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g the capital, and among the low hills surrounding Potsdam before it actually began to rain. They wished immediately to see Sans Souci for the great Frederick's sake, and they drove through a lively shower to the palace, where they waited with a horde of twenty-five other tourists in a gusty colonnade before they were led through Voltaire's room and Frederick's death chamber. The French philosopher comes before the Prussian prince at Sans Souci even in the palatial villa which expresses the wilful caprice of the great Frederick as few edifices have embodied the whims or tastes of their owners. The whole affair is eighteenth-century French, as the Germans conceived it. The gardened terrace from which the low, one-story building, thickly crusted with baroque sculptures, looks down into a many-colored parterre, was luxuriantly French, and sentimentally French the colonnaded front opening to a perspective of artificial ruins, with broken pillars lifting a conscious fragment of architrave against the sky. Within, all again was French in the design, the decoration and the furnishing. At that time there, was in fact no other taste, and Frederick, who despised and disused his native tongue, was resolved upon French taste even in his intimate companionship. The droll story of his coquetry with the terrible free spirit which he got from France to be his guest is vividly reanimated at Sans Souci, where one breathes the very air in which the strangely assorted companions lived, and in which they parted so soon to pursue each other with brutal annoyance on one side, and with merciless mockery on the other. Voltaire was long ago revenged upon his host for all the indignities he suffered from him in their comedy; he left deeply graven upon Frederick's fame the trace of those lacerating talons which he could strike to the quick; and it is the singular effect of this scene of their brief friendship that one feels there the pre-eminence of the wit in whatever was most important to mankind. The rain had lifted a little and the sun shone out on the bloom of the lovely parterre where the Marches profited by a smiling moment to wander among the statues and the roses heavy with the shower. Then they walked back to their carriage and drove to the New Palace, which expresses in differing architectural terms the same subjection to an alien ideal of beauty. It is thronged without by delightfully preposterous rococco statues, and within it is
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