"Your problem is not a new one," I replied, thinking of the world-old experience of the good women yoked to idleness by wealth and position. "You have tried to relieve poverty and ignorance and find your efforts futile. There is one thing more I believe that is considered a classic remedy for your trouble. You can devote yourself to the elimination of ugliness, to the increase of beauty. Is there no organization devoted to that work?" "There is," returned Marguerite, "and I was about to join it, but I thought this time I had better ask advice. There is the League to Beautify Berlin." "Then by all means join," I advised. "It is the safest of all such efforts, for though poverty may not exist and ignorance may not be relieved, yet surely Berlin can be more beautiful. But of course your efforts must be confined to the Royal Level as you do not see the rest of the city." So Marguerite joined the League to Beautify Berlin and I became an auxiliary member much appreciated because of my liberal contributions. It proved an excellent source of amusement. The League met weekly and discussed the impersonal aspects of the beauty of the level in open meetings, while a secret complaint box was maintained into which all were invited to deposit criticisms of more personal matters. It was forbidden even in this manner to criticize irremedial ugliness such as the matter of one's personal form or features, but dress and manners came within the permitted range and the complaints were regularly mailed to the offenders. This surprised me a little as I would have thought that such a practice would have made the League unpopular, but on the contrary, it was considered the mainstay of the organization, for the recipient of the complaint, if a non-member, very often joined the League immediately, hoping thereby to gain sweet revenge. But aside from this safety valve for the desire to make personal criticism, the League was a very creditable institution and it was there that we met the great critics to whose untiring efforts the rare development of German art was due. Cut off from the opportunity to appropriate by purchase or capture the works of other peoples, German art had suffered a severe decline in the first few generations of the isolation, but in time they had developed an art of their own. A great abundance of cast statues of white crystal adorned the plazas and gardens and, being unexposed to dust or rain, they preserved their pristine freshness so that it appeared they had all been made the day before. Mural paintings also flourished abundantly and in some sections the endless facade of the apartments was a continuous pageant.