The German Emperor as Shown in His Public Utterances

True Art

Berlin, December 18, 1901

The family of the Hohenzollerns has possessed undoubted genius in many lines. Frederick the Great and the Emperor’s great-uncle Frederick William IV were particularly gifted on the artistic side. The present Emperor, whose versatility is amazing, has taken a particular interest in things literary and artistic, and has himself occasionally assumed the rôle of creative artist. The symbolic picture, representing the coming of the “Yellow Peril,” which he is said to have painted for the Czar, caused much comment, mostly unfavorable.36 He has, however, assumed a prominent if not a decisive rôle in directing sculpture, painting, and drama in his capital. Just as he has directed modifications in battle-ships, so also he has directed modifications in public buildings. As he is in a position to distribute rewards, his advice is frequently accepted without question. The following anecdote, told by a prominent German architect and recounted by a recent writer, may serve as an illustration: Drawings for a new church in Berlin were submitted to the Emperor for assent or correction. His Majesty, intending to make a marginal remark, with regard to the cross on the top of the steeple, put a letter for reference above the cross and drew a straight line from the letter down to the cross. Having changed his mind, he drew an X vigorously through the letter. When the architect received his plans again he studied carefully all the Emperor’s corrections, but mistook the cancelled letter for a star. Knowing better than to ask questions, he built the church and put a big star on a huge iron pole above the top of the cross. This strange excrescence was in existence a few years ago and is probably still visible.

It is a curious fact that for all the Emperor’s insistence upon what might be called nationalism, in artistic matters at least, in poetry, sculpture, and the drama, he has very little sympathy with the modern German tendencies. Klinger and Stuck, Ludwig von Hofmann and Thoma have found no favor, and no attention was paid to Böcklin. His literary preferences will become more evident after a reading of his talk with Ganghofer (November 12, 1906).

In the matter of sculpture, the achievement in which the Emperor takes most pride is undoubtedly the famous Siegesallee in Berlin. It consists of a number of monumental, heroic figures taken from the history of his house. The avenue, the general scheme, and the arrangement of many of the figures were planned by him, and the figures were chosen in consultation with his historiographer. The style is supposedly classic; there are many incidental animal figures, and a sphinx and the sibyl help to represent Bismarck. The attempt to make heroic and classic certain of the fairly mediocre representatives of his line, like Albrecht, Otto and John, Joachim, Frederick, and George William, seems to have been too difficult a task even for that Berlin school of sculpture, which the Emperor feels would bear comparison with that of the Renaissance. Notwithstanding his own efforts to awaken art “from the cold sleep of unculture,” it is perhaps significant that powerful, independent personalities, Michelangelos in sculpture and Bismarcks in politics, do not seem to thrive under the Emperor’s protection.

This eighteenth day of December has a certain significance in the history of our art here in Berlin, from the fact that that revered protector of the Muses, my late father, and my mother, who was so gifted in the arts, dedicated on that day, fifteen years ago, the Anthropological Museum. This was in a way the last great closing act which my father accomplished in this direction, and I look upon it as a special piece of good fortune that it is on precisely this day of the year that the works for the Siegesallee could be completed.

I seize with joy the opportunity to express to you all, first, my congratulations and, secondly, my thanks for the way and manner in which you have helped me to carry out my original plan. The accomplishment of the programme for the Siegesallee has required a number of years, and it was the able historiographer of my house, Professor Doctor Koser, who put me in a position to assign to the gentlemen the tasks which it was possible for them to carry out.

Once we had found the historical basis, it was possible to go ahead; and after the choice of the princes was decided upon, then the most competent men in the way of historical research were found to help the gentlemen in their work. In this way the groups were conceived, and, conditioned to a certain degree by history, they gradually took form.

After this part of the work was done, then, naturally, came the hardest question of all: Would it be possible, as I hoped, to find enough artists in Berlin who would be in a position to give themselves entirely to the execution of this programme?

I had in mind when I approached the solution of this problem, if I were successful, to show to the world what I considered to be the most advantageous method of solving an artistic question of this character. The best way to go about it, I believe, consists not in the appointment of commissions, not in the establishment of all possible kinds of prize contests and competitions, but in following the old established method which they used in classical times and also later in the Middle Ages. In this way, the direct intercourse between the employer and the artist offers a security for the favorable shaping of the work and for the successful accomplishment of the task.

I am especially indebted in this particular to Professor Rheinhold Begas in that, when I went to him with these thoughts, he made it clear to me without further ceremony that there was absolutely no doubt but that there were enough artists of all kinds in Berlin to carry out such an idea without difficulty. With his help and on the basis of friendships formed in the circle of sculptors here through visits to exhibitions and studios I did, indeed, succeed in getting together a staff with which to proceed in carrying out this task—a staff the greater part of which I see gathered about me here to-day.

I believe that you will not deny that I have made the execution of the programme developed by me as easy as possible for you. I have placed the task before you and limited it in a general way, but for the rest I have given you absolute freedom, not only freedom in the combination and composition but precisely that freedom to put into it a certain amount of yourselves—a thing that every artist must do in order to put his own stamp upon his work; for every work of art contains within it a kernel of the artist’s own character. I believe that this experiment, if I may call it so, through which the Siegesallee was completed, dare be looked upon as a success.

Although interviews have been necessary between me and the artists who were carrying out the work in order to settle every doubt and to answer every question, no difficulties of a more serious nature have shown themselves. I believe, therefore, that from this point of view we can look back upon the Siegesallee with general satisfaction. You have individually solved your problems as you saw fit, and I, on my side, have the feeling that I have allowed you the fullest measure of freedom and time—a thing I hold to be necessary for the artist. I have never gone into details and have contented myself with giving merely the direction, the impulse.

But it fills me with pride and joy to-day when I think that Berlin stands before the whole world with a body of artists who are capable of carrying out such a magnificent work. It proves that the Berlin school of sculpture stands at a height such as could hardly have been surpassed even in the time of the Renaissance. And I think every one of you will agree, without jealousy, that the effective example of Rheinhold Begas and his conception, based upon his knowledge of the antique, has been a guide to many of you in the working out of this great task.

Here, also, we could draw a parallel between the great achievements in the art of the Middle Ages and of the Italians; since in that time, also, the sovereign and art-loving prince who offered the commissions to the artists at the same time found the masters, about whom a crowd of young disciples gathered, so that a certain school was in this way developed which was able to accomplish remarkable things.

Now, gentlemen, the Pergamon Museum has also been opened on this same day, in Berlin. I regard that, too, as a very important portion of our art history and as a good omen and a happy coincidence. A more magnificent collection cannot be imagined than the abundance of beauty which is displayed in these rooms before the eyes of the astonished observer.

But how does art stand in the world to-day? It takes its examples and creates out of the great sources of Mother Nature; and Nature, in spite of her great, apparently boundless, limitless freedom, acts according to everlasting laws which the Creator has set for Himself and which can never be infringed upon or overstepped without endangering the development of the world.

It is the same in art. And in looking upon the magnificent remains from the old classic period we experience the same feeling. Here, too, an eternal, unchanging law rules; the law of beauty and harmony—of æsthetics. This law was expressed by the ancients in so surprising and powerful a manner and in so complete a form that we, for all our modern perceptions and our power of accomplishment, are proud if it can be said of some very especially good piece of work: “That is almost as good as if it had been done 1900 years ago.”

“Almost!” Under this impression I shall ask you to take this injunction to heart. Sculpture has for the most part remained free from the so-called modern tendencies and influences; it still stands high and sublime. Keep it so; do not let yourselves be led astray by the judgment of men and by all sorts of windy doctrines to give up these great principles upon which it is based.

An art which oversteps the laws and boundaries which I have indicated is no longer art; it is factory work, it is trade; and that no art dare become. Through the much-misused word “freedom” and under her flag one often falls into indefiniteness, boundlessness, conceit. However, he who cuts loose from the law of beauty and from the feeling for æsthetics and harmony which, whether he can express it or not, every man feels in his heart; he who thinks the chief thing is to turn his thoughts in a certain direction toward a definite solution of more technical problems, sins against the very sources of his art.

Furthermore, art must help to educate the people; it must also give the lower classes, after their cramping exertions, the opportunity to right themselves again through ideals. To us, the German people, great ideals are a lasting possession, while with other peoples they have been more or less lost. It is now the German people whose special province it is to protect these great ideas, to foster them, to set them forth; and to these ideas belongs the duty of giving to those classes who tire themselves out through labor the opportunity to raise themselves through beautiful things and to work themselves out of and above their ordinary circles of thought.

If, however, art, as often happens nowadays, does nothing more than to make misery even more hideous than it already is, then it sins against the German people. The fostering of the ideal is the greatest work of culture; and if we wish to be and to remain a pattern in this for other peoples, then we must all work together; and if culture is to accomplish its full task, then it must penetrate through to the very lowest strata of the people. That it can only do if art lends a hand, if it raises up instead of drawing down into the gutter.

As ruler, I often feel very bitter that art, through her masters, should not be energetic enough to make a stand against such tendencies. I do not doubt for a moment but that many an earnest but misguided character, perhaps filled with the best intentions, is to be found among the devotees of this tendency. The real artist needs no advertising, no press, no connections. I do not believe that your great examples in the realm of science, either in ancient Greece or in Italy or in the time of the Renaissance, used any such methods as are now often practised through the press to bring their ideas especially into the foreground. They worked as God directed them; for the rest they allowed the world to criticise.

And that is the way an honorable, sincere artist must act. Art which stoops to advertising is no longer art, were it praised to the skies. Every one, be he never so simple, has a feeling for that which is beautiful or ugly, and it is to foster this feeling further among the people that I have need of all of you; and that you should have accomplished such a piece of work in the Siegesallee, I, therefore, thank you particularly.

I may now confide something to you. The impression which the Siegesallee makes upon foreigners is quite overwhelming; everywhere an immense respect for German sculpture is noticeable. May you remain standing upon these heights; may also my children and my grandchildren, if they shall one day be granted to me, keep the same masters by their side! Then, I am convinced, our people will be in a position to love the beautiful and to hold high the ideal.

I raise my glass and drink to the health of all of you; and, once more, my heartiest thanks.

Notes

36 “Emperor William, one of the most comical persons of our time, orator, poet, musician, dramatic writer, and artist, and, above all, patriot, has lately painted a picture representing all the nations of Europe with swords, standing at the seashore and, at the indication of Archangel Michael, looking at the sitting figures of Buddha and Confucius in the distance. According to William’s intention, this should mean that the nations of Europe ought to unite in order to defend themselves against the peril which is proceeding from there. He is quite right from his coarse, pagan, patriotic point of view, which is eighteen hundred years behind the times. The European nations, forgetting Christ, have in the name of their patriotism more and more irritated these peaceful nations and have taught them patriotism and war, and have now irritated them so much that, indeed, if Japan and China will as fully forget the teachings of Buddha and of Confucius as we have forgotten the teachings of Christ, they will soon learn the art of killing people (they learn these things quickly, as Japan has proved), and, being fearless, agile, strong, and populous, they will inevitably very soon make of the countries of Europe, if Europe does not invent something stronger than guns and Edison’s inventions, what the countries of Europe are making of Africa. ‘The disciple is not above his master: but every one that is perfect shall be as his master’ (Luke 6:40).”—Tolstoi.