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