Following a decree of Emperor Napoleon III, the exposition was prepared as early as 1864, in the midst of the renovation of Paris, marking the culmination of the Second French Empire.

Visitors included Tsar Alexander II of Russia, a brother of the King William and Otto von Bismarck of Prussia, Prince Metternich and Franz Josef of Austria, Ottoman Sultan Abdülaziz, and the Khedive of Egypt Isma'il.

Victor Hugo, Alexandre Dumas, Ernest Renan, and Theophile Gautier all wrote publications to promote the event.

The funds for the construction and maintenance of the exposition consisted of grants of $1,165,020 from the French government, a like amount from the city of Paris, and about $2,000,000 from public subscription, making a total of $5,883,400; while the receipts were estimated to have been but $2,822,900, thus leaving a deficit, which, however, was offset by the subscriptions from the government and the city of Paris, so that the final report was made to show a gain.

[5][6] In the "gallery of Labour History" Jacques Boucher de Perthes, exposes one of the first prehistoric tools whose authenticity has been recognized with the accuracy of these theories.

Vincent van Gogh and other artists of the Post-Impressionism movement of the late 19th century were part of the European art craze inspired by the displays seen here, and wrote often of the Japanese woodcut prints "that one sees everywhere, landscapes and figures.

Jules Verne visited the exhibition in 1867, his take on the newly publicized discovery of electricity inspiring him heavily in his writing of Twenty Thousand Leagues Under the Seas.

The World Rowing Championships were held on the Seine River in July and was won by the underdog Canadian team from Saint John, New Brunswick which was quickly dubbed by the media as The Paris Crew.