by 28 million people, the 1889 World's Fair displayed 400 indigenous people as the major attraction. In Amsterdam the International Colonial and Export Exhibition had a display of people native to Suriname, in 1883. In 1886, the Spanish displayed natives of the Philippines in an exhibition, as people whom they "civilized". This event added flame to the 1896 Philippine revolution. Queen Consort of Spain, Maria Cristina of Austria, afterwards institutionalized the business of human zoos. By 1887, indigenous Igorot people & animals were sent to Madrid and were exhibited in a human zoo at the newly constructed Palacio de Cristal del Retiro. At both the 1893 World's Columbian Exposition and the 1901 Pan-American Exposition Little Egypt a bellydancer, was photographed as a catalogued "type" by Charles Dudley Arnold and Harlow Higginbotha. At the 1895 African Exhibition in The Crystal Palace, around eighty people from Somalia were displayed in an "exotic" setting. German ethnographs Ethnology studies in Germany took a new approach in the 1870s as human displays were incorporated into zoos. These exhibits were lauded as 'educational' to the general population by the scientific community. Very quickly, the exhibits were used as a way to show that Europeans had "evolved" into a 'superior', 'cosmopolitan' life. In the late 19th century, German ethnographic museums were seen as an empirical study of human culture. They contained artifacts from cultures around the world organized by continent allowing visitors to see the similarities and differences between the groups and "form their own ideas". Objectification in human zoos Within the history of human zoos, there are patterns of overt sexual representation of displayed peoples, most frequently women. These objectifications often lead to treatment that reflect a lack of privacy and respect, including the dissection and display of bodies after death without consent. An example of the sexualization of ethnically diverse women in Europe is Saartje Baartman, often referred to as her anglicized name Sarah Bartmann. Bartmann was displayed both when she was alive throughout England and Ireland and after her death in The Musée de l'Homme. While alive, she participated in a traveling show depicting her as a "savage female" with a large focus on her body. The clothes she was put in were tight and close to her skin color, and spectators were encouraged to "see for themselves" if Bartmann's body, particularly her buttocks, were real through "poking and pushing". Her living display was