In the German states, the private obsession with ancient Greece took public forms, institutionalizing an elite philhellene ethos through the Gymnasium, to revitalize German education at home, and providing on two occasions high-minded philhellene German princes ignorant of modern-day Greek realities, to be Greek sovereigns. During the later 19th century the new studies of archaeology and anthropology began to offer a quite separate view of ancient Greece, which had previously been experienced at second-hand only through Greek literature, Greek sculpture and architecture. Twentieth-century heirs of the 19th-century view of an unchanging, immortal quality of "Greekness" are typified in J. C. Lawson's Modern Greek Folklore and Ancient Greek Religion (1910) or R. and E. Blum's The Dangerous Hour: The lore of crisis and mystery in rural Greece (1970); according to the Classicist Paul Cartledge, they "represent this ideological construction of Greekness as an essence, a Classicizing essence to be sure, impervious to such historic changes as that from paganism to Orthodox Christianity, or from subsistence peasant agriculture to more or less internationally market-driven capitalist farming." The Philhellenic movement led to the introduction of Classics or Classical studies as a key element in education, introduced in the Gymnasien in Prussia. In England the main proponent of Classics in schools was Thomas Arnold, headmaster at Rugby School. Nikos Dimou's The Misfortune to be Greek argues that the Philhellenes' expectation for the modern Greek people to live up to their ancestors' allegedly glorious past has always been a burden upon the Greeks themselves. In particular, Western Philhellenism focused exclusively on the heritage of Classical Greece, while negating or rejecting the heritage of the Byzantine Empire and the Greek Orthodox Church, which for the Greek people are at least as important. Philhellenism and art Philhellenism also created a renewed interest in the artistic movement of Neoclassicism, which idealized fifth-century Classical Greek art and architecture, very much at second hand, through the writings of the first generation of art historians, like Johann Joachim Winckelmann and Gotthold Ephraim Lessing. The groundswell of the Philhellenic movement was result of two generations of intrepid artists and amateur treasure-seekers, from Stuart and Revett, who published their measured drawings as The Antiquities of Athens and culminating with the removal of sculptures from Aegina and the Parthenon (the Elgin Marbles), works that ravished the British Philhellenes, many of whom, however, deplored their removal. Philhellenism in the Greek War of Independence and later