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Every one is ill dressed, but no one is ragged, and among the undersized homely folk of the lower classes there is no such poverty-stricken shabbiness as shocks and insults the sight in New York. That which distinctly recalls our metropolis is the lofty passage of the elevated trains intersecting the prospectives of many streets; but in Berlin the elevated road is carried on massive brick archways and not lifted upon gay, crazy iron ladders like ours. When you look away from this, and regard Berlin on its aesthetic, side you are again in that banished Paris, whose captive art-soul is made to serve, so far as it may be enslaved to such an effect, in the celebration of the German triumph over France. Berlin has never the presence of a great capital, however, in spite of its perpetual monumental insistence. There is no streaming movement in broad vistas; the dull looking population moves sluggishly; there is no show of fine equipages. The prevailing tone of the city and the sky is gray; but under the cloudy heaven there is no responsive Gothic solemnity in the architecture. There are hints of the older German cities in some of the remote and observe streets, but otherwise all is as new as Boston, which in fact the actual Berlin hardly antedates. There are easily more statues in Berlin than in any other city in the world, but they only unite in failing to give Berlin an artistic air. They stand in long rows on the cornices; they crowd the pediments; they poise on one leg above domes and arches; they shelter themselves in niches; they ride about on horseback; they sit or lounge on street corners or in garden walks; all with a mediocrity in the older sort which fails of any impression. If they were only furiously baroque they would be something, and it may be from a sense of this that there is a self-assertion in the recent sculptures, which are always patriotic, more noisy and bragging than anything else in perennial brass. This offensive art is the modern Prussian avatar of the old German romantic spirit, and bears the same relation to it that modern romanticism in literature bears to romance. It finds its apotheosis in the monument to Kaiser Wilhelm I., a vast incoherent group of swelling and swaggering bronze, commemorating the victory of the first Prussian Emperor in the war with the last French Emperor, and avenging the vanquished upon the victors by its ugliness. The ungainly and irrelevant assemblage of men and anim
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