At the foot of the Eiffel tower,
the internal railway
But while the [Eiffel] tower and its surroundings bring up the idea of an untidy and colourful heap of toys, it could be said that it is precisely why the exhibition has this jovial, cheerful and childish side, which makes life a holiday during which people succeed in putting away the chores of existence and the penitence of destiny. Those were my thoughts when I saw the successful reception enjoyed by the little narrow-gauge “Decauville” train as it is called, which – just look at it as it goes by – is a toy that actually works”.
– Emile Goudeau, 1889, in Revue de l’Exposition universelle de 1889
At the exhibition of 1889, class 61 dedicated to railway equipment was placed in two main galleries supplemented by four large spaces. Tracks and turn tables could be found there. Along the Avenue des Suresnes, part of the internal system known as the Decauville railway served restaurants and pavilions. With a three-kilometre length, this structure designed by Adolphe Alphand played a crucial part in the discovery of the exhibition. Engravings, postcards and photographs published in that year clearly shown the success of the narrow gauge system. The Decauville railway was used by foreign visitors, and thus demonstrated its efficiency and drove the fashion of the “mini train”, which is even today very popular with visitors to the Cité du Train.
In the eyes of Maurice Bixio, who wrote the introduction to the Notice sur l’Exposition centennale des moyens de transport of 1900, “The 19th century is the age of the most colossal development of means of travelling, within a town or a country, or even across the world.”.
Retrospective museum of 1900
In 1900, not far from the water tower of the Champ-de-Mars, in the Transport pavilion, class 32 devoted to railways and tramways opposed body work, saddlery, commercial navigation and balloons. The engineering elements were supplemented by paintings, engravings and photographs. In contemporary writings, the term “retrospective museum” was thus used on several occasions. In that context, it was specified that the model of the first locomotive with a fire-tube boiler of the Saint-Etienne to Lyon line was “obligingly” loaned by the Museum of Arts and Crafts. Nearby, on the picture rails between metal frames, show windows and frames were numerous. The aim was thus to “form a whole that is more appealing to the eye” and to “interest the public, because of its amusing and educational aspects alike”. 100 years before the publication of the Museums Act of 2002 and its article L. 410-1, the concepts of “knowledge, education and enjoyment” of the public were recognised.
The Vincennes annex
But the Champ de Mars was not large enough to accommodate all railway equipment. Propositions came in from a number of countries and ways had to be found to receive all the exhibitors. That led to the building of the Annex in the Bois de Vincennes, including among others a BB 1280 or “Bo-Bo”, the first electric locomotive, a model of which is today on display at the Cité du Train.
The wind cutter, an industrial fantasy
“I was in love with twelve steam locomotives. These delightful engines from 1905 were already aerodynamic. These were the magnificent wind cutters from PLM. They are famous in the history of railways. They are listed among the most harmonious locomotives that have ever been built, and they have had a definite influence over my entire life. I would prowl around the depot, and I soon befriended the workers. I would bring them Caporal cigarettes, and sometimes cigars.”
– Raymond Loewy, Never Leave Well Enough Alone, 1965
1900. Research in aerodynamics began to be applied to the world of railways. The wind-cutter nose of the C145 locomotives from PLM, was a sign of that movement.
In 1965, the tribute paid to it by the famous industrial designer Raymond Loewy in his book Never Leave Well Enough Alone raises these pieces to the status of true industrial design objects.
photograph: M. Lamarche, Cité du Train collection
“It would be a mistake to end these lines without saying a word of the general wishes of visitors as we heard them. The retrospective exposition of modes of transport was indisputably a very great success, and we heard, time and time again, regrets that a permanent museum, which could be interesting, has not yet been set up. ”
– Maurice Bixio, Introduction à la Notice sur l’Exposition centennale des moyens de transport, 1901
This Maurice Bixio quote is a reflection of heritage concerns from the very beginnings of the railways, and confirms a need: that of preserving and showcasing the railway heritage, a sign of technical progress, artistic inspiration and collective history. 75 years on, while the older members of society remember 1900, the young were dreaming of the year 2000.
