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 Würzburg it had few any friends. At Aix-la-Chapelle, Professor Hutmacher was chairman of the section of art, at Frankfort Prof. Steinle, whilst at Würzburg the most active members were F. Ildephonsus and Dean Schwarz, of Böhmenkirch, 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 establishing 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 Eichstädt by Maitzl, to Bamberg by Kotschenreuter, to Würzburg by Wieland, to Limburg on the Lahn by Ibach, to Spires by Remling and Molitor, and to Münster 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 associations 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); Boisserée 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 Würzburg; 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 God 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," Lübke'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 Hassler's "Ancient Monuments of Wirtemberg." A year ago, Lotz published an excellent work, in two volumes, entitled, "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 Müller-Klunzinger and Nagler, of Munich, in their cyclopedias of art.
Let us not grow languid in our investigations concerning German art during the middle ages, until the last monument has been discovered and the last inscription deciphered. Many years must elapse before we shall arrive at this point. When, in his wanderings throughout Europe, Böhmer, the author of the great work on imperial decrees, found an undiscovered document, his joy was indescribable. Equally great was the delight of the editors of the "Monumenta Germaniae" when they brought to light some annals that were supposed to have perished. The same pleasure awaits any one who has the good fortune of discovering a Roman basilica, a remarkable arch, or any other important monument; who deciphers and explains an old inscription, and adds to the stock of our knowledge.
As appears from what has been said above, the religions art unions also established journals and museums. The chief of the periodicals is the "Journal of Christian Art," edited, since 1851, by Baudri. Among the contributors to this publication, which does not meet with the patronage it deserves, are A. Reichensperger, Ernst Weyden, of Cologne, the learned Dr. van Endert, Canon von Bock, of Aix-la-Chapelle, and, occasionally, Münzenberger, of Düsseldorf. Baudri's journal is to Germany what J.N. Alberdingk-Thijm's "De dietsche Warande" is to Holland, what James Weale's "Le Beffroi" is to Belgium, and what Didron's "Annales" are to France. The claims of church music are put forth by the "Caecilia," published in Luxemburg by Oberhoffer. Pastor Ortlieb, whose premature death we mourn, made a similar attempt, but failed. In fine, the organ of the altar societies is "Der Kirchenschmuck," a monthly publication, published in Stuttgart by Schwarz and Laib. These altar societies may now be found in every part of Germany, and their silent influence is great. Some societies, those of Vienna and Pesth, for instance, number thousands of members. The Brussels and Paris societies, beside attending to their own wants, work for foreign missions. The most recent of these societies is the one founded in November, 1864, at Frankfort-on-the-Main, as the Diocesan society of Limburg. The ladies of Germany have furnished splendid [{233}] pieces of embroidery in the form of sacred vestments.
I cannot speak of altar societies without mentioning Kreuser, of Cologne. Kreuser, with his hoary hair and his mighty snuff-box—a man full of sparkling wit and endless humor—is known to all of us, for up to 1861 we never missed him at the general conventions. Since the Munich convention, however, we have not seen him; he was absent at Aix-la-Chapelle, at Frankfort, and at Würzburg, and we know not the reason of his absence. To speak concisely is very difficult, and few speakers from the Rhenish provinces can boast of this virtue; still, most Germans, and especially the German ladies, listened with pleasure to old Kreuser; and no wonder, for Kreuser never failed to do justice to the ladies of Germany. When Kreuser spoke in a city, his speech was followed immediately by the establishment of an altar society. He carried everything by storm, and the impression made by his speeches was not merely transient, but produced lasting fruits. Kreuser is a poet, also, a happy improvisatore, able to cope with the most daring rhymster. He is one of the best read men in Germany, and deserves our gratitude for his exertions in the cause of Christian art. Twenty years have rolled by since he published his "Letters on the Cologne Cathedral," and during the last twelve years his work on architecture has been studied again and again. That Kreuser's style is deficient in grace and harmony we will not dispute, still much benefit may be derived from the perusal of his works.
Francis von Bock, also, deserves our notice. He is the author of a "History of the Liturgic Vestments," in two vols., illustrated with two hundred colored engravings. Boldly he demands the use of appropriate workmanship; fearlessly measures swords with every opponent, and often his impetuosity is crowned with success. To him Casaretto, of Crefeld, is indebted for valuable suggestions. He was also one of the founders of the school of art under the direction of the Sisters of the Infant Jesus, at Aix-la-Chapelle. Dr. von Bock has visited every country in Europe, Turkey excepted, which he intends shortly to visit for the purpose of continuing his researches. Where can be found an ancient vestment whose texture he did not scrutinize, and a piece of which he has not begged for still closer examination? At Gran, at Malines, in Bohemia, in Sicily, at Rome, at Paris, at Vienna—everywhere Dr. von Bock has left traces of his unwearying activity. The Rhenish goldsmiths owe him a debt of gratitude. He has written papers on the church at Kaiserswerth, on the Benedictine church at Munchen-Gladbach, on Cologne, and on the relics at Gran and Aix-la-Chapelle. His principal work is on the "Insignia of the Holy Roman Empire." It is a magnificently illustrated specimen of typography, equal in every respect to any similar work published in England or France. At Malines every one spoke loudly in its praise, and in 1864 the author received from the Emperor Francis Joseph the Cross of the Iron Crown. Von Bock's style reminds me of the chimes I have heard in Holland; it consists in a constant repetition of the same pleasing melody.
Von Bock stands in odd contrast to Dean Schwarz, of Böhmenkirch, the able editor of the "Kirchenschmuck." He is the personification of repose and dignity, a deep thinker, and a first-class archaeologist. For many years he has wielded great influence with the clergy.
Whilst the altar societies are displaying greater activity every day, the Christian art unions, it is said, are daily becoming less zealous. In some places, no doubt, this is true; but in many dioceses they have been changing into associations for furthering the completion of the diocesan cathedral. To mention but a few instances, this was the case in Regensburg. Since his accession to the episcopal see [{234}] Bishop Ignatius von Senestrey applied himself with energy to the completion of his cathedral. King Louis I. having furnished the means, we have no doubt that in a few years architect Denzinger will finish the two towers. At Mayence, likewise, everything is being done for the completion and decoration of the cathedral. The work has been intrusted to the skill of Metternich, and Director Veit, assisted by Lasinsky Settegast and Hermann, is frescoing the walls and the vaults. Since the fall of the partition between the sanctuary and the nave in the Cologne cathedral, and since the great festival of October 15th, 1868, the building has been steadily progressing, and the cathedral lottery promises to furnish the means for completing the towers within seven years. Schmidt has added a new pyramid to St. Stephen's cathedral in Vienna, which has now the highest spire in the world. After rivalling the English architect Welby Pugin by planning almost two hundred churches and chapels, Statz is now building a cathedral at Linz. Archbishop Gregory von Scheer has given a new appearance to the metropolitan Church of Our Lady at Munich, whilst the bishop of Passau, Henry von Hofstätter, has proved his devotion to the interests of art by renovating many churches in his diocese. Among all the German prelates none have built more churches than Cardinal Geissel, of Cologne, and Bishop Müller, of Münster.
Is it not an encouraging sign that we are completing the immense edifices of the middle ages? Is it not a proof of vital energy that the Catholics of all countries are building the grandest churches in the most correct style? As architectural science progresses, a like advance must take place in mechanics, and, notwithstanding many blunders, every branch of art is daily more and more perfected. Not many years hence all our temples will be completed and adorned with the splendor becoming the divine service. Let every one do his duty, fulfilling the task allotted him by divine Providence.
Let us conclude our rapid survey by calling to mind the men who have begun and directed this movement. Among the Germans, Joseph von Görres, F. von Schlegel, and Sulpitius Boisserée will head our list. France justly boasts of de Caumont, Didron, Montalembert, Viollet le Duc, Cahier, and the Abbé Martin. Oudin must not be forgotten, nor Bossi, the historian of the catacombs. The merits of Seroux d'Agincourt, Waagen, Guilhabaud, Schnaase, Kugler, Passavant, Stieglitz, Geyer, Kallenbach, Forster, Moller, Heideloff, Otte, Springer, Hefner-Alteneck, Krieg von Hochfelden, von Quast, Jacob Schmitt, and many others known to every votary of art. To us is assigned the task of reaping the fruits of their labors.