Such was the origin of the modern German salon, and its origin explains its complex character. The German salon became a permanency; and even though it never attained the brilliancy of the French salon, yet it was more intellectual and had greater literary effect. The house of Amalie von Hellwig was a centre for courtiers, scholars, and artists, one of whom, A. B. Marx, wrote an interesting account of social life in Berlin. Other distinguished circles are reported, in which music, a never failing charm in Berlin, was the principal attraction. The opera passed through a period of bloom. Spontini's and Weber's masterpieces were performed by excellent singers, like Anna Milder-Hauptmann, who, in Berlin, created the rôle Of _Fidelio_. The theatre brought into popular prominence the works of the great German dramatists; great actresses arose, like Sophie Muller, who played in a masterful way Emilia Galotti and roles from the works of Calderon and Shakespeare; Amalie Wolff, trained in Goethe's school, a masterly exponent of Iphigenie; Louise Rogee, later Holtei's wife, the incomparable performer of Kleist's Katchen von Heilbronn; Charlotte von Hagen (1809-1891), a beautiful woman and true artist, who celebrated immense triumphs, and was adored by the great and beloved by the women. The greatest of all, however, was Auguste During (1795-1865), who for fifty years ruled the German stage, "in the world of boards that signify life." Henriette Sonntag (1803-1854) was considered the most beautiful and most gifted singer. By the charm of her voice and the perfection of her acting she conquered all hearts. In no other fields has Germany produced so many and so great women as she has in those of the stage, of music, and of song. To appreciate, however, the ethical character of German woman we must return once more to the years of Germany's greatest political degradation.