In 1889 the artist Albert Edelfelt depicted the national awakening in a poster showing Mme Paris receiving Finland, a damsel, who alights with a model of St Nicholas' Church (later Helsinki Cathedral) on her hat; the parcels in the boat are all marked EU (i.e. Exposition Universelle). A distinct symbolic importance was given in 1900 to Finland receiving its own pavilion at the Paris World Expo, designed by young architects Herman Gesellius, Armas Lindgren and Eliel Saarinen in the so-called Jugendstil style (or Art Nouveau) then popular in Central Europe. The Finnish pavilion was well received by the European press and critics, albeit usually tying the building closely with Finland's cultural-political circumstances. For example, the German art historian and critic Julius Meier-Graefe wrote of the pavilion: "From the peripheries... we would like to mention the extremely effective Finnish pavilion, with its extremely simple and modern design ... the character of the country and the people and the strong conditioning of its artists for the decorative are reflected in the building in the most pleasant way.".