Seite - 295 - in Rudolf Eitelberger von Edelberg - Netzwerker der Kunstwelt

Rudolf von Eitelberger and Leopold Carl Müller 295 Industrielle muss immer den Weltmarkt […] vor Augen haben.”15 For Müller, markets would become a prime cultural enunciator of secular cohesion in Islamic Egypt. Articles and illustrations advocating anti-Imperialist views were also frequent in both papers. In “Vom Weltmarkte” (fig.  3) (Figaro, 5  September 1863), Müller visualized global political maneuvers as financial deals in which third-world countries were pawns for European power grabs. The Mexican crown on the table is being offered by Napoleon  III, dressed as a Mexican peasant woman, to Maximilian who carries a wooden horse labeled Eng- land and Russia.16 Müller’s sympathetic attitude towards North Africa was first ap- parent in his biting satire Diplomatische Logik (Figaro, 15  February 1868) where Arabs 15 R. Eitelberger von Edelberg, Die Kunstbestrebungen Österreichs zur Zeit der Eröffnung des neuen Museums-Gebäudes (Vortrag, gehalten am 23.  November 1871), in : idem, Oesterreichische Kunst-Institute und kunstgewerbliche Zeitfragen (Gesammelte kunsthistorische Schriften von Ru- dolf Eitelberger von Edelberg, vol.  2), Vienna 1879, pp.  171–203, esp. p.  177. 16 These details coincide with the political situation in the early fall of 1863 when the Imperial crown was offered by Napoleon’s commission to Maximilian who provisionally accepted on two conditions : that European powers guarantee his position (presumably referenced by the England and Russia labels) and that the offer be made on behalf of the Mexican people (hence Napoleon’s disguise). This Fig. 2 : Leopold Carl Müller, Illustrirte Karte von Oesterreich, in : Figaro, 7, No. 21, 9. May 1863, p. 84.