With its majestic entrance, its high glass decor, the garden in front of it, the two large white and red banners which announced it from afar, the Austrian pavilion was one of the most happily conceived among the group of foreign pavilions built at the corner of the Avenue des Coudriers and the Avenue de Bouchout. The general layout was designed by the architect Haerdel and was divided into four sections: modern art; religious art; decorative arts; tourism.
In the main hall there was a bust of Chancellor Schussnig by the sculptor Santfaller, modern furniture, lamp-posts, hand-woven fabrics, and two display cabinets containing precious souvenirs: original manuscripts by Mozart, Beethoven, Schubert, and the works of Anton Bruckner.
In the room on the right were optical, geodesic and surgical apparatus, microscopes, stereoscopes, microchemical balances; on the walls were pictures of Austrian lakes and seaside resorts, provincial costumes, sports...
A corridor decorated with two dioramas led to another room devoted to plastic art: watercolours, gouaches, pastels celebrating Austrian landscapes; gobelins, medals, plaques in long display cases. A shaded courtyard separated this part from the left wing; trees and perennials provided a green setting for a fountain and two statues, one bronze, the other ceramic, representing two young girls. The room one entered housed priestly ornaments, religious silverware, plans and photographs of works by the great church architect, C1eens Holzmeister; further on, objects inspired by
further on, objects inspired by modern art, jewellery, trinkets, bronzes, enamels, glassware, leatherwork, carpets, embroidery, etc. A special stand, reserved for tourism, showed superb photographic enlargements, revealing a country singularly rich in sites and monuments, in spas, baths, winter and summer sports resorts.
Numerous individual stands completed this synthesis of art and industry in Austria today. But the Austrian participation was not limited to this pavilion. The Tobacco Company sold its products in an elegant kiosk next to the official pavilion; and under the shade of a grove, a picturesque construction made of tree trunks reproduced, in its furniture and decoration, the dwelling of a farmer, with its large bed and its earthenware stove.
The Palais de l'Art Ancien and the Salon de l'Art Moderne also had a large and rich Austrian participation.
Finally, due to lack of space, exhibitors from this country had to set up under the high glass roofs of the International Hall; while, among the Exhibition's restaurants, the Tyrolean restaurant was a great success, with its ladies' orchestra, its pastries, its sausages and its authentically national beer.
© Le Livre d'Or de l'Exposition Universelle de Bruxelles 1935