner arrives, requesting your help to solve the mystery. How can you refuse? And besides, you've been dying to see the wonder of the age everyone has been talking about, this Columbian Exposition. And so, dossier in hand, you take the next train to Chicago. But this is no simple theft. And as theft turns to kidnapping, and kidnapping to murder, you find yourself at the center of a plot the extent of which you can only begin to imagine...
You press the yellow enter button
Already, you have suspects; descriptions neatly typed up and pushed into your case dossier. Greenback Bob was rumored to be working the Fair. So was his sometime partner, Delbras; a dangerously clever foreigner who remains largely a mystery. Perhaps you will learn more as soon as you get to your office in the Administration Building.
Your job: Find the precious stones, and capture those responsible. And while you're at it, you promise yourself to take the time to enjoy the sights and sounds of the one and only Columbian Exposition of Chicago, one of the most amazing spectacles in the World...
You press the yellow enter button
You step off the train into a huge crowd of fairgoers, who jostle
one another as they make their way along the platform. You push your way through the throng, and finally make it out onto the fairgrounds, where you are momentarily stunned by the sheer size, the monumental beauty of the new city standing before you...

Court of Honor, In Front of Terminal Station
You are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.

West Entrance to the Administration Building.
You check your inventory
You have a case dossier.

Although still early in the day, it's getting hot.
You examine the dossier
It's a packet of papers that pertain to the case at hand. The case dossier is closed.
You examine the list
The Kimberly Diamond Mining Company compiled a list of the missing items:

4 rough, unfinished diamonds
3 cut and polished diamonds
1 crown diamond

The jewels were from the private collection of one of the board members of the Company. If any are found, they may be taken to a Mr. Wentworth, an expert in the matter of precious stones, who will verify if the stone in question is indeed from the collection. Mr. Wentworth can be found at his company's exhibit in the Mines and Mining Building.

Verified stones should then be held in evidence in the safe in your office at the Administration building.
You look at the note
The note is written in a cribbed, narrow hand. It reads:

Four brothers, rough and ready,
Three sisters, kind and fair,
They left their home so eagerly,
They left to see the Fair!

Young Dennis likes spelunking,
In darkness feared and great;
Fair Ida likes to swim,
And tempt the hands of fate.

Bullish Adam stays outdoors,
Free and strong and wild;
Mary studies Egyptian script,
And writes her name in style.

And entered government,
Elder Neal rides the rails
With an artistic temperament.

In the cabin of Uncle Tom,
And Mother...where is mother?
She watches over them all.
You look at the description of Bob
Before boarding the train to the fair, you carefully typed out a detailed description of Greenback Bob, should you find that he is indeed involved and need to share the information quickly.

Greenback Bob is a counterfeiter, or at least so it is believed; no one has been able to catch him at it, yet. He is known to be a reckless gambler.

The Police reports describe him as follows:

Nationality: American

Age: twenty-eight to thirty years

Height: five feet four inches, approximately

Weight: one hundred eighty pounds, approximate

General remarks: figure heavy but muscular; somewhat slovenly appearance; broad, flat nose and squinty brown eyes; hair brown; He typically wears a long, unkempt beard, dark brown in color. Quick to anger but faster still to escape.
You look at the description of Delbras
Before boarding the train to the fair, you carefully typed out a detailed description of Delbras, should you find that he is indeed involved and need to share the information quickly.

Of Delbras, you know very little. You know, first, that he has recently fled Paris, which had become too hot for him, and that he was headed to the Fair, for what purpose it can only be guessed. From Paris, a dispatch had been received describing him as handsome, educated, and familiar with the ways of good society. Although still unproven, he is suspected in a string of diamond robberies in Paris.

Further, the French report describes him as follows:

Nationality: French

Age: probably about thirty to thirty-three years

Height: six feet

Weight: one hundred seventy-five pounds, approximate

General remarks: figure good; square shoulders, military air; features, regular; thin-lipped; chin sharply pointed; wears at times a heavy beard, at others moustache and goatee; eyes dark, called black; hair same, heavy, and sometimes worn quite long; hands well kept, with long slender fingers; speaks English perfectly; a small triangular scar upon temple close to roots of hair.
About yourself
You look about the same as always.
Xyzzy
You practice your alphabet again, but stumble at the point where you reach the end and try going backwards.
You look
West Entrance to the Administration Building. 

Court of Honor, In Front of Terminal Station
You are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.
Time
The time is now 10:10 a.m. on Monday.
You go east
Administration Building, Rotunda
The central rotunda is open up to an inner dome, one hundred and ninety feet above your head. The dome is decorated by murals. Open archways lead out of the building in all the cardinal directions.
Most of the Exhibition services are centered in this building, in four pavilions off the rotunda. To the northeast is the Columbian Guards Station; to the northwest, the Columbian bank; to the southeast, the Columbian Telegraph and Messenger Service; and to the southwest, the Columbian Newspaper and Publicity Department.

Administration Building Rotunda, Looking up.
You look at the murals
Administration Building Mural. 

The murals on the inner dome depict Apollo on his throne, bestowing honors upon warriors, artists, musicians, poets, scientists, and inventors. Four winged horses pull forth a model of the Parthenon, and angelic figures dance overhead.
You look
Administration Building Rotunda, Looking up. 

Administration Building, Rotunda
The central rotunda is open up to an inner dome, one hundred and ninety feet above your head. The dome is decorated by murals. Open archways lead out of the building in all the cardinal directions.
Most of the Exhibition services are centered in this building, in four pavilions off the rotunda. To the northeast is the Columbian Guards Station; to the northwest, the Columbian bank; to the southeast, the Columbian Telegraph and Messenger Service; and to the southwest, the Columbian Newspaper and Publicity Department.
You go to the northeast
This is the brain center of the Columbian Guards. From here, calls are dispatched, complaints are registered, criminals are interrogated. Various offices are to the north; they have graciously cleaned one out for your use while at the Fair. The rotunda is back to the southwest.

Columbian Guards Station. 

Standing in a commanding position in the room is a tall, broad-shouldered man wearing a brown overcoat and smoking a thick cigar. You recognize him instantly-- Carl Masters, one of the most highly regarded detectives in Chicago. You heard that he had been hired for the Fair, to oversee all the detective work, and to do a little himself, when the case warranted it. He had his hands full, you knew, and it was at his suggestion that Fair Management contacted your offices. He sees you as you enter.

"Well, well, well!" he shouts, smiling. "It's good to see you made it. What do you think of this White City of ours?"

You are about to respond, but quickly realize your old friend is not interested in wasting time with idle pleasantries just now. He continues:

"And yet surrounded by beauty such dastardly deeds occur." He shakes his head. "I don't need to tell you, but I'm very glad you have finally arrived. We're in the thick of it now. This diamond heist--I'm counting on you for it. We have no one to spare. As for myself, I have a vexing and rather unpleasant affair--you can read today's paper about it if you like; a kidnapping, for ransom, no less; a young, moneyed gent from Boston took a wrong turn late at night.
The family wired yesterday--they've been asked for a ransom but they seem unwilling to pay it. No leads yet." He takes another puff on his cigar. "I'm trying to convince the family to come down and have a go at it; we might yet be able to nab the culprits during the exchange. It's a delicate business."

Masters turns his full attention on you. "I'm sorry, best forget about my case and concentrate on yours. Now listen carefully. Your office is all set up; there's a safe inside in which you can deposit any of the stolen gems you recover. There's also a bill of draft on the desk, you can use it to withdraw a daily spending allowance from the bank in this building. Sorry for the trouble, but as I say, we really have no one to spare. They will write you up new drafts daily, so you can just head over to the bank when it opens first thing each morning to withdraw your stipend."

"I'll try to be here, in the office, every morning until around nine. If you like, we can compare notes and discuss the case. If you have any questions, just ask. And if you find anything out, tell me as soon as you can. I've got to leave soon, but..." He pauses for a moment. "I almost forgot. I'm afraid they haven't given you carte blanche. You're here as a detective in an unofficial capacity. So don't expect vendors and customers to part the red sea for you. I've distributed your picture among the guards, they know who you are and should be able to provide assistance. If they see trouble, they will come get me. I should be able to take care of any bureaucratic messes you get into, but just be careful."

"I'm sure you'll want to get familiar with the fairgrounds. They're quite expansive, but essential to know if you want to get any proper detective work done, at least in my experience. I left a guidebook in your desk. There's also a tour that leaves at eleven-thirty every day from just outside the east entrance to this building which you may want to take as well."

You shake hands. "Welcome to Chicago," he says, smiling.
Go north
Your office is small but comfortable. An old, oak desk occupies
most of the room. Beside the desk, on the floor, squats a very solid-looking metal safe. Against the far wall is an army cot. You specially requested the cot--it's far easier to sleep in the office when the crime is as complicated as this one.
Sitting on the desk is a bill of draft.

Office. 

Detective Masters calls out to you. "I've got to do some footwork. We'll meet again, tomorrow morning at the latest." He walks out of the station, and into the fair.
You take the draft
Taken.
You examine the draft
This draft entitles you to draw some monies from the Northern Trust Bank.
You open the desk
Opening the desk drawer reveals a guidebook.
You go to the south
This is the brain center of the Columbian Guards. From here, calls are dispatched, complaints are registered, criminals are interrogated. Various offices are to the north; they have graciously cleaned one out for your use while at the Fair. The rotunda is back to the southwest.

Columbian Guards Station.
You go northwest
This branch of the Northern Trust Bank is the official bank of the Exhibition, offering terrible exchange rates for all the major currencies. A row of tellers stand behind windows mounted on a long, thin counter, and process exhibition-goers transactions with indifference. The rotunda is back to the southeast.

The only teller you can see in the crowded bank is the one nearest the door. She processes customers with a grim efficiency, the line in front of her window stretching nearly to the entrance of the bank.

The Northern Trust Bank.
You enter the line
You cue up in line.

The line barely moves.
Continue
You continue to wait in line.

Perhaps the line is moving, perhaps not; it's difficult to say.
You continue
You continue to wait in line.

You move forward in line.
You examine the line
It looks like you're in for a bit of a wait.

You wait in line.
You kill the line
What do you want to attack it with?
You check your inventory
You have a case dossier, a bill of draft, and a guidebook. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.

You move forward in line.
You read the book
It's the Official Guide to the World's Columbian Exposition that was sent ahead to you to familiarize yourself with the fairgrounds. You can look up buildings and monuments for more detailed information about them, if you like.
You look up midway in Guide
You flip open the guidebook and read.

Midway Plaisance extends from the grounds of the World's Columbian Exposition to Washington Park, and covers an area of 80 acres. The exhibits on Midway Plaisance are made by concessionaires, although some of them are endorsed and even owned by foreign governments. Admission fees are charged to many of them. They have no connection with the Exposition proper except as side attractions. Near the western approach is the great Ferris Wheel, from which bird's eye views may be had of the entire Exposition. This to some extent, takes the place of an Eiffel tower. Visitors are hurled 250 feet into the air, in cars similar to coaches in construction.

The tellers are all very busy. They do work very fast, however.
You look up rotunda in Guide
You flip open the guidebook and read. After browsing for a few moments, you determine there isn't an entry for that topic.

There's only one customer in front of you.
You look up Ferris Wheel in Guide
You flip open the guidebook and read. You flip open the guidebook and read. After browsing for a few moments, you determine there isn't an entry for that topic.

The last customer between you and the teller leaves. You step forward, and feel a sharp elbow in your stomach as an old lady cuts in front of you and slaps down her money.
You wait
Time passes...

"Ah'd like to break this hunnert," she says, and the young teller mechanically smiles and does so, hardly noticing the old woman is there at all.
You wait
Time passes...

The old lady hobbles off. The teller looks through you. "May I help you?"
You give the draft to the teller
The teller mechanically takes your bill of draft, and hands you an envelope containing your spending stipend for the day. "Thank you sir, and have a nice day," she says listlessly.
You look at the stipend
It's an envelope containing your small daily stipend. Right now you have plenty of money in the envelope.
You look
The Northern Trust Bank. 

This branch of the Northern Trust Bank is the official bank of the Exhibition, offering terrible exchange rates for all the major currencies. A row of tellers stand behind windows mounted on a long, thin counter, and process exhibition-goers transactions with indifference. The rotunda is back to the southeast.

The only teller you can see in the crowded bank is the one nearest the door. She processes customers with a grim efficiency, the line in front of her window stretching nearly to the entrance of the bank.
East
You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.

Looking East onto the White City.
You examine Columbia
Which columbia do you mean, the MacMonnies Fountain, or the statue of The Republic?
You look at the statue
Which statue do you mean, the Columbus statue, the Diana sculpture, or the statue of The Republic?
You examine Statue of the Republic
Statue of the Republic. 

The Statue of the Republic is a sixty-five foot tall woman, on a pedestal. The woman wears a loose robe, and holds a staff in one hand and a globe with an eagle resting upon it in the other. She faces west, towards the Administration Building. The entire statue is gilded a brilliant gold.
Time
The time is now 10:42 a.m. on Monday.
Go east
You stand at the western edge of the Columbian Basin, admiring the MacMonnies fountain directly before you.
You look
Looking East onto the White City. 

You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.
You go north
Court of Honor, South side of Electricity Building
You are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.

An octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.

South Entrance of Electricity Building.
You examine Statue
The Franklin Statue. 

Benjamin Franklin stands heroically in front of the Electricity Building, his chest out and his head up, his eyes looking toward heaven. In one hand he clutches a kite, in the other, a key. A plaque at the base of the statue declares in latin that he has "Torn the scepter from the hands of the King of Heaven."
You take the key
It would be very difficult to take the key and kite, since they are part of the statue.
Go north
This building is said to contain every electrical apparatus and concern thus far developed by man, the whole worlds collective effort in this field having been collected, organized, and displayed for the general public. This main aisle extends into the building to the north and out onto the Court of Honor, south. To the east and west are exhibits from General Electric and American Bell Telephone, respectively.

Electric Avenue, Looking North.
Go east
new phonographic cylinders and other recent inventions from Thomas Alva Edison. Featured in the exhibit is something called a Kinetoscope, which it is claimed can generate "moving pictures." A bust of the great inventor presides over the collection.

General Electric Exhibits.
You look at the bust
He looks rather paternal in this bust.
You examine Kinetoscope
Kinetoscope. 

The Kinetoscope is nearly the height of a man. Near the top are lenses which you can look through, like a pair of glasses.
You look through the lenses
The Sneeze. 

Looking through the lens, you see Thomas Edison, almost as if he were really there! He sneezes, and the short film ends.
You listen
The hum of electricity, the crackle of energy, makes the building feel almost alive.
Go east
You can leave the General Electric exhibit to the west.
Go west
A small classic structure with a row of Ionic pillars contains the American Bell Telephone exhibit. You ascend a short flight of steps between two guardian sphinx to enter this golden pavilion. Once inside, you see photographs on the walls depicting inventors and prominent businessmen who are associated with American Bell. Along the far wall is a bank of multi-colored phones, said to be connected, long distance, to various places on the east coast. The main hall is back to the east.

American Bell Telephone Exhibit.
You look at the photographs
Alexander Graham Bell. 

Most prominent among the photos is a picture of Alexander Graham Bell, himself.
You look at the phone
Which phone do you mean, the black phone, the green phone, the blue phone, the yellow phone, or the red phone?
You pick up the black phone
You pick up the black phone and put it to your ear.

"Hello, detective," a low voice says on the other end of the phone.
"I do hope you're enjoying our little scavenger hunt."
You listen
The hum of electricity, the crackle of energy, makes the building feel almost alive.
You ask about the diamonds
(the voice)
"Looking for the diamonds, are you? Well, I've hidden them, of course. I left a note for you. Why don't you read it? If you have more specific questions after reading it, feel free to ask."
You ask about Ida
(the voice)
"Ida? A real swimmer, that girl. But she doesn't like waves, particularly."
You ask about the queen
(the voice)
"Do you expect me to tell you everything?" he asks, coughing momentarily.
You ask about Dennis
(the voice)
"He likes spelunking. That means he likes exploring caves. Perhaps you should take to it yourself."
You ask about Adam
(the voice)
"Have you read in the paper about that man getting gored by a bull? Poor, poor man. He could probably tell you where Adam is, were he still capable of speech."
You ask about Owen
(the voice)
"Young Owen. So industrious! So interested in the workings of Government. In fact, he studied it to the exclusion of all else."
You ask about Mary
(the voice)
"Ahh, Mary. Quite the amateur Anthropologist."
You ask about Neal
(the voice)
"Neal likes to ride the rails. You know, trains. But he likes to do it in comfort. None of those cheap, poorly built cars for Neal. Only the best."
You ask about the dolores
(the voice)
"You know, the Women's Board of Connecticut put together a wonderful exhibit of Harriet Beecher Stowe's works. It is one of Connecticut's finest contributions to the fair."
You ask the voice about the voice
"Do you expect me to tell you everything?" he asks, coughing momentarily.
You ask about the Mother
(the voice)
"I will never tell where Mother is. Sorry, you will just have to find her on your own."
You hang up
You place the black phone back on its cradle.
Time
The time is now 11:17 a.m. on Monday.
Go west
You can exit the American Bell Telephone exhibit to the east.
You go south
You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.
A tour guide is here, gathering a group together for a tour.

Looking East onto the White City. 

"We will be starting in just a few minutes! Please gather 'round, now, gather 'round!"
You look at the tour
Tour Guide. 

He looks quite enthusiastic. His eyes sparkle with excitement.

"Guided tour of the Court of Honor! Right here!" the man shouts.
Time
The time is now 11:22 a.m. on Monday.
You talk to Guide
Which guide do you mean, the guidebook, or the tour guide?
You ask the tour guide about the Midway
"Please save all questions until the end of the tour. Thank you."

"Guided tour of the Court of Honor!" the man shouts. "See the wonder of the age!"
You examine group
Which group do you mean, the sculptural groups, or the crowd?
You look at the crowd
You scan the crowd for suspicious characters.

"We will begin the tour in five minutes!" the man shouts. "Bring your appetite with you, we will be stopping off for a quick snack, and you won't want to miss it!"
You look at the sculptural groups
Water Uncontrolled. 

Sculptural groups of three figures apiece stand on either side of the entrance to the Administration building. In one, the figures are being swallowed by a flood, in the other, the main figure rides in a boat upon the water.

"Guided tour of the Court of Honor! Right here!" the man shouts.
You look at what you're carrying with you
You have a case dossier, a guidebook, and a small daily stipend. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.

"Guided tour of the Court of Honor!" the man shouts. "See the wonder of the age!"
You look
Looking East onto the White City. 

You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.
A tour guide is here, gathering a group together for a tour.

A small crowd of people have gathered around the man. "Allow me to introduce myself," he says, "My name is James Shepp, and I will be your guide today as we explore today majestic fair.
You look
Looking East onto the White City. 

You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.
A tour guide is here, gathering a group together for a tour.

"Let me do a brief headcount before we get underway," he says, and points to each person in the crowd, counting off. "One, two, three,..." he begins, pointing at you to say, "8."
You say 8
I don't know how to say the number 8.

"Well. Let's begin, shall we?" says the tour guide. "For the next hour, we will be wandering through sights you have never seen before, visions which will arrest your eyes and seize your mind with their power. We will be looking at the buildings and sculptures surrounding the Grand Basin. A court greater than that of any king of any nation in the world." He turns around, facing the Grand Basin. "I present to you, The Court of Honor." He pauses for dramatic effect.
You examine Basin
The basin waters flow in from a canal to the north and out into the harbor through the Peristyle. All around the basin stand the classically inspired buildings of the Fair.

"We look onto a scene over which the gods might linger, and dream that heaven had descended to earth, and that once again man walked sinless in Eden. Well may every American be proud of the genius of his countrymen, which has called this wondrous creation from the trembling swamp."
You wait
Time passes...

"In any atmosphere, in any weather the scene is inexpressibly lovely, he says. "When the mists of morning curtain the buildings they have a far-away appearance and every detail is softened, and when the sun rises, gradually the mist falls lower and lower like filmy garments cast off from the gleaming limbs of goddesses."
You wait
Time passes...

The tour guide turns back to the crowd. "Now, let's turn our attention toward the centerpiece of the Grand Basin: the Columbian Fountain. Go ahead, take a look at it." The crowd moves forward for a better view.
You examine columbian Fountain
The Columbian Fountain. 

The MacMonnies Founain is the largest fountain in the world. No less than thirty seven figures are included in the amazing sculpture. The central element of the fountain is a large ship, with eight maidens, four to a side, rowing great oars. The ship is steered by a muscular, beared man, and a winged trumpteter stands at the prow. On a central throne, elevated above the rest, sits Columbia herself, in regal repose. All around the boat dolphins, mermaids, and sea horses with riders raise triumphantly from the waters.

"He gestures towards the fountain. "Though the fountain is imposing in itself, close examination reveals the most delicate and subtle handling. It is like a large piece of exquisite jewelry. We will look at the fountain again, from a better angle, for now, let us proceed with the tour. Follow me!" he shouts, and heads south.
Go south
Court of Honor, Southern Bandstand
You are in a grand plaza, which continues to the north, east, and west. Directly to the south stands the mammoth Machinery Hall, but there is no entrance here. The Administration Building is to the northwest.

In this end of the plaza sits a white octogonal bandstand. You can see its twin a little ways to the north.
A tour guide is here, surrounded by a group of fairgoers.

Court of Honor, Looking North. 

"We are standing at the Northeast corner of Machinery Hall," the guide says. "Take a look now at the building, surely one of the leviathans of the Exposition. Let your eye pass over the almost cathedral-like exterior."
You look at Machinery Hall
The Corinthian colonnade which makes up the northern facade of Machinery Hall continues here, unbroken. Further east, you see one of the building's corner pavilions. To the west is the northern entrance to the hall, a semi-circular portico with Corinthian columns, with towers on either side.

The guide continues. "Tall spires rise in the center of the structure, to the west, and graceful domes cap the two extremities, one of which rises before us here. Long rows of graceful pillars lend lightness and harmony to the two facades, and form a fitting background for the beauties of the Court of Honor. You can't see them well from here, but atop the towers on either side of each entrance are winged victories, huge draped figures, yet of such nice harmony that they seem to spring out into the air in very abandon of joy."
You wait
Time passes...

"One never tires of looking at those beautiful towers, and when this vast building crumbles, as alas! it must all too soon, many will remember its beautiful and imposing entrances. Don't forget to visit them after the tour. And now, if you will follow me --" the guide heads east.
Go east
The South Canal interrupts the Court of Honor here, at the
northeast corner of Machinery Hall. A bridge crosses the canal to the east. A wide road heads south between the canal and the side of Machinery Hall. The front of Machinery Hall is to the west.

A tangle of ugly pipes marks the location of one of the electric fountains, which stay off during most of the day. Next to the fountain stands a rostral column, at the top of which stands a statue of Neptune. Another fountain, the MacMonnies Fountain, is visible to the north.
A tour guide is here, surrounded by a group of fairgoers.

Electric Fountain. 

"Here," the guide gestures north, "is one of the electric fountains, now quiet, but only waiting for the shades of night to fall, to flash and gleam with radiant splendor. But keep looking, past the electric fountain, to the Columbian Fountain, which we can now admire in profile in some detail."
You examine columbian Fountain
The Columbian Fountain. 

The MacMonnies Founain is the largest fountain in the world. No less than thirty seven figures are included in the amazing sculpture. The central element of the fountain is a large ship, with eight maidens, four to a side, rowing great oars. The ship is steered by a muscular, beared man, and a winged trumpteter stands at the prow. On a central throne, elevated above the rest, sits Columbia herself, in regal repose. All around the boat dolphins, mermaids, and sea horses with riders raise triumphantly from the waters.

"The idea of the Columbian Fountain is as felicitous as its execution. High on a barge of state, Columbia sits enthroned. The barge is rowed by eight young goddesses, who typify the arts and sciences. They seem instinct with life. Surely not mortal blood but the ichor of the gods must animate these lissome, glowing limbs!" the guide gets louder and more animated as he continues. "Gracefully they bend to their work, each head turned in a natural position, and showing a face full of delicate charm. They handle the long oars with the ease of practiced rowers, and one looks to see the barge glide over the crystal waters like a thing of life and beauty."
You wait
Time passes...

"And look!" the guide suddenly shouts, pointing at the fountain.
"Old Father Time is at the helm. His long beard sweeps like foam across his muscular breast. As he leans backward, bearing on the tiller, the splendid muscles of his arms and limbs are revealed.
There is no sign of decrepitude here, but an aspect of sustained vigor that seems to defy the ravages of eras and aeons."
Continue
Time passes...

"And look again!" the guide shouts, the crowd murmuring in excitement. "A winged trumpeterstands at the prow with one foot advanced to the extreme point of the barge. She seems impatient to follow the sound of her trumpet, and to leap upon the golden shore of some far land."
You wait
Time passes...

"High up in the center, on a chair of state, Columbia sits, calm, massive, complacent, oblivious to all beneath her," the guide says, quieting a bit, still staring at the Columbian Fountain in reverence. Then he picks up again. "Mighty tritons upon massive steeds rise from the water as though to pay homage to the glorious galley and its god-like crew. The men and steeds are full of the very passion of life; the mere sight of them makes the blood tingle in the veins." He turns back to the tour group. "The MacMonnies fountain is an inspiration; it is one of those perfect things that hold their place in the mind, and exercise a gentle tyranny over it. We feel like judging all other objects in sculpture by this perfect standard, and almost envy the sculptor his success. Come -- we have much more to see." And with that, he heads east.
Go east
sculptures of animals native to North America; on the west side of the bridge are two bison, on the east; a pair of moose. The canal empties into the basin to the north; you can see that it ends a short distance to the south, where an imposing obelisk juts out from the waters.
A tour guide is here, surrounded by a group of fairgoers.

South Canal Bridge, Looking East. 

"We stand together on a bridge spanning the southern canal, like those built over the Seine by Napoleon. If I can direct your attention to the end of the canal, toward the Colonnade which spans the distance between Machinery Hall and Agriculture, forming as it were three sides of a hollow square, with the bridge making the fourth." The guide gestures south.
You look at Canal
The canal waters flow into the Columbian Basin.

"The canal in the center reflects like a mirror the statuary and the beautiful buildings on either side. There is hardly a prettier bit of scenery on the grounds than this; all that art could do to make it beautiful has been accomplished. Directly at the southern end of the canal, facing the central arch of the Colonnade, a reproduction of Cleopatra's Needle towers to a great height. The arch of the Colonnade, directly beyond, forms the grand entrance to a station of the Intramural Railway. The live-stock pavilion is immediately in the rear. The whole forms a very tasteful piece of architecture, and makes a beautiful background for the Canal and the many statues that adorn its borders." He turns to the group. "Follow me, please," he says, and heads east.
You go to the east
A bridge crosses the canal to the west. To the south, a road
squeezes between the canal and the side of the Agriculture Building. The front of the building is to your east. Standing here near the northeast corner of Agriculture is a rostral column, at the very top of which stands a sculpture of Neptune, holding a giant conch shell. The basin is to the north, and beyond it you can hardly miss the largest building in the world: the Manufactures and Liberal Arts Building.
A tour guide is here, surrounded by a group of fairgoers.

North Side of Agriculture Building, Looking East. 

"We are standing in the shadow of the Agriculture Building, now," the guide says, "but before we take a look at the magnificent structure, I would like everyone to turn around and gaze upon the Administration Building, seen from this angle in its finest form. The pride and glory of the fair."
You examine Administration Building
The Administration Building. 

The large, gilded dome of the Administration Building is a proud monument of the Fair, towering over the other buildings in the Court of Honor and visible from most anywhere on the grounds. The building itself is constructed in three stages, each stacked upon the other like a cake. The bottom stage consists of four large pavilions, one at each corner, with entryways between. The second stage of the building is ringed with an open Ionic colonnade, the white columns contrasting vividly with the red walls behind them. The third stage is the golden dome, which rises over 250 feet above the ground.

The guide quietly admires the Administration Building for a moment. "Words would be inadequate, we must make do with our eyes alone."
You examine Neptune
Rostral Column, Surmounted by Statue of Neptune. 

The column is decorated with representations of boats, sticking out of it like spikes, each prow and stern masterfully carved. At the top of the column, far over the heads of the crowd, stands Neptune, clutching his trident.

The tour guide turns away from the group to face the Agriculture Building. "Some of you may be reminded, when looking at the Agriculture Building, of the Duomo of Milan with its profusion of statuary, though of course the architecture is completely different. It's front stretches for 800 feet along the Grand Basin; presenting a forest of pillars, looking as though it has been carved out of a mountain of snow."
You examine agricultural Building
The stately and Roman-style Agricultural Building is a powerful presence on the southern side of the Basin. You stand near one of the great corner pavilions of the structure, the symmetric facades of the building, comprised of Ionic columns within arched recesses, extend both east and south from here toward grand entrances. The corner pavilion is topped by a sculpture group of four women, supporting a hollow globe ringed with signs of the zodiac.

"Directly in front of us is one of the four corner pavilions of the building, the domes of which rise to a height of some ninety-six feet. The tops of the domes are surmounted by statuary, in this case 'The Races of Man' by Martini." the guide gestures toward the top of the corner pavilion.
You look at the globe
'The Races of Man' by Philip Martini. 

The sculpture depicts four women, of seemingly identical features, with their arms stretched out above their heads, their garments loosely wrapped around them, their upper bodies mostly exposed. They stand in a circle, facing outwards, and in the middle, as if supported on their backs, is a hollow globe ringed by signs of the zodiac.

"Martini's group may remind us of the group in the center of the Monumental Fountain in the Luxembourg Gardens by Carpeaux, but it is by no means an imitation, on the contrary, it has many original features. Martini's work has much more airy lightness than Carpeaux's. The figures in Martini's sculpture represent the four races, or in other words, the four principal families of the human race, inhabiting Europe, Asia, Africa, and America. The globe implies that the figures beneath it stand for all the races of the world. The bodies are all young and lithe, the draperies winding about them in a singular graceful fashion. As an interesting side note, Martini only used one figure for the group and added different heads as his time was too short to allow work on other models."
You wait
Time passes...

The guide turns back to the assembled group. "Martini has accomplished an enormous amount of work in addition to these sculptures, and has done a great deal toward rendering the Agriculture Building one of the finest of the Fair. He has shown an extraordinary and fertile imagination, directed by excellent good sense and disciplined taste. Such masterly productions in every instance speak well for the future decoration of American cities and public buildings. Let's move on, shall we?" he finishes, and heads to the east, tour group in tow.
You go east
Court of Honor, North Side of Agriculture Building
The Romanesque-style Agriculture Building stands immediately to the south, its central dome reaching 130 feet from the ground. Its entrance is framed by Corinthian columns, and decorated by allegorical figures, surrounded by grain and fruit, and rising above them the branching horns of an oxen. A large sculpture of Diana tops the building's central dome. Directly to the north, a boat landing extends out into the basin, between two life-sized statues of oxen facing out toward Manufactures and Liberal Arts on the opposite side. A guide is here, leading a tour group through the grounds.

North Entrance of Agriculture Building. 

The guide pauses for a moment while the group collects around him. "I'm feeling a bit hungry, aren't you?" he says, to murmurs of approval. "Well, this is the Agriculture building, is it not? Inside its walls are displayed all of the myriad ways mankind has learned to bring food from the earth. It's a bit too crowded to go in at the moment, but I've planned ahead and arranged a bit of a sampler for everyone." He gestures to a couple boys waiting in the vestibule. They come out, with trays filled with a variety of food samples. They hand out the food to each member of the tour. One of them hands you a warm waffle, folded in half, and filled with sweet jam. It looks delicious.
You look at the waffle
It's a large waffle, folded over and filled with jam.

"While everyone is eating," the guide says, "I direct your attention to the two cow statues standing in front of the building, looking out over the basin."
You eat the waffle
It's quite sweet and delicious. You devour it all too quickly.

"The statue is titled 'Plenty.' Look at the woman in this sculpture, she how she appears in perfect harmony with the noble animal she leans against; she is not of the goddess type; no serene mystery envelops her; there is no atmosphere of majesty about her; this is a simple countrywoman, such as one might see any day in the year in rural regions," the guide explains, reaching out and touching the statue, briefly. "How strong, yet proportionate, the arms! How large and flexible the hands! In her face we see that dreamy look, common to those who are much alone in the fields. In ancient times the daughters of kings and princes attended cattle, so that this figure is quite in keeping with history."
You look at the cows
'Plenty.' 

You take a moment to examine one of the sculptures. This one represents a simple countrywoman, leaning against a great and sturdy cow. The cow gazes serenely into the distance. The woman wears a rough hide, fashioned into a primitive dress, and has a dreamy, relaxed expression.

"The cow against which the woman leans," the guide continues, "is perhaps a little too modern for the figure; it is of the Holstein breed, chosen probably on account of its massive proportions; it is full-fed, sleek and beautiful, with a grand head and great, mild eyes. The olden Greeks showed an excellent appreciation of beauty when they called the Queen of Olympus, 'The Ox-eyed Juno,' for nothing can equal the expressive mildness of the eye of a cow or an ox. And now, if everyone has finished eating...?" he pauses. "Good. Please follow me." He walks off to the east.
You go east
You are at the northeast corner of the Agriculture Building. In
the basin directly to the north, you see the proud profile of the Statue of the Republic. The plaza continues east toward the Peristyle and Casino Building, and west across the northern face of the Agriculture Building. To the south, a plaza opens up along the eastern side of Agriculture.
A guide is here, leading a tour group through the grounds.

Casino Building. 

"Now we come to the east end of the Court of Honor," the tour guide says, gesturing broadly. "The Agriculture Building stands behind us, to the southwest, the Casino Building ahead, to the southeast. Directly east is the great Peristyle, which closes off the Court of Honor from Lake Michigan just beyond. Before we go further towards the Peristyle, however, I would like to direct your attention to the giant statue your eye has no doubt already drifted to many times before on our tour: The Statue of the Republic, rising out of the Grand Basin just to the north and east of our current position."
You look at Statue of the Republic
Statue of the Republic. 

The Statue of the Republic is a sixty-five foot tall woman, on a pedestal. The woman wears a loose robe, and holds a staff in one hand and a globe with an eagle resting upon it in the other. She faces west, towards the Administration Building. The entire statue is gilded a brilliant gold.

"The 'Republic' is by sculptor Daniel Chester French, who won the medal in last year's Paris Salon for his splendid work, 'Death and the Sculptor,' which incidentally can be seen on display in the Art Palace on the north end of the grounds. The award was a very rare instance of such an honor being bestowed on an American sculptor for a purely American work."
You examine the globe
'The Races of Man' by Philip Martini. 

The sculpture depicts four women, of seemingly identical features, with their arms stretched out above their heads, their garments loosely wrapped around them, their upper bodies mostly exposed. They stand in a circle, facing outwards, and in the middle, as if supported on their backs, is a hollow globe ringed by signs of the zodiac.

The tour guide opens his arms wide, as if he would embrace the Statue of the Republic, if only it were close enough. "Sheer out of the water, the statue rises to a height of sixty-five feet. It is a majestic figure of a woman so admirably proportioned that the mere size counts for little in the observer's mind. Her face is full of power and repose. Not such repose as one sees in the awful visage of the Sphynx, its calm eyes looking out upon the Libyan sands, but the repose of certain force inherent in the nature of the god-like woman. No nobler idea could be conceived in the conscious yet gracious power of a great nation whose majesty the statue so well represents."
You wait
Time passes...

"Even Greece, with her beautiful violet sky and exquisite color tone," the guide says, "could not furnish a better surrounding for such a statue than the present site affords. With the lovely arch of the peristyle, crowned with the quadriga in the background, it is a sight for the gods. Come, lets get a closer look at that peristyle, now." He waves everyone forward, to the east.
You go east
complex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the north is the Water Gate, and to the south stands the southern pavilion, which has been dubbed "The Casino." The Casino is simply a pre-boarding waiting area for those leaving the fairgrounds by steamer. The Court of Honor extends back toward the west.
A guide is here, leading a tour group through the grounds.

Looking East towards Peristyle. 

"The Peristyle is one of the crowning beauties of the Exposition; it connects Music Hall with the Casino, and lends an artistic finish to the Grand Basin, and the wonderful buildings around it," the guide says. "It gives one some idea of the beautiful architecture of ancient Greece and Rome, and while the American genius is said to be purely practical, it proves that the esthetic sense is by no means dormant. Five hundred feet long, and 150 feet high; yet, despite its vastness, its classic beauty is incontestable."
You look
Looking East towards Peristyle. 

complex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the north is the Water Gate, and to the south stands the southern pavilion, which has been dubbed "The Casino." The Casino is simply a pre-boarding waiting area for those leaving the fairgrounds by steamer. The Court of Honor extends back toward the west.
A guide is here, leading a tour group through the grounds.

The guide continues to rhapsodize about the Peristyle. "So perfect is its workmanship; and so harmonious the setting, that it seems as though the Exposition was made for it, and not that it was made for the Exposition. In the pellucid floor of the Grand Basin it duplicates itself, and each pillar seems to tremble with joy at the contemplation of its own reflection; viewed in any light, it fascinates the gaze. How sweet it is to think that great things and great thoughts cannot die; that out of the raw young life of the prairies should spring this lovely bit of Grecian genius! And mounted on top, ladies and gentlemen -- the Columbus Quadriga."
You wait
Time passes...

"The Columbian Quadriga is the joint work of Messrs. French and Potter, the figures being by the former and the horses by the latter. In the chariot, Columbus stands looking out into the far distance.
His face bears traces of anxiety curbed by indomitable will. There is withal a certain dreaminess in the face, well-befitting a man who has pondered so long in solitude the great projects he afterwards developed."

You hear a muffled explosion in the distance, from somewhere off to the southeast.
You go to the southeast
You can walk north along the Peristyle or west toward the Agriculture Building.

The guide continues to describe the Columbus Quadriga. "Four noble war-horses are harnessed to the chariot. Every point of the finest blood is admirably brought out by Mr. Potter. Massive as they are, the small heads and ears betoken the Andalusian blood, which is hardly removed from the best Arab stock. They are led by female grooms, who look fully as spirited as the animals they restrain. They may be said to be perfect models of Grecian beauty, quite different from the 'Republic,' which has more of the Roman caste of beauty. Their beautifully moulded arms show to great advantage in the pose they assume, which throws out their finely modelled busts. There is an air of nobility about the whole group, and along with the 'Republic' and the Columbian Fountain, ranks as the very best sculpture this Exposition has to offer."

"And now if you'll follow me, please," the guide says, and heads off to the north.
You go west
You are at the northeast corner of the Agriculture Building. In
the basin directly to the north, you see the proud profile of the Statue of the Republic. The plaza continues east toward the Peristyle and Casino Building, and west across the northern face of the Agriculture Building. To the south, a plaza opens up along the eastern side of Agriculture.

Casino Building.
Go south
The Court of Honor ends here at an inlet, which draws Lake Michigan waters into a pond further to the south. Docked at the inlet are scale reconstructions of the Nina, Pinta, and Santa Maria. It appears as though the Santa Maria can be boarded, if you wanted to get a closer look. To the east begins a long pier, along which runs a moveable sidewalk. Or at least, one hopes it will one day run; currently the moveable sidewalk appears to be closed for repairs. The Court of Honor is to the north, to the south a road cuts between the Agriculture Building and the narrow inlet, and directly to the west stands the Agriculture Building.

Santa Maria in front of Agricultural Building.
Go east
The movable sidewalk is closed for repairs.
Look around
Santa Maria in front of Agricultural Building. 

The Court of Honor ends here at an inlet, which draws Lake Michigan waters into a pond further to the south. Docked at the inlet are scale reconstructions of the Nina, Pinta, and Santa Maria. It appears as though the Santa Maria can be boarded, if you wanted to get a closer look. To the east begins a long pier, along which runs a moveable sidewalk. Or at least, one hopes it will one day run; currently the moveable sidewalk appears to be closed for repairs. The Court of Honor is to the north, to the south a road cuts between the Agriculture Building and the narrow inlet, and directly to the west stands the Agriculture Building.
Go south
Two great roads cross here, at the northwest shore of the South
Pond. One road heads north, along the inlet toward the Court of Honor buildings, then bends gently southwest, following the curve of the pond. The second road runs west across the back of the Agriculture Building towards the White Horse Inn, and east, over the inlet on a narrow bridge. On the other side of the bridge, on a small peninsula of land, stands a replica of La Rabida convent, where Columbus gathered his strength before making his first transatlantic journey.

Looking across South Pond, other points of interest take shape. On the west side of the pond, a vast tangle of windmills spin in the lake breeze. Further south, you can make out ruins of some kind. And on the south and east shores of the pond, another group of grand buildings rise, holding a court all their own.

Windmills, Looking across South Pond.
You go to the east
You cross the canal over a narrow bridge.

Before you stands a replica of the Convent of La Rabida, where Columbus rested, poor and hungry, before applying to Queen Isabella for his voyage to the Americas. The Convent sits on a promontory, with Lake Michigan to the east, the inlet and South Pond wrapping around from the north to the southwest. An entrance to the Convent is to the northeast. To the south is Krupp's mighty castle, positioned as if to protect this quiet building. Roads skirt the edges of the castle to the southeast and southwest.

La Rabida Convent.
Go north
You walk to the edge of the promontory, where the waters of Lake Michigan crash against the rocks.
You wait
Time passes...

The guide continues to describe the Columbus Quadriga. "Four noble war-horses are harnessed to the chariot. Every point of the finest blood is admirably brought out by Mr. Potter. Massive as they are, the small heads and ears betoken the Andalusian blood, which is hardly removed from the best Arab stock. They are led by female grooms, who look fully as spirited as the animals they restrain. They may be said to be perfect models of Grecian beauty, quite different from the 'Republic,' which has more of the Roman caste of beauty. Their beautifully moulded arms show to great advantage in the pose they assume, which throws out their finely modelled busts. There is an air of nobility about the whole group, and along with the 'Republic' and the Columbian Fountain, ranks as the very best sculpture this Exposition has to offer."

"And now if you'll follow me, please," the guide says, and heads off to the north.
You go north
You stand before the great central Triumph Arch of the Peristyle, called The Water Gate. The Water Gate is adorned with sculpture, and topped by the Columbian Quadriga, a representation of Columbus in a Roman chariot, pulled by four powerful horses. Directly to the west is the Columbian Basin, and the sixty-five foot tall gilt statue of the Republic. The statue faces the administration building far to the west. You can see from this vantage that the Statue of the Republic has a small service door at its base, probably for cleaners and other workmen. Along the edges of the basin stand the glorious Court of Honor buildings; the White City. Basin waters flow under the walkway here and out the water gate, into Lake Michigan. You can walk along the Peristyle to the north and south.
A guide is here, leading a tour group through the grounds.

The Court of Honor, Looking West. 

The guide gestures over the Basin to the west. "Could you ever have conceived that you would see such a magnificent view on the lakefront of Chicago? As we are a bit pressed for time, I will just make one observation. Note the waters of the Basin. At the far end, the Basin spreads off into two arms, the North and South canals. Does it not give the sheet of water the appearance of the plan of a church with nave and transepts? The grandest church in the world," the guide reflects. "And now, if you would be so kind as to accompany me further, we shall admire the wonders on the north side of the Grand Basin." He heads north.
You go north
complex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the south is the Water Gate, and to the north stands the northern pavilion, which has been dubbed "The Music Hall." The Music Hall is the Exposition's concert hall for classical music, and other fine entertainments. The Court of Honor extends back toward the west.
A guide is here, leading a tour group through the grounds.

Looking East towards the Peristyle. 

"Behind us, another remarkable view of the Peristyle. But let it not stay us from our course," the guide says, heading west.
Go west
You are standing at the southeast corner of the Manufactures and Liberal Arts Building. The large corner pavilion is decorated by bas relief and paintings representing music and the arts. The plaza continues east toward the Peristyle, and west across the southern face of Manufactures. To the north a promenade winds along the lakefront past a number of smaller pavilions.
A guide is here, leading a tour group through the grounds.

Music Hall. 

"Ahhh...The Manufactures and Liberal Arts Building. The Grandest and most impressive on the grounds. It is not so stately and gorgeous as some of the others, but for grandeur of design, boldness of construction, faultless proportions, and amazing extent it must class as a wonder of the world," the guide says. "And to the northeast, stands the Music Hall, which connects to the Peristyle and across the Basin to its twin, the Casino Building. Neither of these buildings need concern us further, it is Manufactures that attracts the attention, now."

"As we continue heading west," the guide continues, "we shall be passing along the front of Manufactures. Bear in mind as we walk that it is more than a third of a mile in length, a sixth of a mile wide, and covers thirty acres of ground. The whole building is a revelation of immensity. Follow me, please." The guide walks off to the west, the tour group right behind.
Go west
Court of Honor, South Side of Manufactures and Liberal Arts Building The Manufactures and Liberal Arts building is advertised as being
the largest in the world, and standing in front of its colossal entrance, you have no doubt. The entrance is designed as a great triumphal arch, ornamented by four Corinthian columns, at the top of each rests an Eagle with outstretched wings. In one side of the entrance are stairs leading up. The plaza continues east and west, to the south, two sculptures of horses face out toward the opposite shore, and between them, the blue waters of the basin lap against a boat landing.
A guide is here, leading a tour group through the grounds.

South Entrance of Manufactures and Liberal Arts. 

"It would be difficult to describe the style of Architecture for the Manufactures and Liberal Arts Building," the guide declares, "for it is a melange of the best in all. It stands like a great white mountain on the lake shore and can be seen from a great distance. Inside, the building is traversed from north to south by a great aisle fifty feet wide intersected midway by another running east and west. Where the two great aisles intersect in the center, a clock tower rises 135 feet above the floor. But you may enter the building and admire the exhibits on your own time. For us, we go not in, but up.

The guide walks just inside the main entryway, where a stairway leads up. "Come now, let's not dawdle," he says, and heads up the stairs. The tour group, excited now, follow suit.
Up
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.
A guide is here, leading a tour group through the grounds.

Looking South from Roof of Manufactures and Liberal Arts Building. 

"Among the many enjoyable experiences at the World's Fair none, perhaps, will make a more lasting impression than the time you spend here, on top of the Manufactures and Liberal Arts Building, as we take in from all sides a panoramic view of the 'White City,' with all its accessories of art and architecture It is while standing here that one fully appreciates the wisdom of the selection of Jackson Park as the site of the fair; the extent of the scene, varied by landscape and waterscape, is one of which the eye never tires; the vast buildings looming up on every side never give the appearance of crowding or of rendering insignificant the less imposing structures, for there is always the consciousness that there is ample space for everything."
You look
Looking South from Roof of Manufactures and Liberal Arts Building. 

You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.
A guide is here, leading a tour group through the grounds.

"Look below us!" the guide shouts. "A silvery sheet of water in which the white buildings and glistening statues are delicately miraged, and the towering statue of the 'Republic' seems to bathe in its cool embraces. From here we can even see beyond the Court of Honor, southward to the right, the great prairies stretch in an unbroken level, and to the left Lake Michigan spreads her quivering waters, gleaming and sparkling in sun and shadow, curving about the Park like the blade of a great silver scimitar."

"And now, if you'll follow me, please. Do watch your step -- it's a long way down." The tour proceeds to the west.
Go west
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you have an excellent view of the Administration Building and its golden dome. In front of it you see the Columbian Fountain, on either side the other buildings of the court. You can follow the roofline to the east or north for more magnificient views.
A guide is here, leading a tour group through the grounds.

Looking Southwest from Roof of Manufactures and Liberal Arts Building. 

"Look, my friends, is it a dream? Or are we cheated by some wonderful mirage such as sometimes haunts the gaze of mariners far out to sea? We rub our eyes," and here, for effect, the guide does so, "but the scene is still there. Golden and crystal domes, towers, spires, belfries, minarets, mighty buildings as massive as mountains yet delicate as goldsmith's finest work, peopled by a multitude of statues of men and animals, gods and goddesses. How has this wonder risen from the barren prairie and the swamp? I can only quote you these lines:

"What is it, fashioned wondrously that, twin-born with the brain, Marks man from every meaner thing that bounds across the plain,
Or gambols in the mighty deep, or sports in summer air?
It is the hand, the human hand, interpreter of will.

"What marvels the will's interpreter has wrought here!"
You wait
Time passes...

"Looking before us our attention is attracted to the Golden Dome of the Administration Building which stands in the center of the Court of Honor. We are instantly carried in thought to Paris, where under the Golden Dome of the Hotel des Invalides calmy reposes the bust of the great Napoleon, whose restless spirit so long dominated Europe. But we cannot linger. Follow me, please," the guide says, leading the tour along the roof to the north.
You go to the north
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you are overlooking the Electricity Building and its northern entrance. Beyond it rises the golden dome of the Administration Building. The lagoon is directly below you, spreading out to the north and west. You can follow the roofline to the north or south for more views.
A guide is here, leading a tour group through the grounds.

Looking West-Southwest from Roof of Manufactures and Liberal Arts Building. 

"Such visions of grandeur, have they ever passed thine eyes before?" the guide asks. "No matter, for more delights still await. Come," he beckons, and the tour continues along the roof to the north.
You go to the north
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. You have an excellent view of the Wooded Island. From here, the trees seem quite sparse and you can easily see a small cabin on the southernmost point of the island and a Japanese temple on the northernmost point. Inbetween, a rose garden blooms and paths meander through the trees. Beyond the island is the Transportation Building and Horticulture Building. The rooftop promenade continues to the north and south.
A guide is here, leading a tour group through the grounds.

Looking West from Roof of Manufactures and Liberal Arts Building. 

"Look here!" the tour guide shouts. "Like a magnificent Turkish rug, rich with varied dyes, flung down upon a crystal floor, the Wooded Island appears, as we look westward over the parapet. A profusion of flowers of every shade and hue gems the sod; groves of trees and masses of shrubbery lend further charm by the dark green of their foilage. Winding walks curve among the parterres of glowing flowers, and here and there rustic summer houses, over which delicate vines train their dainty tendrils, invite to rest and quietude."
You wait
Time passes...

"At the south end of the island we can see a structure which stands in strange comparison with the buildings of the Court of Honor. It is a plain log-cabin of olden time, such as the western pioneers occupied in the dewy day-spring of this nation's history. It seems scarcely possible that the near descendants of these men are the architects and builders of the palaces around us. But such is the fact. The rough logs laid one on top of the other, with their rude hewn ends protruding, the wide log chimneys and the little holes for windows, are still familiar objects to many of our older men, and this rude structure will warm their hearts with old-time reminiscence."

The guide turns back to the group. "It's time to come down from our lofty perch, and continue our tour on the ground. Follow me!" he says, and heads south.
Go south
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you are overlooking the Electricity Building and its northern entrance. Beyond it rises the golden dome of the Administration Building. The lagoon is directly below you, spreading out to the north and west. You can follow the roofline to the north or south for more views.
A guide is here, leading a tour group through the grounds.

Looking West-Southwest from Roof of Manufactures and Liberal Arts Building. 

"Many of our presidents were born in log cabins, you know, and proved to be good, brave men. Such was the birthplace of Abraham Lincoln; even a rude dwelling was his home; and Benjamin Harrison, though of Illinois lineage, first saw the light in a residence very little better," the guide says, and continues to the south.
You wait
Time passes...
Go south
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you have an excellent view of the Administration Building and its golden dome. In front of it you see the Columbian Fountain, on either side the other buildings of the court. You can follow the roofline to the east or north for more magnificient views.
A guide is here, leading a tour group through the grounds.

Looking Southwest from Roof of Manufactures and Liberal Arts Building. 

"How many a fierce fight against savage Indians those cabins must have withstood! What privations our fathers and mothers underwent in their heroic efforts to lay the foundations of this great Republic strong and firm!" the guide says, hardly pausing for breath. "A very humble building, to be sure, but every log in it has a special eloquence. Follow me, please." The guide leads the tour east.
Go east
You are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.
A guide is here, leading a tour group through the grounds.

Looking South from Roof of Manufactures and Liberal Arts Building. 

Andrew Jackson, Polk, Zachary Taylor, Millard Fillmore, Andrew Johnson, and many eminent men were born in huts. The free life in the open air, the simple food and simple habits thus engendered made them strong in their country's need. Whittier says in one of his lovely poems,

"We thank thee for the strength of the hills, our God, our fathers' God;
Thou has made us great and mighty by the touch of the mountain sod.

"And we may say by the life of the log-cabin, for from these rugged cradles have risen the great and mighty of our land, who have been our statesmen and rulers." The guide leads the tour group back down the stairs.
Down
Court of Honor, South Side of Manufactures and Liberal Arts Building The Manufactures and Liberal Arts building is advertised as being
the largest in the world, and standing in front of its colossal entrance, you have no doubt. The entrance is designed as a great triumphal arch, ornamented by four Corinthian columns, at the top of each rests an Eagle with outstretched wings. In one side of the entrance are stairs leading up. The plaza continues east and west, to the south, two sculptures of horses face out toward the opposite shore, and between them, the blue waters of the basin lap against a boat landing.
A guide is here, leading a tour group through the grounds.

South Entrance of Manufactures and Liberal Arts. 

The sun beats down relentlessly from a cloudless sky.

"If I could direct your attention now to the horse statues in front of this great building, titled 'Industry,' surely one of the most noticable of the many on the grounds." The guide gestures to the statues flanking the boat dock directly to the south.
You look at horses
'Industry.' 

You take a moment to examine one of the sculptures. The sculpture consists of a gigantic horse, a work horse, and a young man, who holds in one hand a great shovel and the other leans against the horse's side. The man is certainly a farmer, and the horse used for pulling his plow.

"The group consists of a sturdy son of toil, one hand clasping the long handle of an old-fashioned Celtic spade, the other resting on the collar of a gigantic horse, against which he leans," the guide explains. "The sculptor has been careful not to idealize his subject too highly. The impression the group leaves upon the mind is that of splendid reserved power. The horse is of the sturdy Flanders breed, noted for endurance. Every muscle is clearly brought out. The massive hoofs rest upon the pedestal as though conscious of the immense weight of the animal they support. The head shows a slight mixture of blood somewhat resembling those of the horses seen in the French Provinces. The harness is of the simple kind used by ploughmen, and the idea of a plough-horse is carried out by the skillful bobbing of the tail."
You wait
Time passes...

"The man leaning against the horse is a splendid specimen of the agricultural laborer," the guide continues, "long-limbed and stalwart; his bare arms show the corded muscles of practiced strength, and his long, powerful limbs seem well fitted to carry him over the rich furrows of the well-ploughed field. But it is the face that holds one's attention. This is no stolid boor, no slave of some callow lordling or country squire, but a man every inch of him, and an intelligent man at that. Full of independence, his eye looks out from beneath his broad-brimmed hat as though challenging equality with the countless thousands who come to gaze on him. Such a look must have been in the eyes of the men whom Wat Tyler led eighty thousand strong to the capture of London when Richard the Second was king. As they moved along they sang the quaint doggerel:

"When Adam delved and Eve span
Where was then the gentleman?

"They could all understand that it had in it the germs of modern socialism, the death-knell of the classes, the morning song of the masses. Prince Albert, Queen Victoria's royal spouse, wrote truly in one of his poems now little known,

"'Tis of the peasants, hardy stock, the race of giants are."
You wait
Time passes...

"Follow me, follow me, please," the guide says, and leads the tour to the west.
Go west
You are standing at the southwest corner of the Manufactures and Liberal Arts Building. The corner pavilion consists of two huge outer arches, and four smaller, inner ones. Together these archways support a dome, painted with figures representing war. Standing in front of the pavilion is a tall, rostral column, on top of which stands a figure of Neptune, clutching his trident. A wide road heads east, toward the front entrance of the building, and west over a bridge. To the north, a road squeezes between the canal and the side of the building. The basin is to the south, and beyond it you see the impressive Roman facade of the Agriculture Building.
A guide is here, leading a tour group through the grounds.

North Canal Bridge, Looking West. 

"And now," the guide continues, "if you will follow me, we shall be crossing the north canal bridge, so much like its counterpart we crossed such a short while ago on the south side of the Basin." He continues to the west.
Go west
This magnificent bridge is guarded on either side by bold animal sculptures. On the west end of the bridge stand two polar bears, looking towards the Electricity Building, while on the east end stand two grizzly bears. Beyond them, further to the east, is the monumental Manufactures and Liberal Arts Building. The canal passes under the bridge into the basin to the south; while some distance to the north you can see it widens into a lagoon.
A guide is here, leading a tour group through the grounds.

North Canal Bridge, Looking East. 

"We have one more building to look upon, and then I shall leave you to your own devices. This way, please," the guide says, heading west.

A ferry glides northward under the bridge.
You go west
The North Canal interrupts the Court of Honor here. A bridge
crosses the canal to the east. To the north, a wide road goes between the canal and the side of the Electricity Building. The main entrance to the Electricity Building is to the west. You also have a clear view of the MacMonnies Fountain, in the basin directly to the south.

A tangle of ugly pipes marks the location of one of the electric fountains, which stay off during most of the day. Next to the fountain stands a rostral column, at the top of which stands a statue of Neptune.
A guide is here, leading a tour group through the grounds.

Electric Fountain. 

"Here we have another of the Electric Fountains, quiet by day, but at night, bursting forth into myriad jets of jewelled water, shot through with all the colors of the rainbow, now green as any emerald, now red as the burning heart of a ruby, then a delicate sapphire, changing to the liquid yellow of the topaz, and again glistening like molten silver to change, as with the touch of a magician, into the varied hues of the diamond."
You look at Fountain
Which fountain do you mean, the MacMonnies Fountain, or the electric fountain?
You examine electric Fountain
The electric fountain is a tangle of unsightly pipes. It doesn't run during the day.

"And now, if you will follow me, we shall look upon the Electricity Building, and marvel." the guide continues to the west.
Go west
Court of Honor, South side of Electricity Building
You are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.

An octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.
A guide is here, leading a tour group through the grounds.

South Entrance of Electricity Building. 

The guide pauses. He clears his throat. "The great Electricity Building is before us, its numerous towers rising above the corner pavilions and the entrances. Forty years ago such a building would not have been necessary. Then the telegraph was still young, a giant at play, hardly yet harnessed to the chariot of progress. The electric pulse did not yet beat beneath the broad bosom of the Atlantic, and men would have laughed at the idea that the time would ever come when the submarine cable would divide the world thrice, and leave something over for a good start on the fourth. Then cities were lighted with oil-lamps, or gas of hardly greater brilliancy, and men never dreamed that streets, churches, theaters, offices, hotels, and private houses would be brilliantly lighted by touching a button. A man would have been called crazy who asserted that human speech could be carried 1000 miles on a wire, and messages in plain tones delivered hundreds of miles."
You wait
Time passes...

"That old world seems very far away now," the guide continues. "How bewildered our grandfathers would be if they could rise from their graves and see how business is now done; how cars run without horses, turning as by magic and stopping instantly as at a word of command; how rooms are kept cool by electric fans, and servants called by electric bells; how diseases are cured by electricity, and how it is made to do the will of man in thousands of ways! Our poor ancestors would wish to retire hastily from a world that has gone so far beyond them. Edison, whom we revere as the modern wizard, would not receive from them the golden medal of well-earned fame, but rather the chill dungeon, or even the fate of the martyr."
You wait
Time passes...

"So many thoughts surge into our minds as we gaze on the wonderful building before us. What mysteries it contains, what wonders are yet in store for us! Once the lives of men were flat and tame as the prairies we saw from the roof of Manufactures, now through this great agent, as the building has sprung up from the level plain, our hopes for humanity are constantly up-springing, for we feel that God would never have given us this great power in charge if He did not love His people." The tour guide takes off his hat, and pauses in reflection, looking onto the Electricity Building.

Then -- "And now if you will follow me, ladies and gentlemen--" he says, and heads off to the south.
Go south
You are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.

The Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.
A guide is here, leading a tour group through the grounds.

Looking East onto the White City. 

"One last sight is worthy of mention before we conclude the tour, and that is not another building, monument, nor sculpture, but the people who walk among this new city." The guide smiles as he continues, "We are a motley crew, surely, who wander through this Elysium; the sturdy cowboy jostles the Russian nobleman; the sallow Turk shoulders the fair-haired Swede; the lithe American damsel walks side by side with the burly English soldier, and the soft-treading son of Japan finds himself pushed by the impatient Westerner. The French have often been called the most polite nation in the world, but France must surrender the palm to America. There is no quarreling here, no loud talking, no profanity nor rowdiness; all is peace, good-will, and kindliness. No multitude on earth could be assembled elsewhere with so little friction as here."
You examine the crowd
You scan the crowd for suspicious characters.

"Ladies and gentlemen, that concludes our tour of the Court of Honor. I hope you found it an hour well spent. There is far more to see -- the interiors of the buildings we looked upon, for starters. Then, to the south, past Agriculture, another group of buildings where you can find Ethnographic exhibits, the largest cannon ever made, from the Krupp family business of Germany, and a replica of the convent where Columbus first contemplated taking his historic voyage. To the north, wonder upon wonder awaits, with grand exposition buildings dedicated to Transportation, Horticulture, Fine Arts, and more. Far to the north you should find and visit the building erected by your home state. And to the northwest, be sure to walk the Midway Plaisance, which has not inaptly been called a great kindergarten for grown-up people, and where many side-shows of the Exposition may be seen, some of them more than common excellence, and all of them of refreshing interest as well as instructive to the curious who take delight in strange people and their odd manners and customs."
Time
The time is now 12:28 p.m. on Monday.
You go north
Court of Honor, South side of Electricity Building
You are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.

An octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.

South Entrance of Electricity Building.
Go west
Court of Honor, North side of Administration Building
The plaza continues to the east and west. Directly to the south stands the grand Administration Building. To the north, a road cuts between the Electricity Building to the east and the Mines and Mining Building on the west.

Looking North Between Mines and Electricity Buildings.
Go north
buildings. To the west stands the Mines and Mining Building, its mix of architectural styles contrasting somewhat with the clean lines of the Electricity Building, which stands to the east. The dome of the Administration Building is clearly visible to the south.

Road, Looking South.
Go north
The broad road splits here at the edge of a great lagoon. To the west, the road goes across the northern front of the Mines and Mining Building, to the east, the road goes across the front of the Electricity Building, and to the south, the road cuts between the two, toward the triumphant dome of the Administration Building. A bridge spans a narrow part of the lagoon to the north to a large wooded island. The bridge is guarded on either side by dramatic moose sculptures.

Looking out over the lagoon, you are awestruck by one of the best views of the fairgrounds. From here, you can see almost all of the beautiful and monumental buildings that form the Northern Court. The Northern Court buildings are not arranged around a carefully constructed basin, but instead around this rough and pleasant lagoon. In the center of the lagoon is a large wooded island. On the west side of the lagoon, you can see the Transportation Building, and further north, the Women's Building. In the far distance behind the Women's Building, you can see Ferris' Wheel slowly spinning. On the east side of the lagoon is the Manufactures and Liberal Arts Building, and north of that the U.S. Government building. More buildings are directly north of the lagoon, but they are mostly obscured by the trees of the wooded island.

Great Bridge.
You go west
Mines and Mining Building, North Side
You stand on the northern side of the Mines and Mining Building, at
an entrance somewhat simpler than that on the southern side, but no less grand. The road here passes across the front of the building, heading east and west. To the north is the weedy shore of the lagoon.

Looking West towards Transportation Building.
Go north
You are standing on the southernmost part of the Wooded island. A small log cabin sits here, quaint in comparison to the great buildings spread over the rest of the grounds. A great bridge spans the lagoon to the south, while the main part of the island is over a short bridge to the north.

Log Cabin.
You go north
This area of the Wooded island is devoted to a rose garden--the largest rose garden you've ever seen. Roses of every color and description are blooming along the pathways. To the north, paths lead into the woods. To the south is a short bridge and to the west is a longer one, crossing the lagoon to the Horticulture Building, of which this garden is considered a part.
A boy is rushing about here, getting into all sorts of trouble.

Rose Garden. 

The boy is pulling petals off the roses.
You go north
You are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northeast, northwest, and out of the woods to the south.

Wooded Path.
Go northwest
You are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northeast and southeast.

Wooded Path.
Go south
This area of the Wooded island is devoted to a rose garden--the largest rose garden you've ever seen. Roses of every color and description are blooming along the pathways. To the north, paths lead into the woods. To the south is a short bridge and to the west is a longer one, crossing the lagoon to the Horticulture Building, of which this garden is considered a part.

Rose Garden.
You go to the west
You cross the lagoon on a wide bridge.

The road splits here, and a wide bridge crosses the lagoon to the large wooded island to the east. The road continues north, where it fronts the Horticulture Building, south fronting Choral Hall, and west, between the two buildings.

Horticulture Building, Looking North.
Go north
Horticulture Building, Main Entrance
The Horticulture Building stands directly west. Flanking its
entrance rest two beautiful sculpture groups by Lorado Taft in flowery splendor. Its central pavilion is capped by a glass dome 187 feet in diameter, and the building's facade is done in a Venetian Renaissance style. To the east is a boat launch, where gondola drivers are selling their services to fairgoers. The road continues north and south.

Horticulture Building, Main Entrance.
Go north
The promenade continues along the lagoon's edge. Here, between the Horticulture Building to the south and the Women's Building to the north, stand some smaller buildings and pavilions, extending in a row to the west. First is the round pavilion of the White Star Line. After that stands the Puck Pavilion, from the famous New York magazine of the same name. Another building stands next to that, further to the west.

White Star Line Pavilion, Looking Northwest.
Go north
Woman's Building, Front Entrance
Standing to the west is the two-storied, Italian Renaissance villa style Woman's Building. The lagoon opens up to the east. The road continues north, where in the distance you can see the dome of the Illinois Building, and beyond that the Palace of Fine Arts; and south, along the edge of the lagoon.

Woman's Building, Front Entrance.
Go north
You are standing at a crossroads. A road leads west, toward the glorious and exciting Midway. In the distance, you can see the great wheel slowly spinning. Another road leads east, towards the golden-dome of the Illinois building. To the north, you can see what looks like a Spanish mission, and numerous smaller buildings after that. Southward lies the Women's Building, then Horticulture, and so on, all the way back to the Administration Building.

Crossroads, Looking North towards California Building.
Go west
Woman's Building, North Entrance
You are on an east-west road which cuts across the northern wing of the Women's Building. A small entrance into the north wing is directly to the south. To the east, the road heads toward the lagoon, and the golden dome of the Illinois Building. To the west, the road leads toward the Midway and Ferris' Wheel, looming in the distance.

North Entrance of Woman's Building, Looking South.
You go to the west
You are standing at the entrance to the midway. To the east is the regal, formal fairgrounds. To the west, the wild and exotic midway beckons. The one side is planned and structured, the other haphazard and chaotic. It is hard to say which fairgoers appear to be enjoying more. On the threshold stands the Woman's Building, directly to the east. Roads wrap around it to the northeast and southeast. Another road heads south towards the Horticulture Building. Stairs lead up to an Intramural Railroad platform. To the west is the midway.

Midway, Looking east towards Woman's Building.
Go west
the world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.

To the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.

To the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.

Hagenbeck's Animal Auditorium. 

The barker shouts, "Step right up, step right up, have your tickets ready!"
You go to the west
The Midway continues to the east and west. The roadway is filled
with noise and energy of a kind you have never seen. Not even the most metropolitan of cities could ever boast the great mix of peoples, games, and attractions that can be witnessed along this single avenue. To the west, the great Ferris Wheel slowly spins, easily the match of Eiffel's tower.

To the north a rustic bamboo archway leads curious spectators into the Javanese Village.

To the south is the Turkish Village.

Entrance to the Javanese Village.
You go to the west
Midway, by the Ferris Wheel
You stand in the center of the Midway, before Ferris' gigantic
Wheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.

To the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.

Moorish palace and Ferris Wheel.
You enter Line
The line is so long you might be waiting all day before getting on the ride.
1893-1
Restored.

Midway, by the Ferris Wheel
You stand in the center of the Midway, before Ferris' gigantic
Wheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.

To the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.

Moorish palace and Ferris Wheel.
You look
Moorish palace and Ferris Wheel. 

Midway, by the Ferris Wheel
You stand in the center of the Midway, before Ferris' gigantic
Wheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.

To the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.
Go north
The narrow street is packed with tiny booths, the buildings on
either side two or even three stories in height, with great bay-windows and elaborately carved balconies. The street seems transported whole from some African city, from the other side of the world. You can hardly believe that you are still in Chicago, overwhelmed by the Babel of languages and the cosmopolitan throng gathered here. Soudanese, Arabs, Nubians, and Egyptians, all ply their goods, dance, sing, talk, shout, and laugh above the noise, while children weave through the crowds and camels lumber past. Fairgoers wander amid the astounding sights in delight, passing into first one shop and then the next. The street continues to the north, and ends at the midway directly to the south.

Streets of Cairo.
You go north
You stand in the quadrangular courtyard of the Okala, an
elaborately ornate, two story building which contains apartments above and a bazaar below. On all sides, through pointed arches, under draped rugs, are small antique shops, rug shops, and teahouses, some no larger than niches in the walls. A gallery runs the length of the square, where brightly attired Sudanese merchants and Egyptian entertainers share their tea and watch the people jostling and shouting in the square below.

The Okala.
You go south
inside, and more like a wax museum. Over sixty groups in wax represent European rulers and historic Americans. Prominent among the displays is one featuring the beheading of Marie Antoinette, her executioner standing behind her, at the ready, while all around a painting depicts the shouting, gloating mob. She has rested her neck in the guillotine, whose blade is rusted with blood. Other wax groups are to the east, west, and south, while the Midway is to the north.

Guillotine.
You examine marie
She is kneeling in front of the guillotine, her neck extended and locked in the guillotine, waiting for death.
Go south
You wander past other groups of wax figures, but quickly lose interest.
You examine the blade
The guillotine is a large rectangular device. Stocks at the bottom clamp the victim's head into the proper position. A lever nearby releases the deadly blade hanging from above.
You pull the lever
You try moving the lever but it won't budge. Considering that this is a tableaux of wax figures, the guillotine probably doesn't have working parts.
Go west
You are on the Midway Plaisance. To the east is the Ferris Wheel,
and past the Wheel, the fairgrounds proper. To the west, the Midway continues past exotic concessions and theaters. To the north is the Captive Balloon Ride, for those who wish to fly in a hot-air balloon without the fear of drifting away, while to the south stands a beautiful Viennese cafe where fairgoers can stop for coffee or a light meal and watch the people go by.

Viennese Cafe.
You go to the north
A large hot-air balloon has been tethered to the ground here. A
line of people are waiting eagerly for their chance to board the balloon and float suspended above the Midway.

Captive Balloon Ride.
Go south
The Viennese cafe looks delightful. If you would like to eat there, just say so.
Time
The time is now 1:16 p.m. on Monday.
You go west
The Midway ends here, where dozens of turnstiles turn onto the
street. Crowds of people are entering and leaving, about half a dozen Columbian guards stand near the ticket booths maintaining order. From here, it is a mile walk through the crowded exotics of the Midway before the visitor will at last stand in the White City proper, far to the east. Camps from distant corners of the world are clustered here, at the far end of the Midway. To the north, the warlike Bedouin tribesmen give horse and camel racing demonstrations. To the south stands the Dahomey Village.

Near the fairground exit is a small kiosk where a vendor is selling some snacks.

Looking East, towards Ferris Wheel.
Go north
as well as open ground for demonstrations, camel racing, horse racing, and other contests of skill. A cluster of tents stand on one end of this open, grassy area, where the Bedouin live with their families, women and children can be seen inside, preparing meals and otherwise living as they ordinarily would in the desert. The men, for the most part, are performing for the audience, dressed in traditional costume and riding their camels.

Bedouin Camp.
Go north
Going any further into the encampment means running the risk of getting trampled by a camel. The Midway is back to the south.
You go south
The Dahomey Village is a group of low, crude huts. In and around
them are several families of Dahomeyans, chatting and visiting amongst themselves, while spectators crowd around and comment on their shocking features.

Dahomey Villagers.
You examine Dahomey
The Dahomey villagers relax in their native dress, and look back at you with disinterest. You recall that they were formerly cannibals, and wonder at what they are thinking when they set eyes upon you.
You examine the spectators
You scan the crowd for suspicious characters.
You go west
That way leaves the Fairgrounds altogether.
You go east
You are on the Midway Plaisance. To the east is the Ferris Wheel,
and past the Wheel, the fairgrounds proper. To the west, the Midway continues past exotic concessions and theaters. To the north is the Captive Balloon Ride, for those who wish to fly in a hot-air balloon without the fear of drifting away, while to the south stands a beautiful Viennese cafe where fairgoers can stop for coffee or a light meal and watch the people go by.

Viennese Cafe.
You go east
Midway, by the Ferris Wheel
You stand in the center of the Midway, before Ferris' gigantic
Wheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.

To the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.

Moorish palace and Ferris Wheel.
Up
The only way you're getting up there is by waiting in line to ride, and the line looks too long to bother.
You go to the north
You are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.
Sitting in the cage is the most ornery ourang-outang you have ever seen.

Javanese Village. 

The ourang-outang tries to carefully peel one of the umbrellas in its collection, but soon discards it in frustration.

A well dressed young salesman says something jokingly to his companion, then approaches the ourang-outang cage and pokes the ape with his umbrella. The ourang-outang immediately snatches the umbrella from him and beats him about the face and neck with it. The young man, more subdued now, slinks away, to the general amusement of the Javanese guards.
You look athe ourang-outang
The ourang-outang is a fantastic looking creature transported here from the Dutch East Indes. He is a short, thick-legged ape with great, long, grasping arms, covered in bright orange fur. He doesn't look particularly happy to be here, at the fair, seeming to be in a mostly irritable disposition. However, as this is in actuality the only ourang-outang you have ever seen, you cannot compare his temperament to the norm.

The ourang-outang shrieks loudly.
Go south
As you are leaving the Javanese village, the ourang-outang reaches out and grabs the case dossier right out of your hands. The ourang-outang jumps up and down in pleasure and adds the case dossier to its collection.

The Midway continues to the east and west. The roadway is filled
with noise and energy of a kind you have never seen. Not even the most metropolitan of cities could ever boast the great mix of peoples, games, and attractions that can be witnessed along this single avenue. To the west, the great Ferris Wheel slowly spins, easily the match of Eiffel's tower.

To the north a rustic bamboo archway leads curious spectators into the Javanese Village.

To the south is the Turkish Village.

Entrance to the Javanese Village.
Go north
You are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.
The cage seems to contain a case dossier.
Sitting in the cage is the most ornery ourang-outang you have ever seen.

Javanese Village.
You take the dossier
The ourang-outang playfully grabs your arm and pulls it as hard as it can. Your face presses up against the bars of the cage and your arm is practically wrenched out of its socket. The orange beast bares his teeth at you making a sort of dangerous grin, and howls, making a most unnatural sound.

As a gentleman attempts to leave the Javanese village, the ourang-outang reaches out and steals his hat.
You look at Guards
You can't decide if the guards are there to protect the guests or to protect the ourang-outang. You suspect the latter.

As a gentleman attempts to leave the Javanese village, the ourang-outang reaches out and steals his hat.
You ask Guards
What do you want to ask it about?
You check your inventory
You have a guidebook and a small daily stipend.
You look
Javanese Village. 

You are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.
The cage seems to contain a case dossier and a guidebook.
Sitting in the cage is the most ornery ourang-outang you have ever seen.
You go south
Luxurious pavilions and bazaars surround you in the elaborately and fancifully designed Turkish Village. In one corner of the village stands a mosque, smaller in size than ones in Turkey but still large enough to hold over a hundred people in prayer. Nearby stands a refreshment pavilion, where a handsome, mustachioed man in a fez serves drinks and fruit to patrons.

Refreshment Pavilion, Turkish Village.
You look at the mosque
The mosque is the first Mohammedan temple that has been consecrated outside the limits of the Muslim world. It has a gilded dome, some sixty feet high, and a slender minaret rising to the same height.
You enter the mosque
You remove your shoes and enter the mosque. The floors are covered with woven mats, the walls with rich tapestries. Incense braziers fill the air with a heavy, perfumed scent. You wander around for a moment, then soon make your way back outside, finding nothing suspicious.
You go east
the world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.

To the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.

To the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.

Hagenbeck's Animal Auditorium. 

A large crowd of people are slowly making their way into the Auditorium to see the show.
Go south
Now isn't the time to take in a show.

The barker shouts, "See Carl Hagenbeck's amazing menagerie of animals!"
You go to the north
of the Libbey Glass Company, but is also a complete working factory.
A great melting furnace is in the center of the pavilion. Melting pots sit in the furnace, which contain molten masses of liquid glass.

Libbey Glass Furnace.
You examine pots
The melting pots contain molten masses of liquid glass.
You look at the glass
In the glass cases arranged throughout the exhibit are beautiful examples of the Libbey Glass Company works. There are punch jugs of Roman design, delicate decanters of the Venetian type, graceful celery trays, ice tubs, lamps, and more.
You examine the dossier
It's a packet of papers that pertain to the case at hand. The case dossier is open. In the case dossier you see a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.
You look at the note
The note is written in a cribbed, narrow hand. It reads:

Four brothers, rough and ready,
Three sisters, kind and fair,
They left their home so eagerly,
They left to see the Fair!

Young Dennis likes spelunking,
In darkness feared and great;
Fair Ida likes to swim,
And tempt the hands of fate.

Bullish Adam stays outdoors,
Free and strong and wild;
Mary studies Egyptian script,
And writes her name in style.

And entered government,
Elder Neal rides the rails
With an artistic temperament.

In the cabin of Uncle Tom,
And Mother...where is mother?
She watches over them all.
Go south
the world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.

To the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.

To the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.

Hagenbeck's Animal Auditorium. 

The barker shouts, "No one has domesticated and trained more animals than Hagenbeck!"
Go east
You are standing at the entrance to the midway. To the east is the regal, formal fairgrounds. To the west, the wild and exotic midway beckons. The one side is planned and structured, the other haphazard and chaotic. It is hard to say which fairgoers appear to be enjoying more. On the threshold stands the Woman's Building, directly to the east. Roads wrap around it to the northeast and southeast. Another road heads south towards the Horticulture Building. Stairs lead up to an Intramural Railroad platform. To the west is the midway.

Midway, Looking east towards Woman's Building.
Go east
This is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'

Grand Hall, Looking East.
You examine the Mural
Which mural do you mean, the Modern Woman mural, or the Primitive Woman mural?
You examine the modern Mural
Modern Woman, by Mary Cassatt. 

Although the mural is high above your head and somewhat difficult to see, it nevertheless is an interesting composition by the American painter Mary Cassat. A very thick, elaborate border of blue, green, and orange surrounds the three panels of the mural. In the first panel are three women, in pursuit of a flying figure. In the second, women dressed in modern fashion and children are gathered in an orchard, where they pick and eat bright red and gold fruit. In the last panel one woman dances in a flowing skirt, watched by two others. The bright blues, greens, and purples of this composition make it stand out quite dramatically from the other artwork in the building.
You look at the primitive Mural
Primitive Woman, by Mary MacMonnies. 

This mural addresses the eye in a gentle manner, and is in the classical style. A thin border surrounds the mural, which depicts women draped in simple clothing, against a background of trees.
Up
library, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.
A librarian is here, cataloging the books.

Library.
You examine the bust
Bust of Harriet Beecher Stowe. 

It's an incredible representation of Harriet Beecher Stowe.
You look at the books
Which books do you mean, the women's library books, or the special collection books?
You examine the special collection books
This special collection contains dozens of different editions of Harriet Beecher Stowe's popular Uncle Tom's Cabin. In addition, the collection includes a few of her lesser known essays and novels. You notice one particularly new edition of Uncle Tom's Cabin which seems strangely out of place.

The librarian pauses for a moment to read a few passages from the book she has just picked up.
You examine the new edition
You can't get a good look at it while its still inside the display case.

The librarian takes another book off the shelf and catalogs it.
You open the display case
The librarian looks up. "Those books are for display only. No one opens the case or touches the books. Not while I'm here."
You examine the librarian
Edith Clark, librarian. 

The librarian is a middle-aged woman, plainly dressed, who is clearly involved in her work, which she takes very seriously.

The librarian takes another book off the shelf and catalogs it.
You ask about Stowe
(the librarian)
"An amazing woman, Harriet Beecher Stowe. Still alive, but not in good health, you know. Her children donated her books for the special display. The bust was done by Anne Whitney. All in all, I think the women of Connecticut have made a fine display for the most famous woman writer to herald from their state.
You ask about the books
(the librarian)
"Ah! Perhaps you want to know what contributions women have made to literature? More than you can imagine, I'll tell you that much."She pauses. Then: "Let me show you something." She walks over to one of the bookcases, and reaches up to the top shelf, pulling out a slim volume, which she promptly drops, accidentally. "Oh, dear," she says, bending down and picking it up. As she does, a small business card-sized paper drops from her pocket and under a bookcase, without her knowledge.

She hands you the book. It's titled, "The Female Quixote," by Charlotte Lennox. "Here is one of my favorites. Please give it back to me before leaving, if you please."
You read the book
Which book do you mean, the guidebook, or the The Female Quixote?
You read Quixote
You don't really feel like reading a novel right now.

The librarian reaches into her pocket; and freezes, perplexed.
You look under the bookcase
You find a business card sized paper, which you take.

The librarian checks her other pockets.
You read the card
I don't know how to read the claim check.

She's getting quite frantic now, checking her pockets, her purse, the floor, everything.
You examine the claim check
It looks like a claim check of some sort.

The librarian goes around asking everyone in the library if they have seen a small claim check which she is very desperate to get back. It looks like she is on the verge of tears.
You give the check to the librarian
You hand the claim check over to the librarian. She almost sobs in relief. As it is, a tear runs down her face. "Oh, Thank you kindly, thank you...I am so happy you have found it." She reaches to take the claim check which you are generously holding out to her, but then she thinks better of it.

"You are so kind," she says, "that I wonder if I could impose upon your good nature and ask you to complete a task which, because I must remain here, I cannot."

You pause, considering your reply, which she somehow takes as an affirmative response. She smiles warmly and says, "Oh, Thank you ever so much for your kindness. That claim check that you have found. Could you go and turn it in for me at the Children's Building? They will exchange it for a package which is most precious to me. Bring it to me here, and I would be most grateful."
You give the book to the librarian
Which book do you mean, the guidebook, or the The Female Quixote?
You give Quixote to librarian
"Thank you," she says, taking the book from you.

"I will never finish cataloging the books," the librarian mutters to herself.
You go downward
This is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'

Grand Hall, Looking East.
You go to the south
This long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.

It looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.

Gallery of Women's Industries.
You examine basket
It's a finely woven wicker handbasket with a sturdy handle that arches over the top. There's nothing in the handbasket.
Go south
You are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.

Children's Building.
Go west
You step under an archway which reads "The Hope of the World is in the Children" and into...

The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

Children's Building Gymnasium. 

A woman comes out of the nursery, mumbling, "Aspirin. I need some aspirin." She wanders out of the building.
You ask the matron about the check
She is far to busy to carry on a conversation with adults, at the moment.
You look
Children's Building Gymnasium. 

The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

A small child wobbles into the lobby, and crashes to the floor.
Before he even starts crying, the matron is there, helping him up, saying soft things to him, and giving him a kiss on the forehead. Before long, the child wobbles away, giggling.
Go north
Your heart sinks at the thought of all those educational exhibits; you decide to skip them unless necessity demands.
Go south
The kindly matron calls out, "Sir? Please don't go in there, you'll disturb the babies."
You give check to the matron
The matron takes the claim check from you. "Just a moment, please," she says, and leaves the foyer. She returns moments later, with a baby in her arms. "Here you are," she says, handing the baby over to you.

You hear a crash and some crying from the playground.
Inventory
You have a case dossier, a guidebook, a small daily stipend, and a baby. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.
You examine baby
The little boy squirms in your hands and vocalizes constantly. But at least he isn't crying--at least, not right now.

Two kids run past you, one chasing the other.
Go east
You are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.

Children's Building.
Up
library, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.
A librarian is here, cataloging the books.

Library. 

From the smell, you suspect baby just had a potty break.
You give the baby to the librarian
The librarian leaps up, pulling a little rattle out of her purse. "There you are my sweet little..." she leans over the baby shaking the rattle. "Oh!" she exclaims suddenly, dropping the rattle. "What have you done? This isn't my baby!" She slumps back into her chair, sobbing.

Just then a gentleman enters the library. "Edith, what's wrong?" he goes to the librarian, who tells him her troubles. He pats her gently on the shoulders, then turns to you. "Look, I don't know who you are, but I think you've caused poor Mrs. Clark quite enough trouble already. I expect you to make things right. Take that baby back, and get the right one. Can't you do anything? And if you don't get her baby back within the hour, I'll call the police!" He storms out, leaving you with the very upset and distraught librarian.

The baby puts its fist up to its mouth, and smiles.
Go downward
This is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'

Grand Hall, Looking East. 

The baby cries a little, fussing and squirming.
Go south
This long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.

It looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.

Gallery of Women's Industries. 

From the smell, you suspect baby just had a potty break.
Go west
You step under an archway which reads "The Hope of the World is in the Children" and into...

The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

Children's Building Gymnasium.
You ask the matron about the baby
She is far to busy to carry on a conversation with adults, at the moment.

The baby drools on your shirt.
You look at the baby
The little boy squirms in your hands and vocalizes constantly. But at least he isn't crying--at least, not right now.

A young girl comes up to the matron and shows her her doll, then runs off toward the playground.
You give the baby to the matron
You hand the baby back to the matron. "This isn't the right one!"
you tell her. She pales. "Oh...Oh dear, I'm so sorry, we've been so busy...come on, I'll take you into the nursery, you can find your child yourself...so sorry." She lifts the child from your arms and ushers you into...

and ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.

The Nursery.
You look
The Nursery. 

and ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.
You examine infants
Which infants do you mean, the first baby, the second baby, the third baby, the fourth baby, the fifth baby, the sixth baby, the seventh baby, or the eighth baby?
You look at the first baby
The little guy is fussing quite a bit. He has freckles on his flat head, and his hair sticks up in a little tuft.
You examine the second baby
This baby is a tiny, roly-poly girl. She giggles a little and has her fingers in her mouth.
You look at third baby
This freckly kid is fast asleep. It seems nothing can wake him.
You examine the fourth baby
This baby is very young, his head still misshappen and mashed from the trauma of birth.
You examine the fifth baby
The baby is looking right at you, fixedly.
You examine sixth baby
This little red-headed monster is squirming like a snake. His little fists are clenched tightly together.
You examine the seventh baby
This little girl is fast asleep. It seems nothing can wake her.
You examine the eighth baby
This little freckle-faced boy is crying at the top of his lungs. No amount of coaxing can calm him down.
Go outside
The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

Children's Building Gymnasium.
You go west
There are so many kids that way, you are reluctant to push your way through unless a need arises.

Two kids run past you, one chasing the other.
Go east
You are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.

Children's Building. 

The air is thick with humidity. Everyone seems to be moving slowly.
Go north
This long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.

It looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.

Gallery of Women's Industries.
You go to the north
This is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'

Grand Hall, Looking East.
Up
library, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.
You see a baby's rattle here.
The librarian is here, shaking and upset.

Library.
You get the rattle
Taken.
You examine the rattle
It looks like an ordinary baby's rattle to me.
You ask the librarian about the rattle
"My baby's favorite toy, that rattle."
You ask the librarian about the baby
"What have you done with my baby?", she cries, accusingly.
Go west
You step under an archway which reads "The Hope of the World is in the Children" and into...

The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

Children's Building Gymnasium. 

A small child wobbles into the lobby, and crashes to the floor.
Before he even starts crying, the matron is there, helping him up, saying soft things to him, and giving him a kiss on the forehead. Before long, the child wobbles away, giggling.
Go south
and ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.

The Nursery.
Shake rattle
You shake the rattle.

The baby in the eighth crib looks up, and cries, "Mama?"
You take eighth baby
Taken.

The baby giggles a little.
You go to the north
The Children's Building, Foyer
The Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.
A kindly matron is here, assisting parents and keeping a watchful
eye on the children.

Children's Building Gymnasium. 

The baby puts its fist up to its mouth, and smiles.
Go west
There are so many kids that way, you are reluctant to push your way through unless a need arises.

The baby blows bubbles with its own spit.
Go east
You are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.

Children's Building. 

The baby cries a little, fussing and squirming.
You put the baby in the basket
You can't fit that in the handbasket.

The baby giggles a little.
You go north
This long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.

Gallery of Women's Industries. 

Your hand feels a little damp.
You go to the north
This is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'

Grand Hall, Looking East.
Up
library, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.
The librarian is here, shaking and upset.

Library.
You give the baby to librarian
The librarian leaps up, delighted. "There you are, my beautiful baby! Oh, look at you!" She gently takes the baby from you. "Thank you ever so much, I am most pleased," she says to you. "And now if you'll excuse me, I must neglect my duties as a librarian so I can, for the moment, concentrate on my duties as a mother. My little one looks quite hungry and has no doubt had a trying day." She leaves the library, still talking to her child.
You open the display case
Opened.
You look
Library. 

library, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.
You examine the case
This case contains over thirty different copies of Harriet Beecher Stowe's book Uncle Tom's Cabin, in twenty-three different languages. You notice among the many different collectors and signed editions, there is one copy of the latest printing of the book, its value to the collection seems rather negligable, but perhaps it was added for the sake of completeness. The case is open.
You check your inventory
You have a case dossier, a guidebook, a small daily stipend, a baby's rattle, and a handbasket. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.
You take the uncle tom's cabin
You pull the out of place edition from the shelf.
Examine edition
You open the book. The interior pages have all been cut out, so that the book forms a box. Inside the book box is a beautiful, cut and polished diamond.
You drop the rattle
Dropped.
You go east
You walk to the edge of the lagoon.
Up
You are on an elevated train platform. To the west, you see
Ferris's great Wheel spinning in the distance. The Woman's Building is just to the east. Stairs lead down to the fairgrounds below.

The southbound train 'Republic' is waiting at the station.
A short conductor is here.

The conductor gets on the train, closing the doors behind him. The train pulls away from the station.
You wait
Time passes...
You look
You are on an elevated train platform. To the west, you see
Ferris's great Wheel spinning in the distance. The Woman's Building is just to the east. Stairs lead down to the fairgrounds below.
You wait
Time passes...

The northbound train pulls into the station, the doors open and the conductor steps out. "Virginia next stop," he says, "Virginia."
You wait
Time passes...

The conductor continues taking fares. "All aboard!" he calls.
You wait
Time passes...

The conductor gets on the train, closing the doors behind him. The train pulls away from the station.
You wait
Time passes...

The southbound train pulls into the station, the doors open and the conductor steps out. "Transportation Building next stop," he says, "Transportation Building."
Board train
You pay the conductor and board the train.

The Chicago (southbound)
You are standing in one of the Columbian Exposition elevated
trains. All of the seats are taken by other riders. You hold on to a strap attached to a metal pole extending across the top of the car to maintain your balance.

The conductor continues taking fares. "All aboard!" he calls.
You look at the conductor
The conductor is a young man, whose uniform is baggy and ill-fitting. A metal nameplate on his uniform reads 'William.'

The conductor boards the train, the doors close, and the train pulls away from the platform.
You ask William about the train
He's too busy to talk to you right now.

The tracks follow the western edge of the fairgrounds now. To the west, you see dozens of hotels and inns, some hastily built and poor, others in the finest modern style. To the east is the large Horticulture Dome.

"Transportation Building next stop," he says, "The Transportation Building and the lagoon."
You wait
Time passes...

The train pulls into the next station. "Transportation Building," cries the conductor, "Exit here for The Transportation Building and the lagoon."

The conductor opens the doors and steps out onto the platform.
You wait
Time passes...

The conductor boards the train, the doors close, and the train pulls away from the platform.
Inventory
You have a case dossier, a guidebook, a small daily stipend, a handbasket, and a new edition of Uncle Tom's Cabin. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.

The train passes near the ruins of the Cold Storage Building.

"Terminal Station next stop," he says, "Change for outgoing trains, or enter the Court of Honor."
You examine the stipend
It's an envelope containing your small daily stipend. Right now you have a fair amount of money in the envelope.

The train pulls into the next station. "Terminal Station," cries the conductor, "Exit here for Change for outgoing trains, or enter the Court of Honor."

The conductor opens the doors and steps out onto the platform.
You leave
You step out of the train and on to the platform.

This platform is over the tracks of Terminal Station, which is
still just as bustling and crowded as it was when you arrived. Over twenty railroad tracks lead into separate bays beneath you, coming from all points around the country. Stairs lead down into Terminal Station proper.

The southbound train 'Chicago' is waiting at the station.
A young conductor is here.

The conductor continues taking fares. "All aboard!" he calls.
Go downward
You make your way through the crowds in the station until you find yourself at the...

Court of Honor, In Front of Terminal Station
You are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.

West Entrance to the Administration Building.
Go west
Court of Honor, South Entrance of Mines and Mining Building
You are in the Court of Honor, where the grandest buildings of the Fair stand. The plaza continues to the south, east, and west. Directly to the north is a grand entrance into the early Italian Renaissance style Mines and Mining Building. The Administration Building is immediately to the southeast, Terminal Station to the southwest.

In front of the Mines and Mining building stands the white pavilion of the Menier Chocolate company.

South Entrance of Mines and Mining Building.
You examine the chocolate
The Menier Chocolate Pavilion is a beautifully proportioned, octagonal structure. Wide archways open into the pavilion on all sides.

Exhibition-goers wander in to the pavilion, and leave several minutes later with delicious looking Menier Chocolate bars.
You enter Pavilion
You step into the lushly appointed Chocolate Pavilion.

The Menier Chocolate Pavilion is cool and relaxing. Most of the Pavilion is taken up by thickly cushioned couches and other seating. Exhibition-goers relax out of the sun here, snacking on some delicious Menier Chocolate. Many of the Chocolate company's posters and awards line the Pavilion walls. To one side a Menier employee stands behind a glass display case, filled with chocolates. People approach him, and exchange small coupons for chocolate bars.

Menier Chocolate Pavilion.
You examine the posters
Menier Chocolate Poster. 

The posters depict a young girl facing away from the viewer, writing 'Menier' onto a wall.
You buy Chocolate
Which chocolate do you mean, the Menier Chocolate display, or the Menier Chocolate bar?
You buy the chocolate bar
Not everything is for sale.
You ask the employee about Chocolate
"We're giving them away free, as a courtesy to our valued patrons. Provided that you have one of our Menier Chocolate coupons," he says with a broad grin.
You ask the employee about the coupon
"Available everywhere. Of course we don't give them out here," he explains, smiling.
Go north
Exhibits about mines, minerals, mining equipment, and more extend
as far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. To the east and west are interesting exhibits from individual states. The hallway goes deeper into the building to the north. To the south, an exit leads out to the Court of Honor.

Bullion Boulevard, Looking North.
Go north
The interior aisles of the building converge here, heading off in
all of the cardinal directions.

Bullion Boulevard, Looking North.
You go to the east
This aisle cuts through dozens of exhibits from many major mining companies and states. Some interesting exhibits are to the north and south. The hallway extends deeper into the building to the west. To the east, an exit leads out toward the Electricity Building.

Mines and Mining Exhibit Hall.
Go north
This exhibit concerns mining in the United States as a whole. Much information is available here in charts, displays, and materials, about U.S. mining operations and interests.

In the center of the exhibit stands a tall monument made up of cubes of various different minerals, each stacked upon the other, each smaller than the last. A sign explains that these cubes represent the proportionate bulk of all the minerals which come from the mines and quarries of this country during one second of time.

United States Minerals Exhibit.
Go north
You can exit the exhibit to the south.
You go south
miner's cabin, made entirely out of native ores, and just outside of this structure, the figures of a miner with a short-handled pickaxe tucked under one arm, leading his burro.

New Mexico Mining Exhibit.
You look at the pickaxe
It's a short-handled pickaxe.
Go west
This aisle cuts through dozens of exhibits from many countries and states. Some interesting exhibits are to the north and south. The hallway extends deeper into the building to the east. To the west, an exit leads out toward the Transportation Building.

Mines and Mining Exhibit Hall.
You go south
You're not sure which country or state is presenting this exhibit,
as the entire area is covered with piles of rock. Each pile is easily taller than two men. Salt, shale, limestone, coal, bitumen, feldspar, metals and more amply demonstrate the power of man to harvest the Earth for his own purposes.

In the center of the exhibit stands a tall, smooth pillar of bauxite.

Display of Minerals and Ores.
You examine the pillar
It's a tall pillar made entirely of bauxite.
You hit the pillar with the pickaxe
You chip a sliver of bauxite off the pillar.
You look at the sliver
It looks like an ordinary sliver of bauxite to me.
You check what you're carrying
You have a case dossier, a guidebook, a small daily stipend, a handbasket, a new edition of Uncle Tom's Cabin, and a pickaxe. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.
Go north
The seventeen year old state of Colorado exhibits a wide range of mineral wealth. Amid the piles of ore and general exhibits sits a statue made of silver, created by an Aspen mining firm, named "The Silver Queen," which attracts the most interest.

Colorado Mining Exhibit.
You examine Statue
The Silver Queen. 

The Silver Queen sits in a boat mounted on a pedestal covered in precious minerals. On either side of her run little gold and silver figures representing the god of riches, each of whom bears a cornucopia spilling forth streams of silver dollars. The Silver Queen herself holds her staff of office in one hand, the head of which is an oversized coin. The canopy over her head is richly made, an eagle with wings outstretched standing on its summit.
Go east
Presiding over the hundreds of small displays that comprise the Montana exhibit is one of the most popular attractions of the Mining Building: a large, silver statue of Justice. The statue is reportedly the largest statue made entirely of silver in the world. Justice holds scales in one hand, a sword in the other; she rests on a silver globe. Above the globe rises an eagle, with wings outspread. Two bronze lions guard Justice on either side.

Montana Mining Exhibit.
Go west
New York exhibits its mineral wealth in abundance, within a
pavilion shaped like a rectangular colonnade. In front of the exhibit stands a layered pillar of rocks, ordered in geologic succession. Inside stand piles of various clays, gypsum, shale and other stones.

New York Mining Exhibit.
Go north
Exhibits about mines, minerals, mining equipment, and more extend
as far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. The hallway extends deeper into the building to the south. To the north an exit leads out to the Lagoon. To the west is an exhibit from Pennsylvania, while to the east stands the Kimberly Diamond Mining Exhibit -- the scene of the crime.

Bullion Boulevard, Looking North.
You go east
It was here that the theft took place, the exhibit of The Kimberly Diamond Mining Company of South Africa. As you look over the exhibit, you marvel again at the cunning of the thieves. The exhibit is under heavy security, with one guard at each of the four corners. In the center of the exhibit stands a glass display case which, until very recently, contained a large quantity of precious stones. Another component to the exhibit is to the east.
Mr. Wentworth is here.

The Kimberly Diamond Mining Company.
You give the diamond to Wentworth
He takes the finished diamond from you and examines it.

"Ahhh...," he begins, then looks up at you. "This is the cheapest fake I have ever seen. Where did you get this? I hope for your sake you didn't buy it." He tosses the fake back to you. When you catch it, you hear a slight rattling noise coming from the diamond.
You examine the diamond
The diamond is cut and polished, and glitters beautifully. But it's just a cheap fake. It even rattles when you shake it.
Open diamond
You'll have to break it if you want to see if there's anything inside.
Break diamond
The diamond shatters. In the shards you find a gold key and a small note, which you take.
You read the small note
The note is written in the familiar script of your nemesis:

Poor Dolores, in the cabin
So thirsty she could not think
The Japanese so carefully
Gave her tea to drink.

Another riddle!
You look at the key
It looks like an ordinary gold key to me.
You go north
Bullion boulevard is west, the exhibit continues east.
Go west
Exhibits about mines, minerals, mining equipment, and more extend
as far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. The hallway extends deeper into the building to the south. To the north an exit leads out to the Lagoon. To the west is an exhibit from Pennsylvania, while to the east stands the Kimberly Diamond Mining Exhibit -- the scene of the crime.

Bullion Boulevard, Looking North.
Go north
Mines and Mining Building, North Side
You stand on the northern side of the Mines and Mining Building, at
an entrance somewhat simpler than that on the southern side, but no less grand. The road here passes across the front of the building, heading east and west. To the north is the weedy shore of the lagoon.

Looking West towards Transportation Building. 

As the afternoon wears on, the sky has turned a deeper shade of blue.
Go northeast
You are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northwest and southwest.

Wooded Path.
You go northwest
and teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.
Two men are here, deeply involved in a discussion about the
Japanese buildings.
A boy is rushing about here, getting into all sorts of trouble.

Japanese Temple. 

The boy runs off to the southwest.

"I don't know what it is you see in that place, Frank. It's so plain. No ornamentation at all," the first man says.
You listen
You hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.

"Well, that's not the way I see it," Frank says.
You listen
You hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.

The second man continues. "Louis, look at the horizontal line of the building -- see how close it is to the ground, almost as if it's part of the earth. I think it's rather wonderful."
You listen
You hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.

The first man, Louis, shakes his head. "You'll not get anyone to buy something like that. It's got no style."
You listen
You hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.

"We'll see," says Frank, smiling. "But I've got a few ideas as to how I might use something like that,..." the two men wander off, continuing their discussion.
You read the sign
Every day at 2:30 o'clock in the Tea House
Time
The time is now 4:17 p.m. on Monday.
Go north
The teahouse doors are pulled shut. A sign attached to them says, "The teahouse is only open during the Tea Ceremony."
You look
Japanese Temple. 

and teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.
You go to the east
Ho-o-den, Entryway
The temple interior is very clean and neat. Thick woven mats cover the floor. The walls are made of wood and paper. A large gong, hanging on a laquer stand, stands prominently against the east wall. The west side of the room is open to the outside, while sliding paper doors are on both the north and south sides of the room.
A Japanese woman is kneeling on the floor near the gong.

Ho-o-den, Entryway.
You examine the gong
The gong is beautifully ornamented. On its face, a red dragon curls, smoke billowing out of its nostrils.
You hit the gong
(with the pickaxe)
The gong makes a deep, resonate sound. Immediately a man appears and speaks to the woman in Japanese. She bows low. "No, nothing, thank you. My visitor struck the gong." The man leaves.
You go north
"Gomen nasai," the woman says, bowing respectfully. "That area of the temple is especially reserved for the Prince."
Go south
The Japanese woman stops you. "The master does not wish to be disturbed. He is very ill."
You ask Woman about the master
"He is master of Cha-no-yu: Japanese Tea Ceremony. But right now, he is very ill."
You ask Woman about illness
"Master has been sick for many days. He will not take your Western medicines. He is waiting for a Japanese doctor to bring a herbal remedy, but I fear it will be too late."
You ask Woman about the remedy
"Master believes that he can only be cured by Japanese herbal remedy. The remedy consists of ginseng, lotus root, and bear's paw. If the doctor would come back in time, I am sure he would recover," she lowers her head, and looks at the floor. "But I am afraid the doctor will not return in time."
You ask Woman about the ginseng
"A very powerful medicine. I believe the doctor had heard the Corean exhibit in the Manufactures building contained some, I hope he was able to obtain a specimen for us."
You ask Woman about the lotus root
"It is said that the Buddha sits on the leaf of the great lotus. A very powerful plant. Very common in Japan, but not here. I am afraid the doctor will never find it."
You ask Woman about the bear's paw
"It is said that the thick pad of the bear's paw gives strength to one who is ill. The bear's paw comes commonly from China, but I do not know if this land has any bears."
You ask Woman about Prince
"It is a great honor to have him come here and stay with us. We are overjoyed."
You look
Ho-o-den, Entryway. 

Ho-o-den, Entryway
The temple interior is very clean and neat. Thick woven mats cover the floor. The walls are made of wood and paper. A large gong, hanging on a laquer stand, stands prominently against the east wall. The west side of the room is open to the outside, while sliding paper doors are on both the north and south sides of the room.
A Japanese woman is kneeling on the floor near the gong.
Go west
and teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.

Japanese Temple.
You go to the northeast
Fisheries Building, West Side
You stand on the shores of the great lagoon. A bridge crosses the lagoon to the southwest, extending out to the wooded island in its center. The road here follows the curves of the perfectly round west wing of the Fisheries Building, leading off to the northeast and southeast. Another road leads to the northwest toward a cluster of smaller buildings.

Fisheries Building, West Side.
You go north
You are standing at the northeastern edge of the great Lagoon. Buildings overlooking the lagoon have been erected by Brazil and Turkey. The tranquil and relaxing Wooded Island is visible to the southwest. To the west, a bridge crosses the river separating the lagoon from the North Pond to the Illinois Building, whose great, gold dome serves as a beacon for everyone at the North end of the Fairgrounds. Roads head east, northeast, and south from here.

Brazilian Building.
You go west
You cross the river bridge, and arrive...

Building, in honor of the state which is holding the Fair. The building occupies a commanding site at the head of the Lagoon, from which you have an uninterrupted view through the waterways to the southern portion of the Fair. A broad road cuts across its well manicured lawn, heading east across a small bridge, and west toward the Midway, where you can see the great Ferris Wheel spinning slowly in the distance. The Lagoon is directly south, and surrounding it you can clearly see The Women's Building, Horticulture, and Transportation on the right, Fisheries, The U.S. Government Building, and Manufactures and Liberal Arts on the left. Far to the south, you can just make out the dome of the Administration Building.

On the walk leading to the Illinois Building is a sculpture entitled, "Hide and Seek."

In Front of the Illinois Building, Looking South.
You examine the sculpture
'Hide and Seek.' 

The sculpture is of small children playing hide and seek around a hollow tree stump.
You go north
You are on a north-south road. On the west side of the road stands the California State Building, built in the style of a Spanish mission. Of the many exhibition buildings built by individual states, this one is second in size only to the Illinois Building. On the other side of the road stands the much more modest Indiana Building.

California Building, Looking North.
You go north
Colorado, Washington, and Michigan State Buildings
You are on a north-south road. On either side crowd buildings
built by different states: On the west side of the road stands the Colorado Building, on the east side, Washington and Michigan have each built their own buildings.

Colorado, Washington, and Michigan Buildings.
You go to the north
You are at a T-intersection. The road continues north-south, while another, smaller road leads east, toward the Fine Arts Building in the near distance. On the west side of the road stands the Wisconsin State Building.

Wisconsin Building, Looking South.
Go north
Two roads cross here, one heading north-south, the other,
east-west. In each corner stands a building: to the northeast, the Minnesota State Building; on the northwest corner stands the Nebraska Building; the southwest, South Dakota; and to the southeast is the west annex to the Fine Arts building.

Nebraska Building.
Go northeast
You enter the Minnesota Building under a chandelier made entirely out of antlers. You find nothing else in the building quite as unique and novel as that, and soon find yourself back outside.
Go west
The road ends here at a dirty, run down collection of shanties, fronting a small pond. Overhead are elevated train tracks, running from the northeast to the south.

Esquimaux Village.
You examine Pond
It looks deep. Really, really deep.
Search pond
There's nothing in the small pond.

The elevated train rumbles past overhead.

The elevated train rumbles past overhead.
You examine the shanties
It's pretty quiet. You look around a bit but don't find anyone.
You check what you're carrying
You have a case dossier, a guidebook, a small daily stipend, a handbasket, a new edition of Uncle Tom's Cabin, a pickaxe, a gold key, and a small note. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.
You drop the cabin
Dropped.
You put the cabin in Pond
You drop the new edition of Uncle Tom's Cabin into the small pond. As it sinks away from view, you wonder if you did the right thing.
You go to the east
Two roads cross here, one heading north-south, the other,
east-west. In each corner stands a building: to the northeast, the Minnesota State Building; on the northwest corner stands the Nebraska Building; the southwest, South Dakota; and to the southeast is the west annex to the Fine Arts building.

Nebraska Building.
Go northwest
You step inside the Nebraska Building and take a look around. It's outfitted as a modern clubhouse, complete with a post office, check room, and toilets. You look around for a bit, then step back outside.
You go southwest
The South Dakota Building is filled with interesting exhibits. Like many of the other western buildings, many feature harvested grains and corn. After wandering around the building for a few minutes, you leave.
You go north
North Dakota, Kansas, and Arkansas State Buildings
The road curves gently here, heading northeast and southwest. On
the north side of the road stand the North Dakota and Kansas Buildings, and on the south side is the Arkansas State Building.

Arkansas Building.
You go to the north
You'll have to specify which building you want to enter, the North Dakota Building or the Kansas Building.
Go northeast
You are standing at a T-shaped intersection. The road heads east, west, and south. To the north are buildings from Texas and Utah. To the south, on either side of the road, stand the Kentucky and West Virginia State Buildings.

West Virginia Building.
Go southwest
You enter the Kentucky Building. The building is filled with exhibits, curiosities and relics. You wander around for a while, but soon become overwhelmed by the confusion of exhibits and head back outside.
Go north
You'll have to specify which building you want to enter, the Texas Building or the building from Utah.
You enter Texas Building
The Texas Building is filled with exhibits, curiosities and relics. You wander around for a while, but soon become overwhelmed by the confusion of exhibits and head back outside.
You enter Utah Building
The exhibits in the Utah Building focus on its mining operations; most significantly gold, silver, and sulfur. After pausing momentarily at a replica in miniature of the great Salt Lake, you leave.
You go south
You are standing at a T-shaped intersection. The road heads east, west, and north. On either side of the northbound road stand buildings, one from Missouri, the other, Pennsylvania. To the south, a walking garden spreads out in front of the Fine Arts Building.

Pennsylvania Building, Looking East.
You enter Missouri Building
You enter the Missouri Building. The interior space is distributed among several offices, a large auditorium, and a well appointed club house, which you do not have appropriate permissions to enter. You find yourself back out on the street fairly quickly.
You enter Pennsylvania Building
You step into the Pennsylvania Building, and just to the right of the entrance, find the Liberty Bell. After admiring it for a while, you can imagine no better prize awaiting within the building, and so take your leave.
You go to the south
You stand before the northern entrance into the Fine Arts Building. Broad steps lead up to the entryway, a portico of austere classicism. Two carved lions stand on either side of the stairway. Numerous State buildings stand off roadways to the northwest and northeast. A road also goes around the Palace to the east and west.

Fine Arts Building, Northern Entrance.
Go northeast
You are standing on an east-west street, with another street
meeting it here and heading north. To the south are the wide and pleasant gardens of the Fine Arts Building. To the northwest stands New York's Building, and to the northeast is the Massachusetts Pavilion.

New York Building, Looking East.
You go to the northwest
You enter the New York Building and wander through the many fine exhibits, past signatures from the signers of the Declaration of Independence, past Washington relics, and arrive at last, on the second floor, at a sumptuous banquet hall, decorated with gold. You leave the building marvelling at the wealth the state has presented.
Go northeast
You step inside the Massachusetts Building. The interior of the building features portraits of men who figure prominently in the bay colonies history, as well as historical artifacts and letters. You wander through, wishing to spend more time studying, but finally leave, thoughts of the case at hand in the forefront of your mind.

A hard case should never mean neglecting yourself, and right now you're thinking about splurging for a nice dinner.
Time
The time is now 6:01 p.m. on Monday.
You go north
The street branches here, heading east, west, north and south. To
the northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.

Directly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.

Idaho Building.
You go northeast
You are on an elevated train platform. Stairs lead down to
Virginia's Building, below.

The southbound train 'Columbia' is waiting at the station.
A tall conductor is here.

The conductor gets on the train, closing the doors behind him. The train pulls away from the station.
Go downwards
The street branches here, heading east, west, north and south. To
the northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.

Directly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.

Idaho Building. 

The hottest part of the day has long since passed, but the heat lingers palpably.
You look
Idaho Building. 

The street branches here, heading east, west, north and south. To
the northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.

Directly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.
1893-2
Saved.