German Gothic in the Midwest: The Parish Churches of Franz Georg Himpler and Adolphus Druiding Author(s): Roy

A. Hampton, III Reviewed work(s): Source: U.S. Catholic Historian, Vol. 15, No. 1, Sacred Places Liturgical Spaces: Explorations of Religious Architecture (Winter, 1997), pp. 51-74 Published by: Catholic University of America Press Stable URL: http://www.jstor.org/stable/25154572 . Accessed: 28/12/2011 12:41
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German Gothic in theMidwest: The Parish

Churches of Franz Georg Himpler
III

and

Adolphus Druiding
Roy A. Hampton In and religion culture, separated of Anglo-Saxon mainstream Catholics German in America, in America. Within the Catholic Church Protestant society were again separated by language and culture from the Irish who Germans who emigrated from areas where the hierarchy. German Catholics dominated the late nineteenth century, language, from the established anti-Catholicism with and Protestantism a sense of mistrust towards government such as the Know-Nothing on the ascendency arrived in America and and secular society. Nativism increased this movement, greatly Germans therefore huddled together in strong where were

anti-Catholicism, sense of mistrust ethnic

their own they could preserve customs and language. German ethnic churches were often major focal points with large numbers of German Catholic of these communities, parishes exist and Cleveland. in cities like Chicago, St. Louis, Milwaukee, Cincinnati, ing reminders of the Hence, parish churches are some of the best architectural in nineteenth The two architects Catholic presence century America. of distinguished German Catholic stand out as designers parish churches are Franz Georg and Adolphus in the Midwest, (1833-1916), Himpler, both German natives. Put together, the work of these (1839-1899), Druiding German who two independent church Catholic architects architecture includes a large portion of the outstanding German the influence of between 1865 and 1900. While

and separatism. and neighborhoods communities

architects was limited to a single city or state, both and Himpler in several cities and towns. Many of churches designed Druiding can be considered their buildings the finest examples of German among some German-American Catholic church architecture in the United States. in America Gothic and archi at the A distinctively church architecture German-Catholic flourished between 1865 and 1910, with buildings based on the medieval Romanesque styles. In general, German immigrants in the architectural tectural fashions, often building followed styles most

American popular

57

52

US. Catholic Historian in America There was

before

time. However, Greek Revival, Italianate, and other styles popular 1865 were not well suited for German ethnic expression. German

nothing particularly ple, or a church with these styles among pre-Civil War American to commission ficult for German Catholics

to look like a Greek tem about a church designed details borrowed from an Italian villa. The primacy of builders buildings ethnic and designers made it dif that reflected their ethnic

origins. In contrast, most major Western European tinct version of Gothic architecture. Anyone could based

a church based between distinguish on German, French, or Italian Gothic precedent. The nineteenth-century to develop their own unique form of Gothic Revival allowed German Catholics architecture which flourished this period. the church during Similarly, and enjoyed medieval also had distinct German variations, Romanesque style in this period. high popularity among German Catholics One may ask why this emergence of distinct German Catholic architecture did not occur earlier. After all, there were plenty of German immigrants pre sent became were States in the 1840s and 50s, and the Gothic Revival style in the United States as early as the 1840s. for church building popular It has been theorized that when Germans first arrived in the United States they in the United com in building structures that fit in well with their American to American To illustrate their adaptability, architec conformed they tural norms as a sign of their patriotism and loyalty to the United States. Later in the century, when German-Americans began to sense that they were losing interested their cultural distinctiveness, ethnic they began building churches that emphasized their individuality. For some immigrants, tant as German

groups had their own dis with a good architectural eye on English Gothic models and one

munities.

more impor threatened by the increasingly language so of American culture. And yet, we must ask why a people encroachment with holding on to their culture and language would seek to build concerned architectural expressions became and customs were to that went against that cultural identity, and conformed large public buildings some early German parishes may the standards of their adopted country. While to American architectural have desired to conform tastes, we know of many to build a which wanted of early German Catholic congregations examples church their efforts to express identity their ethnicity. However, that expressed architecture were often frustrated. through churches were designed Prior to the Civil War, many German Catholic by or builders, and these churches often reflected the architects local Protestant architectural Church bias of the designers. in Baltimore

The classic example of this is St. This German-speaking (1842-46). immigrant Alphonsus desired a German Gothic parish church, but the design for their congregation the architect who did not understand building was drawn up by a Protestant had some German German Gothic characteristics, style. The resulting church English

Midwest German Gothic in the but was

53

of the in style and form.1 Many German very English congregations Protestant and Catholic, must have desired a German Gothic 1840s and 1850s, to depend on local architects who were biased church, but found it necessary

in the traditionof English Gothic.

were States before 1865, but they present in the United eastern cities, isolated from the frontier towns in also often concentrated where many German immigrants were settling. Also, many of these architects German architects were had much not trained extensively in the design of churches, and few appear to have of German Gothic design. In fact, during the 1840s and knowledge the monuments 1850s scholars in Germany were still studying and cataloging medieval architecture. Most architectural academies and it was biased towards Classical forms of architecture, in Germany not until the were

of German were

mid-1850s,

Prior to the principles. often flimsy looking and mid-1850s, lacked good training in Gothic because architects design.2 If unconvincing architects were hard pressed to produce quality German Germany's prominent archi the situation was surely worse with German-immigrant Gothic designs, that they began teaching Gothic-design new Gothic in Germany were churches tects in the United parish church was the pre-Civil War years. However, Obtaining difficult extremely States. a quality German Gothic design for a in for most midwestern congregations

in Germany had architecture by the mid-1850s study of medieval to design authentic the knowledge needed and designers gained progressed, In the 1860s a number of these German churches. looking German Gothic a significant to the United architects States, and began making emigrated were Factors for immigration church architecture. impact on midwestern numerous. The post-Civil War American boom presented economic building In addition, for graduates of the German architecture schools. opportunities states in the late control over other German Prussia was exerting increasing 1860s, which would eventually lead to the unification of Germany under

1.My information on the construction of St. Alphonsus is taken from Phoebe Stanton's An Episode in Taste: The American Gothic Revival and Church Architecture 1841-1859, (Baltimore; John Hopkins Press, was designed St. Alphonsus trained architect 1968), 225-235. by Robert Cary Long Jr., an American in England. The by A.W.N Pugin, the leading figure in the revival of Gothic architecture some German characteristics such as a hallchurch plan, but in proportion and detail it is it as a church in the English "Perpendicular Gothic" Style. decidedly English Gothic. Long even described The current Germanic interior of the church is not due to the influence of the architect, but to the congrega deeply influenced building does have tion's efforts German churches 2. An Politics German While clients to decorate it with elaborate German Gothic woodwork and furniture. The combination a number of of and American architects in the era before and during the Civil War and English Gothic styles. written produced

that were excellent

a mixture of German architecturally of the Gothic Revival in Germany overview Revival: were,

of the German Gothic architectural academies the Gothic Revival

August Reichensperger for the most part, reluctant

in English isMichael Lewis' The (Boston: MIT Press, 1993). The major to embrace the revival of Gothic design. it was not until the

in England

1850s and 60s that Germany's

was flourishing as early as the 1830s and 1840s, Gothic movement began to pick up steam.

54

US. Catholic Historian control in 1871. Soon to follow was a full also scale of

Berlin's Catholics

of Germany. placed under the regulatory control of the Berlin establish major public buildings the diffi ment, which generally did not favor Gothic construction. Anticipating culties ahead, many Catholic architects may have decided to leave Germany before unification took place. Whatever the reasons, a significant number of German church architects settled in major American cities around railroad network allowed these architects to quickly ship expanding church plans and specifications to cities and towns across the United States. 1865. The German Catholic

in Bismarck's

Unification

persecution construction

these architects because congregations patronized they felt more with designers who spoke their language and practiced their reli gion, but also because German architects had a stronger sense of German style than Irish, English or American-born designers. While many English-speaking comfortable the monuments of German and French Gothic architec sense of composition, ture, their scale, and aesthetics was still gen proportion, a genera The 1860s brought to America erally steeped in British sensibilities. had studied tion of German made born and trained architects Gothic architecture who unique came from varying back Catholic church architects grounds, and each one had an individual sense of Gothic design. Most were in church architecture, other types of specialists although almost all designed often public buildings and schools. Only a few were priests or structures, members of religious orders. Many stories exist of German pastors educated in architecture who designed their own parish churches, but in most cases these tales are legends German-American and monasteries under or exaggerations. it should be noted However, brothers were architects and designed religious in the United control State. However, of their respective religious or hire additional staff as did somewhat churches.3 limited when that some churches were Germany's America's German had a stronger and distinctive. sense of what architects

these architect-brothers

generally the power to advertise was their productivity architects As who

orders, and did not have lay architects. As a result to many secular

compared

designed and Druiding were free to design churches when lay architects, Himpler ever and wherever led they pleased, and for a variety of clients. This freedom even to develop and Himpler different design philosophies, Druiding sharply

Wewer

to a religious order. Brother Adrian least one major German immigrant church architect belonged and received training as a carpenter in Germany. He arrived in (Weber) was a native of Westphalia the U.S. in 1862 as a Franciscan brother, and was sent to St. Louis. He designed numerous monasteries and and occasionally for other groups. Most of his work is clustered in the parish churches for the Franciscans, 3. At

but he also worked in California. Wewer Midwest, spent his entire adult life traveling across the United is States designing and building for the Franciscans, and died in California. My information on Wewer Harmon State University. largely drawn from a 1995 lecture by Dr. James Harmon of Northeast Missouri is still researching the career of this unique Franciscan architect.

German Gothic in theMidwest

55

and religious backgrounds, and though they shared nearly identical educational use of were contemporaries. was conscientious and scholarly in the Himpler historic architectural the Gothic Revival. His churches were styles, especially and showed a sophisticated understand usually built out of very fine materials ing of Gothic his exquisite of the expense and complexity and proportion. Because of for major urban parishes with a often worked designs, Himpler to spend on building. His largest parish churches of money pool detail that served as the visual St. Louis, in Cincinnati, and spiritual focal points of and Detroit. However, because churches parts of many Himpler

significant were like urban cathedrals German were communities

later by other architects. Despite these problems, Himpler's German parish churches of the Midwest form the finest body of ecclesiastical German Gothic produced by a single American architect. on the other hand was an aggressive businessman and self promot Druiding to design a church of any size to fit any budget, however er, willing large or to using inexpensive materials to give a poor parish small. He was not opposed the elaborate church it wanted at a price it could afford. He was also a ruthless

of the quality and expense of his designs, or were finished years left uncompleted

experimenter when it came to architectural style. While most of his ecclesiasti cal designs for German Catholics were based on appropriate precedents from or French Gothic, Druiding German combined these elements together in a bizarre and unconventional very free, unscholarly way that often produced results. While Druiding's work is not as elegant and refined as Himpler's, his to economic factors and the striking, unconventional appearance of sensitivity many of his churches made him the most popular architect among German in the Midwest, Catholic both rich and poor. Druiding congregations designed over one hundred churches, convents and monasteries, two cathedrals, eight and built a major parish church in almost every midwestern city. A catalog career boasted fourteen years before the end of Druiding's that the produced total of churches, convents architect's and monasteries added up to schools, over four hundred.4 Druiding was also a successful of houses and designer in his thirty-five year career, but his specialty always remained public buildings religious architecture. the older of the two architects, was born near Trier, Germany in Himpler, 1833. He studied at the Royal Academy of Architecture in Berlin during 1854 It was during these travels that he 58, and followed with travel across Europe. probably attained his superb knowledge in Europe as a church architect worked of Gothic architecture. a church He and designed reportedly and chapel at

4. Druiding, Church Architecture: With Suggestions to the Construction Relative of Churches 1886. This work is a richly illustrated promotional ecclesiastical catalog for Druiding's designs. it through the generosity of Rev. Thomas Fait of Union Grove, Wisconsin.

Chicago, I obtained

56

U.S. Catholic Historian in Lorraine. came and settled In in St.

Vaudrevange 1867, Himpler United States, Atchison, Benedict's He New

**^^bIg *,%* __u__B__e^ '**VH-?* '~~t '" ' ^v **

to the

Kansas,

Abbey then relocated Jersey, where

designing in that town. to Hoboken, he resided

while

architecture practicing out of New York. Among his on the east coast are The of the Sacred Heart

works

Academy Grace and

and Church of Our Lady of

in Hoboken, the now New Jersey, demolished Revival St.

Romanesque

Alphonsus
York City.

Church

in New

was a favored Himpler architect midwestern among German Catholics who were St. Francis Fig. 1: Franz Georg Himpler, De Sales Church, Cincinnati, 1878, exteri or rendering St. Francis De (Courtesy: Sales Parish). for an architect who searching could create a powerful symbol of German in the presence urban his community. Because of monu of the superb knowledge Gothic architectural Rhineland

ments

and nearby provinces of France, Himpler's sense of style and proportion. churches have an unmistakably German The exterior effect of Himpler's German parish churches is generally monumental, inspiring and striking. Most of the buildings were based on a full cross-shaped (cruciform) plan, with strong vertical lines, and one or more spires of consider

of

the German

as medieval to function able height. These churches were clearly intended cathedrals; they were social and visual focal points of their towns or neighbor hoods. Many of Himpler's rank as the finest examples churches of German Gothic architecture in the city or state where they are located. earliest German-American Himpler's in Detroit, built in 1870. Joseph's Church parish church was probably Its exterior design is forceful St. and

The proportions of the vertical, with numerous gables and vertical windows. interior reflect the powerful verticality of the exterior. The church's tall interior aisles and slender columns recall the German hallchurches of the middle ages, to be open and spacious, which were planned in contrast to the long, narrow tunnel-like church interiors of many French and English Gothic cathedrals.

German Gothic in the Midwest

57

Fig. 2: Himpler, Neal Nathanson). This

SS. Peter

and Paul,

St. Louis, MO,

1875,

exterior

(Photo

by

Gothic

sense of expansive openness in the world of is almost unique to Germany architecture. St. Joseph's interior furnishings and stained glass also enhance its image as a sanctuary of German Catholic faith and culture. While St. Joseph's the architect's in Detroit German

is a good example of Himpler's skill in Gothic in America is undoubtedly Gothic masterpiece design, in St. Louis, Missouri Saints Peter and Paul Church One of the (1873-75). cities of German America, St. Louis was a center of German culture principal and thought through most of the nineteenth century. As the premier parish of St. Louis' German Catholic SS. Peter and Paul clearly deserved community, the finest and most majestic of church buildings. The design provided by remains as one of the finest examples of German Gothic in America. Himpler Gothic statement of German and Paul is a compelling stone church towers over the landscape 2). The massive verticality (Fig buttresses and of the south side of St. Louis with its sharply vertical windows, was able to build a magnificent In SS. Peter and Paul, Himpler pinnacles. in the fullness of scale and majesty that he wanted. However, while building The exterior of SS. Peter the interior was completed much as he intended, the exterior of the church is

58

U. S. Catholic Historian

_____P ff_^^^^^^HR^HI^^^^HP_^__^^HI^^^^^^B1I^H _____l^ *'Wmmmmmmmmmmmmmmmmw^K^kmwm^^i^^^^^^^^^^KUl^KKlm^^^^^KM^^^^^^^^^^^^^Kk l_V^_____r .w____________Hl_i mmmmmwmi_________l mWmm

' __r_J ' H__F ? ___^_____H____f IfflL ^_________Bi~^__i1________?__K____________a___I s ____________fl__w M_BP E__________P^h_^ *________________________ J^___

m __f f

fi___ ____

\i ____ ____

III

:L:_jB_ff

; t HLi-____ti_E_it^________^_____Bfcli

__$!^kI__*'N

k_________________i_i9_________

Fig.

3: Himpler,

SS. Peter

and Paul,

interior

(Photo

by Neal

Nathanson).

a different story. The existing church has a single tower and spire unfortunately on the south side of the main facade, but clearly Himpler intended for another tower to be built on the facade's north side. Also, shorter tower the existing and spire were added in 1889-90, and may or may not reflect Himpler's origi so expensive nal drawings. Himpler's church designs were that towers and in the original building campaign. They were spires were usually not executed 10 to 20 years after the initial completion of a building, and if towers on the church front, the Himpler's design called for two asymmetrical shorter tower was usually never built. Consulting architects were often called generally added in to supervise the completion of towers, and they often modified Himpler's or drew up their own tower designs. plans The finest aspect of the design of SS. Peter and Paul is its interior (Fig. 3). This center interior aisle is based while seen hallchurches idea of creating the openness of German the sense of verticality and the sense of a long preserving in many French and some German cathedrals. The aisles of reach the ceiling, giving the church's However, on the

the church are supported on thin columns that almost the interior a sense of spacious hall church openness.

German Gothic in theMidwest side aisles

59

are not quite as tall as the middle aisle, and not as wide. This gives of akin to the verticality dominance aisle a sense of visual the center aisle is a small section Cologne Cathedral. At the top of the middle Germany's In most cathedrals known as a clerestory. the ceiling, commonly that open directly to the outside and let light of wall has windows It is an unusual feature of Himpler's into the center of the church directly. is covered that the "clerestory" (and also some of Druiding's) parish churches on the outside by the roofs of the side aisles. Light comes into the clerestory cut into these roofs. Overall, Himpler windows through dormers indirectly of German in this interior two of the most combines concepts important of wall near this section Gothic. He captures the feeling of the open hall church, while retaining the sense of Cologne Cathedral's and its vertical emphasis. clerestory, is embodied in German Gothic A third important concept by the design area of the church just in front of sanctuary space of SS. Peter and Paul. The

the sanctuary extends out on each side into spaces known as transepts. At the east end of the church is a five-sided apse which contains the main altar. Then to each side of the main apse are two smaller apses, with side altars that are the altar of SS. Peter and Paul, one placed. Thus, when approaching diagonally out in five directions: ahead into the sees the space of the church expanding into the small sanctuary, to the right and left into the transepts, and diagonally er apses containing the side altars. The effect is almost like that of being in a or Byzantine church of Baroque round or octagonal design, with space con this dynamic all around. Clearly and receding spatiality stantly expanding archi of German Gothic emanates from one of the most unusual monuments a building in in Trier (Himpler's the Liebfrauenkirche tecture, birthplace), which radiating chapels were added to a typical basilican Gothic church plan churches focused to create a complex, space similar to Byzantine centrally has always been consid side domes. The Liebfrauenkirche with their multiple and of the German Gothic, ered one of most unique and original monuments used as a source by ninteenth-century a distinctive, thus provides Himpler architects vertical, practicing hallchurch-like in Germany. space for the the clergy and altar.

was

and a breathtakingly open setting for is based through and through on close analysis of French and design Himpler's but is it is not a dry copy of medieval German Gothic. However, buildings, of creative fusion of many diverse but related elements instead a dynamic, congregation, German interior furnishings form. Today, many of the church's interior shell has been left intact and still removed, but the building's of Gothic form and space. into Himpler's mastery affords the visitor a glimpse at SS. Peter and Paul, it is unfortunate the architect's achievement Considering architectural have been that Himpler was

never given the opportunity to design a large scale cathedral in the United States. Such a building would surely be counted among the finest monuments in America. of the Gothic Revival

60 A De with

U S. Catholic Historian third major midwestern Sales German parish church by Himpler is St. Francis in Cincinnati, built in 1878. A church of considerable scale, St. seen at SS. Peter and Paul, but contains many of the fine characteristics

Francis

conventional plan than the St. Louis church. The layout once creates an open, hallchurch-like space with a dormer-lit clerestory and a again cruciform plan. Most is the facade of the church, with its prominent striking in the French tradition of Chartres and triple portals and a central rose window, Cathedrals. The trim entire exterior in yellow surface limestone sandstone. The is composed of stone: walls in are executed details with

a more

Amiens

block, usual exquisite form. The facade was to of Gothic Himpler's understanding two towers of 230 and 130 feet respectively have (Fig. 1), an asymmetrical of the varied spires of Chartres.5 The taller of the two reminiscent arrangement given a clock face that did not appear slender octagonal spire does gracefully original rendering. tower as Himpler had planned. As at SS. Peter and Paul, the sec rise from the built in 1896-1897, in Himpler's The ond tower of St. Francis De Sales was off with a pyramidal roof. Nevertheless, tower gives the facade of St. Francis De never built, and its base is now capped the presence of the other completed Sales a powerful, vertical look. The of German Gothic, and one towers was but was

finest example church stands today as Cincinnati's of the major landmarks of the city's east side. In addition St. Louis

to Himpler's triad of monumental parish churches in Cincinnati, a number of smaller churches in the and Detroit, he also designed in Church for German These include St. Mary's Midwest congregations. in Sandusky, Ohio (1873 Grand Rapids, Michigan (1873), and also St. Mary's 80). Both churches have a plan and format very similar to Himpler's larger and both have a massive front center tower similar to St. Joseph, churches, seems to have been more comfortable in Detroit. Although Himpler designing a larger scale, both of these small churches show the same concern for quality of materials While Midwest and detail other seen at the major of German churches. descent built numerous churches in the architects the 1880s

seems to have designed most of and 90s, Himpler during in the Midwest his major German Catholic works prior to 1880. Himpler may on the east coast in his late career, or he may have drifted have concentrated into other projects. He built a school, court away from church architecture in New Jersey, and also created and patented a house and suspension bridge the cracking of walls and ceilings. Himpler design for girders which prevented died historians than in 1916, and today is better known among architectural architects of his time, possibly because he worked on other German Catholic he the recognition has still been denied the east coast. However, Himpler

5. Himpler's 1950).

description

of the design

is quoted

in St. Francis

De Sales Church

Centennial

(Cincinnati,

Midwest German Gothic in the deserves Gothic The as the most idiom. He was

61

to work in the German competent immigrant architect that came to America clearly the best of the medievalists century. identical almost appears and Munich to

architectural academies of the nineteenth is in some ways of Adolphus Druiding story was born in 1839 in Hannover, and it Himpler's. Druiding of both Berlin at the Royal Academies ied architecture from the German

that he stud before

the and settled in St. Louis, States around 1865-1866, arriving in the United he Almost German-American heart of America's immediately, community. or career in church design, and did not find it necessary a successful began as Himpler did. This is probably attribut to remove to the east coast, desirable As mentioned more liberal work preferences. able to Druiding's earlier, Himpler's churches were out of reach for many for large, expensive the many new parishes estab of the 1870s, especially poorer congregations to design in contrast, was willing War. Druiding, lished at the end of the Civil and design. He found St. in terms of materials churches that were more modest designs an excellent base for operations, was and the Midwest called a very fertile ground for his practice.6 There is evidence churches demolished in America in St. Louis

Louis

that Druiding

almost immediately church design or remain unidentified. The first recorded Druiding was in 1867 for St. Joseph's Parish in Jasper, a town that was a

on to design a number of small on arrival, but these have been

the congregation in southern Indiana. However, settlement for German magnet in his drawings, but used did not build the brick church Druiding represented sandstone from a quarry donated to the parish. The builders rescaled parts of in the early 1900s, redesigned completed a Benedictine monk after the "Big Ben" tower of the British Parliament by in architecture. As a result, the existing St. Joseph, Jasper is an who dabbled to little resemblance that bears but quite bizarre monument imposing Druiding's original concept.7 the building, 1881. When and the tower was the tower was left unbuilt when the church was it was finished in

6. Some

information

on Druiding

is taken from my

Church Architecture of new information the thesis. This am still working

article

work, as of early is an up-to-date reflection of my research on Druiding to identify and document the over 400 churches and other structures

of Adolphus on Druiding's

Druiding.

of Louisville master's thesis The 1994 University in the last two years I have obtained large amounts However, in rendering obsolete many of the views and statements presented 1996. However, designed I by this

incredibly prolific architect. 7. For information on St. Joseph, Jasper, see Albert Kleber, O.S.B, St. Joseph Parish of Jasper, Indiana facade rendering of St. Joseph Indiana: Abbey Press, 1937). Druiding's (St. Meinrad, original watercolor was also reproduced is reportedly in historical located at St. of the 1980s. The watercolor brochures Meinrad locate and cannot in Indiana, although the abbey has no record of the drawing's existence Archabbey in 1872, and a drawing exists of his master it. Druiding built a complex of buildings at St. Meinrad It featured a very elaborate Romanesque Revival scheme for the monastery. chapel which was never con church is the work

St. Meinrad was gutted by fire in 1887 and rebuilt, but the present structed. Druiding's in 1899-1907. and was constructed of Brother Adrian Wewer

62 ' -#.

U. S. Catholic Historian X *f4: Adolphus

Fig.

Druiding,

0. I A |\" ']' i \ l\

Cathedral ofGreen Bay, 1873-1880, J % front elevation sketch (Courtesy: Sister Ella Raster, Diocese of Green

!^^^^'^
^^Wmm " ^

'

--

_^ffl__ll_P^
MmmmmmW."

design was for St. John Nepomuk

Church in St. Louis, the oldest Czech

'v ^E^S. -A^jL\' \ I'^BSmmmm^ i" JS^^^te^M^'i^^^^HK^ ^v''^M^BMIJ^P^'^fgH^tM^ " I^^^S^HhHL^^B^^^ '^SBJHJ^^^^HBB^^^Sy^^ " ' * : *$*41SHSf ^^^^^B_l{_lH__^j ^ 3 iiSp EHB^^HK|^i'
ll___SII_____i_

Accounts indicatethatthisbuilding was a simple church redbrick, hall of of with a singlespirein thecenter the manl facade. Unfortunately, this was almostcompletelylev building was intact ?f^e original main facade

congregation

in the United States.

e'e(Jby a tornado in 1896. The church ^' ' . ^BP?_____HP^Hi__K "* * t lfi'i^^mmmp - ' '^ 4aH <g,' Uj: <H^^' ^tBttMjSS^mmmmsS/l'W' was reconstmcted in 1897, and most r** *r*JMlflp '-^ ^BBP__^>'^^___g-^

to be integrated into the new k ,;\t % ^W$ enou?h WgM} ^WmWmmmmWmm^mmm' - \ ^IPf^ love for patterned brick ifeS Druiding's
^il^^ walls, and a distinctive Such corbelled work. It contains numerous recessed crosses and other patterns into the

'i^f

gables. northern Germany's facade also makes use of the contrast origins. The St. John Nepomuk between the light tones of limestone or yellow brick, and the deeper red brick. matic One Such tonal effects the characteristics exteriors. of Druiding's in Green

brickwork

zig-zag pattern running along the facade seen in the Gothic architecture of is commonly Hannoverian and probably reflects Druiding's regions, in color color of

are common in Druiding's work and are one of that set him apart from Himpler, who preferred monochro

was his design for the important early accomplishments the extent of Wisconsin. However, Bay, determining litera Recent into the design has been a complicated process. Druiding's input ture claims that Francis Xavier Krautbauer, the second bishop of Green Bay, cathedral was sketch of the for the cathedral's design. An early elevation responsible cathedral (Fig. 4) has traditionally been attributed to Krautbauer, who suppos an early To further complicate matters, in Munich. edly studied architecture towers than woodcut print of the cathedral design exists which shows different the ones claim seen in the architectural reviewed sketch mentioned and altered above. Cathedral York histories after that the design was by a New architect

German Gothic in theMidwest

63

Given

initial drawings by Krautbauer, for the changed towers.8 possibly accounting all of this information, there appears to be little room for the influence

of Adolphus Druiding.
there is hard evidence that the cathedral's original design was the However, work of Druiding. The idea for a new cathedral in Green Bay was originated An 1873 ledger of the predecessor, by Krautbauer's Joseph Melcher. Bishop Green Bay Diocese records payment to Adolphus Druiding for a set of prelim the name Melcher used to refer to inary drawings for "St. Mary's Cathedral," the project.91 am confident that figure 4 is part of that set of drawings, proba architectural sketch in existence bly the only original Druiding today.10 The woodcut of the cathedral facade showing the altered towers is probably a prod uct of Krautbauer's convince donate efforts in Germany. Krautbauer was able to fund-raising the Ludwigmissionsverein to in Munich (Ludwig Mission Society) a considerable sum of money to finance the construction of Green insisted which that had

cathedral. in exchange, the mission However, Bay's society Krautbauer model his cathedral after the Munich Ludwigskirche,

been designed by Friedrich von Gartner in 1829.

In 1873, another church in the northern United States had been modeled after the Ludwigskirche. Peter and Paul Church in St. Paul, Minnesota SS. had been built as a loose copy of the Munich church, and was reputedly designed the court architect of Bavaria. Krautbauer by Joseph Reidl, apparently had a that sliced the tall towers off of the SS. Peter and Paul design and print made added them to Druiding's facade. He then sent a copy of the print to the Missionsverein's directors, who were no doubt happy to receive an image that looked like the Ludwigskirche. Krautbauer may have never intended to add tall towers to the cathedral, and likely created the print fantastically of sheerly for funding purposes. The spires were left unbuilt at the dedication the cathedral in 1881, and classical cupolas were added to the cathedral towers by Green Bay architects in the early 1900s. architect Bay's cathedral shows how easily the role of an out-of-town be forgotten, especially if the building project involved was supervised and popular cleric. Krautbauer was greatly admired in the by an influential Green Bay community, and his death in 1885 after returning from Rome inten sified the respect and adoration of the people. Although Druiding was called could on by Krautbauer's successor, Bishop Katzer, to act as a consultant in a school Green these

8. One Hundredth Anniversary and Dedication of the Building of St. Francis Xavier Cathedral (Green Bay, 1981). 9. In my work to attribute the Green Bay Cathedral to Druiding, I am greatly indebted to Sister Ella Kaster, CSJ, who has provided primary source evidence of Druiding's authorship of the design. 10. The drawing is labeled "R.C. Cathedral, refers Greenbay, Wis", which is how Druiding consistently to the cathedral in his catalogs. It is doubtful that Krautbauer would have labeled his own drawing of his planned cathedral in such generic terms. In addition, the writing on the drawing closely matches Druiding's handwriting and lettering style.

64

US. Catholic Historian

building project

in the 1880s,
involve project was the reputa for greater Bishop with

eventually Druiding's ment in the cathedral forgotten. Meanwhile, tion and esteem Krautbauer became

time, until he was finally given con full credit for the financing, struction, and design of the cathe
dral.

While 1870s some western 1870s

the middle

and

late

on found Himpler working of his most important mid the mid churches, a to have brought appear in Druiding's church build parish are only a few recorded

slump ing. There

church designs
1873-1879.

by him from
panic of communi and middle

The financial

1873 probably slowed building in

the German-American Fig. 5: Druiding, St. Mary's IN. 1884, Huntingburg, Church, exterior render ty, income and the poor

ing (Druiding, Church Architecture).

from when the financial business

that formed the parishes of Druiding's business mainstay may have taken longer to recover

of his career.

seems to have occurred around 1880, downturn. Recovery entered into one of the most fruitful periods revived. Druiding In the 1880s he produced designs for scores of churches, most of In this period, Druiding capital of German Catholic congrega

them in Indiana, Illinois, Ohio, and Wisconsin. ized on his ability to accommodate the needs

tions of every size and income level. Despite his concern for economy, and the of some of his designs, he was careful to give each church of this similarity of details and features so that no two churches period a unique combination were Indiana, a small town near The for a small congregation. exterior of the church as envisioned by the architect (Fig. 5) has a quiet, rural with simple brick surfaces and a plain wooden steeple and tower rising quality, to a somewhat modest 135 feet.11 On the interior, the church has a modified version of the German hallchurch plan (Fig 9). The center aisle is wider, and ever exactly the same. in Huntingburg, St. Mary's Church (1885) is a fine example of Druiding's work Jasper,

11. Druiding,

Church Architecture.

The

tower was

eventually

built out of brick

in a different

design.

German Gothic in the Midwest slightly taller than the side aisles, are close but all three aisles an to produce in height sense unified of space. open, use of the hallchurch Druiding's enough that the church had plan assured the arcade-like of a perspective traditional Gothic church, but also to make allowed enough openness the church linking with the sanctuary. The wide cen ter aisle also gives the church a somewhat preventing pews from non often narrower broader proportion, the isolation of rear all parts seem unified, visually of the church

65

the altar, a phenome in longer, experienced

churches.

built countless Druiding churches similar in style and scale to St. Mary's in the towns of Ohio and Wisconsin. Illinois, Some of these buildings have hallchurch but many interiors, have an open boxy interior with no division result from hallchurch. of the structure a desire to create Fig. 6: Druiding, Louisville, (Druiding, St. Joseph Church, exterior rendering 1883-86, Church Architecture). cases this would appear to to that of the

into aisles.

In some

space superior at all came that no obstructions clergy may between the pulpit and the congregation. construction On the other hand, of such a simple interior was probably less expensive than construction of an elaborate system of columns and multiple vaults seen in the hallchurch. Many Some of the churches have this very built resources often for congregations with modest financial interior It may have been one of simple configuration.

a preaching have desired

ways to make brick churches affordable to poor congregations. also designed Druiding larger city churches during the 1880s, and before the period of urban upheavals that began in the 1950s, there were few major midwestern cities that did not have at least one Druiding church within their Druiding's In the early 1880s these German parishes in the inner city were in population, but lacking in funds, so Druiding was presented the large of designing churches that fit the liturgical needs and problem relatively large limited budgets of the congregations. This often led to churches constructed of boundaries. often red brick, with only sparing amounts of limestone trim, and relatively simple

66

US. Catholic Historian interior example Joseph's Kentucky 1886. The best configurations. of such a structure is St. Church in Louisville, 1883 and built between

I Mi

jhSEK

had existed This congregation the for almost twenty years when was made to build. A decision competition design there about which mation was is little held, infor

' ^'^^m^^^^^^^f^SmmSmmmm

that Druiding' except was selected by the build sketch

The cost of the ing committee. was to be kept under church in contrast while $40,000,12 the cost of had projected Himpler St. Francis De Sales Cincinnati's at $200,000.13 spired exterior twin St. Joseph's was proba (Fig. 6)

bly influenced by the 1880 com

Fig. 7: Druiding, St. Lawrence, exterior rendering 1886-94, Chicago, December, as a Cathedral pletion of Cologne monument national of German ism. The were to rise twin spires of St. Joseph to a height of 170

Cincinnati, (Building Chicago).

Budget,

1886,150; courtesy The Art Institute of

of the church indicated description crosses which would be illuminated and electric concept a beacon light.14 This was for drawing attention for German ethnic

the landscape of feet, dominating the the low river valley in which located. Druiding's church was that the spires were to be capped with glass at night

of gas flame by a combination most fantastic and theatrical surely Druiding's to a church, intended to make St. Joseph literally east end. (The feature was culture in Louisville's

not carried

out). The rest of the facade was adapted from the typical French a rose window in the and German Gothic pattern often utilized by Himpler: center of the facade with three gabled entry portals below. The church exterior decorated with but was the traditional corbelled and recessed brickwork of north also fitted with trim built out of thin sheets of galvanized is extremely simple in con

was

ern Germany,
iron.

For a church of its size, the interior of St. Joseph

12. Ibid. 13. Sf. Francis 14. Druiding, De Sales Centennial. Church Architecture.

German Gothic in the Midwest figuration.

67

small town churches Like many of the modest designed by this urban church has a barn-like, open interior, its ceiling composed Druiding, of a single flattened out set of wood and plaster ribbed vaults. Again, it is not or liturgical preference dictated this plan. The congrega clear whether money of people whose lives had been devastated tion was mainly composed by a series of river floods in 1882. The necessary recovery and rebuilding dimin to the church building fund, and may have led to a more sim ished donations affordable design. On the other hand, the church was being ple, economically administered strongly. columns mounted proudly This an order which the Franciscans, emphasized preaching very church was a superior preaching open boxy space, with no between the people and the pulpit of the church, which was to be by This often

high off of the ground on the church's left side. Parish histories point out the fact that the church interior is without pillars.

Himpler

scholarly architect like ever designed such an incorrect Gothic interior. The St. seems to have sensed that the interior plan was overly Joseph congregation church, so they filled the church with a plain and simple for a German Catholic of German woodwork that remained intact stunning collection furnishings would have

plan, while excellent Its vast openness is contrary or German Gothic churches.

for preaching, is lacking in Gothic authenticity. seen in French to the usual structural complexity It is doubtful that a more

until just recently. In addition to the church's three main altars and communion rail of 1886, two large freestanding confessionals (one mounted with a pulpit) and a series of shrines and statues were added to the church in the early and The church was also richly stenciled and embellished mid-1890s. with stained the Twelve Apostles. glass windows depicting to Chicago, In 1885, Druiding relocated undoubtedly and the opportunities that accompanied explosive growth reflected a desire to be closer to the northern probably were most the place of the Ohio and Mississippi aware of that city's also cities that

it. The move industrial

taking valley regions fertile working the opening of Druiding's grounds. However, Chicago saw one more commission in the Ohio Valley, which period began with a Parish in Cincinnati, Ohio. St. Lawrence request for plans from St. Lawrence to Himpler's has an interesting relationship two parishes were German Catholic rivals St. Francis De Sales Church, as the on opposite sides of town. They are the two largest German Gothic churches in Cincinnati, with St. Francis presid is nestled in the western hills of the ing over the east side, while St. Lawrence Similar in scale and ambition, the two churches together provide us with a city. summary of many

as Druiding's

that defined German Gothic in architecture qualities America, yet they also show the contrast in buildings brought about by differ ences in parish finances, and by differences in architects and their philoso phies. While both churches are typical of German Catholic Gothicism in America,

68

U. S. Catholic Historian and the reasons Sales was behind them are as striking as the similarities. built first, and is essentially the flagship of German Its tall spire and fine stonework make in Cincinnati. the great west landmarks. and east sides The rivalry caused

their differences St. Francis Gothic between members 192 foot De

architecture

long church one of the Queen City's Catholics of Cincinnati's the German of West Cincinnati's

Parish to German St. Lawrence predominantly aspire to build a church every bit as striking and elaborate as St. Francis De Sales. However, they were a smaller parish and had less money. Druiding was a designer to producing accustomed the perfect man to solve this problem,

striking results with limited funds. for St. Lawrence was no easy task for the commission However, obtaining was held for the design of the church, with designs A competition Druiding. from Druiding, and from local architects John Bast and Samuel requested Hannaford. had created The latter was a magnificent a tremendously in 1873 successful architect who at Cincinnati's statement of German ethnicity

the St. St. George Catholic Church. Revival Nevertheless, Romanesque a timely submission form did not receive Lawrence committee building to deadlock between the him. They then proceeded and disqualified Hannaford Finally a new building committee was formed, designs of Bast and Druiding. to make the choice of which and it voted to allow the pastor of St. Lawrence to use. The pastor then passed the task on to Cincinnati's Archbishop design William Henry Elder, who was ultimately responsible for the selection of the design.15 Druiding The design that Druiding

submitted appears to have been an attempt to cre ate a church that equaled the scale and grandeur of St. Francis De Sales, but Both churches have very the financial reach of St. Lawrence. that was within similar exterior stonework, and the composition similar to that of St. Francis De of St. Lawrence's Sales. With facade (Fig. Druiding previous is the first known

St. Lawrence of brick churches, that was planned by the architect with an all stone exterior. As Druiding a strong proponent of brick construction, Druiding probably only reluctantly was no doubt persuaded agreed to design the church with a stone exterior. He church to do so by the St. Lawrence equal of St. Francis De Sales who wanted a church that was the congregation, in as many ways as possible. this church with stone, he had about building

7) is somewhat as a builder ly known

felt hesitancy If Druiding on the church, the parish had good reason; after a year of construction work its building fund. The pastor of the church did not want to borrow exhausted to continue; the whole project was put on hold. Masses were held in the money basement of the church, and the structure stood for a number of years complet
15. Information Mother ry which Church on the design competition is taken from Deborah of Price Hill. The work is a superb piece of writing, in distinguishing fact from legend. is successful 1994 St. Lawrence Church: Homing's and an accurate, scholarly parish histo

German Gothic in the Midwest ed only just above ground level. on

69

Finally
was

in 1893 enough money

to resume and work the dedication

amassed

in 1894, eight years after the plans had been submitted. a less expensive Although St. Lawrence is in many building, a worthy to St. ways counterpart Francis De Sales. It is 165 feet and feels long and 68 feet wide, similar in scale. Its asymmetrical towers dominate the surrounding area tower in the of St. same its the most made that the way De Sales Francis environment. noticeable in the St. Fig. its 5: Druiding, 1889, St. Michael interior Church,

the church, took place

dominates Probably economy Lawrence of

design was the omission the side extensions transepts, St. Francis To De Sales counteract

Library of Congress/HABS). shape. a small spire this, Druiding placed and built two large stone side (known as a fleche) on the roof of St. Lawrence, gables under it, giving the illusion of a cruciform church. On the interior, the arcade arch under this area is raised, as is the clerestory and triforium, once of a cross shaped church. While it is not cruci again to give the appearance the floor plan of St. Lawrence is similar to that of St. Francis De Sales in form, terms of proportion. Both churches have a long narrow plan with a wide center aisle and fairly small side aisles. However, Druiding made no pretenses of cre The center aisle of the church is ating a hall church space at St. Lawrence. much taller than the side aisles, allowing for clerestory windows directly from the outside. the differences, St. Lawrence is closer in visual effect Despite than many of churches materials modified Patrick of Druiding's in the 1880s and other churches. created that are lit to Himpler's a wide variety

that give cruciform

Cleveland,

(Courtesy:

work

Druiding with many techniques, 1890s, and experimented and colors. At St. Patrick Church in South Bend (1887) he used a version of the St. Lawrence facade and an interior configuration simi

lar to that of St. Joseph, Louisville. he decorated the ceiling of St. However, with elaborate English Gothic ribs (liernes), created a dramatic and color scheme on the exterior. Druiding built St. Patrick's out of pale yellow brick, but then used terra-cotta trim and bands of bright red brick to create a

70

U.S. Catholic Historian

I striking
i scheme

Italian Gothic
as wild as anything

color
creat for

ed

by

England's
(an architect

William
known

Butterfield

using brightly terned masonry). completely would say,

pat contrasting Such a fusion of and some

unrelated,

^m

__ T I I ? i"""' 1 I I 1HHB ~>ifiaii,Tiiiii, It

Gothic incompatible styles would have certainly horri fied architects like Himpler who tastes. had more discriminating Such less experimentation common in Germany critics held Catholic wild was itself, archi

where

standard | tects up to a demanding of German Gothic architectural purity. In the 1870s ever, the American one of architectural tion, seen were
age.

and 80s, how climate was experimenta like the ones

Fig.

Church,

St. John Cantius 1894, exterior Chicago, Archives (Courtesy: of the Archdiocese

9: Druiding,

and excesses

of Chicago).

at Druiding's St. Patrick's as products of their accepted

German Catholic churches of the late 1880s and 1890s are gen Druiding's as St. Patrick's, South Bend. erally not quite as colorful or unconventional Most are large cruciform churches which involve some form of the hallchurch are Gothic in design, and show mostly traits of German plan. The vast majority most prominent of these was St. Michael and French Gothic. The largest and in Cleveland the Archangel Church While the facade of this (1887-1892). church interior is adapted from St. Lawrence, the building is fully cruciform, and the is a stunningly open fusion of the hallchurch and basilican-clerestory (Fig. 8). The main aisle of the nave is broad and tall, and supported on

that allow an open view into the high side aisles. The crossing of the nave and transepts occurs just in front of the sanctuary, and brings the inte rior to an open, spacious crescendo. The interior is filled with a profusion of German and statues, adding to the richness and complexity of the woodcarving overall design. The church was to be built of brick, but the congregation insist ed on brownstone. St. Michael's in Rochester, Church New York (1889) is a tower in Druiding work of similar scale and elaboration, with a single massive the middle One of Sorrows of the main facade. unusual work for German Catholics is St. Mary example of Druiding's in Buffalo, New York. He originally Church intended to build a

plans thin columns

German Gothic in the Midwest church similar

71

to St. Lawrence, but the congregation had other ideas. The plan was cruciform, in basilican and basically Gothic resubmitted he eventually form. But the entire building was planned with the round arches characteristic Revival mode, and the exterior was planned with an octag of the Romanesque three-sided bay entrance facade, features onal crossing dome and an apse-like never before seen in a Druiding had prevailed design. Clearly the congregation to design a church based on the Romanesque cathedrals of the upon Druiding Rhineland, not used to and Speyer the likely models. Druiding, tried to graft elements of these buildings on to emulating specific monuments, one of his typical Gothic church plans.16 The end result is an architectural con coction even more strange than St. Patrick's of South Bend. The exterior com with Worms the Romanesque

crossing dome and facade with a tall Gothic-like spire, one of the most unusually skylines of any nineteenth producing picturesque In the 1890s, such a stylistically "incorrect" church would century building. have surely been sharply condemned Catholic architectural crit by Germany's bines could such a unique, eclectic architec ics and establishment. Only in America and come to life. tural fantasy actually gain acceptance in 1886 and completed in 1891. Because The church was built beginning of dome was eliminated the expense of construction, the crossing from the and replaced by a small fleche, adding to the Gothic qualities of the to smaller quar The building has gone unused since the parish moved design. ters in the 1980s. Plans to tear down the church have been put forward repeat design, communi edly, but there have been energetic efforts by Buffalo's preservation to save the building.17 It would be a shame to see the destruction of this most ty church designs for German Catholics. strange and unusual of Druiding's to design for German Catholics continued up into the 1890s, but Druiding had passed. then, the major period of their church building by Ironically, not German churches, but spent the last years of his career designing Druiding some of the major a few of instead Polish of Chicago. churches While Polish congregations Chicago's more Classical style. They may built Gothic have simply to the re-popularization structures, most favored Classical Exhibition Poles built in a or architecture, of Classical forms in in Chicago, and by

they may have been responding America brought on by the 1893 Columbian other influences. At first Druiding

to introduce Classicism into his church designs attempted elements of the Romanesque and Renaissance gradually by combining styles. As with the fusion of Gothic at St. Mary of Sorrows, and Romanesque this
16. I am indebted to Msgr. Walter Kern of the Archives of the Buffalo Diocese for information and early sketches of St. Mary of Sorrows. 17. See Andrea Oppenheimer article "The Architect" Dean's in Historic Preservation (May/June, 1994), center. 12-15. Plans have been put forward to convert the church into a neighborhood arts and community

72

US. Catholic Historian of styles sometimes of this blend of led to very unusual results. The most notable is St. John Cantius Catholic in Church styles

mixture

illustration

one views this church from the rear, the corbelled (1894). When Chicago are reminiscent and rose windows of Druiding's brickwork, capped buttresses work in a simple Romanesque Revival mode. Walking around to view early with the facade, the viewer is presented with a violent contrast. One is confronted an all-stone on a pediment creation centered supported by square Corinthian are three arched doorways with mas pilasters. Under this pediment sive Richardsonian voussoirs. ends the shorter of which

This arrangement is then flanked by two towers, in a tiny slender cupola, while the other tower climbs much higher, and ends in a domed and scrolled composition with Baroque overtones. The cruciform to imitate interior, arranged with dormer-lit windows a basilican is more unified, with barrel vaults, impost blocks and clerestory, producing a decidedly Classical atmosphere. This fusion style did not pervade Druiding's work of the mid to Classical late 1890s. His Mount St. Joseph Convent in Cincinnati (1894) and St. Hedwig Church in Chicago and impressive (1899) both possess well proportioned Renaissance interiors. At St. Hedwig, the basilican, cruci Druiding applied Tuscan columns form, twin towered format he used church but carried it off well. The columns and saucer-domed Revival style to a Renaissance interior's ceiling coffers, granite Corinthian side aisles produce a noble, pleasing effect (Fig. in the Gothic

exterior plan called for two magnificent twin-tiered cupolas on 9). Druiding's the front towers, which would have given the primary facade a majestic pres ence in its residential this scheme was never setting (Fig. 10). Unfortunately, towers are crowned with small, squat cupolas. carried out, and the existing St. Hedwig's interior it as one of noble Nevertheless, easily qualifies Druiding's major most successful ecclesiastical building designed by Druiding, is one of Druiding's finest Hedwig scale and dignity of materials found in only a few of Druiding's other designs. It is ironic that a German-born architect who made his career designing German design
tion.

It is also probably the last designs. in late 1899 or early 1900. St. died a grandness and possesses of churches, who

spent his last days creating in the Italian Renaissance style while working

Gothic

churches

an exceptional church for a Polish congrega

was a unique period In many ways the age of Druiding and Himpler in American The German-Americans of 1865-1900 had the combination history. to build large, impressive of faith, funds, and ethnic pride needed parish churches. They also had access to the German-American craftsmen and archi could design and furnish these churches. As the architects of the 1870s and 1880s faded into retirement, a group of second generation German at the dawn of the twentieth century. Catholic architects did arise in America Although they were American trained, and not as prolific as the generation of tects who

German Gothic in the Midwest 1865-1900, they did build a num Gothic ber of superb German churches around the Midwest. Practicing Schlacks, churches on German in Chicago a designer in the Chicago Gaul, Gothic were Henry of numerous area,18 worked in St. an

73

and Hermann

who

designs

and Indianapolis. Chicago had Viktor Louis Klutho, important involved ecclesiastical in the

architect

of St. design Louis' other great Gothic monu ment of German Catholicism, St.

Francis De Sales Church (1907).

Even Germans architects churches after the persecution of in World War I, St. Louis to build continued with a strong German character. The part Ludewig and some

10: Druiding, as planned facade Fig.

St. Hedwig,

view of

architectural nership Henry of the

of Frank Dreisoerner

by Druiding. Towering cupolas rising above roofline were never completed (Courtesy: St.

Parish). Hedwig produced last great monuments of in the Midwest. Their masterpiece is St. and Romanesque German Gothic John's Church and Rectory of Covington, (1926) picturesquely Kentucky on a hill overlooking the Ohio River and the nearby Cincinnati sky perched line. Influenced did not use modeled By and Dreisoerner Ludewig by the Arts and Crafts movement, to design this church, but instead features from great cathedrals it after the parish churches of rural Germany.

were the 1920s, many second- and third-generation Germans-Americans was fast fading, and to assimilate. Use of the German language beginning that had served as the urban neighborhoods many families were abandoning New the cradle of the ethnic community. suburban Catholic parishes of the 1920s and 30s often Christian Early forms advocated and churches were built in the downplayed ethnicity, or went back to the English Gothic and Byzantine Styles, like Ralph Adams Cram. These years by influential designers

architecture in America. brought about the end of German Catholic The great German Gothic parish churches of America were thus built over a fairly short period of time, and churches like them will certainly never be built

18. Schlacks' or is unusual,

finest German

Gothic

work

is St. Paul's Church

and was

likely modeled

after Johannes Otzen's

in Chicago Its all-brick (1897-99). in Berlin (1889-94). Lutherkirche

interi

74

U S. Catholic Historian since of these churches have disappeared due to Other churches have been robbed of charac flight. and neglect, or on the other hand by inappropriate or insen In spite of these losses, many churches still immigrant the 1950s many churches element of Himpler, Druiding in the patchwork of

again. Sadly, urban decline sitive remain and

and suburban

ter by deterioration remodeling. in a good

their

state of preservation. These are an important contemporaries

American

for ethnicity, religion, and culture. They are worthy of preservation their artistic qualities and for their status as an irreplaceable link in the chain of American history. It is my hope that the existing legacy of work by immigrant church passed architects will on as a reminder be recognized of America's and appreciated today, rich ethnic history. so that it may be