Bayerischer Kunstgewerbe-Verein [Hrsg.]: Kunst und Handwerk: Zeitschrift für Kunstgewerbe und Kunsthandwerk seit 1851 (81.1931)

Kunst und Handwerk
A. D.1851

Modern Ecclesiastical Architecture in Germany

(Continued from page 45)

to create a monumental building if it does not succeed in
elavating all those who approach it with good will". Or
again: "The genuinely Christian artist who has steeped
himself in the sanctifying spirit of the Church and has
acquired the sentire cum ecclesia is not to be driven from
the stroghold of his spiritual home by the vacillations of
profane art between the extremes of creative principles;
he calmly watches the whirlwind of the programmes of
the day, and dispassionately weighs and examines them
all, selecting only what can be turned to good account for
himself and his sacred task."

• This holds good if one puts the stress on the words
"genuine" and "artist" and adds "the sanctifying spirit of
Art" to "the sanctifying spirit of the Church". For one thing
is cerrain; the problem of ecclesiastical architecture is not
to be solved to-day by dogmas and intellectual specula-
tions and ideology; and all skill, all knowledge, all pract-
ical experience and education, and especially all new-
fangled ideas of construction will fail in the sublime task
of building a House of God if a strong and original creat-
ive force does not well up from the depths of a genuinely
artistic personality. Ecclesiastical architecture to-day has
its conservative Right and its revolutionary Left wings, and
also—to continue the analogy with practical politics—its
relatively small moderate Centre element. This Centre,
standing as it does midway between the conventional
hankering afterobsolete forms which deprivestheRightwing
of vitality and the grotesque exaggeration and rash exper-
imentalism of the revolutionary element, contains the seed
of all truly valuable future artistic development in this field.

• The pictures in this article are intended to illustrate the
most genuine and sound progressive tendencies in con-
temporary ecclesiastical architecture. The examples
shown, while in no case imitations of earlier historical
styles of architecture, nevertheless, all manifest the influ-
ence of a firm and powerful tradition adapting itself to
modern forms and ideas. It is only by adhering to this
principle of the old spirit in the new form that real pro-
gress in ecclesiastical architecture can be sure of last-
ing success in the future.

M. JORRES, KUNSTSTICKEREI-ANSTALT

München, Ottostraße 7 (Jörresstift)

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