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 associations 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 associations of Germany never met again; and at Würzburg, 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 noble 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 nobly fulfilled the task assigned 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 glass. 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 glass are in marked contrast to the productions of the Munich school. He does not delight in great historical paintings on glass, 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 assembly 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 Abbé Huguet, and the Abbé 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 assembled 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 Petit Seminaire at Malines he gained his most brilliant successes. His French may not at all times be classical; 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 constituted one of the principal 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 entitled "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.