In and Around Berlin — Key Ideas to Explore
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adies had long ceased looking impatiently at their watches, and were perhaps busy with their thoughts, as I was, when from the "mittel" door Court-preacher Frommel entered, his long white hair thrown back, and crossed through the transverse aisle to the robing-room opposite. Soon a signal given by an usher to the organist was the prelude to solemn music, which filled the church; and a stout clerical assistant, with a book under his arm, appeared at the rear door. Then Pastor Frommel, in his black robe and simple white muslin bands, took his place before the high altar and bowed in prayer, the two immense candles in tall candlesticks on either side the altar, now lighted, throwing their radiance on his silver hair. Meantime the bridal procession slowly moved down the side aisle toward the middle of the church, turned at the transverse aisle, crossed to the centre, turned again, now toward the altar, passing to it up the central aisle. The clerical personage with the service-book under his arm passed first. Then came the bride on the arm of the groom. There were a few orange-buds hidden here and there in the fluffy mass of her front hair; a veil of tulle was fastened behind them in a gathered coronet, and fell down over the folds of her white silk dress, whose train swept along the aisle to the length of a yard and a half. I saw no ornaments, save a wreath below the high, full, white ruche at the throat, perhaps of geranium leaves, and a full bouquet of pink rosebuds in the right hand. From my glance at the train of the bridal dress, I looked up to see six bridesmaids coming after, each on the arm of a groomsman. The first bridesmaid was a lovely sister of the bride, in a dress of cream-white silk without train, pink flowers in her hair, and carrying a large bouquet of full-blown cream and crimson roses. The second bridesmaid wore a dress of silk,--not ecru and not palest olive, but a shade between the two,--with a perfectly fitting corsage, likewise _décolleté_, and for ornaments a necklace of large pearls, a bouquet, and flowers in her hair. The first groomsman was in civilian's dress; but the second was in all the glory of full regimentals, with scarlet trimmings and showy buttons. The third bridesmaid wore pink silk, with a bouquet at the centre of the heart-shaped corsage; but unlike the others, she had no flowers in her hair. Of the following bridesmaids, one wore pink silk of a paler shade, one was in lemon-color, and the last in palest mauve, with trimmings of garnet velvet. The bridesmaids filed to the right, and the groomsmen to the left, as they reached the altar, before which Pastor Frommel now stood. As the bride and groom approached, they remained a moment standing with bowed heads in silent prayer, as the custom is on entering a German church, and then took the two chairs which had been placed for them, facing the minister. I had been struck by the beauty of the widowed mother, as she followed the bridesmaids, leaning on the arm of her brother,--a fine-looking, dignified officer from Potsdam, in full uniform, with broad silver epaulettes. The black hair of the mother--dressed high and gracefully on the crown of her uncovered head, set off by a fine white marguerite and a yellow one--and her dark eyes and complexion were in strong contrast to the fair hair and light German complexion of the younger ladies. She was in a dress of garnet silk, fitting perfectly her tall and graceful form. The bridesmaids took the six chairs on the right of the altar, facing the audience and before the mass of greenery, which made an effective background for so much youth, beauty, and elegance; and the groomsmen took the corresponding chairs on the left. The mother and uncle parted at the steps below the altar, she taking the first chair on the right, and he on the left, with the central aisle between them. Next came two elderly ladies, in dark silk with long trains, with uncovered and ornamented hair, and white shoulder-shawls of silk or wool, each with a gentleman; and they were seated to the right and left respectively. The bride's eldest married sister came next, in a splendid robe of blue satin, with a long train, looking very young and _distingué_. She and her husband filed to the right and left, as the others had done. The second married sister of the bride followed, in a similar dress of pink satin; and her very handsome husband, in his full military suit, was a decided addition to the courtly-looking assemblage. These five ladies filled the front row of chairs on one side, as did the gentlemen accompanying them on the other side. Eight other ladies, all in full dress,--one wearing an ermine cape,--followed, each with a gentleman; and these were seated in the second row.
Minerva Brace Norton's In and Around Berlin opens with a striking contrast between New York and Berlin, immediately establishing the author's perspective as an American observer. Arriving on a gray November morning, she notes the similar population size but emphasizes Berlin's identity as "the royal impersonation of Prussia and the Hohenzollerns." The first hour reveals a city where military uniforms dominate the streets, with officers in dark blue and scarlet commanding infantry evolutions. This initial impression sets the tone for a work that consistently examines Berlin through the lens of its imperial and military heritage.
First Impressions and the Military Thread
Norton's opening chapter, "First Impressions," establishes a recurring motif: the visible presence of the military in everyday life. She describes "striking military uniforms mingled with the more sober garb of civilians" and notes that "Germany is, as it has been from the beginning, a military power." This observation is not merely decorative; it frames her subsequent discussions of society, politics, and even philanthropy. The author's American background provides a comparative lens, as she remarks on the strangeness of seeing officers commanding infantry in main streets. This thread reappears in later chapters, such as her account of the Emperor's ninetieth birthday and the Reichstag debates, where military and political spheres intertwine.
Portrait of a Crown Prince: Frederick III
One of the most detailed character sketches in the excerpts is that of Crown Prince Frederick (later Emperor Frederick III). Norton portrays him as a contrast to the militaristic image: "a hero in the wars" yet "delighted in peace," a "humane and liberal statesman" with a "thirst for liberty." She emphasizes his careful education and his role as a devoted family man, often seen shopping on Unter den Linden with his wife and daughters. The author also recounts his compassion toward the defeated French after Sedan, noting how he "forgot himself and the victory ... in sympathy for the vanquished foe." This portrait is based on public observations and contemporary accounts, reflecting Norton's interest in prominent personages and her access to courtly circles.
The Structure of Observation: From Streets to Palaces
The book's table of contents reveals a methodical approach: chapters progress from first impressions to family life, education, churches, museums, and political institutions, then to streets, parks, palaces, and philanthropic work. The excerpts show that Norton's observations are grounded in specific locations and events. For instance, she describes the Thiergarten ice-ponds where the Crown Prince's family skated, and the Reichstag debates where Prince William appeared in the Imperial box. This structure allows readers to follow a logical tour of Berlin's physical and social landscape, moving from public spaces to private homes, and from historical sites to contemporary life.
The Author's Voice and Perspective
Norton writes as an informed outsider, often comparing Berlin to American cities and customs. Her dedication addresses "my Countrymen and Countrywomen who have visited Berlin; to those who hope to go there, and to the larger number of armchair travellers." This audience shapes her tone: explanatory yet personal, as when she recounts her surprise at climbing "four long flights of stairs" to an American friend's apartment. She does not claim exhaustive knowledge but offers a traveler's perspective, enriched by her residence and social connections. Her observations are specific—mentioning the porter on the ground floor, the view from the attic—and her judgments are tempered by the limits of her experience, as when she notes that "the thirst for liberty ... has had as yet small satisfaction in Teutonic lands."
Readers approaching In and Around Berlin will find a travelogue that balances personal anecdote with detailed description of Berlin's institutions and personalities. Norton's American perspective provides a useful comparative framework, while her focus on the Hohenzollern court and military culture offers a window into late-19th-century German society. The excerpts suggest that the book rewards those interested in historical travel writing, urban development, and the intersection of politics and daily life in imperial Berlin.
I keep thinking of Minerva Norton’s fussy, careful notes about Berlin’s march-pasts and stiff palace halls—how a stranger’s eye records a city’s whole posture. That same curious wanderer’s pulse, the feel of being an observer on unfamiliar ground, hums quietly beneath The Automobilist Abroad — Text and Context, where the road itself becomes the archive. Two different centuries, but the same patient habit. Sitting here, I sometimes imagine both travelers nodding to one another across time.
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