Journal articles: 'Counter-Reformation art'

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Caldwell, Dorigen. "Re-Viewing Counter-Reformation Art." Oxford Art Journal 29, no. 1 (March 1, 2006): 139–42. http://dx.doi.org/10.1093/oxartj/kci052.

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Vasileva, Svetlana. "COUNTER-REFORMATION IN GERMANY." Studia Humanitatis 16, no. 3 (December 2020): 28–37. http://dx.doi.org/10.15393/j12.art.2020.3621.

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The article studies the Counter-Reformation process in Germany and the neighboring European ter-ritories in a wider context as a complex of geopolitical, social and religious problems growing in Europe in the 15th and the 16th centuries. The study aims at finding connections between the Reformation processes launched by Martin Luther and the subsequent course of German history during the Counter-Reformation. The article focuses on the situation in Germany against a wider background of the developments in the Holy Roman Empire of the German Nation. This paper con-tinues the author’s previous article on the German Reformation and Martin Luther’s role in it. It ex-amines the consequences of the Reformation that brought Germany on the edge of a humanitarian disaster in the Thirty Years’ War. The course of the war, as well as its geopolitical causes and con-sequences for Germany and for the whole of Europe are also investigated. The author describes and analyzes a broad historical and political context which determined the circumstances and reasons for many European states’ participation in the Thirty Years’ War, as well as the consequences of the Peace of Westphalia.

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Quírico, Tamara. "Michelangelo’s Last Judgement: Art and Religion Between Reformation and Counter-Reformation." IKON 11 (January 2018): 115–26. http://dx.doi.org/10.1484/j.ikon.4.2018012.

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Woodcock, Philippa. "The French Counter-Reformation." Church History and Religious Culture 94, no. 1 (2014): 22–49. http://dx.doi.org/10.1163/18712428-09401004.

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This article discusses the redecoration of the rural French parish church in the French diocese of Le Mans from 1620–1688. Scholars have argued that the diocese’s prolific commissions of terracotta statues and retables represented the impact of the Council of Trent’s drive to educate the clergy and instill in them a sense of connoisseurship; the clergy led the diocese as patrons. Yet, these works of art are also quite particular to the region, suggesting that other factors were responsible for their proliferation. This article examines the statues and retable of St-Léonard-des-Bois, commissioned in c. 1630 and 1684. Using previously unavailable archival material, it proposes two new patrons for these commissions, and reconsiders the motives for clerical and secular leadership in this rural parish. It demonstrates that the rural world was not isolated and it is significant that both patrons came from beyond the parish. The article evaluates the influence upon the statues and retable of the centralising ‘Counter-Reformation’ and local factors such as geography, regional traditions, and local events. It argues that the rural Counter-Reformation had a paradoxical identity. It belonged to wider currents in Catholic Reform, and in the case of St-Léonard, was driven by two patrons determined to create a new position for themselves. However, as both of these commissions were accepted by the church’s fabrique, it is evident that subject choices persistently reflected older traditions, and images responded to very local circumstances.

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Pozdnyakov, E. V. "Philosophical and Aesthetic Components of the Art of the Baroque Style." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.

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In this paper considers the impact of the historical process of the formation of the Counter- Reformation in the philosophical views of aesthetic expression, symbolism and personification of the Christian temple art of the Baroque

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Viladesau, Richard. "Counter-Reformation Theology and Art: The Example of Rubens's Paintings of the Passion." Toronto Journal of Theology 28, no. 1 (March 2012): 29–42. http://dx.doi.org/10.3138/tjt.28.1.29.

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Meissen, Randall. "Francisco Pacheco’s Book of True Portraits: Humanism, Art, and the Practice of “Visual History”." Representations 145, no. 1 (2019): 32–54. http://dx.doi.org/10.1525/rep.2019.145.1.32.

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Francisco Pacheco (1564–1644), the foremost Spanish art theorist of his generation, worked on his manuscript Libro de verdaderos retratos (Book of true portraits) for more than forty years. This essay addresses how the visual cultures of Pacheco’s Seville, especially the city’s reimagined imperial Roman past, Catholic Counter-Reformation image praxis, and visual conventions of Renaissance humanism, shaped his conception of how an illustrious past could be recovered and shown.

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McIver, Katherine A., and Steven F. Ostrow. "Art and Spirituality in Counter-Reformation Rome: The Sistine and Pauline Chapels in S. Maria Maggiore." Sixteenth Century Journal 28, no. 1 (1997): 189. http://dx.doi.org/10.2307/2543238.

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Fromson, Michele. "A Conjunction of Rhetoric and Music: Structural Modelling in the Italian Counter-Reformation Motet." Journal of the Royal Musical Association 117, no. 2 (1992): 208–46. http://dx.doi.org/10.1093/jrma/117.2.208.

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For there can be no doubt that a great part of art lies in imitation. Discovery clearly came first, and is of first importance. But it is none the less profitable to follow up other people's successful discoveries. And every technique in life is founded on our natural desire to do ourselves what we approve in others. Hence children follow the shapes of letters to attain facility in writing; musicians look for a model to the voice of their instructors, painters to the works of their predecessors, countrymen to methods of growing that have been proved successful by experience. In fact, we can see that the rudiments of any kind of skill are shaped in accordance with an example set for it. Certainly we must either be like or unlike those who excel. It is rarely that nature makes one man like another: but imitation often does.

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García, Juan Luis González. "Retórica del decoro y censura de las imágenes en el Barroco temprano español." Rhetorica 32, no. 1 (2014): 47–61. http://dx.doi.org/10.1525/rh.2014.32.1.47.

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In Golden Age Spain, religious art functioned within the boundaries of a time-honoured corpus of ecclesiastical and rhetorical theory on the image, which attempted to prevent immoderate iconic veneration aided by metaphors taken from the well-known world of portraiture, themost imitative of pictorial genres. Counter-Reformation theologians and preachers also sought to reduce the artwork's impact on irrational sensibility by urging artists to avoid the undesirable effects of awkward or lascivious images. This article will explore howthe laws of decorumequipped Post-Tridentine Spanish imagery with aesthetic values meant to reconcile delectare with docere and movere, and how this finally resulted in a dispute between high culture and popular taste, between an art favored by royal collectors (painting) and another much more generalized as a result of ecclesiastical patronage (sculpture).

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Caldwell, Dorigen. "From the Counter-Reformation to the Birth of the Baroque: Art and Patronage in Rome, c. 1600." Art History 40, no. 5 (October 17, 2017): 1137–40. http://dx.doi.org/10.1111/1467-8365.12350.

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Delis, Tina M. "“The Lord Struck Him Down by the Hand of a Female!” Baroque Artists Depicting Judith in the Renaissance." Journal of Mason Graduate Research 3, no. 3 (June 1, 2016): 143. http://dx.doi.org/10.13021/g8bs3s.

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Gender themed Research Project, using the biblical story of Judith and Holofernes to examine how Baroque artists tackled representing Judith as a female figure who openly subverts the Renaissance gender norms by defeating a male. Focusing on the artists, Michelangelo Merisi da Caravaggio, Orazio Gentileschi and Artemisia Gentileschi, the paper explores through visual analysis how each artist approached representing the gender issue within the biblical narrative in their artwork. The biblical narrative is discussed and two well-disseminated published articles about gender roles are reviewed. Additionally, how the Counter-Reformation and the Catholic Church’s assertive stance for the purpose of art effects how images of Judith are painted.

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Špániová, Marta. "Cor castum Dei speculum: Emblematics and the Heart Emblem in Jesuit Literature." Z Badań nad Książką i Księgozbiorami Historycznymi 16, no. 3 (December 7, 2022): 339–57. http://dx.doi.org/10.33077/uw.25448730.zbkh.2022.732.

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This study focuses on the characteristic features of the emblems, the emblematic procedure, and the main functions, goals, and significance of the emblem books in the context of Jesuit spirituality and practice. It points out some prominent authors of Jesuit emblem books with a major influence on the development of this form of art in literature and art. It focuses on the heart emblem as a symbol of heart purification and on the artistic manifestations of “religio cordis” (the religious cult of the heart). It introduces one of the most popular books with heart emblems published on the territory of present-day Slovakia in the first half of the seventeenth century, the so-called “heart booklet” of Mátyás Hajnal, a typical sample of Jesuit emblematics devoted to the promotion of Catholic reforms at the time of the Counter-Reformation.

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Muir, Edward. "Why Venice? Venetian Society and the Success of Early Opera." Journal of Interdisciplinary History 36, no. 3 (January 2006): 331–53. http://dx.doi.org/10.1162/002219506774929854.

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Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.

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Noyes, Ruth Sargent. "‘Purest Bones, Sweet Remains, and Most Sacred Relics.’ Re-Fashioning St. Kazimierz Jagiellończyk (1458–84) as a Medieval Saint between Counter-Reformation Italy and Poland-Lithuania." Religions 12, no. 11 (November 16, 2021): 1011. http://dx.doi.org/10.3390/rel12111011.

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This article explores the Counter-Reformation medievalization of Polish–Lithuanian St. Kazimierz Jagiellończyk (1458–1484)—whose canonization was only finalized in the seventeenth century—as a case study, taking up questions of the reception of cults of medieval saints in post-medieval societies, or in this case, the retroactive refashioning into a venerable medieval saint. The article investigates these questions across a transcultural Italo–Baltic context through the activities of principal agents of the saint’s re-fashioning as a venerable saint during the late seventeenth century: the Pacowie from the Grand Duchy of Lithuania and the Medici from the Grand Duchy of Tuscany, during a watershed period of Tuscan–Lithuanian bidirectional interest. During this period, the two dynasties were entangled not only by means of the shared division of Jagiellończyk’s bodily remains through translatio—the ritual relocation of relics of saints and holy persons—but also self-representational strategies that furthered their religio-political agendas and retroactively constructed their houses’ venerable medieval roots back through antiquity. Drawing on distinct genres of textual, visual, and material sources, the article analyzes the Tuscan–Lithuanian refashioning of Kazimierz against a series of precious reliquaries made to translate holy remains between Vilnius to Florence to offer a contribution to the entangled histories of sanctity, art and material culture, and conceptual geography within the transtemporal and transcultural neocolonial context interconnecting the Middle Ages, Age of Reformations, and the Counter-Reformation between Italy and Baltic Europe.

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Joannides, Paul. "Art and Spirituality in Counter-Reformation Rome: The Sistine and Pauline Chapels in S. Maria Maggiore.Steven F. Ostrow." Speculum 73, no. 4 (October 1998): 1158–60. http://dx.doi.org/10.2307/2887405.

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Hills, Helen. "Art and Spirituality in Counter-Reformation Rome: The Sistine and Pauline Chapels in S. Maria Maggiore Steven Ostrow." Journal of the Society of Architectural Historians 56, no. 3 (September 1997): 370–71. http://dx.doi.org/10.2307/991262.

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Stowell, Steven F. H. "The Origins and Agency of the Miraculous Annunciation at the Santissima Annunziata in Counter-Reformation Florence." Renaissance and Reformation 45, no. 1 (August 11, 2022): 133–86. http://dx.doi.org/10.33137/rr.v45i1.39117.

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Research on miracle-working images has shown that devotees attributed their power to the authentic likeness of the holy people these images possessed. An authentic likenss of Christ, for instance, possessed his seemingly infinite agency. Using the miraculous painting of the Annunciation at the Santissima (SS.) Annunziata in Florence as a case study, this article questions whether an image’s agency was indeed limitless. Based on an examination of various hagiographical writings on the shrine written during the Counter-Reformation period, in particular Angelo Lottini’s Scelta d’alcuni miracoli e grazie della Santissima Nunziata di Firenze, this article proposes that certain miracles were connected with the image’s origins. In light of James Frazer’s theory of sympathetic magic, and Alfred Gell’s more recent theory of art and agency, this article argues that these post-Tridentine writings define the Annunziata image’s agency by the circumstances of its origins, which made it especially (though not exclusively) powerful over problems relating directly or conceptually to the mind, imagination, and eyes.

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Lanszki-Széles, Gabriella. "Egyházi öltözékek, miseruhák Gölle és Kisgyalán községekben a 18–21. században." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 305–20. http://dx.doi.org/10.26080/krrmkozl.2020.7.305.

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The paper was written about the church attires of the two villages of Outer-Somogy County from the 18th to the 21st century, taking into account ecclesiastical art and lo-cal history aspects. During the Counter-Reformation period, Baroque art was destined to conquer believers in the Catholic religion. A good example of this is the more than 250-year-old mass chasuble, which is a latent applied art value in Gölle. This chasuble bears several common similarities with the mass dresses from Maria Theresa ‘s embroidery workshop: it is very richly embroidered with scotch, its pattern and color are also similar. During the 19th-20th centuries not only aris-tocratic women but also peasant women embroidered mass chasubles. In these villages one can find mass chasubles with Matyo, Kalocsa and Buzsák patterns. In the case of Kis-gyalán village, we could also form a picture of the time and way of making the chasubles. The changes in the motif on the mass dresses can be well traced in the photos, from the 18th to the 21st century.

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Sperling, Jutta. "Milk and Miracles: Heteroglossia and Dissent in Venetian Religious Art after the Council of Trent." Journal of Medieval and Early Modern Studies 51, no. 2 (May 1, 2021): 285–319. http://dx.doi.org/10.1215/10829636-8929073.

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This essay investigates Benedetto Caliari's Nativity of the Virgin (1576) with its provocative and unorthodox depiction of a bare-breasted wet-nurse in the context of both Protestant and Catholic criticism of “indecent” religious imagery. Reformers on both sides drew a connection between the Virgin Mary's ostentatious display of her lactating breasts and her presumed, derided, or hoped-for miracle-working capacities or intercessory powers. In post-Tridentine Venice, several artists, including Tintoretto and Veronese, all of whom were connected to the Scuola de’ Mercanti that commissioned Caliari's painting, employed religious breastfeeding imagery in a wide array of iconographies in order to express dissent with the Counter-Reformation church's emphasis on orthodoxy. In contrast to writers, artists were able to claim a certain degree of nonconformity and freedom from prosecution. In light of Mikhail Bakhtin's concept of heteroglossia, it is argued that religious lactation imagery after Trent produced irony, parody, doubt, and dissent.

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Treherne, Matthew. "Pictorial Space and Sacred Time: Tasso'sLe lagrime della beata vergineand the Experience of Religious Art in the Counter-Reformation." Italian Studies 62, no. 1 (March 2007): 5–25. http://dx.doi.org/10.1179/007516307x174829.

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Parker, Deborah. "Women in the Book Trade in Italy, 1475-1620*." Renaissance Quarterly 49, no. 3 (1996): 509–41. http://dx.doi.org/10.2307/2863365.

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in his 1569 Epistola qua ad multas multorum amicorum respondet de suae typographiae statu nominatimque de suo thesauro linguae graecae, the Parisian printer Henri II Estienne decries the participation of women in the book trade: “But beyond all those evils which have now been brought on by the ignorance of printers, male and female (for this only remains to add to the disgrace of the art, that even the little ladies have been practicing it), who will doubt that new evils are daily to be expected?” As Estienne's comments testify, one of the most unusualfeatures of the Renaissance and Counter Reformation book trade was the existence of several women printers and publishers. While their contemporaries were well aware of the presence of women in the printing profession, bibliographers and historians have largely neglected the history of their labors.

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Jordan, Kate. "‘Artists Hidden from Human Gaze’: Visual Culture and Mysticism in the Nineteenth-Century Convent." British Catholic History 35, no. 2 (October 2020): 190–220. http://dx.doi.org/10.1017/bch.2020.18.

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This article offers a reading of nineteenth-century Roman Catholic theology through the sacred art produced by and for women religious. The practices and devotions that the article explores, however, are not those that drew from the institutional Church but rather from the legacies of mysticism, many of which were shaped in women’s religious communities. Scholars have proposed that mysticism was stripped of its intellectual legitimacy and relegated to the margins of theology by post-Enlightenment rationalism, thereby consigning female religious experience to the politically impotent private sphere. The article suggests, however, that, although the literature of women’s mysticism entered a period of decline from the end of the Counter-Reformation, an authoritative female tradition, expressed in visual and material culture, continued into the nineteenth century and beyond. The art that emerged from convents reflected the increasing visibility of women in the Roman Catholic Church and the burgeoning of folkloric devotional practices and iconography. This article considers two paintings as evidence that, by the nineteenth century, the aporias1 of Christian theology were consciously articulated by women religious though the art that they made: works which, in turn, shaped the creed and culture of the institutional Church. In so doing, the article contributes to the growing body of scholarship on the material culture of religion.

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Kirkham, Victoria. "Creative Partners: The Marriage of Laura Battiferra and Bartolomeo Ammannati." Renaissance Quarterly 55, no. 2 (2002): 498–558. http://dx.doi.org/10.2307/1262317.

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From the time of their courtship until death parted them forty years later, Bartolomeo Ammannati (1511-1592) and Laura Battiferra (1523-1589) nurtured a loving relationship with reciprocal support for complementary careers. Their childless union generated two bodies of art, vast and beautiful. Renaissance contemporaries esteemed the Ammannati as a rarity, creative peers in a close marriage, but history has indifferently divorced them, dropping Bartolomeo to the ranks of second best and pushing his accomplished wife into obscurity. Reunited, the couple can return as they deserve, in the entwined lives that enriched their joint corpus and enhanced the fame each won as an individual — she for her poetry, praised by the most prominent men and women of culture in Counter Reformation Italy; he in his dual activity as sculptor and architect for projects ordered by popes in Rome, leaders of the new Society of Jesus, and three generations of Medici rulers in Florence.

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Dias Pacheco, Milton Pedro. "The Counter-Reformation, Diplomacy, and Art Patronage in Portugal under Cardinal-Infant D. Henrique of Portugal: A Legacy to Serve Church and Kingdom." Royal Studies Journal 4, no. 2 (December 16, 2017): 196. http://dx.doi.org/10.21039/rsj.v4i2.163.

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Lusheck, Catherine H. "St. Jacob’s Antwerp Art and Counter Reformation in Rubens’s Parish Church. Jeffrey Muller. Brill’s Studies in Intellectual History 253; Brill’s Studies on Art, Art History, and Intellectual History 13. Leiden: Brill, 2016. xxvi + 632 pp. $241." Renaissance Quarterly 70, no. 4 (2017): 1514–15. http://dx.doi.org/10.1086/696418.

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Guillen-Nuñez, César. "The Portrait of Matteo Ricci." Journal of Jesuit Studies 1, no. 3 (April 1, 2014): 443–64. http://dx.doi.org/10.1163/22141332-00103005.

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This article discusses a rather unusual portrait that depicts the Italian missionary Matteo Ricci (1552–1610), to be found today in the Gesù church in Rome. When it was first exhibited it aroused such excitement among Jesuits that it was displayed next to the portraits of St. Ignatius of Loyola and St. Francis Xavier. At an uncertain date, a small inscription was attached to the frame with Ricci’s name, his years of birth and death, and a statement that the painting had been exhibited in the vestibule of the Gesù residence in 1617, but that its artist was unknown. Although the painter’s name was disclosed as that of the Chinese-Macanese Jesuit brother You Wenhui (alias Manuel Pereira) in an account by Sabatino de Ursis soon after Ricci’s death, both the painter and his work have remained practically ignored by most researchers. This article studies the portrait and its creator from an art-historical perspective in much greater detail than previously. Stylistic and iconographic influences of Chinese Ming portraiture observable in the style of the work are identified, as are features from late sixteenth-century Counter-Reformation portraits. Certain aspects of Ricci’s contributions to Chinese science are also discussed, along with a number of contemporary theological arguments that tell us much about the nature of the portrait, its subject, its creator, and its deep spiritual significance.

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Chen', Ke. "Syncretism of Christian and Asian features in the design of St. Paul's Church in Macau." Культура и искусство, no. 11 (November 2022): 68–79. http://dx.doi.org/10.7256/2454-0625.2022.11.37314.

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The subject of the study is the design of the Jesuit Church of St. Paul in Macau, built in 1602-1640. The plan and design of the temple are typical of the Jesuit churches of Europe, but the decoration is distinctive, which manifested a new strategy of the Jesuits. The focus of the publication is on the decor of the preserved western facade, combining both European Christian symbols and images, as well as Chinese and Japanese. The article shows how the Jesuits introduced the Christian doctrine into the consciousness of the inhabitants through the pictorial series familiar to the local population, seeking its speedy dissemination. The project of the church belongs to European masters, and local sculptors worked on the decoration. The novelty of the research lies in considering not only the historical aspects of the expansion of the influence of the Jesuit Order in the territories of the Far East in general, in China and Macau in particular, but also the artistic aspects, which is important, since art was an important tool for the Jesuits in promoting Christianity, especially in the era of the Counter-Reformation, after the Council of Trent. The main conclusion of the study is that the facade is a retablo of the Church of St. St. Paul's in Macau is a kind of doctrinal synthesis in stone: through images and inscriptions in Chinese and Latin, knowledge about Catholic doctrine and the basics of Christian teaching is transmitted to local residents.

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Myjak, Krzysztof. "SCHOOL AND PARISH CATECHESIS IN THE FEDERAL REPUBLIC OF GERMANY IN RELATION TO CANON AND UNIVERSAL LAW." Roczniki Administracji i Prawa 1, no. XXI (March 30, 2021): 31–44. http://dx.doi.org/10.5604/01.3001.0015.2492.

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The article deals with the topic of the school and parish catechesis in the Federal Republic of Germany. The author presents the legal basis of the catechesis, in the Church and in the State. The catechetic teaching is defined in the Code of Canon Law. Information on this can be found in the second chapter of the title “The Ministry of the Divine Word” in this code. After a brief outline of the legal basis the author proceeds to presenting the history of religious education in Germany. Its origins lie in the 16th century at the time of Reformation and Counter-Reformation. As Rainer Winkel stated, when one studies the history of education, there are seven fields of education to be distinguished: 1. pedagogy, 2. religion, 3. ethics, 4. economics, 5. science, 6. politics, 7. art. Each of them is based on the development of one of seven “athropina”, i. e. features that are characteristic for human beings. All in all, it can be said that the religious education must be an integral part of all-round education. In a further part of the article the author describes the current catechetic teaching in Germany. Since the 1960s we can observe a development from catechesis to religious studies in the religious education at school. Instead of forming and educating pupils religiously, knowledge of religions is imparted at school. It is taught that there are many equally valid systems of values. The truths of faith and the sacraments are omitted during lessons. Above all, it can be observed that the German society is misinformed about the sacrament of penance. Besides, the passion of Christ, its meaning for a Christian and the role of the Holy Virgin Mary are not among the topics in school. On the other hand, parish catechesis is not very popular. The reason for this is probably the disappointment of the young people about the institutional character of the Church. In addition, there is a high percentage of atheists (especially in the former East Germany). Therefore, the author claims that there is a need of a renewed evangelisation instead of catechesis in Germany, in order that people believe in Jesus and the Mother of God again.

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Tabulina, Olga. "The Serenata of Baroque Period at the Court of the Austrian Habsburgs in the Context of Italian Cultural Expansion." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 41–50. http://dx.doi.org/10.31318/2522-4190.2022.134.269595.

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Relevance of the study. Contemporary performance has recently increasingly turned to ancient music, striving for historical authenticity in musical interpretations. In this regard, important questions arise, related both to the technical side of interpretation and deepening into the historical processes that influenced the emergence of certain genres, as well as the context of the creation of baroque works. «Archaeological excavations» are becoming justified, aimed at understanding the historical processes that influenced the formation of the baroque genre system, as well as the development of European musical culture in general. Of particular importance is the study of the specifics of such works as serenatas, which are difficult for genre identification due to their similarity with other works established in the genre coordinate system, such as opera and cantata. Main objective(s) — to analyze the historical and cultural processes that influenced the emergence and popularization of the baroque serenata at the Habsburg court, to identify the characteristic features of the genre, to show the significance of the serenata for the formation and development of musical art in Vienna. Methodology the methodology is based on cultural-historical and structural-functional analysis, which allow for a comprehensive consideration of the issues of art and politics and provide for highlighting among the colorful life of the Viennese aristocrats important trends that were related to the trends of the era and had a certain influence on the musical environment. Genre analysis was used to determine the specific features of works "in occasione". Results/findings and Conclusions. The article considers the musical and theatrical genre of the Baroque era, the serenata, popular in the aristocratic environment. The characteristic features inherent in the works of the serenate type are revealed, which makes it possible to identify them as a separate genre. The fate of the serenata at the Vienna court of the Habsburg emperors is traced, starting from the first third of the 17th to the middle of the 18th centuries, the historical and political context of the life of the Austrian sovereigns is highlighted. It is shown that the spread of the serenata genre in Vienna occurred as a result of the Italian cultural expansion associated with the prolongation of the Counter-Reformation and the frequent marriages of emperors with princesses of influential Italian houses. It is indicated that the consequences of the Italian expansion influenced the further fate of the development of musical art in Vienna. On the example of the compositions of A. Bertali, M. A. Cesti, G. Bononcini, A. Caldara and others, the place of compositions in occasione at court is shown, the variety of their genre definitions associated with certain circumstances of their performance is revealed.

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Laven, Mary. "3. Encountering the Counter-Reformation." Renaissance Quarterly 59, no. 3 (2006): 706–20. http://dx.doi.org/10.1353/ren.2008.0398.

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While the Reformation has, from the very beginning, been seen as a drama which drew its cast from every sphere of society, the Counter-Reformation was until recently considered the project of elites. Even those who sought to write the social history of the Catholic reform movement allocated to “the people” the role of resisting the course of change rather than contributing to the transformation of early modern Catholicism. Swimming against this tide, a succession of local case studies, focusing in particular on rituals and objects, has demonstrated the manifold ways in which men and women of all social backgrounds participated in the reinvention of Roman Catholicism. This paper considers new emphases in the social and cultural history of the Counter-Reformation, and asks whether there remains a place for thinking about the age of reform in terms of discipline and confessionalization.

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Pörtner, Regina. "Confessionalization and Ethnicity: The Slovenian Reformation and Counter-Reformation in the 16th and 17th Centuries." Archiv für Reformationsgeschichte - Archive for Reformation History 93, jg (December 1, 2002): 239–77. http://dx.doi.org/10.14315/arg-2002-jg13.

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Clarke, Danielle. "Life Writing for the Counter-Reformation." Journal of Medieval and Early Modern Studies 50, no. 1 (January 1, 2020): 75–94. http://dx.doi.org/10.1215/10829636-7986601.

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This essay examines the English translations of the autobiographical writings of Teresa de Ávila — The Lyf of the Mother Teresa of Iesus (Antwerp, 1611) and The Flaming Hart (Antwerp, 1642) — to demonstrate the impact of her exemplary spiritual life on the development of early modern life writing, particularly in domestic contexts. Teresa’s autobiographical texts were mediated for new audiences: religious orders and lay readers, both Catholic and Protestant. Teresa quickly established cult status in large part through readers’ engagement with the record of her life. Analysis of her writings shows how they partook in a carefully orchestrated campaign of Counter-Reformation proselytization that established a network of religious houses but also a network of thought and contemplation across Europe. The key players involved with circulating her works were by and large lay people operating in close collaboration with houses on the Continent, but outside of the religious orders per se. While Teresa’s writings were a source of inspiration and emulation across the confessional divide and across the gender divide, she had a particular appeal for women, who often acted as crucial agents of conversion and reconversion, particularly in England. The article also shows how Teresa’s own protracted and intensive effort to validate her spiritual visions had the effect of both publicizing and authorizing herself as an authentic witness to the divine in the face of an oppositional, tradition-defending church. This must have had strong appeal in a century that was profoundly concerned with rearticulating the relationships between individual and collective state or religious authority.

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Karant-Nunn, Susan C. "Alas, a Lack: Trends in the Historiography of Pre-University Education in Early Modern Germany." Renaissance Quarterly 43, no. 4 (1990): 788–98. http://dx.doi.org/10.2307/2862791.

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Three major themes either have or ought to have affected the recent study of pre-university education in Germany between about 1400 and 1700. These are the Reformation and schooling; the so-called "new history" of education; and the current wave of research on literacy in Renaissance, Reformation, and Counter- Reformation Europe. The works cited should be considered illustrative of investigation carried out and issues debated during approximately the last twenty years.

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Hornedo, Florentino. "Nicolas Castaño, O.P., (1773-1840): Architect, Engineer, Author, Missionary to Batanes." Philippiniana Sacra 51, no. 152 (2016): 183–98. http://dx.doi.org/10.55997/ps3008li152pr1.

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The pioneer Dominican missionaries were harbingers of the Word and civilization. Evangelization was the drama of the Incarnation in which lives of people were transformed by the preaching of the Word of God and the refashioning of the physical world to sacramentalize the arrival of the Kingdom of God in various forms of reordering and reorganizing of Nature and social life. It took nearly a century (1686-1783), and many precious lives, before Dominicans finally established a permanent foothold in 1783, on the Batanes islands which lie at the northern tip of the Philippine archipelago. In 1798, a 25 year-old youth, newly ordained priest, (probably) an alumnus of the University of Santo Tomas, arrived in Batanes: Fray Padre Nicolas Castaño, OP. He came to stay for 26 years of his life. He was, by all indications of the records and his activities, an assiduous and good learner of the indigenous culture. He picked up the study of the Ivatan language from where his predecessors left it and carried it on, to be passed on the next generation of Dominican missionaries; and seeing the need for handy catechetical tool, he used his knowledge of the language to write a Catechism of Christian Doctrine (whose manuscript he probably used in preaching), and later prepared for printing—which became the first printed Ivatan text. But while he preached the Word, he, in due time, saw the need to announce the majesty of God in Baroque architecture—the preferred art style used by the Tridentine counter reformation to proclaim the gospel to a largely unlettered world. Father Nicolas built what today continues to be the grandest church facade in the Batanes, and which served as the model and inspiration of all the other later Ivatan churches. He built bridges to ensure that the new Christians had no excuse to miss masses and catechetical instruction on Sundays and Holy Days of Obligation. He was concerned about the convenience and efficiency of local government officials. So he built decent government buildings for them near the churches. By getting the Ivatan people to work with him, they learned in turn how to build homes which have remained typhoon-proof to this day. To make social life more efficient in the new lowland settlements, especially Ivana which in his time was the centre of three tribal communities (Ivana, Itbud/Uyugan, and Sabtang), he arranged streets and roads to facilitate the development of better community spirit—for his vision was certainly ecclesial: communitarian.

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Bamji (book editor), Alexandra, Geert H. Janssen (book editor), Mary Laven (book editor), and John Christopoulos (review author). "The Ashgate Research Companion to the Counter-Reformation." Renaissance and Reformation 37, no. 3 (March 5, 2015): 271–74. http://dx.doi.org/10.33137/rr.v37i3.22467.

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Kahn (book author), Victoria, and Andrew Barnaby (review author). "Machiavellian Rhetoric: From the Counter-Reformation to Milton." Renaissance and Reformation 32, no. 2 (January 21, 2009): 85–88. http://dx.doi.org/10.33137/rr.v32i2.11552.

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MacCaskey, Laura. "Triumph and Martyrdom. Counter-Reformation Politics in a Farnese Altarpiece." Konsthistorisk Tidskrift/Journal of Art History 75, no. 3 (September 2006): 167–81. http://dx.doi.org/10.1080/00233600600777219.

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Scott, John Beldon, and Jack Freiberg. "The Lateran in 1600: Christian Concord in Counter-Reformation Rome." Art Bulletin 78, no. 1 (March 1996): 166. http://dx.doi.org/10.2307/3046164.

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Klassen, Peter J., and Philip M. Soergel. "Wondrous in His Saints: Counter-Reformation Propaganda in Bavaria." German Studies Review 18, no. 1 (February 1995): 135. http://dx.doi.org/10.2307/1431525.

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Theibault, John, and Howard Louthan. "The Quest for Compromise: Peacemakers in Counter-Reformation Vienna." German Studies Review 22, no. 3 (October 1999): 464. http://dx.doi.org/10.2307/1432271.

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Olds (book author), Katrina B., and Guy Lazure (review author). "Forging the Past: Invented Histories in Counter-Reformation Spain." Renaissance and Reformation 40, no. 2 (October 5, 2017): 219–21. http://dx.doi.org/10.33137/rr.v40i2.28529.

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Louthan, Howard. "Ferdinand II, Counter-Reformation Emperor, 1578–1637 by Robert Bireley." Catholic Historical Review 101, no. 4 (2015): 939–40. http://dx.doi.org/10.1353/cat.2015.0269.

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Rhodes, Elizabeth. "Luisa de Carvajal's Counter-Reformation Journey to Selfhood (1566-1614)." Renaissance Quarterly 51, no. 3 (1998): 887–911. http://dx.doi.org/10.2307/2901749.

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AbstractLuisa de Carvajal y Mendoza, a wealthy Spanish noblewoman, lived as a missionary in London preaching, teaching, and doing charitable work on behalf of the Catholic underground from 1605 to 1614. Although the early loss of her parents and other close family members in rapid succession and the abuses she suffered at the hands of her guardian uncle might appear to have disadvantaged her, Carvajal transformed her misfortunes into advantages by using them to intensify her embrace of penitential piety and traditional Catholic virtues as exemplified by saints' lives. Her manifestation of those virtues inspired religious authorities to accept her as a missionary, against substantial odds. She thus provides evidence of how Counter-Reformation practices and beliefs facilitated some exceptional women's achievements.

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Rhodes, Elizabeth. "Indecent Theology: Sex and Female Heresy in Counter-Reformation Spain." Renaissance Quarterly 73, no. 3 (2020): 866–96. http://dx.doi.org/10.1017/rqx.2020.121.

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In 1636, the Spanish Inquisition tried María de la Cruz for heresy and having made a pact with the devil. Examination of her trial in light of information about sexual misconduct on the part of Catholic clerics, however, reveals that what drove María to the emotional and behavioral extremes that her accusers described was neither heresy nor the devil the authorities had in mind. Theologians who evaluated her case and also met with María discerned what those who only read the accusations against her were unable to know: María's devils were human men taking advantage of a poor, illiterate woman for sex.

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Olds, Katrina. "The Ambiguities of the Holy: Authenticating Relics in Seventeenth-Century Spain*." Renaissance Quarterly 65, no. 1 (2012): 135–84. http://dx.doi.org/10.1086/665837.

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Recent scholarship has shown that, even at the heart of the Catholic world, defining holiness in the Counter-Reformation was remarkably difficult, in spite of ongoing Roman reforms meant to centralize and standardize the authentication of saints and relics. If the standards for evaluating sanctity were complex and contested in Rome, they were even less clear to regional actors, such as the Bishop of Jaén, who supervised the discovery of relics in Arjona, a southern Spanish town, beginning in 1628. The new relics presented the bishop, Cardinal Baltasar de Moscoso y Sandoval, with knotty historical, theological, and procedural dilemmas. As such, the Arjona case offers a particularly vivid example of the ambiguities that continued to complicate the assessment of holiness in the early modern period. As the Bishop of Jaén found, the authentication of relics came to involve deeper questions about the nature of theological and historical truth that were unresolved in Counter-Reformation theory and practice.

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Ditchfield, Simon. "What’s in a Title? Writing a History of the Counter-Reformation for a Postcolonial Age." Archiv für Reformationsgeschichte - Archive for Reformation History 108, no. 1 (October 26, 2017): 255–63. http://dx.doi.org/10.14315/arg-2017-0128.

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Van der Laan, Sarah. "Songs of Experience: Confessions, Penitence, and the Value of Error in Tasso and Spenser." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 252–68. http://dx.doi.org/10.1632/pmla.2015.130.2.252.

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As the Reformation and Counter-Reformation swept Europe in the sixteenth century, penance (or its rejection) became a cornerstone of individual and confessional identities. Extending a post-Tridentine view of sacramental penance as consolation, Torquato Tasso's Gerusalemme liberata suggests that penance offers a means to recover and even to benefit from the experience of error—and to incorporate romance error into epic action and ethics. Through extensive intertextual dialogue, Edmund Spenser's Faerie Queene engages this view to explore the fears produced in some lay people by the English Reformers' rejection of penance. Book 2 interrogates the possibilities for epic heroism in a fictional environment lacking any visible means to recover from error and therefore profoundly skeptical of experience and the errors to which it might lead. Spenser's virtuoso act of cultural translation reforms Tasso's penance-based ethics, exposes the shortcomings of one approach to reformation, and affirms the educational value of human error.

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Fisher (book author), Alexander J., and Michael O’Connor (review author). "Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria." Renaissance and Reformation 39, no. 3 (January 14, 2017): 177–79. http://dx.doi.org/10.33137/rr.v39i3.27731.

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Houliston, Victor. "St Thomas Becket in the propaganda of the English Counter-Reformation." Renaissance Studies 7, no. 1 (March 1993): 43–70. http://dx.doi.org/10.1111/j.1477-4658.1993.tb00267.x.

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Journal articles on the topic 'Counter-Reformation art'

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