First, there was the question of erecting a worthy monument over the tomb of my grandparents. Since the old mausoleum at Charlottenburg was inadequate, it was necessary to erect an addition. Unfortunately, the funds left by Emperor William the Great for such "extra construction"--the so-called Extra Construction Fund--had been used up during the ninety-nine days on something else. Hence I was obliged to burden the Crown revenues with unforeseen building expenses. The mausoleum of my parents at Marly was erected by the Empress Frederick, according to her own sketches and designs, and for this, too, I had to provide the funds. A thorough examination of the royal palaces--including those in the provinces--had revealed, particularly at the palace in Berlin, such deplorable conditions in sanitation, comfort, and so on, that there could be no more delay in remedying them. In the course of my thirty years' reign I restored these palaces to good condition--working in accordance with carefully prepared budgets, examined, corrected, and supervised by myself with the help of architects (such as Ihne), and of artists, with due regard for the traditions of my ancestors--all of which gave me much trouble and tried my patience, but also provided me with a great deal of enjoyment. ARCHITECTURAL INTERESTS In restoring the Berlin palace, the Empress Frederick, with her sure, keen eye for the proper style and her sound judgment, helped materially in offsetting the harm and neglect dating from bygone days. My mother's expression of her view ought surely to be of general interest: "Any style is good so long as it is pure." Ihne used to call the eclecticism of the 'nineties "à peu près style" (the "almost style"). The restoration of the Picture Gallery, the last work of Herr Ihne--who died, unfortunately, all too soon--was not completed until during the first half of the war. The palace of my forefathers, erected at much pains and a source of pride to me, was later bombarded, stormed, sacked, and devastated by revolutionary hordes. These artistic building enterprises, as well as the already-mentioned restoration of the White Drawing Room, belong among the duties of representation devolving upon every Government, be it absolute, constitutional, or democratic in form. They afford a criterion of the national culture and are a means of encouraging artists and, through them, the development of art.