antique and early Christian art). Drawing on such diverse materials as Palmyrene art and sculpture, Anatolian sarcophagi, late antique ivories from Egypt, and Coptic textiles, Strzygowski argued, in overtly racial and often racist terms, that style change in late antiquity was the product of an overwhelming "Oriental" or "Semitic" influence. In one modern characterization of both the argument and its rhetorical tone, "Strzygowski [presented] Hellas as a beautiful maiden who sold herself to an 'Old Semite' to be kept as the jewel of his harem." Orient oder Rom was explicitly framed as an attack on Die Wiener Genesis (1895), by the Viennese art historian Franz Wickhoff, which had posited a Roman origin for the late antique style, a thesis that was pursued further by Alois Riegl in his Spätrömische Kunstindustrie, which also appeared in 1901. The ensuing controversy continued for decades and, if it resulted in no clear resolution, significantly raised the prominence of late antique art as an academic field of study. In the early 1900s Strzygowski was invited by Wilhelm von Bode to Germany to assist with the expansion of the Byzantine and other collections in Berlin museums. In 1909, however, upon Wickhoff's death, Strzygowski was appointed as his successor at the University of Vienna, partly as a result of the breadth of his research, and partly as a result of intricate academic politics and (possibly) the advocacy of Archduke Franz Ferdinand. His appointment resulted in an enduring schism among Viennese art historians, pitting Strzygowski against Max Dvořák and Julius von Schlosser, which was exacerbated when Strzygowski established his own research institute within the university (the Wiener Institut or Erstes kunsthistorisches Institut). In Vienna Strzygowski continued to publish on a variety of topics, focusing particularly on the arts of Byzantium and Islam, but also treating Armenian, Norse, and Slavic subjects, among others. He also gave frequent and well-attended public lectures to audiences "consisting partly, but not solely, of radical pan-German students and sycophants." Strzygowski's own radical pan-Germanism had already become clear in his popular Die bildende Kunst der Gegenwart (1907) (The visual art of the future), in which he praised the painting of Arnold Böcklin and called for a new German artist-hero to reject the heritage of classical antiquity and the Renaissance. It would not be possible to summarise all of the theses advanced by Strzygowski in the course of his career. Brief mention may be made of