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 THE HOLOCAUST AND ITS CONTEXTS

Exhibiting the Nazi Past

Museum Objects Between the Material
and the Immaterial

Chloe Paver
The Holocaust and its Contexts

Series Editors
Claus-Christian W. Szejnmann
Loughborough University
Loughborough, UK

Ben Barkow
The Wiener Library
London, UK
More than sixty years on, the Holocaust remains a subject of intense
debate with ever-widening ramifications. This series aims to demonstrate
the continuing relevance of the Holocaust and related issues in con-
temporary society, politics and culture; studying the Holocaust and its
history broadens our understanding not only of the events themselves
but also of their present-day significance. The series acknowledges and
responds to the continuing gaps in our knowledge about the events that
constituted the Holocaust, the various forms in which the Holocaust has
been remembered, interpreted and discussed, and the increasing impor-
tance of the Holocaust today to many individuals and communities.

More information about this series at

http://www.palgrave.com/gp/series/14433
 Chloe Paver

Exhibiting the Nazi

Past
Museum Objects Between the Material and the
Immaterial
Chloe Paver
College of Humanities
University of Exeter
Exeter, UK

The Holocaust and its Contexts

ISBN 978-3-319-77083-3 ISBN 978-3-319-77084-0 (eBook)
https://doi.org/10.1007/978-3-319-77084-0

Library of Congress Control Number: 2018947408

© The Editor(s) (if applicable) and The Author(s) 2018

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Cover illustration: A casket in the shape of a heart, made by a Soviet forced labourer, 1943.
© Photograph by Thomas Bruns, Deutsch-Russisches Museum Berlin-Karlshorst

This Palgrave Macmillan imprint is published by the registered company Springer Nature
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 Acknowledgements

I first began to study history exhibitions with the aid of a year’s grant
from the Humboldt Foundation. Their generous support not only
gave me time to study but also gave me the opportunity and confi-
dence to venture into a new field of research. During this time, I was
lucky enough to be mentored by Aleida Assmann, who gave me much
sound advice and access to a lively research environment. Herbert Posch
invited me to spend a few months at the IFF in Vienna, where I was
able to investigate the exhibition ‘InventArisiert’ and discuss my work
with his colleagues, including Roswitha Muttenthaler. Over the years,
the following exhibition-makers were kind enough to give me some of
their time: the late Burkhard Asmuss and Lydia Marinelli, Hanno Loewy,
Felicitas Heimann-Jelinek, Hannes Sulzenbacher, Ilsebill Barta-Fliedl,
Stephan Matyus, Insa Eschebach, Hans-Christian Täubrich, Bettina
Leder-Hindemith, Ernst Klein, Harry Stein, Margot Blank and Winfried
Nerdinger.
I owe a debt of thanks to my colleagues in German and in Modern
Languages at Exeter, who have supported my work through research
leave, discussion and reading of drafts. I also received very helpful advice
from Palgrave Macmillan’s peer reviewer. Three Ph.D. students whose
theses I examined (Clare Copley, Stephanie Bostock and Michaela
Dixon) informed and inspired me with their work on a wide range of
museums and sites of memory. Rick Lawrence of RAMM, Charlotte
Drohan and members of the University of the Third Age joined me for a
productive discussion about German and Austrian history museums.

v
vi    Acknowledgements

Finally, my family, including my father Allan and my brothers and sis-

ters, have been a constant support. This book is dedicated to the mem-
ory of my mother, Ann Paver (née Topping), who taught us to respect
books and always to turn the pages correctly.
 Contents

1 Introduction 1
1.1 Objects in Focus 1
1.2 The Exhibitionary Routine 5
1.3 Scope of the Study 11
1.4 Research Context 15
1.5 Structure of the Analysis 21

2 Between the Material and the Immaterial 25

2.1 Broken Glass 25
2.2 Objects as Signifiers and Fragments 30
2.3 Mentalities, Experiences, Emotions—and Objects 41
2.4 Object Life Cycles 53

3 Material Experiences, 1933–45 65

3.1 Jews and Heimat: Objects and Belonging 65
3.2 Mentalities and Materials 80
3.3 Hitler Busts and Nazi Symbols 98
3.4 Material Economies and Sign Systems of the Camps 107
3.5 Material Experiences of the Non-persecuted Majority in
Wartime 125

vii
viii    Contents

4 Material Collapse, 1945 143

4.1 The Sortie de Guerre: Objects Caught in Time 144
4.2 Vandalism, Disposal and Recycling 150
4.3 New Material Beginnings for the Victims 162

5 Material After-Lives Between the Attic and the Archive 171

5.1 Hitler in the Attic, in the Museum: How the Domestic
Spaces of the Majority Culture Have Yielded Up Objects 173
5.2 Hiding in Plain Sight: Remnants of National Socialism
in the Public Sphere 192
5.3 Resurfacing and Restitution: Victims’ Objects After 1945 205
5.4 Survival Among Objects 223
5.5 Michael Köhlmeier’s Story ‘Der Silberlöffel’: ‘Aryanized’
Objects in the Liberal Imagination 236
5.6 Coming to Terms with the Coming to Terms 247
5.7 Life Goes on in the Museum: The Continuation of the
Object Life Cycle 263

6 Conclusion 275

Bibliography 279

Index 295
 List of Figures

Fig. 3.1 A ‘gartel’ donated by Jewish villager Emma Ullmann to the

Schnaittach Heimatmuseum in 1933, with a handwritten
explanation of how it functioned, Jüdisches Museum
Schnaittach. Photograph: Chloe Paver 77
Fig. 3.2 Honey centrifuge in the collection of the Freilichtmuseum
Glentleiten, shown in the exhibition ‘Volk – Heimat – Dorf’,
2017. © Bezirk Oberbayern, Archiv FLM Glentlteiten 83
Fig. 3.3 Display of words at the exhibition ‘Sex-Zwangsarbeit
in NS-Konzentrationslagern’, Mahn- und Gedenkstätte
Ravensbrück, 2007. Photograph: Chloe Paver 93
Fig. 3.4 Mannequin dressed in lederhosen, with a photograph of
Hitler behind, at the exhibition ‘Volk – Heimat – Dorf’,
Bauerngerätemuseum Hundszell, 2017. Photograph: Chloe
Paver 105
Fig. 3.5 Part of a long table vitrine displaying objects dug up from
the ‘Halde II’ rubbish dump at Buchenwald, on view at the
permanent exhibition of the Gedenkstätte Buchenwald, from
the mid-1990s to 2015. Photograph: Chloe Paver 110
Fig. 3.6 Charred toy panzer from the ruins of Dresden, placed at the
head of a parade of toys at the Militärhistorisches Museum der
Bundeswehr. Photograph: Chloe Paver 129
Fig. 3.7 Prosthetic hands and foot made by Oberammergau
woodcarvers, shown at the exhibition ‘NS-Herrschaft
und Krieg. Oberammergau 1933–1945’, 2015 at the
Oberammergau Museum. Photograph: Chloe Paver 138

ix
x    List of Figures

Fig. 4.1 Nazi waste dug up from an allotment in 1998,

Dokumentationszentrum Reichsparteitagsgelände.
Photograph: Chloe Paver 157
Fig. 5.1 Army mug of a former German armed forces soldier with a
dedication to his grandson, Berlin, after 1945, on display at the
Deutsch-Russisches Museum. Photograph: Chloe Paver 177
Fig. 5.2 Touchable exhibit at the NS-Dokumentation Vogelsang: a
souvenir made by an Ordensburg ‘veteran’. Photograph:
Chloe Paver 186
Fig. 5.3 Oil painting of the building of the U-boat pen at Rekrum,
a gift from one civic engineer to another, displayed at the
Denkort Bunker Valentin. Photograph: Chloe Paver 196
Fig. 5.4 Handbag given to a non-Jewish neighbour by a Jewish woman
about to be deported, Ehemalige Synagoge Haigerloch.
Photograph: Chloe Paver 209
Fig. 5.5 Cloth bought from a Jewish shopkeeper in 1938
and kept in a non-Jewish household, donated
to the exhibition ‘Legalisierter Raub’ in 2017.
Photograph: Chloe Paver 217
Fig. 5.6 Typewriter used by a survivor to write about his
experiences, Denkort Bunker Valentin. Photograph:
Chloe Paver 226
Fig. 5.7 Cardboard box used by Sammy Maedge to protest
at the lack of commemoration at the former Gestapo
headquarters, on show at the NS-Dokumentationszentrum
der Stadt Köln. Photograph: Chloe Paver 249
Fig. 5.8 Books by Albert Speer, donated to the
Dokumentationszentrum Reichsparteitagsgelände
for an exhibition on Speer’s self-mythologizing (2017).
Photograph: Chloe Paver 253
 CHAPTER 1

Introduction

1.1  Objects in Focus
In 2016, when the Jüdisches Museum Hohenems in Austria cele-
brated its 25th anniversary, it exhibited a miscellany of 25 objects,
each accompanied by a curator’s note.1 The following year, the body
in charge of museums at former concentration camps in the state of
Brandenburg celebrated its 25th anniversary with a book subtitled ‘25
Jahre Stiftung Brandenburgische Gedenkstätten in 25 Objekten’. Each
object was introduced by a different author in a short essay.2 With
their echo of Neil MacGregor’s A History of the World in 100 Objects,
such object miscellanies create a space for reflection on museum prac-
tices and on human relationships to objects.3 This can also take more

1 Hanno Loewy and Anika Reichwald (eds), Übrig. Ein Blick in die Bestände – zum 25.

Geburtstag des Jüdischen Museums Hohenems (Hohenems, Vienna and Vaduz: Bucher, 2016).
2 Ines Reich (ed.), Vom Monument zur Erinnerung. 25 Jahre Stiftung Brandenburgische

Gedenkstätten in 25 Objekten (Berlin: Metropol, 2017).

3 A series of exhibitions entitled ‘Ein gewisses jüdisches Etwas’ (‘A Certain Jewish

Something’), for which members of the public brought in a single object relating to Judaism
and told its story, provides another example. The Frankfurt version was packaged as another
anniversary publication: Jüdisches Museum Frankfurt am Main (ed.), Geschenkte Geschichten.
Zum 20-Jahres-Jubiläum des jüdischen Museums Frankfurt am Main (Frankfurt am Main:
Societätsverlag, 2009). I draw on this catalogue in Chapter 2. See also the catalogue for the
exhibition ‘Von da und dort’, discussed further in Sect. 4.3, in which writers were asked to pick
an object and respond to it imaginatively: Jutta Fleckenstein and Tamar Lewinsky (eds), Juden
45/90. Von da und dort – Überlebende aus Osteuropa (Berlin: Hentrich und Hentrich, 2011).

© The Author(s) 2018 1

C. Paver, Exhibiting the Nazi Past, The Holocaust and its Contexts,
https://doi.org/10.1007/978-3-319-77084-0_1
2 C. PAVER

lasting forms in the museum. When a newly built visitor’s centre opened
at the Gedenkstätte Mauthausen in 2003, its first permanent exhibi-
tion included a module titled ‘Objekte erzählen Geschichte’ (‘Objects
Narrate History’), which reflected in unusually abstract terms on the role
of objects for museum work and for visitors. Two other major museums,
the Jüdisches Museum München and the Gedenkstätte Buchenwald,
both discussed in later chapters, have since chosen a similar self-reflective
approach, devoting separate exhibition modules to the object as museum
medium.
While it is thus now common practice for museum profession-
als to reflect critically on their curatorship of objects from the years
1933–45, a book about museum objects from the National Socialist
era still needs to justify itself on three fronts. First, some might see
Dokumentationszentren (‘documentation centres’), which display docu-
ments and photographs rather than objects, as the key new development
in Germany in recent decades. Secondly, the epochal shift towards digi-
tization and virtuality might lead us to seek the cutting edge of museum
practice in those areas, not in the analogue world of things.4 Thirdly,
given that the key outcomes of the National Socialist era were millions of
deaths and untold human suffering, objects might seem an irrelevance.
The reality of German and Austrian museum practice counters these
objections in various ways.
There is no doubt that this field of German museum culture is some-
what polarized, with documentation centres largely deploying so-called
Flachware (‘flatware’), that is, documents and photographs, and muse-
ums or memorial sites working extensively with objects. Axel Drecoll,
formerly head of the Dokumentation Obersalzberg and now Director
of the Stiftung Brandenburgische Gedenkstätten, identifies two basic
types of exhibition about the years 1933–45, characterized either
by their ‘Objektbezogenheit’ (orientation towards objects) or their

4 As long ago as 2004, Elaine Heumann Gurian suggested that objects are no longer the

defining characteristic of museums. Elaine Heumann Gurian, ‘What is the Object of this
Exercise? A Meandering Exploration of the Many Meanings of Objects in Museums’, in
Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift,
ed. by Gail Anderson (Lanham, NY, Toronto, and Oxford: Altamira Press, 2004), pp.
269–83.
 1 INTRODUCTION 3

‘Objektverzicht’ (renunciation of objects).5 In practice, these divergent

public history formats are not in competition with each other and read-
ily operate in tandem, but object-free documentation centres are in the
minority of exhibition venues as a whole, and some documentation cen-
tres have moved into object collection. In the context of its expansion to
meet tourist demand, the documentation centre at Obersalzberg, which
has until now relied largely on display boards, launched a media cam-
paign to solicit objects from local people and plans to display 350 in its
new exhibition, set to open in 2020.6
Obersalzberg is not alone. Over the last twenty years, exhibition-
makers have unearthed, preserved and displayed tens of thousands of
objects that relate to the Third Reich and its aftermath. Germany’s two
national history museums, the Haus der Geschichte der Bundesrepublik
Deutschland and the Deutsches Historisches Museum (DHM), boast of
having 800,000 and 900,000 objects in their collections, respectively,
most of them accessioned since the early 1990s. While only a propor-
tion relate to National Socialism, these nevertheless number in the thou-
sands.7 If objects are at the conservative end of the spectrum of museum
practice, then Germany has been involved in a monumental conservative
undertaking of object collection, which needs to be studied on its own
terms. Austria may lag behind in sheer numbers of objects, but practices
are no different for individual museums and exhibitions there.
Digital technologies play a role in most of the museums and exhibi-
tions in this study, notably in the display of witness testimony. However,
even supposing that this were a study of the cutting edge of exhibition
technologies, which it is not, Zeitzeugen testimony is hardly at that cut-
ting edge. As Steffi de Jong has shown in the first major study of the
use of Zeitzeugen testimony in museums, film-makers have established
a stable genre aesthetic for witness testimony that precludes anything

5 Axel Drecoll, ‘NS-Volksgemeinschaft ausstellen. Zur Reinszenierung einer

Schreckensvision mit Verheißungskraft’, in Die NS-Volksgemeinschaft. Zeitgenössische
Verheißung, analytisches Konzept und ein Schlüssel zum historischen Lernen? ed. by Uwe
Danker and Astrid Schwabe (Göttingen: Vandenhoeck und Ruprecht, 2017), pp. 105–22
(p. 113).
6 https://www.obersalzberg.de/neugestaltung/call-for-objects/; http://www.ifz-muenchen.

de/aktuelles/artikel/datum/2018/05/25/idyll-und-verbrechen/ [accessed 29 May 2018].

7 The DHM’s as yet incomplete object database returns 21,259 hits for the search term

‘Nationalsozialismus’, though this includes both documents and objects.

4 C. PAVER

other than the plainest recording of the speaking subject.8 While de Jong
demonstrates convincingly the need to analyse how testimony is remedi-
ated in a museum context, her title ‘The Witness as Object’ reflects her
interest in how video testimonies ‘are adapted to the rules of the institu-
tion museum’; her argument is not that they redefine the museum.9
Even leaving testimony aside, the graveness of the topic tends to mil-
itate against experimentation with virtuality and digital manipulation,
with the notable exception of art installations. Silke Arnold-de Simine
has rightly argued that, in the post-witness age into which we are step-
ping, museums will need to find emotional and sensory as well as factual
ways of communicating the Holocaust to those who were born later, and
she explores some uses of digital technologies to achieve understand-
ing by experiential and empathetic means.10 At the same time, the main
response of German and Austrian museums to this imminent genera-
tional shift has been to collect objects from witnesses and their descend-
ants and to record what they meant to them. This study’s focus on the
object should not, therefore, be attributed to a lack of interest in new
communication methods in the post-witness era but rather to a belief
that witnesses’ experiences will be projected into the future not just hol-
ogrammatically but through detailed knowledge about, and discussion
of, objects.11
The introduction that follows outlines the context in which history
exhibitions about the years 1933–45 are produced, situates this study
within its broader scholarly context and explains some choices of scope
and terminology.
8 Steffi de Jong, The Witness as Object: Video Testimony in Memorial Museums (New York

and Oxford: Berghahn, 2018). De Jong’s account of the very controlled framing and posi-
tioning of the speaking body (pp. 101–04) bears interesting comparison with the con-
ventions relating to busts that I discuss in Sects. 3.3 and 4.2. De Jong also discusses the
semantics of the German term Zeitzeuge, or historical witness (she prefers ‘witness to his-
tory’, pp. 32–34).
9 de Jong, p. 5.

10 Silke Arnold-de Simine, Mediating Memory in the Museum: Trauma, Empathy,

Nostalgia (Basingstoke: Palgrave Macmillan, 2013).

11 The New Dimensions in Testimony project, on permanent display at the Illinois

Holocaust Museum from 2017, is one of several projects aimed at creating holograms
of survivors giving testimony. This represents the newest generation of testimonial tech-
nology. However, as a remediated version of the USC Shoah Foundation testimony that
de Jong studies, it is directorially conservative, using a standardized question-and-answer
format.
 1 INTRODUCTION 5

1.2  The Exhibitionary Routine

In scholarly study, German memory culture has often been structured
as a series of shifts: after the end of the Cold War, once entrenched posi-
tions on the past were abandoned; victim groups that had been forgotten
were publicly honoured; and previously private memories came out into
the public sphere.12 Such research has tracked developments in culture
and politics and identified watershed moments. This book takes those
chronologies as read and starts from the premise that practices of socially
critical public history are now thoroughly routine and mainstream in
Germany. It examines history exhibitions about the years 1933–45 and
their aftermath as one element in that routine.
The study analyses exhibitions at museums, documentation centres
and memorial sites (occasionally also other venues) whose subject is the
National Socialist era, including the Second World War and Holocaust,
and post-war memory of those events. In 2009, when I published an ini-
tial survey of temporary exhibitions, it seemed possible that this was a
short-lived phenomenon and that I, too, would be writing about a phase
in memory culture.13 Instead, in the intervening years, public money
has been committed long term to new institutions and exhibition spaces
that will, barring the unlikely event of closures, produce new history
exhibitions well into the future. At the same time, temporary exhibi-
tions continue to be produced in significant numbers, reaching a kind of
apotheosis in 2013, in Berlin’s commemoration of the 80th anniversary
of the Nazi accession to power and the 75th anniversary of Kristallnacht.
A year earlier, the city had celebrated its own 775th anniversary under
the banner of ‘diversity’. Now, under the title ‘Zerstörte Vielfalt’
(‘Diversity Destroyed’), it put on a year-long programme of events that
included more than fifty history exhibitions with topics ranging from
the fate of Jewish architects to the Gleichschaltung of local transport.

12 Bill Niven’s introduction to a volume of essays on the suffering of the non-persecuted

majority of Germans can stand for many such arguments: ‘The end of the Cold War […]
made possible not just a more open and frank confrontation with the Holocaust, it also
prepared the ground for a less politicised confrontation with the theme of Allied bomb-
ing’. Bill Niven, ‘Introduction: German Victimhood at the Turn of the Millennium’, in
Germans as Victims: Remembering the Past in Contemporary Germany, ed. by Bill Niven
(Basingstoke: Palgrave Macmillan, 2006), p. 4.
13 Chloe Paver, ‘Exhibiting the National Socialist Past: An Overview of Recent German

Exhibitions’, Journal of European Studies, 39.2 (2009), 225–49.

6 C. PAVER

The programme was so complex that it was itself drawn together in an

exhibition, which centralized and miniaturized the component exhibi-
tions, each presented through a single object.14
In an age when all the key historical facts can be found with a few
clicks of a mouse, absorbed passively from history documentaries, or
picked up at the railway station in the form of a popular history maga-
zine, it is not a given that so much time, energy and creativity should be
devoted to mounting history exhibitions in public space. Yet, compared
with other cultural forms that engage with Germany’s National Socialist
past—notably memorials, literature, film and art—history exhibitions
remain relatively under-researched. While this study is not primarily
concerned to explain why Germany’s and Austria’s exhibition culture
is thriving, a few reasons can be sketched out, to show that the often
remarkable objects I discuss in the main chapters function within a nexus
of increasingly routine and standardized practices.
The single most forceful ‘multiplier’ of history exhibitions is argua-
bly National Socialism itself, since its crimes were so geographically
widespread, the targets of its inhumanity so diverse and its culture so
thoroughly pervasive, that every institution, every profession and every
town in Germany can ask itself what its predecessors did in the Third
Reich, while all areas of society have victims to mourn. Other factors
include the shift from grass-roots memorial activity to institutionalized
commemoration, Germany’s anniversary culture and the political struc-
ture of Germany, with its three levels of Bund, Länder and Kommunen
or central, regional and district government.
Taking these three in turn, memory of National Socialism has moved
so often along a well-worn track from the fringes to the centre that it
arguably no longer needs much of a push from the periphery. Germany’s
culture of Bürgerinitiativen or local activism has had considerable suc-
cess in ensuring that forgotten sites and histories of discrimination and
violence are given lasting memorial forms with public-sector support.
While the motivation of activists may be local and individual, when
viewed as a national pattern of activity this grass-roots pressure to
remember is fairly routinized. With each new protest, protest arguably
becomes less necessary, and, if successful, activists create the permanent
conditions for future cycles of exhibition-making. When the area of land

14 ‘Zerstörte Vielfalt. Berlin 1933 – 1938’ (‘Diversity Destroyed: Berlin 1933–1938’),

2013 at the Deutsches Historisches Museum.

 1 INTRODUCTION 7

known as the ‘Topographie des Terrors’ was first opened to the public,
with an open-air exhibition and tours, the event was intended to coun-
ter the positivity of the 750th anniversary of the foundation of Berlin.
Today, one would expect the federal region of Berlin to initiate such a
counter-memory, as it did with its anniversary project ‘Zerstörte Vielfalt’.
An exhibition shown at the site from 2005–2008 self-consciously evoked
the counter-cultural origins of the ‘Topographie’ by mounting its boards
on rusty sections of construction fencing.15 Yet this Bauzaunästhetik was
at odds with the professional production techniques of the exhibition
itself, and since 2010 exhibitions have been housed in a conventional
documentation centre, built to the highest design standards.
In Germany, anniversaries, often marked at five-year as well as ten-year
intervals, have helped set the rhythm for the production of history exhi-
bitions: in university towns on the anniversaries of the book burnings;
in cities that were bombed on the anniversaries of the most devastating
air-raid; in towns from which many Jews were deported, on the anniver-
saries of the main deportations; and so on. One aspect of this anniver-
sary reflex is that positive anniversaries, especially those that celebrate the
longevity of institutions, are, with increasing predictability, accompanied
by exhibitions about the organization’s role under National Socialism.
Where once these might have been put together by outsiders angry at an
institution’s perceived refusal to remember, they are now generally sup-
ported, indeed often initiated, by the institutions in question. Evidently,
institutions feel that social licence to celebrate their long existence is con-
ditional on their also acknowledging institutional culpability for events in
the Nazi era. The august Akademie der Bildenden Künste in Nuremberg
celebrated its 350th anniversary, which fell in 2012, by mounting,
among other events, the exhibition ‘Geartete Kunst. Die Nürnberger
Akademie im Nationalsozialismus’ (‘Acceptable Art: The Nuremberg
Academy under National Socialism’) at the Dokumentationszentrum
Reichsparteitagsgelände. In 2013, the Munich suburb of Pasing cel-
ebrated the town’s foundation a remarkable 1250 years earlier with an
extensive programme that included the exhibition ‘Pasing im 3. Reich’.

15 ‘Das “Hausgefängnis” der Gestapo-Zentrale in Berlin. Terror und Widerstand 1933-

45’ (‘The “Private Prison” at the Gestapo Headquarters in Berlin: Terror and Resistance,
1933–45’), 2005 at the Topographie des Terrors.
8 C. PAVER

In 2014, Salzburg’s Haus der Natur celebrated its 90-year existence with
an exhibition about its founding director’s role in the Nazi era.16
Having previously been slow to acknowledge their predecessors’ fail-
ings, the German and Austrian railway companies have embraced this
practice, both funding exhibitions about National Socialism and the rail-
ways to mark the 175th anniversary of the founding of the railways, DB
in 2010 and the ÖBB in 2012.17 The Austrian exhibition was part of a
programme that included parties at regional rail hubs, a competition to
envisage the next 175 years of railway travel, and a new train, liveried
in the colours of the Austrian flag. Yet, while the PR script interpreted
‘Tradition’ positively,18 the exhibition about the Nazi era was held on
company premises and opened by the Chair of the Board of Directors,
with the leader of Vienna’s Jewish community as a guest of honour.19
Another dynamic factor that keeps exhibition-making culture in
motion is the possibility for exhibition topics to move up or down the
scale between the local, regional and national. A proliferation of local
and regional exhibitions can sometimes justify the consolidation of
information in a national overview. As the team behind the first major
national exhibition on forced labour put it:

16 Norbert Winding, Robert Lindner, and Robert Hoffmann, ‘Geschichtsaufarbeitung

als Ausstellung. Das Haus der Natur 1924–1976 – die Ära Tratz’, Neues Museum, 14.4
(October 2014), 62–67.
17 ‘Das Gleis. Die Logistik des Rassenwahns’ (‘The Rails: the Logistics of Racial

Persecution’), 2010 at the Dokumentationszentrum Reichsparteitagsgelände, and

‘Verdrängte Jahre. Bahn und Nationalsozialismus in Österreich 1938–1945’ (‘Years of
Repression: The Railways and National Socialism in Austria, 1938–1945’), 2012 in the
foyer of ÖBB Infrastruktur.
18 ‘Mit den Veranstaltungen [präsentieren sich] die Österreichischen Bundesbahnen […]

als modernes Unternehmen mit Tradition und hohem Zukunftspotential’ (‘These events
are intended to present ÖB as a modern company with a tradition and high potential for
the future’), https://www.ots.at/presseaussendung/OTS_20120621_OTS0195/oebb-
feiern-175-jahre-eisenbahn-mit-neun-bahnhofsfesten [accessed 29 May 2018].
19 Robin Ostow writes that when Munich celebrated its 850th anniversary the city’s insti-

tutions made ‘mostly celebratory programs’ and that only the Jüdisches Museum explored
‘The Dark Side of Munich History’ (as its exhibition was subtitled). If that was the case
(and the report at https://www.muenchen-transparent.de/dokumente/1626915/datei
[accessed 29 May 2018] seems to paint a more nuanced picture) then it was highly unu-
sual. Robin Ostow, ‘Creating a Bavarian Space for Rapprochement: The Jewish Museum
Munich’, in Space and Spatiality in Modern German-Jewish History, ed. by Simone Lässig
and Miriam Rürup (New York and Oxford: Berghahn, 2017), pp. 280–97 (p. 289).
 1 INTRODUCTION 9

Zuvor gezeigte Ausstellungen […] besaßen, so wichtig sie waren, über-

wiegend Ausschnittcharakter. […] Die Ausstellung “Zwangsarbeit. Die
Deutschen, die Zwangsarbeiter und der Krieg” integriert hingegen sol-
che Teilaspekte in eine Gesamtgeschichte der nationalsozialistischen
Zwangsarbeit.

(Exhibitions shown up to this point […], as important as they were,

tended to paint a partial picture. […] By contrast, the exhibition “Forced
Labour: The Germans, the Forced Labourers, and the War” integrates
such partial aspects into a comprehensive story of National Socialist forced
labour).20

Once this comprehensive overview had been shown in Berlin, the

German state used the exhibition in the service of cultural diplo-
macy, sending it to Moscow under the patronage of heads of state
Christian Wulff and Dmitry Medvedev, the very pinnacle of national
acknowledgement.
Following a series of regional exhibitions about the police force under
National Socialism,21 which reflected the regional governance of polic-
ing in Germany, the Conference of Interior Ministers, a periodic ministe-
rial summit, committed 1.3 million Euros to a project on the history of
the police under National Socialism, the cost to be shared between the
Bund and the Länder.22 While the exact dynamics of the decision-mak-
ing are unclear,23 publicity material suggested that the exhibition aimed
to get beyond the ‘lokale and regionale Ansätze’ (‘local and regional
approaches’) in research on this topic, which had reached only a limited

20 Volkhard Knigge, Rikola-Gunnar Lüttgenau, and Jens-Christian Wagner, ‘Einleitung’,

in Zwangsarbeit. Die Deutschen, die Zwangsarbeiter und der Krieg, ed. by Volkhard Knigge,
Rikola-Gunnar Lüttgenau, and Jens-Christian Wagner (Weimar: Stiftung Gedenkstätten
Buchenwald und Mittelbau-Dora, 2010), pp. 6–11 (p. 6).
21 These included police exhibitions in Hamburg (1998), Lübeck (2002), Cologne

(2002), Mainz (2003), Hannover (2003), and Jena (2009).

22 http://www.innenministerkonferenz.de/IMK/DE/termine/to-beschluesse/08-04-18/

Beschl%C3%BCsse.pdf?__blob=publicationFile&v=2 [accessed 29 May 2018].

23 Papers from the Innenministerkonferenz record only the decision, but one of the

organizers has given an account: Detlev Graf von Schwerin, ‘Die deutsche Polizei im 20.
Jahrhundert – Dreimal Freund und Helfer?’ in Oranienburger Schriften. Beiträge aus der
Fachhochschule der Polizei des Landes Brandenburg 1 (May 2015), 7–11.
Another random document with
no related content on Scribd:
 Humming in misery “Non è ——”
He thinks not of the west so brightly ——
Nor listens to the faint and distant ——
But dreams of the false fair to whom is ——
The wo which never, never, will take ——.

Answer

367.
Convert the following into a couplet, perfect in rhyme and rhythm,
without adding or omitting a single letter:

“O Deborah, Deborah! wo unto thee

For thou art as deaf as a post.”

Answer

368.
One and the same word of two syllables, answers each of the
following triplets:
I. MY FIRST springs in the mountains;
MY SECOND springs out of the mountains;
MY WHOLE comes with a spring over the mountains.

II. MY FIRST runs up the trees;

MY SECOND runs past the trees;
MY WHOLE spreads over the trees.

III. MY FIRST runs on two feet;

MY SECOND runs without feet;
MY WHOLE just glides away.

IV. To catch MY FIRST, men march after it;

 To capture MY SECOND, they march over it;
To possess MY WHOLE, they go through a march before it.

Answer

369.

Said the Moon to the Sun:

“Is the daylight begun?”
Said the Sun to the Moon:
“Not a moment too soon.

You’re a full Moon,” said he;

She replied, with a frown,
“Well! I never did see
So uncivil a clown!”

Query: Why was the Moon so angry?

Answer

370.

It is as high as all the stars,

No well was ever sunk so low;
It is in age five thousand years,
It was not born an hour ago.

It is as wet as water is;

No red-hot iron e’er was drier;
As dark as night, as cold as ice,
Shines like the sun, and burns like fire.

No soul, nor body to consume—

No fox more cunning, dunce more dull;
’Tis not on earth, ’tis in this room,
 Hard as a stone, and soft as wool.

’Tis of no color, but of snow,

Outside and inside black as ink;
All red, all yellow, green and blue—
This moment you upon it think.

In every noise, this strikes your ear,

’Twill soon expire, ’twill ne’er decay;
Does always in the light appear,
And yet was never seen by day.

Than the whole earth it larger is,

Yet, than a small pin’s point, ’tis less;
I’ll tell you ten times what it is,
Yet after all, you shall not guess!

’Tis in your mouth, ’twas never nigh—

Where’er you look, you see it still;
’Twill make you laugh, ’twill make you cry;
You feel it plain, touch what you will.

Answer

371.

My FIRST, so faithful, fond and true,

Will ne’er forsake or injure you;
My SECOND, coming from the street
You often trample under feet;
My THIRD you sleep on every night,
Serene and calm, without affright;
My WHOLE is what you should not be
When talking with your friends or me.

Answer

372.
 My FIRST is a little river in England that gave name to a
celebrated university; my SECOND is always near; my THIRD sounds
like several large bodies of water; and my WHOLE is the name of a
Persian monarch, the neighing of whose horse gave him a kingdom
and a crown.
Answer

373.

A horse in the midst of a meadow suppose,

Made fast to a stake by a line from his nose;
How long must this line be, that, feeding all ’round,
Permits him to graze just an acre of ground?

Answer

374.

FIRST, A house where man and beast

Find themselves at home;
SECOND, Greatest have and least
Wheresoe’er you roam;
THIRD, A pronoun, meaning many,
(You must add an L);
ALL, The manner of our meeting
When you ring my bell.

Answer

375.
 A DINNER PARTY.
THE GUESTS,

(Who are chiefly Anachronisms and other Incongruities.)

The First: Escaped his foes by having his horse shod backward.
Second: Surnamed, The Wizard of the North.
3d: Dissolved pearls in wine; “herself being dissolved in love.”
4th: Was first tutor to Alexander the Great.
5th: Said “There are no longer Pyrenees.”
6th: The Puritan Poet.
7th: The Locksmith King.
8th: The woman “who drank up her husband.”
9th: The Architect of St. Peter’s, Rome.
10th: The Miner King.
11th: Surnamed The King Maker.
12th: The woman who married the murderer of her husband, and
of her husband’s father.
13th: The Architect of St. Paul’s, London.
14th: The man who spoke fifty-eight languages; whom Byron
called “a Walking Polyglot.”
15th: A death-note, and a father’s pride.
16th: The Bard of Ayrshire.
17th: The Knight “without fear, and without reproach.”
18th: Refused, because he dared not accept, the crown of
England.
19th: Whose vile maxim was “every man has his own price.”
20th: The king who had an emperor for his foot-stool.
21st: The conqueror of the conqueror of Napoleon.
 22d: The inventor of gunpowder.
23d: The king who entered the enemy’s camp, disguised as a
harper.
24th: The greatest English navigator of the eighteenth century.
25th: The inventor of the art of printing.
26th: Whom Napoleon called “the bravest of the brave.”
27th: Who first discovered that the earth is round.
28th: The diplomatic conqueror of Napoleon.
29th: The inventor of the reflecting telescope.
30th: The conqueror of Pharsalia.
31st: The inventor of the safety lamp.
32d: First introduced tobacco into England.
33d: Discovered the Antarctic Continent.
34th: The present poet laureate of England.
35th: His immediate predecessor.
36th: The first of the line.
37th: Surnamed “the Madman of the North.”
38th: The young prince who carried a king captive to England.
39th: First sailed around the world.
40th: Said “language was given us to enable us to conceal our
thoughts.”
41st: The Father of History.

DISHES, RELISHES, DESSERT.

1: Natural caskets of valuable gems.
2: Material and immaterial.
 3: The possessive case of a pronoun and an ornament.
4: A sign of the zodiac, (pluralized).
5: One-third of Cesar’s celebrated letter, and the centre of the
solar system.
6: Where Charles XII. went after the battle of Pultowa.
7: Whose English namesake Pope called “the brightest, wisest,
meanest of mankind.”
8: A celebrated English essayist.
9: Formerly a workman’s implement.
10: The ornamental part of the head.
11: An island in Lake Ontario.
12: Timber, and the herald of the morning.
13: A share in a rocky pathway.
14: The unruly member.
15: The earth, and a useful article.
16: An iron vessel, and eight ciphers.
17: A letter placed before what sufferers long for.
18: Like values, and odd ends.
19: A preposition, a piece of furniture, and a vowel, (pluralized).
20: An insect, followed by a letter, (pluralized).
21: The employment of some women, and the dread of all.
22: A kind of carriage, and a period of time.
23: A net for the head, an organ of sense, an emblem of beauty.
24: By adding two letters, you’ll have an Eastern conqueror.
25: Five-sevenths of a name not wholly unconnected with Bleak
House and Borrioboola Gha.
26: An underground room, and a vowel.
27: Skill, part of a needle, and to suffocate, (pluralized).
28: Antics.
29: An intimation burdens.
30: What if it should lose its savor?
31: Where you live a contented life; a hotel, and a vowel.
32: The staff of life.
33: What England will never become.
34: Scourges.
35: Running streams.
36: A domestic fowl, and the fruit of shrubs.
37: Married people.
38: A Holland prince serene, (pluralized).
39: To waste away, and Eve’s temptation, (pluralized).
40: Four-fifths of a month, and a dwelling, (pluralized).
41: Busybodies.
42: What Jeremiah saw in a vision.
43: Very old monkeys.
44: Approach convulsions.
45: Small blocks for holding bolts.
Answer
 UNGUESSED RIDDLES.
As, on Louis Gaylord Clarke’s authority, “no museum is complete
without the club that killed Captain Cook”—he had seen it in six—so
no collection of riddles can be considered even presentable without
the famous enigma so often republished, and always with the
promise of “£50 reward for a solution.” It was first printed in the
Gentlemen’s Magazine, London, in March, 1757.
The compiler of this little book has no hope of winning the prize,
and leaves the lists open to her readers, with a hope that some one
of them may succeed in “guessing” not only this, but the next riddle,
of whose true answer she has not the faintest idea.

The noblest object in the works of art;

The brightest scenes which Nature can impart;
The well-known signal in the time of peace;
The point essential in a tenant’s lease;
The farmer’s comfort as he drives the plough;
A soldier’s duty, and a lover’s vow;
A contract made before the nuptial tie;
A blessing riches never can supply;
A spot that adds new charms to pretty faces;
An engine used in fundamental cases;
A planet seen between the earth and sun;
A prize that merit never yet has won;
A loss which prudence seldom can retrieve;
The death of Judas, and the fall of Eve;
A part between the ancle and the knee;
A Papist’s toast, and a physician’s fee;
A wife’s ambition, and a parson’s dues;
A miser’s idol, and the badge of Jews.
If now, your happy genius can divine
The corresponding word in every line,
By the first letter plainly may be found
An ancient city that is much renowned.
 The other unguessed, if not unguessable, riddle claims to come
from Cambridge, and is as follows:

A Headless man had a letter to write;

It was read by one who had lost his sight;
The Dumb repeated it, word for word;
And he was Deaf who listened and heard.

(See Key.)

QUESTIONS NOT TO BE ANSWERED UNTIL THE

WORLD IS WISER.
Considering how useful the ocean is to mankind, are poets
justified in calling it “a waste of waters”?
How can we catch soft water when it is raining hard?
Where is the chair that “Verbum sat” in?
How does it happen that Fast days are always provokingly slow
days?
How is it that a storm looks heavy when it keeps lightening? And
the darker it grows, the more it lightens?
When it is said of a man that “he never forgets himself,” are we to
understand that his conduct is absolute perfection, or that it is the
perfection of selfishness?

PARADOXES.
1st. Polus instructed Ctesiphon in the art of pleading. Teacher
and pupil agreed that the tuition-fee should be paid when the latter
should win his first case. Some time having gone by, and the young
man being still without case or client, Polus, in despair of his fee,
brought the matter before the Court, each party pleading his own
cause. Polus spoke first, as follows:
“It is indifferent to me how the Court may decide this case. For, if
the decision be in my favor, I recover my fee by virtue of the
judgment; but, if my opponent wins the case, this being his first, I
obtain my fee according to the contract.”
Ctesiphon, being called on for his defense, said:
“The decision of the Court is indifferent to me. For, if in my favor, I
am thereby released from my debt to Polus. But, if I lose the case,
the fee cannot be demanded, according to our contract.”
2d. A certain king once built a bridge, and decreed that all
persons about to cross it, should be interrogated as to their
destination. If they told the truth they should be permitted to pass
unharmed; but, if they answered falsely, they should be hanged on a
gallows erected at the centre of the bridge. One day a man, about to
cross, was asked the usual question, and replied:
“I am going to be hanged on that gallows!”
Now, if they hanged him, he had told the truth, and ought to have
escaped; but, if they did not hang him, he had “answered falsely,”
and ought to have suffered the penalty of the law.
 PART II.

FANCY TITLES FOR BOOKS.

Furnished by Thomas Hood for a blind door in the Library at
Chatsworth, for his friend the Duke of Devonshire.
Percy Vere. In Forty Volumes.
Dante’s Inferno; or Descriptions of Van Demon’s Land.
Ye Devyle on Two Styx: (black letter).
Lamb’s Recollections of Suet.
Lamb on the Death of Wolfe.
Plurality of Livings: with Regard to the Common Cat.
Boyle on Steam.
Blaine on Equestrian Burglary; or the Breaking-in of Horses.
John Knox on Death’s Door.
Peel on Bell’s System.
Life of Jack Ketch, with Cuts of his own Execution.
Cursory Remarks upon Swearing.
Cook’s Specimens of the Sandwich Tongue.
Recollections of Banister. By Lord Stair.
On the Affinity of the Death-Watch and Sheep-Tick.
Malthus’ Attacks of Infantry.
McAdam’s Views of Rhodes.
The Life of Zimmermann. By Himself.
 Pygmalion. By Lord Bacon.
Rules of Punctuation. By a Thoroughbred Pointer.
Chronological Account of the Date Tree.
Kosciusko on the Right of the Poles to Stick up for Themselves.
Prize Poems. In Blank Verse.
Shelley’s Conchology.
Chantry on the Sculpture of the Chipaway Indians.
The Scottish Boccaccio. By D. Cameron.
Hoyle on the Game Laws.
Johnson’s Contradictionary.

When Hood and his family were living at Ostend for economy’s
sake, and with the same motive Mrs. Hood was doing her own work,
as we phrase it, he wrote to a friend in England: “Jane is becoming
an excellent cook and housemaid, and I intend to raise her wages.
She had nothing a week before, and now I mean to double it.”

It has been estimated that of all possible or impossible ways of

earning an honest livelihood, the most arduous, and at the same
time the way which would secure the greatest good to the greatest
number, would be to go around, cold nights, and get into bed for
people! To this might be added, going around cold mornings and
getting up for people; and, most useful and most onerous of all,
going around among undecided people and making up their minds.

In these days of universal condensation—of condensed milk,

condensed meats, condensed news—perhaps no achievement of
that kind ought to surprise us; but it must be acknowledged that
Thackeray’s condensing feat was the most extraordinary on record.
To compress “The Sorrows of Werther”—that three volumed novel: a
book of size—and tears, full of pathos and prettiness, of devotion
and desperation—into four stanzas that tell the whole story, was a
triumph of art which—which it is very possible GOETHE would admire
less than we do.

Werther had a love for Charlotte

Such as words can never utter.
Would you know how first he met her?
She was cutting bread and butter.

Charlotte was a married lady,

And a moral man was Werther,
And, for all the wealth of Indies,
Would do nothing for to hurt her.

So he sighed, and pined, and ogled,

And his passion boiled and bubbled,
Till he blew his silly brains out,
And no more was by it troubled.

Charlotte, when she saw his body

Borne before her on a shutter,
Like a well conducted person,
Went on cutting bread and butter.

Theodore Hook was celebrated not more for his marvelous

readiness in rhyming than for the quality of the rhymes themselves.
In his hands the English language seemed to have no choice: plain
prose appeared impossible. Motley was the only wear; fantastic
verse the only method of expression. No less does he press into his
service phrases from the languages, as in the curious verses which
follow, in praise of

CLUBS.
If any man loves comfort and
Has little cash to buy it, he
 Should get into a crowded club—
A most select society!

While solitude and mutton cutlets

Serve infelix uxor, he
May have his club (like Hercules),
And revel there in luxury.

Here’s first the Athenæum club,

So wise, there’s not a man of it
That has not sense enough for six;
(In fact, that is the plan of it).

The very waiters answer you

With eloquence Socratical,
And always lay the knives and forks
In order mathematical.

The Union Club is quite superb;

Its best apartment daily is
The lounge of lawyers, doctors, beaux,
Merchants, cum multis aliis.

The Travellers are in Pall Mall,

And smoke cigars so cozily,
And dream they climb the highest Alps,
Or rove the plains of Moselai.

These are the stages which all men

Propose to play their parts upon;
For clubs are what the Londoners
Have clearly set their hearts upon.

OTHER WORLDS.
Mr. Mortimer Collins indulges in sundry very odd speculations
concerning them.

Other worlds! Those planets evermore

In their golden orbits swiftly glide on;
 From quick Hermes by the solar shore,
To remote Poseidon.

Are they like this world? The glory shed

From the ruddy dawn’s unfading portals?
Does it fall on regions tenanted
By a race of mortals?

Are there merry maidens, wicked-eyed,

Peeping slyly through the cottage lattice?
Have they vintage bearing countries wide?
Have they oyster patties?

Does a mighty ocean roar and break

On dark rocks and sandy shores fantastic?
Have they any Darwins there, to make
Theories elastic?

Does their weather change? November fog,

Weeping April, March with many a raw gust?
And do thunder and demented dog
Come to them in August?

Nineteenth century science should unravel

All these queries, but has somehow missed ’em.
When will it be possible to travel
Through the solar system?

STILTS.

Behold the mansion reared by dædal Jack,

See the malt stored in many a plethoric sack,
In the proud cirque of Ivan’s bivouac.
Mark how the Rat’s felonious fangs invade
The golden stores in John’s pavilion laid.
Anon, with velvet foot and Tarquin strides,
Subtle Grimalkin to his quarry glides—
Grimalkin grim, that slew the fierce rodent,
Whose tooth insidious Johann’s sackcloth rent.
Lo! now the deep mouthed canine foe’s assault,
That vexed the avenger of the stolen malt,
Stored in the hallowed precincts of the hall,
That rose complete at Jack’s creative call.
Here stalks the impetuous Cow with crumpled horn,
Whereon the exacerbating hound was torn,
Who bayed the feline slaughter beast that slew
The Rat predacious, whose keen fangs ran through
The textile fibres that involved the grain,
That lay in Hans’ inviolate domain.
Here walks forlorn the Damsel crowned with rue,
Lactiferous spoils from vaccine dugs who drew,
Of that corniculate beast whose tortuous horn
Tossed to the clouds, in fierce, vindictive scorn,
The harrying hound whose braggart bark and stir
Arched the lithe spine and reared the indignant fur
Of Puss, that with verminicidal claw,
Struck the weird Rat, in whose insatiate maw
Lay reeking malt, that erst in Ivan’s courts we saw.
Robed in senescent garb that seems, in sooth,
Too long a prey to Chronos’ iron tooth;
Behold the man whose amorous lips incline,
Full with young Eros’ osculative sign,
To the lorn maiden, whose lac-albic hands
Drew albu-lactic wealth from lacteal glands
Of the immortal bovine, by whose horn
Distort, to realm ethereal was borne
The beast catulean, vexer of that sly
Ulysses quadrupedal, who made die
The old mordacious Rat, that dared devour
Antecedaneous ale, in John’s domestic bower.
Lo here, with hirsute honors doffed, succinct
Of saponaceous lock, the Priest, who linked
In Hymen’s golden bands the torn unthrift,
Whose means exiguous stared from many a rift,
Even as he kissed the virgin all forlorn,
Who milked the cow with implicated horn,
Who in fine wrath the canine torturer skied,
That dared to vex the insidious muricide,
Who let the auroral effluence through the pelt
Of the sly Rat that robbed the palace Jack had built.
The loud, cantankerous Shanghai comes at last,
Whose shouts aroused the shorn ecclesiast,
Who sealed the vows of Hymen’s sacrament,
 To him who robed in garments indigent,
Exosculates the damsel lachrymose,
The emulgator of that hornèd brute morose,
That tossed the dog, that worried the cat, that kilt
The rat, that ate the malt, that lay in the house that Jack built.

The Home Journal having published a set of rather finical rules

for the conduct of equestrians in Central Park, a writer in Vanity Fair
supplemented and satirized them as follows:

ETIQUETTE OF EQUITATION.
When a gentleman is to accompany a lady on horseback,
1st. There must be two horses. (Pillions are out of fashion, except
in some parts of Wales, Australia and New Jersey.)
2d. One horse must have a side saddle. The gentleman will not
mount this horse. By bearing this rule in mind he will soon find no
difficulty in recognizing his own steed.
3d. The gentleman will assist the lady to mount and adjust her foot
in the stirrup. There being but one stirrup, he will learn upon which
side to assist the lady after very little practice.
4th. He will then mount himself. As there are two stirrups to his
saddle, he may mount on either side, but by no means on both; at
least, not at the same time. The former is generally considered the
most graceful method of mounting. If he has known Mr. Rarey he may
mount without the aid of stirrups. If not, he may try, but will probably
fail.
5th. The gentleman should always ride on the right side of the lady.
According to some authorities, the right side is the left. According to
others, the other is the right. If the gentleman is left handed, this will of
course make a difference. Should he be ambidexter, it will be
indifferent.
6th. If the gentleman and lady meet persons on the road, these will
probably be strangers, that is if they are not acquaintances. In either
case the gentleman and lady must govern themselves accordingly.
Perhaps the latter is the evidence of highest breeding.
 7th. If they be going in different directions, they will not be
expected to ride in company, nor must these request those to turn and
join the others; and vice versa. This is indecorous, and indicates a
lack of savoir faire.
8th. If the gentleman’s horse throw him he must not expect him to
pick him up, nor the lady; but otherwise the lady may. This is important
to be borne in mind by both.
9th. On their return, the gentleman will dismount first and assist the
lady from her horse, but he must not expect the same courtesy in
return.
N. B.—These rules apply equally to every species of equitation, as
pony riding, donkey riding, rocking horse riding, or “riding on a rail.”
There will, of course, be modifications required, according to the form
and style of the animal.

SONG OF THE RECENT REBELLION.

AIR: “Lord Lovell.”

Lord Lovell he sat in St. Charles’ Hotel,

In St. Charles’ Hotel sat he;
As fine a case of a rebel swell,
As ever you’d wish to see, see, see,
As ever you’d wish to see!

Lord Lovell the town had sworn to defend,

A-waving his sword on high;
He swore that the last ounce of powder he’d spend,
And in the last ditch he would die, die, die,
And in the last ditch he would die.

He swore by black and he swore by blue,

He swore by the stars and bars,
That never he’d fly from a Yankee crew
While he was a son of Mars, Mars, Mars,
While he was a son of Mars.

He had fifty thousand gal-li-ant men,

Fifty thousand men had he,
Who had all sworn with him they would never surren-