the former pagoda at Tokyo's imperial temple. Apart from the collection of regional objects, which focused on ceramics, cloisonné wares, lacquerware, and textiles, the displays also included the female golden shachi from Nagoya Castle and a papier-maché copy of the Kamakura Buddha. The year after the fair, Sano compiled a report on it which ran to 96 volumes divided into 16 parts, including a strong plea for the creation of a museum on western lines in the Japanese capital; the government further began hosting national industrial exhibitions at Ueno Park in 1877. Ottoman pavilion Osman Hamdi Bey, an archaeologist and painter, was chosen by the Ottoman government as commissary of the empire's exhibits in Vienna. He organized the Ottoman pavilion with Victor Marie de Launay, a French-born Ottoman official and archivist, who had written the catalogue for the Ottoman Empire's exhibition at the 1867 Paris World's Fair. The Ottoman pavilion, located near the Egyptian pavilion (which had its own pavilion despite being a territory of the Ottoman Empire), in the park outside the Rotunde, included small replicas of notable Ottoman buildings and models of vernacular architecture: a replica of the Sultan Ahmed Fountain in the Topkapı Palace, a model Istanbul residence, a representative Turkish bath, a cafe, and a bazaar. The 1873 Ottoman pavilion was more prominent than its pavilion in 1867. The Vienna exhibition set off Western nations' pavilions against Eastern pavilions, with the host, the Austro-Hungarian Empire, setting itself at the juncture between East and West. A report by the Ottoman commission for the exhibition expressed a goal of inspiring with their display "a serious interest [in the Ottoman Empire] on the part of the industrialists, traders, artists, and scholars of other nations...." The Ottoman pavilion included a gallery of mannequins wearing the traditional costumes of many of the varied ethnic groups of the Ottoman Empire. To supplement the cases of costumes, Osman Hamdi and de Launay created a photographic book of Ottoman costumes, the Elbise-i 'Osmaniyye (Les costumes populaires de la Turquie), with photographs by Pascal Sébah. The photographic plates of the Elbise depicted traditional Ottoman costumes, commissioned from artisans working in the administrative divisions (vilayets) of the Empire, worn by men, women, and children who resembled the various ethnic and religious types of the empire, though the models were all found in Istanbul. The photographs are accompanied by texts describing the costumes in detail and commenting