“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 Siegesallee 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 Siegesallee, has succeeded.

     “...  I have never interfered with details, but have
     contented myself with simply giving the direction, the
     impulse.