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Austrian Pavilion; architect, Joseph Hoffmann: Built of concrete with bold horizontally moulded walls, the mass of this Pavilion was striking. It was top lit except for the vestibule, and contained an excellent gallery  (illustration 50D; quote from page 45)

Belgian Pavilion; architect, Victor Horta: The facade of this Pavilion although faintly suggestive of timber construction had the character of the Palais de Justice, Brussels. The rest was in the rather florid style we have come to associate with exhibition buildings (illustration 50I; quote from page 45)

Czech pavilion; architect, J. Gocar: This was a surprising conception. The front was shaped like a ship's prow with a striking figure at the head. The rest had somewhat the appearance of a grain store or a cold storage building (illustration 50G; quote from page 43)

Dutch pavilion; architect, J. F. Staal: The Pavilion was an astonishing "tour de force", incidentally demonstrating the great skill of the Dutch bricklayer. It did not, however, give the feeling of a gallery or reception hall, but rather of a mausoleum. It was of a heavy monumental character and the interior was dimly lit (illustration 50E; quote from page 44)

Porte de la Concorde; architect, Patout: The striking pylons by M. Patout and the bronze figure of "Welcome" at the Porte de la Concorde were suggestive of some strange worship. They marked an entrance but did not form one. It was difficult, however, to imagine any other satisfactory solution since none of the trees were to be interfered with (illustration 50B; quote from page 47)

Grand Palais: Salle d'Honneur and staircase; architect, Charles Letrosne: The Grand Palais had undergone a wonderful transformation. The  monumental effect of the Grand Staircase, Hall and Vestibule could only be realised by a visit. No photograph did it justice (illustration 50C; quote from page 46)

G. Crès & Cie Pavilion; architects, Hiriart Tribout et Beau: The book shop of the firm Crès et Cie was an interesting and suitable design with its sheltered double entrance  (illustration 50K; quote from page 48)

Pavilion of the Royal Copenhagen Porcelain Factory; architect, Helmeg-Moller: The pavilions in which were displayed the products of the Royal Porcelain Factory at Copenhagen were designed in the manner of a Georgian shop front with charming bow-fronted windows. They had the delicacy of the work of the Adams brothers and the character of the excellent wares they contained (illustration 50J; quote from page 46)

Italian Pavilion; architect, Brasini Grand Uff. Armando: This Pavilion was built mainly of permanent materials and on a very large scale. It had columns of travertine and beautiful coloured bricks, some of the joints being picked out in gold... The style was essentially Baroque, but there were some ill-advised departures from orthodox details which were neither original nor suitable  (illustration 50H; quote from pages 43-44)

Polish Pavilion; architect, Joseph Czajkowski: This building was entered on its long axis and had a central octagon surmounted by a striking glass lantern which was carried on square wooden piers (illustration 50F; quote from page 44)

Polish Pavilion; architect, Joseph Czajkowski: Adjoining the ante-room there was a pleasant atrium in the centre of which was a marble figure. The detail of the carving was somewhat barbaric and the furnishings heavy and inelegant  (illustration 50G; quote from page 44)

Spanish Pavilion; architect, P. Bravo: The Spanish building was another villa type with a traditional flavour. It was built around a  "patio" and had towers and turrets of a domestic character. Glazed tiles were effectively applied externally. There was, however, a general loss of scale by the introduction of too many features (illustration 50f; quote from page 46)

Swedish Pavilion; architect, Carl G. Bergstein: The plan of this Pavilion was excellent ... The building itself and its decoration and contents could be said to be neo-Grec in character, for without actually accepting Greek mouldings or details the architect had created an atmosphere of archaic Ionia. The studied simplicity of the interior and the disposition of the exhibits commanded admiration (illustration 50E; quote from page 44)

British Government Pavilion; architects, Easton & Robertson: The exterior had gaiety and overcame by its elevations the church-like form the plan was obliged to take. It showed foreign influences in its design  (illustration 50D; quote from page 45)

British Pavilion, interior; decoration by Henry Wilson: The interior was skilfully decorated, but the tea house was frankly a tent, and the barge lacked in architectural interest (illustration 50A; quote from page 45)

British textile section, with decorative frieze by R. Anning Bell: In the British section ... decorations were carried out by the simple methods used in theatrical paint-rooms (illustration 60D; quote from page 55)

Decorative frieze "Empire" by Maurice Grieffenhagen: British section, Galerie des Invalides (illustration 60A)

Allegorical frieze "The Altruists" by A.K. Lawrence: when a decorator was needed at Wembley in 1924, one was immediately found in Mr. A. K. Lawrence, whose panel "The Altruists" was something of a  triumph at both exhibitions. It is for architects to call the tune, and with them rests the future of mural decoration in our own or any other country (illustration 60A; quote from page 60)

Sgraffito decoration in Polish Pavilion by Adalbert Jastrzebowski: Polish artists, who have a position of political importance in their own country which would be inconceivable in England and most other countries, and who have done so much towards the revival of their country, sent splendid works to Paris (illustration 60B; quote from page 58)

Raoul Dufy (France): printed cloth "Fishing", executed by Bianchini Férier: (illustration 115E)

Decorative panel by Jean Dupas in Pavillon du Collectionneur: outstanding was the overmantel panel by Jean Dupas, which was surely one of the finest decorations in the Exhibition (illustration 60K; quote from page 57)

Dining room by René Lalique in the Sèvres Pavilion (illustration 60L)

Domergue-Lagarde: decorative panel "Pacification-Travail" in French African Pavilion: the remarkable decorations by Domergue and Lagarde ... were painted with a simple technique, quite different from that of the elaborately painted traditional mural decoration  (illustration 60P; quote from page 55)

Tunisian Pavilion (interior); architecte décorateur, V. Valensi (illustration 60Q)

National Factory of Sèvres, Garden Pavilion; architects, P. Patout and André Ventre: The Pavilion of the Manufacture Nationale de Sèvres was logical in its form, but the great vases dwarfed the rest. The building, which was in two parts, was inappropriate to its position across the main axis of the Esplanade. It was, however, suitably shaped for its material - concrete (illustration 50J; quote from page 48)

Bath Cabinet Makers, Ltd (Great Britain): walnut cabinet and boot & shoe cabinet in mahogany, designed by C. A. Richter: it was apparent that the designers of various nations were more concerned with making an impression than with exhibiting furniture which might be expected to sell in large quantities, and it is doubtful whether in the case of any country the exhibits truly reflected the state of furniture design (in the larger or trade sense) in that country. The British exhibits certainly did not represent the British furniture trade to any marked degree (illustration 66A; quote from page 61)

Sir R. Lorimer (Great Britain): oak crib (illustration 66B)

Jacques Ruhlmann (France): furniture in "L'Ambassade Française": In technical skill the cabinet work of Jacques Ruhlmann is, I think, equal to anything that has ever been done. It shows a complete mastery of the material (illustration 66B; quote from page 63)

J. Ruhlmann (France): furnished room: It carries on French tradition as practically all his work is characterised by subtlety of curvature (illustration 66C; quote from page 63)

British Government Pavilion: interior view of textiles: diversity appeared to be the key-note of the British exhibits. In France, the new ideas seemed to have come like a flood, carrying all along in its course. The British exhibits showed less uniformity, even if less novelty, of inspiration (illustration 115A; quote from page 94)

Tapestries and rugs (Polish section): by B. Treter, J. Czajkowski and A. Jastrzembowske, executed by the Société de l'Industrie Populaire, Warsaw, and Société "Kilim" : Altogether the effort of Poland at Paris, both in extent and quality, was highly creditable to a small and struggling country (illustration 115M; quote from page 109)

Grille in wrought iron and bronze by Edgar Brandt: The grilles done for the Porte d'Honneur were apparently replicas of some fine metalwork grilles and window screens done by Brandt for America. By force of relying for his effects on construction and material, Brandt has arrived at a kind of natural gothic which is very beautiful (illustration 126B; quote from page 122)

Grille by Edgar Brandt (France): (illustration 126D)

Edgar Brandt: ceiling lamp in wrought iron with silver patina and electric light fitting in wrought iron (illustration 126C)

Christole et Cie (France): metalware (illustration 126I)

René Prou (France): metal door furniture (illustration 126G)

Carter, Stabler & Adams (Great Britain): dish, designed by Mrs Truda Adams: Their wares are entirely hand-made, and decorated by Mrs Adams and her assistants with freely painted designs of a modern character (illustration 138A; quote from page 132)

Tympanum by Raymond Delamarre in the Ambassade Française (illustration 60I)

Claudius Linossier (France): vases inlaid with copper and silver: The series of vases in beaten copper decorated with electro-damascene, merited special attention, not merely on account of the artistic excellence, but also on account of the beauty and novelty of the procedure. It was obvious at the first glance that Monsieur Linossier had been a diligent student of Mycenean art, and had made thorough use of his studies. The inspiration was evident, yet there was no slavish copying  (illustration 126A; quote from page 120)

Knitted and embroidered woolwork (Union of Socialist Soviet Republics): There were Turkish embroidered towels from the Crimea, Siberian fish-skin coats and embroideries, beadwork, leatherwork and costume accessories from numerous districts. Old Russian peasant industries were represented by tapestry towels and embroideries (illustration 115G; quote from page 109)