musty junk, And all its foolish nonsense. The Middle Ages I’ll endure, If you bring back the genuine item; Just rescue us from this bastard state, And from its farcical system, From that mongrel chivalry, Such a nauseating dish Of Gothic fancies and modern deceit, That is neither flesh nor fish. Shut down all the theatres, And chase their comedians pack, Who parody the olden days. O, Emperor, do come back! Arts After the 1870s "national romanticism", as it is more usually called, became a familiar movement in the arts. Romantic musical nationalism is exemplified by the work of Bedřich Smetana, especially the symphonic poem "Vltava". In Scandinavia and the Slavic parts of Europe especially, "national romanticism" provided a series of answers to the 19th-century search for styles that would be culturally meaningful and evocative, yet not merely historicist. When a church was built over the spot in St Petersburg where Tsar Alexander II of Russia had been assassinated, the "Church of the Savior on Blood", the natural style to use was one that best evoked traditional Russian features (illustration, left). In Finland, the reassembly of the national epic, the Kalevala, inspired paintings and murals in the National Romantic style that substituted there for the international Art Nouveau styles. The foremost proponent in Finland was Akseli Gallen-Kallela (illustration, below right). By the turn of the century, ethnic self-determination had become an assumption held as being progressive and liberal. There were romantic nationalist movements for separation in Finland, Estonia, Latvia and Lithuania, the Kingdom of Bavaria held apart from a united Germany, and Czech and Serb nationalism continued to trouble Imperial politics. The flowering of arts which drew inspiration from national epics and song continued unabated. The Zionist movement revived Hebrew, and began immigration to Eretz Yisrael, and Welsh and Irish tongues also experienced a poetic revival. Claims of primacy or superiority At the same time, linguistic and cultural nationality, colored with pre-genetic concepts of race, bolstered two rhetorical claims used to this day: claims of primacy and claims of superiority. Primacy is the claimed inalienable right of a culturally and racially defined people to a geographical terrain, a "heartland" (a vivid expression) or homeland. Richard Wagner notoriously argued that those who were ethnically different could not comprehend the artistic and cultural meaning inherent in national culture. Identifying "Jewishness" even in musical style, he specifically attacked the Jews as being unwilling