The Catholic World Volume Ii Part 35

Art, as cultivated during the first {222} ages of Christianity and during the middle ages, is a subject complete in itself, for we can trace its use, its progress, and decay, as well as the development of the ideas which gave it life. Between Christian and pagan art there is no doubt a connecting link; in fact, we may safely a.s.sert that in this respect, no less than in all others, there is a great unbroken chain that unites the present age with antiquity. Still, no one can deny that there is a great and immense difference between Christian nations and those of antiquity. For, since the birth of Christianity, we may trace in history a new, active, and all-pervading principle. What the greatest minds of the pagan world scarcely suspected, has become the common property of all nations and of all men. Christianity is built on foundations very different from those on which rested the c.u.mbrous fabric of paganism. It has impressed an original character on art, in every branch of which it has produced results of undoubted excellence, worthy of our admiration. Christian art suffers not by comparison with the masterpieces of antiquity. Narrow-minded and prejudiced persons only will maintain that the Greeks alone excelled in the arts. The independence and excellence of Christian art, compared with that of cla.s.sic Greece and Rome, is by no means generally admitted; for many are unwilling to allow to the Church the credit, which it may justly claim, of promoting and patronizing the arts. During the last century art has lacked its proper basis--truth, for art is founded on truth.

But since nations have been led astray by the erroneous idea that art was revived at Florence, and thence spread over all Europe, it has lost its independence, confined itself to mere imitations of the Greeks and Romans, and gradually decayed more and more. In the history of art no period appears darker than the so-called age of renaissance, and since then Christian art has been either misunderstood or entirely despised. Not long ago the masterpieces of Gothic architecture were looked upon as barbarous; paintings on wood which had for ages graced the European temples were removed, broken to pieces, and burnt, and alters of the most elaborate workmans.h.i.+p were treated as mere rubbish.

To level to the ground the n.o.ble cathedrals of the thirteenth and fourteenth centuries was considered a service to art. And this was done, not by the ignorant, but by the protectors of learning; nay, by artists themselves, who were foremost in the work of destruction. A French architect published an essay to prove that it would advance the interests of art to turn the cathedral of Spires into a warehouse. On the cathedrals of Cologne and Strasbourg, also, French architects, living at the beginning of the nineteenth century, had p.r.o.nounced sentence of condemnation. No later than 1825, when Charles X. was crowned in the cathedral of Rheims, the heads of two hundred statues were struck off, through fear that the statues might be thrown down on occasion of the royal salute. No one seems to have thought of fastening the images; in fact, why should they trouble themselves about the workmans.h.i.+p of barbarians? During the revolution of 1789, the French had unfortunately acquired too much skill in smas.h.i.+ng the statues that crowned their grandest cathedrals.

During the period of which we speak, how false was the appreciation of what is beautiful in art! To man's proud spirit it is humiliating, indeed, to know his own weakness; to know that for years he may remain in the darkness of error, without having the strength to burst the chains that fetter him.

At the beginning of the present century more correct ideas on this subject were entertained and spread by several eminent German artists, and for the last thirty years justice has been done to the claims of the middle ages. Actively co-operating with this {223} movement, the Catholic conventions of Germany and Belgium have achieved many desirable results.

At Malines, in 1864, the section for Christian art was very numerously attended; more than a hundred archaeologists and artists from every country in Europe had there met to take part in lively and interesting debates on Christian art, whilst seventy musicians, professionals, and amateurs held their sessions in another part of the building. Several years ago, I was present at the general meeting of the German architects at Frankfort, but I own that in interest their discussions fell far below those to which I listened at Malines. In 1857, at the general reunion of the Christian art a.s.sociations in Germany, which met at Regensburg, several hundred commissioners were present, and on that occasion were displayed the same enthusiasm, the same freshness and interest, which distinguished the discussions at Malines. But this zeal has long died out; the Christian art a.s.sociations of Germany never met again; and at Wurzburg, Frankfort, and Aix-la-Chapelle, the Catholic conventions scarcely deigned to notice Christian art.

The chairman of the section for Christian art at Malines was Viscount du Bus de Ghisignies. The viscount's appearance is n.o.ble and striking; he seems to have been born to command. In the heat of the combat du Bus never loses his self-possession; his clear and steady eye watches the battle; not a word escapes his notice; fair and unprejudiced, he deals out equal justice to all. If the opinions of a speaker clash with his own, he twirls his martial moustache with more than ordinary vigor; but he allows to every one the rights he may justly claim. As chairman, his duties are not unattended with difficulty. Romans and Teutons, Frenchman and Britons, Dutchmen and Belgians, meet alternately in friendly strife; many a blow is exchanged, principle clashes with principle, and deeply-seated prejudices are uprooted.

Convinced that the harmony of mind, as that of sounds, is the product of contrast, du Bus acted in accordance with his convictions and n.o.bly fulfilled the task a.s.signed him. The debates of his section were more animated and more instructive than those of any other.

At the right of du Bus sat the vice-president of the section.

Professor Cartuyvels, of Louvain, a man well-versed in parliamentary usage, in which he was excelled by no one except, perhaps, by A.

Reichensperger. A young clergyman from Brabant, Cartuyvels displays a master mind; equally skilled in aesthetics and in the philosophy and history of art, the value of these acquirements is enhanced by his knowledge of the liturgy, of canon law, and of holy writ. He is thoroughly acquainted with the works of the great masters of Germany and Italy. His words proclaim the enthusiasm with which he devotes all the faculties of his soul to the service of Christian art.

Always prepared to speak, he boldly upholds the principles which he deems correct. He defends them with ardor and confidence of success, and he seldom fails to carry his point; few are able to cope with him.

It was a glorious sight to see A. Reichensperger and Cartuyvels engaged in discussion; for

"Sublimest beauty comes to light When powerful extremes unite!"

James Weale was a representative of England and English art at Malines. For many years Weale has made Bruges his home, and exerted considerable influence on Belgian art; nevertheless, he is a thorough Englishman. He is a convert and a disciple of Canon Oakley. By becoming a Catholic, as is often the case in England, Weale incurred pecuniary losses; but this sacrifice has only purified and strengthened his love for the Church. The trials he has undergone have unveiled the heroic qualities of his heart The greater number of English converts (and this no one who has had {224} the happiness of personal acquaintance with them will dispute) are men distinguished for their great learning and affable manners, and Weale is no exception to this rule. His principles of art are rigorous, I had almost said exclusive, but he is convinced of their correctness. In his views he is unique and definite; he propounds them with uncommon clearness and precision. When opposing false principles, he is not very choice in his expressions, generally preferring the strongest.

Weale is the uncompromising enemy of all sham and equivocation. In the domain of art fails attainments are immense. He knows England, the Netherlands, Germany, France, and Italy. His quick eye instantly discovers the merits of a painting. That the clergy may become familiar with every branch of Christian art, is his most ardent desire. At Bruges Weale publishes "_Le Beffroi_," an archaeological journal; he would have been the most suitable candidate for the newly founded chair of archaeology at Louvain.

Having spoken of Weale, we are now led to notice his friend Bethune, of Ghent. He is a painter, but confines himself chiefly to painting on gla.s.s. Brought up in the school of the celebrated English architect, Welby Pugin, who, though only forty years of age when he died, in 1852, had already built more than two hundred churches and chapels, his figures are distinguished by purity of style; he carries out in practice the theories of Weale. However, he does not by any means reject everything modern, but judiciously seeks to combine the beauties of the modern with those of the ancient style of art. Bethune is remarkable both for his piety and his learning, and this accounts for the charm and instructiveness of his conversation. He admires Germany and German art, without being blind to its defects; on the contrary, his criticisms on the best productions of modern German painting are severe, not to say harsh. His paintings on gla.s.s are in marked contrast to the productions of the Munich school. He does not delight in great historical paintings on gla.s.s, which tend to make us forget that we are looking at a window, but seeks to attain unity of design by subordinating his picture to the plan of the architect. In the debates at Malines, Bethune did not take so prominent a part as Weale. Another active member of the section of Christian art was Bethune's brother, Canon F. A. L. Bethune, professor of archaeology in the seminary at Bruges. Among the French members, Lavedan deserves to be mentioned in the first instance. He is a well-known French journalist, who seems to have a great taste for the fine arts. With untiring ardor he spoke on every question discussed, and, in spite of being somewhat prolix, his remarks were always listened to with pleasure. Although noted rather for wit and polite literature than for depth of learning, he was master of the situation, and to unhorse him was not an easy task. He pleaded eloquently for the establishment of a permanent art exhibition. Whilst Lavedan, like Weale, applies himself to the theory of art, Jaumot, like Bethune, is a practical artist. Of the few artists that France can boast of, Jaumot is one of the best; but he was not permitted to exhibit his cartoons, and has not met with the encouragement so indispensable to the artist Jaumot complainant of this at Malines, and maintained that the Belgian clergy are much better acquainted with the principles of Christian art than the clergy of France. The Abbe Carion attracted attention by his profound knowledge of archaeology; all his remarks proved that he understands thoroughly the subject he treated, though he does not present his ideas in so pleasing a manner as others. Any seminary may justly be proud of such professors as Messrs. Carion, Bethune, and Cartuyvels.

No one contributed more to the merriment of the a.s.sembly than Van Schendel, of Antwerp, {225} an old painter, who delights in sketches of Dutch family life. He railed at everything, and at times he became quite sarcastic. To find fault seemed to be his sole purpose; whether justly or not, was of little consequence. He succeeded most admirably in boring the chairman. Van Schendel seems to dislike the French language, for he always preferred to speak Dutch. I might speak of many more, but I shall only mention Delbig, a German painter, residing at Liege; Alfred Geelhand, Leon de Monge, Martin, Isard, Mommaerts, of Brussels; Bordeau; de Fleury, an enthusiastic admirer of Flandrin, the great French painter; Van de Necker, the Abbe Huguet, and the Abbe Van Drival.

I cannot forbear speaking of A. Reichensperger, of Cologne. For almost a quarter of a century Reichensperger has been the champion of Christian art, not only in Germany, where he is looked upon as the foremost defender of German art during the middle ages, but also in France and England. In Cologne he had been at the head of the society for completing the cathedral. In the Prussian chambers at Berlin he has always exerted himself in favor of true art. He was president of the general meeting of the Christian art unions, held at Regensburg in 1857, and distinguished himself as an orator at the congress of artists that a.s.sembled at Antwerp some years ago. He was also present at Malines, and his presence was of great advantage to the Romanic delegates. Reichensperger is delighted to meet with opposition; nay, he calls it forth, for without it he appears dissatisfied. In fact, a debate is impossible without opposition. At Malines, it is true, opponents were not wanting, but he vanquished them all. Manfully upholding his German principles, he convinced many of their correctness. Reichensperger has often earned applause, he has been the hero of many a parliamentary triumph, during the twelve years that he has been considered one of the five best speakers in the Prussian parliament, but in the Pet.i.t Seminaire at Malines he gained his most brilliant successes. His French may not at all times be cla.s.sical; but his pointed expressions charmed his French audience. His style is not florid, but his speeches sparkle with wit, humor, and sarcasm. His ready logic completely astounded his adversaries. All his remarks called forth thundering applause, which finally grew so noisy that the chairman of the first section, "_Les OEuvres Religieuses_" deemed it necessary to interfere and request a little more moderation.

But what was the subject of all these learned deliberations? Many questions were discussed, and variety const.i.tuted one of the princ.i.p.al charms of the proceedings, AEthetics were treated in the first place; the learned speakers philosophized concerning the ideas of truth, of goodness, and of beauty. One hundred and two years have rolled by since Baumgarten, the father of aesthetics, died. In 1750 and 1758 he published the two volumes of his celebrated work ent.i.tled "_AEsthetica_." For more than a hundred years, therefore, aesthetics have been cultivated with more or less zeal, but with very little success; the science seems to stagnate because the principles on which it is based are unsound. Hence most books on aesthetics are loathed.

The best among the recent works on this subject was written by Lasaulx; but a philosophy of art, from a Catholic point of view, we do not yet possess, for Dursch's "AEsthetics" has many defects. Jacobs'

"Art and the Church" might, if completed, have supplied a want long felt.

The discussions on the beautiful led to no important results. Of more practical consequence was the resolution condemning French pictures.

Mommaerts made an attempt to establish in Brussels a society whose object was to be the diffusion of pictures artistically un.o.bjectionable. At Paris Meniolle, a.s.sisted by German artists, {226} intends to do the same for France, where hitherto Schulgen, of Dusseldorf, has, so to say, held a monopoly. I hope that both projects may be successful, and escape the fate of many similar enterprises, which are nipped in the bud. In all likelihood no similar society will do so much good, and extend its influence so far, as the Dusseldorf a.s.sociation for the diffusion of good pictures.

Much time was spent in discussing the establishment of museums like those of Sydenham and Kensington, near London, and in listening to speeches on fresco paintings, on the stations of the cross, on exhibitions of works of art, and on the encouragement of artists. On motion of Weale, a resolution was adopted to found a Belgian national museum at Louvain, and Reichensperger prevailed on the a.s.sembly to pledge itself to further the completion of St. Rombaut's cathedral at Malines.

Let this suffice. The musicians would complain, perhaps, were we to pa.s.s them unnoticed. At the request of the general committee at Brussels, Canon Devroye and Chevalier H. Van Elewyk had prepared eight theses for discussion. These propositions treat of choral music, of the education of organists, of the influence of religious music, of the establishment of societies for the promotion of church music, and the like. It was proposed to found a musical academy, in which a special department for religious music is to be established.

Canon Devroye presided; his interesting remarks were always listened to with pleasure. Dr. Paul Alberdingk-Thijm, of Amsterdam, formerly of Louvain, was vice-president. He is well acquainted with Gregorian music and church music in general--of German music also; even of our most common popular songs he has a thorough practical knowledge; many of our German songs he renders with exquisite taste. We shall see more of him hereafter. Verooitte, of Paris, was chosen to be honorary vice-president. He is well known in France. He founded the academy for religious music in Paris, which has been in successful operation for some time, and has contributed materially to raise the character of religious music in that country. Chevalier Van Elewyk has done all in his power to establish in Louvain a society for the promotion of church music, and his exertions were not in vain. A society having the same object in view was formed at Amsterdam. At Malines there were also several organ-builders, whose practical advice was of great advantage to the musical section; the foremost among them were Cavaille-Coll, of Paris; Mercklin, of Brussels; and Loret, of Malines.

One of the most remarkable personages at the congress was F. Hermann, prior of the Carmelites in London. F. Hermann Cohen, the pianist is a native of Hamburg, and greatly esteemed by the Catholics of Germany.

The manner of his conversion was most wonderful and in many of its features resembled that of Alphonsus Ratisbonne. Whenever I saw F.

Hermann, in his fine Carmelite habit, I thought of another great musician, Liszt, whom I had seen and admired at Rome, and of the Franciscan, F. Singer, who invented the wonderful instrument to the tones of which I had the pleasure of listening at the general convention held at Salzburg in 1857. True, F. Hermann is not only an eminent musician--G.o.d has gifted him with many other endowments; as an orator, especially, he is overpowering, able to move the most unfeeling. Another monk, a fine and imposing figure and a master of religious music, the Franciscan friar Egidius, of Jerusalem, offered very valuable advice. Friar Julian, of Brussels, who has supplied three nations with organists, took an active part in the debates.

Beside these I shall mention, Arthur de la Croix, of Tournay, who has written several works on religious music; the Abbe Loth, of Rouen, who deserves honorable mention as one of {227} the most zealous promoters of church music; Lemmens, editor of "_L'Organiste Catholique_;" Emile Laminne, of Tongres, who most eloquently insists on the cultivation of music in seminaries, and on the appointment of a special committee for music in every diocese. F. Faa di Bruno, of St. Peter's, in London, spoke on oratorios; the Abbe Deschutter, of Antwerp, on sacred music at concerts, Edmund Duval presented a paper on the accompaniment of plain chant. L'Abbe de Mayer, Prof. Deyoght, and Hafkenscheid, of Amsterdam, also made important suggestions. On motion of Dr. Paul Alberdingk-Thijm, the most eminent authorities on sacred music were appointed corresponding members. The following were elected: Meluzzi, musical director at St. Peter's, Rome; Dandini, secretary of the academy of St. Cecilia at Rome; Don Hilarion Eslava, of Madrid; the Duke de San Clemente, of Florence; John Lambert, of London; Tornan, archaeologist at Paris; Charles Verooitte, of Paris; the Abbe Loth, of Rome; Friar Egidius, of Jerusalem; F. Hermann, of London; T. J.

Alberdingk-Thijm, publisher at Amsterdam; and F. Stein, pastor of St.

Ursula's, Cologne.

Hitherto very little has been done for the reformation of church music; in Germany, as elsewhere, there still exist many reasons for complaining. Nevertheless, the Gregorian chant is no more antiquated than the ceremonies of the Church, her liturgy, her liturgical language, or the vestments used at her offices. Who is there that does not admire the melody of the sacred hymns, their perfect form, their solemnity, and their dignity? Moreover, the plain chant demands no violent exertion on the part of the singer. The voice is strained neither by difficult figures nor by unnatural intervals, nor does it require the same compa.s.s as the modern music. Unlike instrumental music, choral music does not stun the hearer by its noisy effect, so unbecoming divine service.

Nor has sufficient attention been paid to several other points; to the more thorough study of the liturgy, and of the sacred hymns of the Church, and to the cultivation of popular music.

Lastly, we must briefly notice the exhibition connected with the congress of Malines. It was very interesting, and formed a pleasing feature of the first and particularly of the second congress. Those who contributed most towards its success were, James Weale, of Bruges, Bethune, of Ghent, Canon de Bleser, and Abbe Deloigne. Many weeks of patient research, under the most favorable circ.u.mstances, would not enable us to meet with so many specimens of mediaeval art; in fact, the collection was of great importance to the student of archaeology.

The works of living masters, too, were on exhibition, and many of them called forth our especial interest and admiration. They proved conclusively that the attempts recently made to restore Christian art to its pristine purity have not been altogether fruitless. In many places our artisans have again begun to study the medieval art, and many of them rival in the excellence of their productions the masters of the middle ages. How beautiful were many pieces of bronze statuary, of jewelry, and of embroidery, that we found at Malines! The bronze chandeliers, candelabra, and desks sent by Hart, of London, surpa.s.sed in purity of style and beauty the best works of the old Belgian masters. The Romanic and Gothic ciboria, chalices, remonstrances, chandeliers, reliquaries, censers, crosses, croziers, and the like, contributed by such artists as Bourdon de Bruyne, of Ghent, Martin Vogeno, of Aix-la-Chapelle, h.e.l.lner, of Kempen-on-the-Rhine, rivalled the most admired productions of the middle ages; the three artists above-mentioned fully deserved the prizes awarded them by the congress. Among the sculptors whose statuary graced the exhibition, well-merited praise was bestowed on de Broeck and Van Wint, of Antwerp, and {228} Pieckerey, of Bruges. The paintings on gla.s.s, also, exhibited by Westlake, of London, met with general approbation. The committee which awarded the premiums consisted of Voisin, of Tournay; von Bock, of Aix-la-Chapelle; Van Drival, of Arras; Felix Bethune and John Bethune, of Ghent; Cartuyvels, of Liege; Weale, of Bruges; and Helbeig, of Liege.

Lambotte, of Liege, Reinhold Aasters, of Aix-la-Chapelle, John Goyers, of Malines, and several others had sent samples of workmans.h.i.+p in gold. The silk embroideries of Von Lambrechts-Martin, of Louvain, attracted considerable attention, as did also the sculptures of Champigneulle, of Metz, and of Phyffers, a Belgian sculptor living in London. Many other names I have forgotten; but on the whole the English and Germans excelled the French and Belgians. J.F. Casaretto, of Crefeld, had brought to Malines a number of vestments, banners, chasubles, copes, etc, and displayed them to advantage at the Hotel Liederkercke. They attracted the notice of the Belgian bishops no less than of the foreign clergy, and their excellence was acknowledged by all, especially by Bishop Dupanloup, of Orleans. In Germany, for the last twelve years, Casaretto has enjoyed the patronage of the bishops and clergy. Though there were at Malines many excellent samples of workmans.h.i.+p, there was also much that did not soar above mediocrity, and much that fell beneath it. Even many experienced artisans are guilty of gross mistakes; some goldsmiths, for instance, manufacture patens entirely unfit for use. The paten should be perfectly smooth and even, without any ornament. In Malines there were many chalices whose feet were so made that it would be next to impossible to hold them firmly without injuring the hand of the celebrant. In many of the remonstrances and other sacred vessels, also, serious defects were noticeable, a proof that there is still room for improvement. To attain a proper degree of perfection, there should be a closer union of the mechanical and the fine arts and of both with science. Let our artisans be acquainted with the principles of art, let them be thoroughly instructed in the rules laid down by the Church for the guidance of the artist, let them come into closer contact with men of science; in fine, let them, thus instructed, be penetrated by the spirit of faith, purified and enn.o.bled thereby, and they will certainly produce workmans.h.i.+p worthy of our admiration. On this subject many useful suggestions were made by Cardinal Wiseman in 1863, in his well-known lecture on the "Connection between Science and Art."

The results of the debates of the section on art were, as we stated above, the establishment of a professors.h.i.+p of ecclesiastical archaeology at Louvain and the foundation of a national museum at the same place. Considering the many reasons as eloquently urged in its favor, we doubt not that active and immediate measures will be taken for the completion of the cathedral of Malines. On the success of the German artists at the Malines exhibition we lay the more stress because, at the same time, Ittenbach, of Dusseldorf, surpa.s.sed all his compet.i.tors at the Antwerp exhibition of paintings, and the historical painter, Edward Steinle, of Frankfort-on-the-Main, by his cartoons, exhibited at Brussels, gained new triumphs for true Christian art. To the latter fact, Guffers and Swerts, the best Belgian painters, cheerfully bore witness. In the debates at Malines the superiority of German art was repeatedly acknowledged by representatives of all nations.

To return to our fatherland. At the head of the movement for the regeneration of art in Germany, which distinguished the first half of the nineteenth century was a Catholic prince, King Louis I. of Bavaria. It was he, also, who, partly by renovating the cathedrals of Regensburg, Bamberg, and Spires, and partly by erecting so {229} many beautiful temples at Munich, rescued Christian art from the disrepute into which it had fallen. Rarely has so much been done for art in so short a time as in Bavaria under Louis I.; few monarchs have been more liberal patrons of every department of art. Many are of opinion that King Louis' protection should have been confined to German art, but his great soul scorned such narrow-minded ideas, and he extended his care to ancient cla.s.sical art. Foremost among those who, since 1842, strove to regenerate Christian art in its purely German form was King Louis' friend, Cardinal Geissel, of Cologne. The a.s.sociation for completing the cathedral of Cologne called forth great artistic activity; in that famous edifice was seen the symbol of the Catholic Church in Germany, and of the final return of all Germany to the one true faith.

To their exertions we must ascribe the advancement of Christian art previous to the meeting of the first Catholic general convention.

These conventions have always upheld the claims of Christian art. At Linz, in 1850, was founded the "Christian Art Union of Germany." In a few years this society spread over every part of our country. The Rhenish art unions were the most active, and exercised considerable influence on those of southwestern Germany; the latter, however, have proved more lasting and have accomplished more important results.

When once fairly established, the Christian art union held several general meetings, the first of which took place at Cologne in September, 1856. The beginning was insignificant, for scarcely a hundred delegates a.s.sembled, and many of these hailed from the Rhenish provinces. In spite of this drawback, the transactions were far more interesting than those of many so-called "historical a.s.sociations,"

that busied themselves with Celtic, Roman, and German antiquities.

Nay, considering the merit of the speeches delivered, they compare favorably with those of the German architectural society. A still more brilliant future, however, was in store for the Christian art union.

In 1857, the second general meeting was held at Regensburg, at which the number of archaeologists and artists amounted to several hundred.

For three days they a.s.sembled in the splendid church of St. Ulric, discussed some most important questions, and listened to several brilliant speeches. The treasures of mediaeval art, sent from every part of the diocese of Regensburg, formed a magnificent collection, for, among all the cities of Germany, Regensburg is one of the richest in monuments of mediaeval times, whilst its cathedral is one of the finest in the world. A. Reichensperger, the chairman, enforced strict order in debate; next to him sat Dr. F. Streber, professor at Munich.

As a successful student of numismatics, his fame was European; in fact he was a man of superior learning. His best work is his "History of Christian Art," which was not published previous to his death, but whose excellence no one will undervalue. If an ill.u.s.trated edition were published, it would supplant all other cla.s.s-books on the same subject, and be a sure guide and basis of all future researches. And no wonder, for no man had a clearer and more general knowledge of everything relating to the history of art than Streber. We hope soon to see this history grace every collection of the Catholic cla.s.sics of Germany.

Another eminent member of the a.s.sembly was Dr. Zarbl, canon of the cathedral at Munich. An eloquent speaker, a writer who recounted his travels in an interesting manner, and a zealous pastor of souls, the canon was a patron of Christian art, and intimately acquainted with its literature. His residence resembled a museum of mediaeval curiosities. He was president of the Regensburg art union, and well was he fitted to fulfil his duties. When he walked up the aisles of his cathedral, his appearance was majestic {230} His words were impressive and his actions cautious and well considered. Overtopping most men, and inspiring all with respect, strangers looked up to him with a feeling akin to awe, whilst to those who knew him he was a kind and esteemed friend. Canon Zarbl departed this life long ago, to receive the reward of his virtues. A Benedictine of the abbey at Metten, on the Danube, a man whose memory is cherished by thousands of his pupils, F. Ildephonsus Lehner, was the soul of the Regensburg art union in 1857. As director of the seminary he labored successfully to imbue his students with an ardent love of Christian art, the principles of which he had mastered at an early age. This he effected not so much by aesthetic: theories as by practical instruction. At Metten he founded a museum of mediaeval art, he formed a school which was frequented by many talented young men, and a.s.sisted by several friends he founded the Regensburg diocesan art union, and encouraged artistic literature. Foremost among his disciples is George Dengler, of Regensburg, who bids fair to attain considerable eminence in architecture. At the Wurzburg general convention, in 1864, F.

Ildephonsus was chosen chairman of the section of Christian art, and in an eloquent address he urged the German clergy to study the Catholic liturgy and the regulations of the Church regarding Christian art.

We must not forget to mention G. Jacob. He was a.s.sociated for a long time with Dr. Amberger, one of the first theologians of the present age, and Grillmaier, the most pious priest that I have ever met with, in the direction of the seminary at Regensburg, where he was professor of the history of art. At the suggestion of the Regent Dirschedl, of Regensburg, and of F. Ildephonsus, Jacob wrote his work on art in the service of the Church, which was published at the time of the Regensburg congress. It is a truly admirable work, especially as a manual for theologians and priests.

In a few weeks it spread all over Germany, and during the last seven years nothing has been written equal to it in its kind. The publication of Streber's "History of Art" and a new edition of Jacob's "Handbook" would be of great service to the German clergy, and would greatly promote the study of Christian art.

Sighart, of Freising, who had just published his "Albertus Magnus,"

also spoke at Regensburg. He is the most distinguished of the many writers on the history of art of whom Bavaria justly boasts; twelve years have elapsed since he began the long series of his valuable works by his history of the cathedral of Freising. His "History of Plastic Art in Bavaria," published in 1863, was the crowning effort of his genius and labors. No other German country can boast of so complete and perfect a history. He also called into existence a museum of mediaeval art, and brought to the notice of the learned all the artistic treasures of the archdiocese. His example has been imitated in several Bavarian dioceses.

Himioben, of Mayence, was the representative of the art union founded by him in that diocese. In fact Himioben was one of the firmest stays of the Catholic a.s.sociation in Mayence, and a prominent orator at all the general conventions. His appearance was striking, and predisposed all in his favor. His sparkling eyes, his fine flowing hair, his n.o.ble figure, his sonorous voice, and his youthful ardor and enthusiasm, made him the favorite of all who had the pleasure of listening to him.

"I have seen the seed germinate, and the flowers bud; you will see them in full bloom, and reap the fruit." Such were his words to a younger friend in the fall of 1860, and well do they express his ideas concerning the regeneration of religious life in the nineteenth century. Himioben used all his influence in favor of renovating the cathedral of Mayence, though he did not live to see the repairs completed. Would that he had witnessed {231} the twentieth of November, 1864, when the Catholic cause acquired new strength by the confederation of the Rhenish cities!

Stein, of Cologne, spoke on church music; Professor Reischl, of Regensburg, on hymnology; Dr. Durch, of Rottweil, on aesthetics; whilst Wiest urged the renovation of the cathedral at Ulm. But I cannot mention all who addressed the a.s.sembly at Regensburg. But though there were many and distinguished orators at Regensburg, the palm of superior success belongs to a musician, J. Mettenleiter, who edited the "_Musica Divina_" in connection with Canon Proske, and who at Regensburg gave a practical proof of what true church music is. All were transported by the magical power of harmony. Regensburg possesses the best school of church music in Germany, and the choir of its cathedral rivals that of the Sistine chapel. Besides Mettenleiter and Proske, we must mention Schrems, Wesselack, and Witt.

The zeal displayed at Regensburg was short-lived; the German art union never met again in general convention. Since 1858 it has again become a mere section of the general conventions of the Catholic societies in Germany. At the Munich convention, in 1861, considerable interest was taken in Christian art; but at Aix-la-Chapelle, Frankfort, and Wurzburg it had few any friends. At Aix-la-Chapelle, Professor Hutmacher was chairman of the section of art, at Frankfort Prof.

Steinle, whilst at Wurzburg the most active members were F.

Ildephonsus and Dean Schwarz, of Bohmenkirch, in Wirtemberg.

But though much has been done for Christian art by the establishment of art unions and their general meetings, it has likewise been promoted in many other ways. The members of the Catholic art unions not only devoted themselves to the study of art, but also encouraged others to make researches on this subject, and it is but just to add that during the past twelve years much has been accomplished that deserves unqualified praise. To the Bozen art union we owe the "History of the Development of Religious Architecture in the Tyrol,"

the second part of which was published a year ago by Karl Atz. The Linz art union, after commissioning Florian Wiener to write directions for researches on religious monuments, is now preparing a history of art in the diocese of Linz. Many years ago Giefers rendered a similar service to Paderborn, Schwarz and Laib to Rottenburg, and Reichensperger to the Rhenish dioceses. Besides establis.h.i.+ng the Diocesan museum, the richest collection of this kind in Germany, the Cologne art union founded the "Journal of Christian Art." The Regensburg union published the work of Jacob mentioned above, and distributed it among its members. Sighart made researches in the archdiocese of Munich; whilst Adalbert Grimm, of Augsburg, wrote a history of his native diocese. Great services were rendered to Eichstadt by Maitzl, to Bamberg by Kotschenreuter, to Wurzburg by Wieland, to Limburg on the Lahn by Ibach, to Spires by Remling and Molitor, and to Munster by Zeke. By the advice of Prof. Alzog, the Freiburg union commenced in 1862 the publication of an art journal. To the Rottenburg art union we are indebted for an important work on altars, by Dean Schwarz and Pastor Laib. One of the most active societies is that of Luxemburg, which has published an art journal since 1861. These researches were based on those of the historical a.s.sociations and on some valuable essays, some of which had been written long before. Almost every cathedral in Germany can boast of its historian. Thus Geissel wrote the history of the Imperial cathedral (1826-8); Wetter and Werner that of the cathedral at Mayence (1835); Boisseree that of the Cologne cathedral (1821-3); and Giefers that of the cathedral at Paderborn. To Perger we owe a sketch of St.

Stephen's at {232} Vienna; to Himmelstein, one of the Cathedral at Wurzburg; whilst Grimm and Allioli published an incomplete sketch of the cathedral at Augsburg, and the histories of the Hildesheim, Xanten, and Freising cathedrals were written by Kratz, Zehe, and Sighart. One of the most instructive works lately published is Schreegraf's history of the cathedral at Regensburg, in three volumes.

Every diocese in Germany has not yet done its duty, and much can and should still be done by the German clergy. Let us not think lightly of these laborious researches; their usefulness and importance to science will one day be made evident to all. Catholics and Protestants must aid alike in gathering the voluminous materials, which must be placed at the disposition of him whom G.o.d will call to write a national history of German art. The labors of these societies have already enabled several prominent men to undertake more extensive works, among which I will mention Sighart's "History of Art in Bavaria," Lubke's "History of Art in Westphalia," Heideloff-Lorenz' "Suabian Art during the Middle Ages," Heider-Eitelberger's "Mediaeval Monuments of the Austrian Empire," Haas' "History of Styrian Art," Ernst aus dem 'Werth's "Monuments of the Lower Rhine," and Ha.s.sler's "Ancient Monuments of Wirtemberg." A year ago, Lotz published an excellent work, in two volumes, ent.i.tled, "Art-Topography of Germany," whilst Otte's "History of German Architecture" is on the point of appearing.

Schnaase, too, in his "History of Art" has profited by the labors of the Catholic art unions, and the same may be said of Muller-Klunzinger and Nagler, of Munich, in their cyclopedias of art.