Sarah ManavisVerified account

Three of these got prime spots along the river along with the previous twelve: Italy, Turkey (i.e. the Ottoman Empire) and the USA. You can see them here, left to right, with Austria partly visible on the far right, starting of the sequence of twelve in my header image.pic.twitter.com/tQtmDM3u12

Italy went with a kind of free interpretation of St Mark's Cathedral in Venice: arguably quite surprising, given that this sort of thing isn't what most people associate Italy with architecturally/aesthetically, but it spoke to the mood of the moment.pic.twitter.com/3lZUWAzAyh

The Ottoman Empire built an enormously expensive, broadly Islamic-y pavilion that they nevertheless paid a Frenchman, Adrien-René Dubuisson, to design. They attracted visitors with displays of swordfighting and "operettas depicting scenes from Turkish life".pic.twitter.com/3UBisFnDQG

The American pavilion had to fight for a spot alongside the European nations: once they got it, they ended up disappointing everybody with a pavilion full of services for American visitors - crushed ice and stock exchange prices from New York - and very few interesting exhibits.pic.twitter.com/2ghftDbpPs

Voila the interior, with highly patriotic ironwork balconies and, indeed, not much sign of actual exhibits.pic.twitter.com/6DEqTDgK12

Denmark's was designed by Valdemar Koch. Many Danes thought it was a little uninspired, but foreign visitors liked it: the Englishwoman Lady Elizabeth Lewis liked it so much she bought it and moved it to Overstrand in Norfolk (pictured), where it stood until burning down in 1951.pic.twitter.com/4EPcT1A1oL

Portugal, next to Denmark, did this low, vaguely tropical little palace, and filled it with works by Portuguese painters, notably the maritime painter João Vaz and the up-and-coming symbolist António Carneiro.pic.twitter.com/PfLvIPmolk