The results of the debates of the section on art were, as we stated above, the establishment of a professorship 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 Düsseldorf, surpassed all his competitors 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, Güffers 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 classical 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 association 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 assembled, 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 associations," 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 assembled 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 illustrated edition were published, it would supplant all other class-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 classics of Germany.
Another eminent member of the assembly 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 assisted 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 Würzburg 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 associated 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 association 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 noble 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 assembly 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.