Chicago, also known as the Garden City, rightfully deserves this term. There are, probably, few cities in our country possessing more parks and boulevards than does our city. However, it is not the purpose of this article to speak of their number and describe their beauty in landscape-architecture, but rather to relate of the monuments decorating them, and, specifically, of those which are dedicated to the German genius.

First of all, it is the beautiful Lincoln Park situated in the northern part of Chicago which, among its many other monuments, numbers four which have been erected by German-American organizations, and private persons, in honor of the great minds of their old fatherland. At the formerly northern end of this park- the park now reaching several miles farther to the north, we find the site of the magnificent Goethe monument, a work of Prof. Hermann Hahn, of Munich. The artist, symbolically, expressed the Hellenic thought in his creation. The deep, free calm of the Olympian enwraps the vigorous figure of young manhood, These eyes behold other visions than those we mortals are capable of perceiving. The flight of thought of the genius is symbolized by the eagle resting on the knee of the statue. The sculptor, presumably, 2thus intimated that, as solitude surrounds the eagle in his eyrie dwelling, so genius pays toll to his fellowmen by loneliness in the realms of lofty thought. An inscription at the base of the monument reads:"To Goethe, the Mastermind of the German People. The Germans of Chicago." The back of a stone bench encircling the monument shows the head of Goethe flanked on both sides by quotations from the works of the poet.

Opinions differ regarding the artistic value of the Goethe monument, in as much as the critics of this fine work of art do not approve of symbolism, but rather, would have preferred a statue impersonating the poet. How did the Romans say? De gustibus non est disputantum!

The dedication of the Goethe monument occurred on June 13th, 1914, a month before the outbreak of the World war. The celebration was a memorable one. Not only all organized Germans of Chicago, but also other American citizens participated, notably representatives of Illinois, Hon. Edward F. Dunne, and Carter H. Harrison, Chicago's mayor at that time, in weighty speeches paid tribute 3to Goethe, the great German, while Prof. William Herbert Carrut, of the Leland Stanford University of California, spoke inspiringly of the genius of the immortal poet. The day of the dedication of the Goethe monument closed in the evening with a celebration at the Auditorium Theater attended by distinguished citizens and notable artists.

Decades before this event, the monument of Germany's most beloved poet, Friedrich von Schiller, was given an ideal place in Lincoln Park. In a niche of tall trees, overlooking the floral display of the park's horticultural section, we face the Schiller monument, presented to our city on May 15th, 1886, by the Schwabenverein of Chicago. Its unveiling had been set for May 9th, being the poet's anniversary of death, but because of the great excitement having seized the population of Chicago on account of the Haymarket event, this date was changed. Then, when the 15th of May had arrived, the Germans of Chicago and suburbs, in spite of the continuous downpour of rain, started on their pilgrimage of paying homage to the memory of their favorite poet. Patiently, the masses remained for hours, under umbrellas, before the unveiled monument of "Des Dichters des Liedes von der Glocke", devotedly listening to the enthusiastic words of the speakers, and the songs of 4their homeland rendered by German singing societies during the solemn occasion. This day, indeed, was a momentous one for the Germans of Chicago, since the Schiller monument was the first one, erected in Chicago in honor of a German. Already in 1880, the "Schwabenverein" of Chicago started a movement for the erection of a Schiller monument, but it was only after four years had passed that a committee was chosen for this purpose.

The Chicago Schiller monument, a work of Wilhemn Perargus, of Stuttgart, represents a replica of the one dedicated to the poet at Marbach which, by itself, is a copy of the bust modeled from life by the renowned sculptor Dannecker.

To the north of the Schiller monument, at the edge of a secluded path, almost hidden by shrubberies, rests, upon a granite base, a bronze bust of Beethoven. Johannes Gelert, the artist who designed this Beethoven head, created a masterpiece by his work. With rare comprehension he modeled upon the features of this loneliest among the lonely titals, the mental anguish and sufferings he endured. But not lines of pain and sorrow only furrow this powerful countenance, love and defiance, courage and hope, serenity and sublimity also left their marks upon it.

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It is said of Beethoven that he could burst into a passionate fit of rage and that, for days, he was under the spell of a glum and morose mood and that, not seldom, he did become furious at the evidence of the petty understanding for his work and himself on the part of his friends. Besides, having not been bedded on roses economically, was it then to be wondered at that he became more and more a hypochondraic? But neither life's misery nor the sad affliction having robbed him of hearing the sound of his own creations, could halt the flight of his genius. The world owes Beethoven the possession of imperishable creations of priceless value.

The donor of the Beethoven bust was the late Carl Wolfshhn, a musician of repute, who, on June 19th, 1887, had this monument to Beethoven erected in Lincoln Park.

The fourth statue in Lincoln Park to a German-American, was unveiled on September 6th, 1915. It is the monument which the "Altgeld Memorial Association" erected and of which Gutson Borglum is the sculptor. John Peter Altgeld who, in 1892, became governor of Illinois, lived during the term of his office, probably, through the most stormy times in the political history of our state.

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The pardoning of the anarchists who were connected with the Haymarket bombing and the way he had adjusted the great railroad strike of 1894, created more enemies for him than friends. Altgeld, a man of outstanding highmindedness, let his deeds and actions be dictated more by his genuinely moral principles than by political considerations. As it had been Lincoln's lot, so did Altgeld, during his administration, experience much enmity. But as Lincoln would not suffer his principles to become lowered by such vilification, so neither could such action change Altgeld's standard. On the whole, the lives of these two men had much in common. Like Lincoln, Altgeld through his young life lived in poverty and under adverse circumstances. But in spite of an insufficient schooling, severe privations during their boyhood and in later years, as well as many bitter disappointments, both men achieved highest positions in life, Lincoln as President of the United States of America, and Altgeld as governor of the State of Illinois.

Altgeld was born December 30th, 1847 in Nieder-Selters, a German village, then belonging to the Dukedom of Nassau. When a child, his parents emigrated to our country, settling in Pennsylvania. After a few years, they left the East to 7come to Illinois where Altgeld lived for the remainder of his life, and where his political career was climaxed by his election as governor of that state. His end came on March 12th, 1902, after he had, a few days before, summoned, with utmost will power, his waning physical strength to deliver a speech at Joliet. While speaking on that day, Altgeld suffered a break-down which soon was followed by his death. At the modest funeral services at his home in Chicago, his life-long friend and partner, Clarence Darrow, and Jane Addams, were the speakers at his bier, while William Jennings Bryan paid tribute to Altgeld's memory at the public funeral, held at the Chicago Public Library on March 16th, 1904.

To the northwest section of Chicago belongs the romantically laid-out Humboldt Park which, although not having Lake Michigan as a background, may be termed the most beautiful park-ground Chicago posesses. There, the monument of the author of the "Kosmos" was erected, after whom this park has been named. October 16th, 1892, was the date of the dedication of the Alexander von Humboldt monument which more than twenty thousand persons, representing many nationalities, have witnessed.

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The unveiling ceremony took place under the auspices of the German Press Club. In his speech, Prof. Albion Small, of the Chicago University, remarked that a great mind belongs to the whole world, and that Humboldt, especially, possessed the rare ability to enlighten many nationalities and to even find an understanding among laymen.

The imposing bronze statue, ten feet high, was presented to the city by the late F. J. Dewes who was one of Chicago's outstanding German-Americans, It is considered a masterpiece and is the work of the German sculptor Felix Goerling.

Humboldt Park holds the site of another monument to a great German. This time it is the poet of "Ut mine Stromtid", Fritz Heuter, beloved by the entire German people, who also is commenorated by a bronze statue, erected by the German people of Chicago, among which the "Plattdeutschen Gesellschaften" took a most active part. It seemed that on May 14th, 1893, the day of the unveiling of the Reuter monument, all the Germans of Chicago had wandered to Humboldt Park to participate in the festive dedication ceremony, as circumstance which proves the profound desire of a cultural people to express their inspired thoughts of the ideals of life in so manifested a form.

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The Reuter monument, too, represents the work of a German sculptor, Ch. Lens is its creator.

Opposite Orchestra Hall, on Mishigan Boulevard, where on December 24th, 1904, Theodore Thomas conducted his last concert, after his life's wich to own a home for his orchestra had found its realization but ten days previous to this christmas eve concert, arises the "Theodore Thomas Memorial," presented to our city by the "Ferguson Fund." A decade ago, on April 24th, 1924, this beautiful monument was dedicated to the memory of the great musician to whom Chicagi is endebted for its musical education. When, at the beginning of the eighties, Theodore Thomas directed in this city his first concert at the old Exposition Building, a wooden structure, situated, at that time, on the site today occupied by our Art Institute, a congregation of ardent music lovers soom began to gather about him, having hailed with great enthusiasm his coming to our city. At last they could gratify their love for symphonic music, and, if Chicago, in the course of time, became a critical music center the credit for it is deservedly due to Theodore Thomas. At the time when Richard Wagner in Germany had not yet found the favor of all music lovers for his new style of composing, it has been Thomas who, at first in New York, Boston, St. 10Louis and, later, in Chicago, directed the works of the master of Bayreuth, interpreting them to grateful listeners in all their glorious, immortal beauty. Theodore Thomas died in Chicago in January, 1905. A Chicago artist of world renown, Albin Polasek, is the sculptor of the Theodore Thomas monument. The statue expresses the spirit of music.

The latest monument erected in Chicago in honor of a great German is the one dedicated to Gotthold Ephraim Lessing, the German poet, thinker, dramatist and critic, creator of the great drama "Nathan der Weise", of the imcomparable first German national comedy "Minna von Barnhelm", of the first great national tragedy "Emilia Galotti", and many other outstanding works.

It is most gratifying to the people of German origin to find their pride in this great genius of their own race expressed in this moble statue which adorns the lovely rose garden of Washington Park, not far from the thoroughfare, so that the passer- by may pause and enjoy this splendid work of art, representing in a life-size bronze statue upon a granite base the young Lessing whose pensive eyes look into the far future as if to read in the hearts of men how his message of love and tolerance 11had touched them. This statue also is the work of the great sculptor, Albin Polasek, its donor the late Henry Frank who, at the age of 84, died in this city eight years ago.

As a child, Henry Frank had come to America in 1852 with his parents. He never, during his long life, lost the love and interest for the German classics of which the works of Lessing had become his favorite. The ideals of his genius had strongly influenced his own path of life, and as an expression of his profound admiration for lessing, Henry Frank donated the sum of $25,000 to the fund for the erection of the Lessing monument, an act bespeaking in itself the idealism of the donor. And this gift to the city was not the only one Henry Frank bestowed upon mankind. He also was one of the founders of the Michael Reese Hospita; as well as of many other institutions of social nature, among which is numberes the American Institite of Archaeology.

The dedication of the Lessing monument was an impressive ceremony. It took place on November 2nd, 1930, witnessed by a large number of persons. After Chicago singing societies had rendered songs befitting the occasion, German Consul Dr. 12Werner Schueller unveiled the statue. Short speeches followed by notables of our city, among them our present governor and former judge, Henry Horner, Chicago's mayor of today, Edward F. Kelly, Mr. Carl Meyer, nephew of Henry Frank and Dr. Otto L. Schmidt. The latter, having been introduced by Governor Horner as the principal speaker, spoke impressively of the countless and desperate conflicts and battles which, continuously confronted Lessing from his youth to the early end of his days. Dr. Otto L. Schmidt, himself known and beloved as a great humanitarian, historial, and scholar, pointed out how the poet had met Voltaire, and the philosopher Moses Mendelsohn whose friendship for Lessing resulted in the latter's writing of his great drama, "Nathan der Weise", as a symbol of tolerance and humanitarian thought which, up to this time, has not taken root in the hearts of men as it should have. Dr. Schmidt continued that Lessing, in his way, had done more for the German people, and the world in general, than Voltaire with his sarcastic strain had done for France, and for the French trend of thought. Lessing's principal meritoriuos efforts had been the cleaning of the German language from foreign influences, thereby giving the impetus for an independent German development concerning social life, art, and literature of his time, and the epoch following it immediately, the time of Goethe and Schiller.

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In conclusion, the speaker remarked that Lessing's entire works, whether he had written them in his youth or during his declining days, whether they had been poems, ethical or critical essays, or drams-they all contained a deep note of tolerance, expressed in a most tender way, and, again, in a more heroic form. And that this was the message Lessing left to mankind, although new in its conception to most people, completely incomprehensible to some, and hated by many, and that, therefore, this monument's object was according to the thought of its magnanimous donor, a permanent reminder of Lessing's urgent admonition for a mutual understanding and tolerance among the peoples of the world.