This is a doctrine that, sensible though it is, would hardly be subscribed to by the Emperor, to whom no new movement in art strongly appeals, and who thinks that such movements, unless founded on the old classical school, the Greek and Roman school of beauty, ought, in the public interest, to be discouraged. However, let him speak for himself. He set forth his art creed in a speech which he delivered on December 18, 1901, to the sculptors who had executed the Hohenzollern statues in the famous Siegesallée at Berlin, and which ran substantially as follows:—
"I gladly seize the occasion, first of all, to express my congratulations and then my thanks for the manner in which you have assisted me to carry out my original plan. The preparation of the plan for the Siegesallée has occupied many years, and the learned historiographer of my House, Professor Dr. Poser, is the man who put me in a position to set the artists clear and intelligible tasks. Once the historic basis was found the work could be proceeded with, and when the personalities of the princes were established it was possible to ascertain those who had been their most important helpers. In this manner the groups originated and, to a certain extent, conditioned by their history, the forms of them came into existence.
"The next most difficult question was—Was it possible, as I hoped it was, to find in Berlin so many artists as would be able to work together harmoniously to realize the programme?
"As I came to consider the question, I had in view to show the world that the most favourable condition for the successful achievement of the work was not the appointment of an art commission and the establishment of prize competitions, but that in accord with ancient custom, as in the classical period, and later during the Middle Ages, was the case, it lay in the direct intercourse of the employer with the artists.
"I am therefore especially obliged to Professor Reinhold Begas for having assured me, when I applied to him, that there was absolutely no doubt there could be found in Berlin a sufficiency of artists to carry out the idea; and with his help, and in consequence of the acquaintances I have made by visiting exhibitions and studios in Berlin, I succeeded in getting together a staff, the majority of whom I see around me, with whom to approach the task.
"I think you will not refuse me the testimony that, in respect of the programme I drew up I have made the treatment of it as easy as possible, that while I ordered and defined the work I gave you an absolute freedom not only in the combination and composition, but precisely the freedom to put into it that from himself which every artist must if he is to give the work the stamp of his own individuality, since every work of art contains in itself something of the individual character of the artist. I believe that this experiment, if I may so call it, as made in the Siegesallée, has succeeded.
"… I have never interfered with details, but have contented myself with simply giving the direction, the impulse.
"But to-day the thought that Berlin stands there before the whole world with a guild of artists able to carry out so magnificent a project fills me with satisfaction and pride. It shows that the Berlin school of art stands on a height which could hardly have been more splendid in the time of the Renaissance.
"Here, too, one can draw a parallel between the great artistic achievements of the Middle Ages and the Italians—that, namely, the head of the State, an art-loving prince, who offered their tasks to the artists also found the master round whom a school of artists could gather.
"How is it, generally speaking, with art in the world? It takes its models, supplies itself from the great sources of Mother Nature, who, spite of her apparently unfettered, limitless freedom, still moves according to eternal laws which the Creator ordained for himself and which cannot be passed or violated without danger to the development of the world.