"fast-changing economy and society": Pflanze, Bismarck, III, 419–420.
relax, not to mourn: Alfred Kerr, Wo liegt Berlin? Briefe aus der Reichshauptstadt 1895–1900 (Berlin, 1997), 408.
"side of my ancestors": Quoted in Pflanze, Bismarck, III, 428.
"beautiful city in the world": Scheffler, Berlin, 138.
"put on their clothes": Quoted in Lamar Cecil, Wilhelm II, Volume II. Emperor and Exile (1900–1941) (Chapel Hill, 1996), 23.
"have something": Kerr, Wo liegt Berlin?, 5.
"impression of emptiness": Avenarius, "Der Dom," quoted in Ruth Glatzer, ed., Berliner Leben 1870–1900. Erinnerungen und Berichte (Berlin, 1963), 52.
Protestantism would replace Catholicism: Thomas Parents, "Rom, Berlin und Köln," in Hans Wilderotter, ed., Hauptstadt. Zentren, Residenzen, Metropolen in der deutschen Geschichte (Cologne, 1989), 389.
"leadership of Europe": Michael S. Cullen, "Der Reichstag und Schloss Bellvue," in ibid., 340.
"wanted to be": Michael S. Cullen, Der Reichstag. Die Geschichte eines Monuments (Stuttgart, 1990), 38.
"narrow back street": Theophil Zolling, Bismarcks Nachfolger (Berlin, 1885), 517–518. Quoted in Roper, German Encounters, 225.
"ape house of the Reich"; "Pickpockets": Cullen, Reichstag, 32, 314–317.
"could be made to be ugly": Quoted in Cecil, Wilhelm II, II, 42–43.
"made of marble": Quoted in Anthony Read and David Fisher, Berlin Rising (New York, 1994), 126.
"crawling back on all fours": Quoted in Röhl and Sombart, Kaiser Wilhelm II, 31.
"a loyal subject": Heinrich Mann, Der Untertan (Berlin, 1947), 93, 55.
second shot: Alson J. Smith, A View of the Spree (New York, 1962), x–xü.
"instead of to debase": Ernst Johann, ed., Reden des Kaisers (Munich, 1966), 211.
"revolution of humanity": Quoted in Masur, Imperial Berlin, 244. On imperial Berlin’s theater scene, especially the contribution of Jews to it, see Peter Jelavich, "Performing High and Low: Jews in Modern Theater, Cabaret, Revue, and Film," in Bilski, ed., Berlin Metropolis, 208–235.
"champagne and caviar": Quoted in Peter Jelavich, Berlin Cabaret (Cambridge, Mass., 1993), 63.
"strives to realize": Quoted in Cecil, Wilhelm II, II, 47.
"practical and upright": Quoted in Jelavich, Berlin Cabaret, 63. On Reinhardt, see also Jelavich, "Performing High and Low," 213–223.
"just been written": Quoted in Dieter Glatzer and Ruth Glatzer, eds., Berliner Leben 1900–1914. Eine Historische Reportage aus Erinnerungen und Berichte (Berlin, 1986), 2 vols., I, 485–486.
the Berlin Philharmonic: Walther Kiaulehn, Berlin. Schicksal einer Weltstadt (Munich, 1980), 268–269. See also Ronald Taylor, Berlin and Its Culture (New Haven, 1997), 205–207; and Michael Farr, Berlin! Berlin! Its Culture, Its Times (London, 1992), 127–128.
"with all haste": Quoted in Kiaulehn, 272.
"Wagner is too noisy"; "commonplace conductor": Quoted in Cecil, Wilhelm II, II, 46.
"to bite me": Ibid., 45.
"a vulgar fellow": Quoted in Masur, Imperial Berlin, 239.
part of the court set himself: On Menzel, see Kiaulehn, Berlin, 289–295; Taylor, Berlin and Its Culture, 174–176.
"on your conscience, old Menzel": Brandes, Berlin als Reichshauptstadt, 136.
wholesome and uplifting art: On Werner, see Peter Paret, The Berlin Secession. Modernism and Its Enemies in Imperial Germany (Cambridge, Mass., 1980), 15–20; Anton von Werner, Erlebnisse und Eindrücke 1870–1890 (Berlin, 1913).
"throw them out!"; "out to anyone": Quoted in Paret, Berlin Secession, 50, 43. On Liebermann, see also Peter Paret, "Modernism and the ‘Alien Element’," in Bilski, ed., Berlin Metropolis, 35–38; Emily D. Bilski, "Images of Identity and Urban Life: Jewish Artists in Turn-of-the-Century Berlin," in ibid., 103–106; and Chana C. Schütz, "Max Liebermann as a ‘Jewish’ Painter: The Artist’s Reception in His Time," in ibid., 146–163.
"hideous than it already is": Quoted in Cecil, Wilhelm II, II, 39.
"chests of deserving men"; trees blue: Fair, Berlin!, 121.
