d in the past,
and still possesses, so many world-famed painters and architectural
designers, should strongly resent the kaiser's assumption of the
supreme arbitership in all matters relating to art. His subjects
submitted to his claim of "_Regis voluntas suprema lex_," in matters
connected with the administration of the government, in diplomacy,
in the drama, in music, and in literature, but they deny his power to
impose upon them his taste in pictorial art.

It is no exaggeration to state that the emperor is in almost perpetual
conflict, and at open war with the great majority of German painters
and designers--a notable exception being the case of Professor von
Menzel. Indeed, their discontent occasionally breaks forth with
an intensity altogether new in the annals of German loyalty to the
throne. A very remarkable instance thereof is the means which they
adopted to show their disapproval of the emperor's treatment of
Wallot, the designer of the palace of the imperial parliament. Wallot
is universally recognized as the foremost architect of the age in
Germany, and his original design for the building, as accepted by
the authorities, was a very grandiose and magnificent conception.
Financial considerations necessitated the modification of some of the
features of the building, while others were forced upon the architect
sorely against his will by the emperor, with the result that the
palace is not quite so superb as originally projected. It remains,
however, a magnificent and imposing pile, well worthy of the purpose
for which it has been erected, and in no way a displeasing monument of
German art and architecture as understood in the nineteenth century.

All the recognized authorities, both Teuton and foreign, in questions
of art and architecture, have pronounced themselves in this sense,
the only discordant note being that to which the emperor has given
utterance. Not only has he publicly declared the new Reichshaus to
be "the very acme of bad taste," but he even went to the length of
striking the designer's name from the list of gold medalists at the
exhibition of art and architecture held at Berlin shortly after the
completion and inauguration of the building. The gold medal had been
voted to Herr Wallot by a jury composed of all the most celebrated
artists in Germany, whose verdict, representing that of the nation,
might have been considered as definite and final. The kaiser, however,
when the list was submitted