decorations; Ceramics; Plumbing and sanitary materials; Glass and crystal; Apparatus and processes for heating and ventilation; Apparatus and methods, not electrical, for lighting; Textiles; Equipment and processes used in the manufacture of textile fabrics; Equipment and processes used in bleaching, dyeing, printing, and finishing textiles in their various stages; Equipment and processes used in sewing and making wearing apparel; Threads and fabrics of cotton; Threads and fabrics of flax, hemp, etc.; Cordage; Yarns and fabrics of wool; Silk and fabrics of silk; Laces, embroidery, and trimmings; Industries producing wearing apparel for men, women, and children; Leather, boots and shoes, furs and skins, fur clothing; Various industries connected with clothing.

Miss Bernays reports as follows: 

In order to arrive at an accurate idea of the value of women’s work as compared with men’s, it would have been necessary to study the St. Louis Exposition from the time of its opening to the close, with a view to collecting data and statistics on this question.  Furthermore, to get definite results regarding the progress of women since the Columbian Exposition one would have had to have access to the researches and statistics of former expositions on this subject, if such there exist.  I visited both the Columbian Exposition of 1893 and the Paris Exposition of 1900, but I have only impressions of the work by women as exhibited there.  Nor can I furnish figures, percentages, or even accurate estimates of women’s work at the Louisiana Purchase Exposition.  The observations subjoined have value only in so far as the interest in women’s work lies always in the under-current of my thought.  Even under the terrific stress of the enormous amount of work pressed into the few short days of jury duty I was vividly impressed with the dignity of the work accomplished in arts and crafts by the women of Germany, where it was exhibited together with that of men.  In the one instance where women secluded themselves it was shown with appalling force that the result was tawdry and inharmonious.

I was appointed by the board of lady managers to serve upon the department jury in the same classification of which I had served as group juror, for “Kunstgewerbe” (Arts and Crafts).  Finding my group divided into four classes—­Fixed inner decoration, Furniture, Stained glass, and Mortuary monuments—­with numberless exhibits m various buildings all over the grounds, I elected to serve in the class for “Fixed inner decoration.”  I was aware that I had been appointed for Germany because of the great interest I had taken in the movement for harmony in household art inaugurated in Germany about ten years ago.  This movement admits of no division into “fixed inner decoration” and “furniture,” etc., but regards the arrangement and decoration of spaces with a view to the effect of the “ensemble.”  Following the lead of our distinguished chairman,