The centennial board, of which Mrs.
Gillespie was president, then decided to raise funds for the erection of a separate building, to be known as the Woman's Pavilion.

It covered an acre of ground, and was erected at an expense of thirty thousand dollars--a small sum in comparison with the money which had been raised by women and expended on the other buildings, not to speak of the State and national appropriations, which the taxes levied on them had largely helped to swell.
The Pavilion was no true exhibit of woman's art.

Few women are, as yet, owners of the business which their industry largely makes remunerative.
Cotton factories, in which thousands of women work, are owned by men.
The shoe business, in some branches of which women are doing more than half the work, is under the ownership of men.

Rich embroideries from India, rugs of downy softness from Turkey, the muslin of Decca, anciently known as "The Woven Wind," the pottery and majolica ware of P.
Pipsen's widow, the cartridges and envelopes of Uncle Sam, Waltham watches, whose finest mechanical work is done by women, and ten thousand other industries found no place in the pavilion.

Said United States Commissioner Meeker of Colorado, "Woman's work comprises three-fourths of the exposition; it is scattered through every building; take it away, and there would be no exposition." But this pavilion rendered one good service to woman in showing her capabilities as an engineer.