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386 Matthew Rampley its journal. The important exhibition of goldsmithing in the Museum of Applied Arts in Budapest was the subject of an extensive review by Bruno Bucher, for example.69 But this was the exception ; compared to the level of interest in the crownlands of Galicia, Moravia, Bohemia and Gorizia, for example, the attention given to Hungarian art and design was minor.70 Slowly, external political realities began to intrude. Eitelberger envisaged the Museum (and art more generally) as participating in an Austrian political and social order that transcended national differences. The same held true for Henszlmann and Pulszky in respect of Hungary. This outlook was rooted in a Liberal notion of national identity that first emerged in the first half of the century and it converged with the narrative of cosmopolitanism that was formulated to legitimate Habsburg rule. Yet in the final decades of the 1800s Liberalism in both halves of the Empire took on a decidedly more nationalistic tone. In part this was in response to the rise of nationalist movements ; in order to compete on the political stage, Liberals came to adopt, in modified form, some of the rhetoric of their opponents. In Hungary, for example, the image of a universal enlightened civilization was displaced by an ethnically defined notion of Magyar identity based on romantic conceptions of the nomadic ori- gins of the Magyars in central Asia. In part, too, however, this shift was the working out of contradictions and tensions within that older liberal discourse. Their root cause of such contradictions could be found in this understanding of Ger- man (and Hungarian) identity and its place in the Empire, and its contradictory atti- tudes are fully in evidence in Eitelberger’s writings. He endorsed the Habsburg vision of an Austrian identity based on its cultural diversity. The Empire’s great achievements were based, he argued, on the fact that it had been open to individuals from many places and had welcomed them as good Austrians. In the field of politics, he noted, Prince Eugene (from Savoy), Field Marshal Laudon (originally from Livonia), General Karl von Schönhals (born near Wetzlar in Hessen) had all made crucial contributions to Austrian life. A similar story could be told about the arts : figures such as Gottfried van Swieten, the Dutch composer and patron of composers such as Mozart and Haydn, Johann Peter Krafft and Heinrich Füger had all come from Germany : “Das geistige Leben Wiens darf nicht auf einen particularistischen oder nationalen Isolierschemel gestellt werden, wie es in Pest, Agram or Krakau geschieht.”71 Yet apart from the fact 69 B. Bucher, Die Goldschmiedekunst Ausstellung in Budapest, in : Mittheilungen des k. k. Österr. Museums für Kunst und Industrie, 19, 1884, pp.  122–129. 70 There were some exceptions. See, for example, K. Herich, Die ungarische Hausindustrie, in : Mit- theilungen des k. k. Österr. Museums für Kunst und Industrie, N.  F.  6, 1891, pp.  298–306. 71 “Viennese intellectual life cannot be placed on a national or particularistic Isolierschemel, as hap- pens in Pest, Zagreb or Cracow.” R. Eitelberger von Edelberg, Die Plastik Wiens, in : idem, Gesammelte kunsthistorische Schriften, vol.  2 (cit. n.  4), pp.  104–157, esp. p.  141. Open Access © 2019 by BÖHLAU VERLAG GMBH & CO.KG, WIEN