the ever-deepening glow of the sky, toward which great tongues of flame kept streaming up, while across the dusk shot formless masses like radiant spark-showering birds. Pillars of smoke mingled with the clouds, and the metallic note of the fire-bells calling for help accompanied the grand spectacle. I was only six years old, but I remember distinctly that when Ludo and I were taken to the Lutz swimming-baths next day, we found first on the drill-ground, then on the bank of the Spree, and in the water, charred pieces, large and small, of the side-scenes of the theatre. They were the glowing birds whose flight I had watched from the tower of the Crede house.
This remark reminds me how early our mother provided for our physical development, for I clearly remember that the tutor who took us little fellows to the bath called our attention to these bits of decoration while we were swimming. When I went to Keilhau, at eleven years old, I had mastered the art completely.
I did, in fact, many things at an earlier age than is customary, because I was always associated with my brother, who was a year and a half older.
We were early taught to skate, too, and how many happy hours we passed, frequently with our sisters, on the ice by the Louisa and Rousseau Islands in the Thiergarten! The first ladies who at that time distinguished themselves as skaters were the wife and daughter of the celebrated surgeon Dieffenbach—two fine, supple figures, who moved gracefully over the ice, and in their fur-bordered jackets and Polish caps trimmed with sable excited universal admiration.
On the whole, we had time enough for such things, though we lost many a free hour in music lessons. Ludo was learning to play on the piano, but I had chosen another instrument. Among our best friends, the three fine sons of Privy-Councillor Oesterreich and others, there was a pleasant boy named Victor Rubens, whose parents were likewise friends of my mother. In the hospitable house of this agreeable family I had heard the composer Vieuxtemps play the violin when I was nine years old. I went home fairly enraptured, and begged my mother to let me take lessons. My wish was fulfilled, and for many years I exerted myself zealously, without any result, to accomplish something on the violin. I did, indeed, attain to a certain degree of skill, but I was so little satisfied with my own performances that I one day renounced the hope of becoming a practical musician, and presented my handsome violin—a gift from my grandmother—to a talented young virtuoso, the son of my sisters’ French teacher.
The actress Crelinger, when she came to see my mother, made a great impression on me, at this time, by her majestic appearance and her deep, musical voice. She, and her daughter, Clara Stich, afterward Frau Liedtcke, the splendid singer, Frau Jachmann-Wagner, and the charming Frau Schlegel-Koster, were the only members of the theatrical profession who were included among the Gepperts’ friends, and whose acquaintance we made in consequence.
Frau Crelinger’s husband was a highly respected jurist and councillor of justice, but among all the councillors’ wives by whom she was surrounded I never heard her make use of her husband’s title. She was simply “Frau” in society, and for the public Crelinger. She knew her name had an importance of its own. Even though posterity twines no wreaths for actors, it is done in the grateful memory of survivors. I shall never forget the ennobling and elevating hours I afterward owed to that great and noble interpreter of character.
I am also indebted to Frau Jachmann-Wagner for much enjoyment both in opera and the drama. She now renders meritorious service by fitting on the soundest artistic principles—younger singers for the stage.
Among my mother’s papers was a humorous note announcing the arrival of a friend from Oranienburg, and signed:
“Your faithful old dog, Runge,
Who was born in a quiet way
At Neustadt, I’ve heard say.”
He came not once, but several times. He bore the title of professor, was a chemist, and I learned from friends versed in that science that it was indebted to him for interesting discoveries.
He had been an acquaintance of my father, and no one who met him, bubbling over with animation and lively wit, could easily forget him. He had a full face and long, straight, dark hair hanging on his short neck, while intellect and kindness beamed from his twinkling eyes. When he tossed me up and laughed, I laughed too, and it seemed as if all Nature must laugh with us.
I have not met so strong and original a character for many a long year, and I was very glad to read in the autobiography of Wackernagel that when it went ill with him in Berlin, Hoffman von Fallersleben and this same Runge invited him to Breslau to share their poverty, which was so great that they often did not know at night where they should get the next day’s bread.
How many other names with and without the title of privy-councillor occur to me, but I must not allow myself to think of them.
Fraulein Lamperi, however, must have a place here. She used to dine with us at least once a week, and was among the most faithful adherents of our family. She had been governess to my father and his only sister, and later was in the service of the Princess of Prussia, afterward the Empress Augusta, as waiting-woman.
She, too, was one of those original characters whom we never find now.
She was so clever that, incredible as it sounds, she made herself a wig and some false teeth, and yet she came of a race whose women were not accustomed to serve themselves with their own hands; for the blood of the venerable and aristocratic Altoviti family of Florence flowed in her veins. Her father came into the world as a marquis of that name, but was disinherited when, against the will of his family, he married the dancer Lamperi. With her he went first to Warsaw, and then to Berlin, where he supported himself and his children by giving lessons in the languages. One daughter was a prominent member of the Berlin ballet, the other was prepared by a most careful education to be a governess. She gave various lessons to my sisters, and criticised our proceedings sharply, as she did those of her fellow-creatures in general. “I can’t help it—I Must say what I think,” was the palliating remark which followed every severe censure; and I owe to her the conviction that it is much easier to express disapproval, when it can be done with impunity, than to keep it to one’s self, as I am also indebted to her for the subject of my fairy tale, The Elixir.
I shall return to Fraulein Lamperi, for her connection with our family did not cease until her death, and she lived to be ninety. Her aristocratic connections in Florence—be it said to their honour—never repudiated her, but visited her when they came to Berlin, and the equipage of the Italian ambassador followed at her funeral, for he, too, belonged to her father’s kindred. The extreme kindness extended to her by Emperor William I and his sovereign spouse solaced her old age in various ways.
One of the dearest friends of my sister Paula and of our family knew more of me, unfortunately, at this time than I of her. Her name was Babette Meyer, now Countess Palckreuth. She lived in our neighbourhood, and was a charming, graceful child, but not one of our acquaintances.
When she was grown up—we were good friends then—she told me she was coming from school one winter day, and some boys threw snowballs at her. Then Ludo and I appeared—“the Ebers boys” and she thought that would be the end of her; but instead of attacking her we fell upon the boys, who turned upon us, and drove them away, she escaping betwixt Scylla and Charybdis.
Before this praiseworthy deed we had, however, thrown snow at a young lady in wanton mischief. I forgive our heedlessness as we were forgiven, but it is really a painful thought to me that we should have snowballed a poor insane man, well known in the Thiergarten and Lennestrasse, and who seriously imagined that he was made of glass.
I began to relate this, thinking of our uproarious laughter when the poor fellow cried out: “Let me alone! I shall break! Don’t you hear me clink?” Then I stopped, for my heart aches when I reflect
