Acknowledgments
I was assisted by a great number of individuals and institutions throughout the course of my investigation of nineteenth century German-American church artists. Their unstinting support needs to be acknowledged.
Foremost I want to thank Drs. Ruth and Eberhard Reichmann of the Indiana University-Purdue University Max Kade German-American Center and the Indiana German Heritage Society for introducing me to Sr. Mary Kenneth Scheessele, O.S.B., at the Monastery Immaculate Conception in Ferdinand, Indiana. Sr. Mary Kenneth became my mentor and friend. She has enlightened me about the importance of the Benedictine Order and its representatives in Germany before their arrival in the U.S. Her archival expertise was invaluable. There was no question she could not answer and no problem she was not able to solve. The Ferdinand Sisters were most gracious in welcoming me on frequent visits. Librarian Sr. Angela Sasse, O.S.B., was always willing to help whenever I consulted her.
Professor James J. Divita at Marian College in Indianapolis, Indiana, became a trusted source of information for historical and religious matters that were beyond my scope of knowledge. He also suggested visits to a number of rural Indiana churches where German-Americans had worked on exterior and interior decorations.
Among the individual members of the Catholic clergy in southern Indiana, Father John Schipp at St. Francis Xavier, the Old Cathedral in Vincennes, went out of his way to search church archives for printed and photographic materials. Father Louis Schumacher at St. Michael's church in Brookville discovered altar paintings that had been stored in the attic since the 1960's.
At St. Vincent Archabbey and College in Latrobe, Pennsylvania, Brother Nathan M. Cochran, O.S.B., allowed me unrestricted access to the art collections and archives. He also turned over to me all of the research materials he had collected in preparation for a scholarly treatise of his own. I am greatly indebted to him for his generosity.
My first contact in Covington, Kentucky, was made with Mike Averdick, associate director of the Kenton County Public Library. He in turn put me in touch with two local historians whose keen interest in ecclesiastical architecture and extensive knowledge of German contributions were inspirational. Dr. Allen W. Bernard and Dr. Paul Tenkotte encouraged me in my research and opened my eyes to the beauty of Covington and Cincinnati church art. They are representatives of local individuals involved in the preservation and restoration of art treasures that might face neglect and/or destruction. As such they are in the forefront of recent dedication to past accomplishments by German-Americans.
At the Covington Diocese Archives librarian David E. Schroeder went out of his way to duplicate several local church histories for me. Sr. Teresa Wolking, O.S.B., who administers the archives at Covington's St. Walburga Monastery, provided hospitality and background details in the lives of the German-American church painter Johann Schmitt and his apprentice Frank Duveneck. Mr. Jerry Lafayette shared several of the photographs he had taken in Covington and Cincinnati churches.
Dr. Don Heinrich Tolzmannn provided access to the German-Americana Collection at the University of Cincinnati and generously aided my research through his extensive knowledge of Cincinnati's German roots. It was a great pleasure to be able to work in the beautiful library he has established.
In Louisville, Kentucky, archivist Sr. Amelia Dues, instructed me in the role the German Ursuline Sisters played in the religious life of the city. She also introduced me to several nineteenth century German-American churches in Louisville with fascinating histories, such as St. Martin of Tours.
In the small Ohio town of Glandorf, Michael E. Leach, archivist of the parish of St. John, shared his knowledge of the German immigrant settlements in the area. He has written the history of St. John and is active in the restoration efforts of the church.
One of my most memorable experiences was a visit to the Holy Family Church in Chicago where a group of dedicated preservationists is laboring to resurrect the former glory of this historic edifice. Mr. Timothy Lennon, the conservator of paintings at the Chicago Art Institute, helped me understand what is involved in such labor.
At the West Bend Art Museum in West Bend, Wisconsin, director Dr. Thomas Lidtke allowed me to study the archives and photographic collections on a Saturday during the museum's closing hours. I encountered the same courtesy in Quincy, Illinois, at the Gardner Museum of Architecture and Design where executive director Michael E. Kassel gave me a great deal of information about two local nineteenth century German-American churches.
Dr. Richard Murray, curator at the National Museum of American Art in Washington, D.C., generously shared insights into his expertise of mural painting.
The archives at the University of Notre Dame's Hesburgh Library contain jubilee publications of nearly all Roman Catholic churches in the U.S. They became the starting point of my research. Traditionally such publications were issued after twenty-five, fifty, one hundred, and one hundred-fifty years after the founding of a church. In the case of German immigrant churches, many of the nineteenth century jubilee publications were still written in the German language. It was a challenge to peruse these documents in the hope of coming across the names of artists and their works in a particular church. The staff at the Notre Dame archives never tired of retrieving the boxed materials for me. They also permitted me unlimited access to their holdings of nineteenth century German-language newspapers that are kept on microfilm. I extend my thanks to the librarians.
I owe gratitude to reference librarian Jennifer Hehman at the Indiana University-Purdue University Library in Indianapolis for her continued assistance and many helpful suggestions.
Dr. Dolores J. Hoyt, Associate Dean at University Library at Indiana University-Purdue University in Indianapolis, undertook this project for the Max Kade German-American Center that spreads knowledge of the contributions made by German-Americans in the U.S. Her encouragement helped me along. Cheryl D. Denski patiently and expertly worked on formatting the manuscript for presentation on the Web. Thank you, Cheryl.
My deepest gratitude goes to my husband George Springer without whom the study could not have been accomplished. He photographed many sites and specific art works under difficult conditions with great skill and perseverance. He also prepared the illustrations for placement in the manuscript. I thank him for his devotion and dedication to the time consuming process.