In and Around Berlin

by Minerva Brace Norton

In another room are miniature mail-coaches of different kinds. In the centre of this apartment stands a life-size figure of a mail-carrier in Germany of four hundred years ago. He is a wild-looking official, reminding one by his bronzed features and general appearance of some trusty Indian scout, as he holds his gun in an attitude of suspicion and menace, while a bear-cub opens a capacious mouth at his feet.

Model mail and post-office cars occupy the side of another large room; but this exhibit is so vast and varied that the memory refuses to retain its classification, and holds side by side Alaskan sledges drawn by dogs, Russian post-chaises with reindeer teams, mail-boats on Norwegian fiords, carrier-pigeons and balloons, camels and elephants, and the model mail-coach of the lightning express of the New York Central Railroad. The working appliance used in America for catching off a mail-bag without stopping the train attracts much attention. There is a complete set of the weights and measures used in British post-offices, and two glass cases show the forms of horseshoes best adapted to the speed of horses carrying mails. Tablets, pens, and pencils have cases to themselves, as well as parchments, ancient rolls and ink-horns, reeds and papyrus. Here are the primitive postal arrangements of some of the East Indies; there is the yellow satin missive with a scarlet seal which carries the royal mandates of Siam. Pictures and models of mail-carrying elephants come next, their gay saddle-cloths filled with pockets and parchment rolls. A model of a Japanese post-office is finished in all its interior with the perfection of detail and delicacy of execution which characterize the best Japanese work. A framed engraving of the International Postal Congress at Berne in 1874 hangs near one of the Congress at Paris in 1878. There is a room devoted to the exhibition of postal stamps, cards, and envelopes of every kind, and there are several rooms where models of the most approved kinds of telegraphic apparatus are shown. In a corridor are all varieties of submarine cables, with the ore and the Bessemer steel of which they are spun. In one of the rooms a small crowd is collected about an operator who speaks through a telephone, records the sound of his own voice on strips of foil, which he tears into fragments and distributes to those who eagerly reach for them. In the centre of this room there is a tiny circular railway, with a coach, but no locomotive, standing on the track. By turning the wheel of an electro-magnet the official produces an electric light at the extremity of a model burner; then, applying the same power to the little railway, propels the coach at a rapid rate by means of the invisible agent. One goes forth into the street, past wax figures of armed and mounted mail-messengers in the Middle Ages, past the model street mail-boxes and carriages which help to make so wonderful the Berlin postal arrangements, in a maze at what may here be seen in a single half-hour of the history of mail-carrying in all lands and ages. The originator of this "Post Museum" is Dr. Stephan, the inventor of the postal card and the chief promoter of the International Postal Union. His is the "power behind the throne" which has made the German postal system a marvel of efficiency, unsurpassed, if not unrivalled, in the world.

Less known to travellers than many others far inferior in interest, is the Hohenzollern Museum, occupying the Monbijou Palace in the heart of Berlin. This palace, of so much interest to the readers of Carlyle's "Frederick the Great," has been transformed into a repository for the personal belongings and memorials of the kings and queens of Prussia. One or more rooms devoted to each sovereign in historical succession make up a fascinating picture of the royal customs of the kingdom for two hundred years. Our attention was called to this museum by an English resident, but its interest far exceeded our expectations. Here are the laces, jewels, and often the entire wardrobes of the Hohenzollern queens, with their writing desks and tablets, jewel-cases, embroidery, work-baskets, mirrors, beds, and other furniture; and the kings have each their own apartment likewise, tenanted by their "counterfeit presentments" in wax, sitting or standing in the very clothes they wore, and surrounded by visible mementos of the life they used to live. The glittering eyes and mundane expression of Frederick William I., father of Frederick the Great, give one a strange feeling, and the chairs and table of his "Tobacco College" must have a vivid interest for every reader of Carlyle's "Frederick." But when we entered the rooms containing the many mementos of the Great Frederick himself, from his effigy in the cradle and his baby shoes, and threaded all the vicissitudes of that strangely fascinating life by the help of its visible surroundings, and finally stood before the glass case containing a mask of his dead face and hand surrounded by its laurel wreath, the spell of the past was at its height. It was a bright sunny afternoon, and the golden light came in long slanting lines through windows opening on Monbijou gardens, beautiful even in winter, and lay upon the tessellated floors of the corridors in patterns of shining glory. The chat and laughter of young companions floated from adjoining rooms, and the foot of the guard fell softly in the marble halls. But a kind of awe born of that wonderful past had taken possession of me. I was alone with the spirit of the Great Monarch, and it was more than could be borne. We hurried away from the spot, as when children we fled from fancied ghosts. To one in search of a genuine sensation, we recommend the reading (with judicious skipping) of Carlyle's "Frederick the Great," and a visit, alone or with a single companion, to the Hohenzollern Museum.

Upwards of twenty years ago, German trade was falling behind in the best markets of the world, because the products of German industry were largely poor in quality and deficient in artistic value. With the Duke of Ratisbon, President of the Herrenhaus, as chairman of a committee appointed to consider the subject, a few leading minds combined in a movement which issued in the establishment of the Industrial Art Museum. The Crown Prince and the Crown Princess were much interested in the subject, and gave the plan their hearty support. Less than ten years since, the fine new building in Zimmer Strasse near Königgrätzer was opened on the birthday of the Crown Princess, to receive the vast treasures accumulated, by gift, loan, and purchase, for the permanent exhibition. A cursory visit, though most interesting, is sometimes bewildering from the extent and variety of the collection. The centre of the edifice consists of a large court, roofed with glass and surrounded by two galleries. This is the place reserved for loan exhibitions, and several of importance have already been held here. One of the earlier was of some of the treasures of the South Kensington Museum, loaned by Queen Victoria. Opening upon these arcades are numerous halls on the lower floor, devoted to the permanent exhibition. The classification of the objects exhibited, if not loose, is very general, seeming to us inferior to the method which makes the South Kensington a delight, whether one has hours or months in which to visit it. On the ground floor of this Berlin Museum are "objects in the making of which fire is not used." This includes domestic and ecclesiastical furniture of different countries and historical periods, musical instruments, tapestries, carvings in ivory and wood, and many other objects widely separated in thought. A fine exhibit is made of articles in amber wrought by workmen of rich old Dantzic, for which Baltic Germany furnishes the raw material. The ancient Italian carved bridal-chests brought vividly to mind our childhood's favorite story of Ginevra, by chance imprisoned in such a chest on the day which was to have witnessed her marriage.

The upper floor, with an arrangement similar to that of the lower, shows "objects in the manufacture of which fire is necessary." The very extensive collection of pottery and porcelain was surpassed, in our observation, only by that at Sèvres; and there are many rare and valuable specimens of work in glass and metals. The ancient municipal silver service of the city of Lüneberg, bought at a cost of $165,000, deserves the attention it attracts; and the work of German mediæval goldsmiths—particularly of the famous Augsburg artisans—is a revelation of the possibilities of human handiwork. Stained glass, of much historic and artistic value, fills the windows of the entire building. The specimens of textile fabrics, in completeness and extent, are matchless, and are so arranged as to afford the utmost facility to students of the history of this important subject, as well as great pleasure to the favored visitor who has the opportunity to inspect them.

This "Künstgewerbe Museum" is open to the public without charge on three days of the week, and for a small fee on the remaining days; while its valuable industrial library may be freely consulted on four week-day evenings. Its influence is already strongly felt along the lines of trade and industry throughout the Empire.

The great Ethnographical Museum adjoining, on the corner of Königgrätzer Strasse, has the kind and variety of objects usually found in such exhibitions, including those connected with several races of American Indians. The other departments were, to us, eclipsed in interest by the Schliemann exhibition of Trojan remains on the ground floor. Here we found, on the walls, framed pencil or India ink sketches of the localities where the earlier excavations were made, plans of the work, sections of the unearthed portions, and the precious old Trojan antiquities themselves, deposited here for inspection and safe keeping.

The Märkische Museum, in the Fisch Markt, a centre of Old Berlin, illustrates the history and the prehistoric times of the Mark of Brandenburg, including an interesting department of curiosities from the lake-dwellings and tumuli. There are also ancient coins and other objects picked up at different times within the province. One of the later treasures of this unique museum is the box from which the monk Tetzel sold the indulgences which fanned into a flame the rising fires of the Reformation.