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370 Matthew Rampley Key individuals of the Hungarian art world of the mid-nineteenth century were thus associated with Böhm, and the Böhm circle also served as a point of origin for art his- tory not only in Vienna but also in Hungary. Henszlmann also championed medieval art and architecture : in his study of the “German style” churches of Košice he advocated a Gothic revivalist restoration of the cathedral which, while symptomatic of a broader development  – one might think of his contemporary Eugène Viollet-le-Duc  – may also be due to Böhm.16 He persisted with this preference ; in 1862, he would argue that the planned new home for the Hungarian Academy of Sciences should be built in a Neogothic style.17 It is thanks to Henszlmann, too, that a fairly detailed picture can be built up of Böhm’s teaching style and intellectual concern, for in his obituary of the artist Henszlmann described in some detail the procedures of the meetings of the circle.18 Böhm left no writings outlining his ideas, but thanks to correspondence from Henszlmann we know that they certainly existed and that they played some part in his own intellectual development.19 Later, Henszlmann would testify to the importance of Böhm for the growth of the scientific study of art in Austria-Hungary, raising it to a level that exceeded even that of Germany.20 1851, and later sold it to the Liverpool-based collector Joseph Mayer, whose private collection be- came the basis of the World Museum in Liverpool, where the codex is still to be found. 16 On Henszlmann’s activity in conservation and restoration see A. Horváth, Imre Henszlmann, and the Origins of Monument Preservation in Hungary, in : Periodica Polytechnica Architecture, 34, 1990, H.  3–4, pp.  139–160. 17 I. Henszlmann, A Magyar akadémia épülete [The building of the Hungarian academy], in : idem, Válogatott képzőművészeti írások [Selected writings on fine art], Budapest 1990, pp.  203–209. 18 E. Henszlmann, Daniel Joseph Böhm, in : Oesterreichische Revue, 4, 1866, pp.  110–127. 19 Henszlmann, Letter to Ferenc Pulszky, 2  September 1839, in : I. Henszlmann, Levelezése és Iratai : 1826–1860 Augusztus [Correspondence and writings : 1836–August 1860] (ed. E. Szintesi), Budapest 2016, p.  40. 20 “The annuals and reports of the Vienna Central Commission for Archeology can not only compete with any similar German ventures, but  – in the period when they were edited by two of Böhm’s excellent students, Heider and Eitelberger  – they also surpassed similar publications in the other German lands ; and why ? because they mostly built on Böhm’s teachings ; they started out from his principles and set the practical, individual study of objects as the primary task and the clear drawing up of chronological development as the surprising result, and as soon as archaeology and art criti- cism rejected lofty and obscure arguments based on the ›beautiful‹ and the ›ideal‹, and started to love and explain artistic character by using Böhm’s principles as a starting point, it could, firstly, explore history, and, secondly, improve taste, so that in Vienna nowadays it is not just the scholarly study of history that has risen to a much higher level than previously, but the newly established museum of art and industry, headed by Eitelberger, also has a huge influence on the improvement of industrial products.” I. Henszlmann, Böhm Dániel József, in : idem, Válogatott képzőművészeti írások (cit. n.  17), pp.  224 f. Open Access © 2019 by BÖHLAU VERLAG GMBH & CO.KG, WIEN