Art in the Protestant Reformation and Counter-Reformation

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Hans Holbein the Younger's Noli me tangere a relatively rare Protestant oil painting of Christ from the Reformation period. It is small, and generally naturalistic in style, avoiding iconic elements like the halo, which is barely discernible. Hans Holbein d. J. 017.jpg
Hans Holbein the Younger's Noli me tangere a relatively rare Protestant oil painting of Christ from the Reformation period. It is small, and generally naturalistic in style, avoiding iconic elements like the halo, which is barely discernible.

The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European tradition and the humanist art produced during the High Renaissance. The Lutheran churches, as they developed, accepted a limited role for larger works of art in churches, [1] [2] and also encouraged prints and book illustrations. Calvinists remained steadfastly opposed to art in churches, and suspicious of small printed images of religious subjects, though generally fully accepting secular images in their homes.

High Renaissance art movement

In art history, the High Renaissance is a short period of the most exceptional artistic production in the Italian states, particularly Rome, capital of the Papal States, and in Florence, during the Italian Renaissance. Most art historians state that the High Renaissance started around 1495 or 1500 and ended in 1520 with the death of Raphael, although some say the High Renaissance ended about 1525, or in 1527 with the Sack of Rome by the army of Charles V, Holy Roman Emperor, or about 1530. The best-known exponents of painting, sculpture and architecture of the High Renaissance include Leonardo da Vinci, Michelangelo, Raphael and Bramante. In recent years, the use of the term has been frequently criticized by some academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.

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In turn, the Catholic Counter-Reformation both reacted against and responded to Protestant criticisms of art in Roman Catholicism to produce a more stringent style of Catholic art. Protestant religious art both embraced Protestant values and assisted in the proliferation of Protestantism, but the amount of religious art produced in Protestant countries was hugely reduced. Artists in Protestant countries diversified into secular forms of art like history painting, landscape painting, portrait painting and still life.

Counter-Reformation Catholic political and religious response to the Protestant Reformation

The Counter-Reformation, also called the Catholic Reformation or the Catholic Revival, was the period of Catholic resurgence that was initiated in response to the Protestant Reformation. It began with the Council of Trent (1545–1563) and largely ended with the 1781 Patent of Toleration, although smaller expulsions of Protestants continued into the 19th century. Initiated to preserve the power, influence and material wealth enjoyed by the Catholic Church and to present a theological and material challenge to Reformation, the Counter-Reformation was a comprehensive effort composed of apologetic and polemical documents, ecclesiastical reconfiguration as decreed by the Council of Trent, a series of wars, political maneuvering including the efforts of Imperial Diets of the Holy Roman Empire, exiling of Protestant populations, confiscation of Protestant children for Catholic institutionalized upbringing, heresy trials and the Inquisition, anti-corruption efforts, spiritual movements, and the founding of new religious orders.

History painting genre in painting defined by historical matter

History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a narrative story, rather than a specific and static subject, as in a portrait. The term is derived from the wider senses of the word historia in Latin and Italian, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from history, especially paintings from before about 1850.

Landscape painting genre of paintings; field of work for artists

Landscape painting, also known as landscape art, is the depiction of landscapes in art – natural scenery such as mountains, valleys, trees, rivers, and forests, especially where the main subject is a wide view – with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects.

Art and the Reformation

Cranach the Elder's Altarpiece at Wittenberg. An early Lutheran work depicting leading Reformers as Apostles at the Last Supper. Wittenberg Stadtkirche Cranachalter.jpg
Cranach the Elder's Altarpiece at Wittenberg. An early Lutheran work depicting leading Reformers as Apostles at the Last Supper.
Altar piece in St. Martin's Cathedral, Utrecht, attacked by Calvinists in the Beeldenstorm in 1566. This retable became visible again after restoration in 1919 removed the false wall placed in front of it. Altaarretabel Domkerk.JPG
Altar piece in St. Martin's Cathedral, Utrecht, attacked by Calvinists in the Beeldenstorm in 1566. This retable became visible again after restoration in 1919 removed the false wall placed in front of it.

The Protestant Reformation was a religious movement that occurred in Western Europe during the 16th century that resulted in a divide in Christianity between Roman Catholics and Protestants. This movement "created a North-South split in Europe, where generally Northern countries became Protestant, while Southern countries remained Catholic." [3]

The Reformation produced two main branches of Protestantism; one was the Evangelical Lutheran churches, which followed the teachings of Martin Luther, and the other the Reformed Churches, which followed the ideas of John Calvin and Huldrych Zwingli. Out of these branches grew three main sects, the Lutheran tradition, as well as the Continental Reformed and Anglican traditions, the latter two following the Reformed (Calvinist) faith. [4] Lutherans and Reformed Christians had different views regarding religious imagery. [5] [2]

Protestantism Division within Christianity, originating with the 16th century Reformation, a movement against what its followers perceived to be errors in the Roman Catholic Church

Protestantism is the second largest form of Christianity with collectively between 800 million and more than 900 million adherents worldwide or nearly 40% of all Christians. It originated with the 16th century Reformation, a movement against what its followers perceived to be errors in the Roman Catholic Church. Protestants reject the Roman Catholic doctrine of papal supremacy and sacraments, but disagree among themselves regarding the real presence of Christ in the Eucharist. They emphasize the priesthood of all believers, justification by faith alone rather than also by good works, and the highest authority of the Bible alone in faith and morals. The "five solae" summarise basic theological differences in opposition to the Roman Catholic Church.

Martin Luther Saxon priest, monk and theologian, seminal figure in Protestant Reformation

Martin Luther, was a German professor of theology, composer, priest, monk, and a seminal figure in the Protestant Reformation.

John Calvin French Protestant reformer

John Calvin was a French theologian, pastor and reformer in Geneva during the Protestant Reformation. He was a principal figure in the development of the system of Christian theology later called Calvinism, aspects of which include the doctrines of predestination and of the absolute sovereignty of God in salvation of the human soul from death and eternal damnation, in which doctrines Calvin was influenced by and elaborated upon the Augustinian and other Christian traditions. Various Congregational, Reformed and Presbyterian churches, which look to Calvin as the chief expositor of their beliefs, have spread throughout the world.

Martin Luther in Germany allowed and encouraged the display of a restricted range of religious imagery in churches, seeing the Evangelical Lutheran Church as a continuation of the "ancient, apostolic church". [2] The use of images was one of the issues where Luther strongly opposed the more radical Andreas Karlstadt. For a few years Lutheran altarpieces like the Last Supper by the younger Cranach were produced in Germany, especially by Luther's friend Lucas Cranach, to replace Catholic ones, often containing portraits of leading reformers as the apostles or other protagonists, but retaining the traditional depiction of Jesus. As such, "Lutheran worship became a complex ritual choreography set in a richly furnished church interior." [1] Lutherans continued the use of the crucifix as it highlighted their high view of the Theology of the Cross. [2] [6] Stories grew up of "indestructible" images of Luther, that had survived fires, by divine intervention. [7] Thus, for Lutherans, "the Reformation renewed rather than removed the religious image." [8]

Andreas Karlstadt German theologian

Andreas Rudolph Bodenstein von Karlstadt, better known as Andreas Karlstadt or Andreas Carlstadt or Karolostadt, or simply as Andreas Bodenstein, was a German Protestant theologian, University of Wittenberg chancellor, a contemporary of Martin Luther and a reformer of the early Reformation.

<i>Last Supper</i> (Cranach) painting by Lucas Cranach the Younger

After Luther's objections to large public religious images had started to fade, Lucas Cranach the Elder, along with his son and workshop began to work on a number of altarpieces of the Last Supper, among other subjects.

Lucas Cranach the Elder 16th-century German Renaissance painter and printmaker

Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm. He was a close friend of Martin Luther. Cranach also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion.

On the other hand, there was a wave of iconoclasm, or the destruction of religious imagery. This began very early in the Reformation, when students in Erfurt destroyed a wooden altar in the Franciscan friary in December 1521. [9] Later, Reformed Christianity showed consistent hostility to religious images, as idolatry, especially sculpture and large paintings. Book illustrations and prints were more acceptable, because they were smaller and more private. Reformed leaders, especially Huldrych Zwingli and John Calvin, actively eliminated imagery from churches within the control of their followers, and regarded the great majority of religious images as idolatrous. [10] Early Calvinists were even suspicious of portraits of clergy; Christopher Hales (soon to be one of the Marian exiles) tried to have portraits of six divines sent to him from Zurich, and felt it necessary to explain his motives in a letter of 1550: "this is not done ....with a view to making idols of you; they are desired for the reasons which I have mentioned, and not for the sake of honour or veneration". [11]

Erfurt Place in Thuringia, Germany

Erfurt is the capital and largest city in the state of Thuringia, central Germany.

Idolatry idol worship, any reverence of an image, statue or icon

Idolatry literally means the worship of an "idol", also known as a worship cult image, in the form of a physical image, such as a statue. In Abrahamic religions, namely Christianity, Islam and Judaism, idolatry connotes the worship of something or someone other than God as if it were God. In these and several other monotheistic religions, idolatry has been considered as the "worship of false gods" and is forbidden. In many Indian religions, such as theistic and non-theistic forms of Hinduism, Buddhism and Jainism, idols (murti) are considered as symbolism for the absolute but not The Absolute, or icons of spiritual ideas, or the embodiment of the divine. It is a means to focus one's religious pursuits and worship (bhakti). In the traditional religions of ancient Egypt, Greece, Rome, Africa, Asia, the Americas and elsewhere, the reverence of an image or statue has been a common practice, and cult images have carried different meanings and significance.

Sculpture Branch of the visual arts that operates in three dimensions

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving and modelling, in stone, metal, ceramics, wood and other materials but, since Modernism, there has been an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded or cast.

The destruction was often extremely divisive and traumatic within communities, an unmistakable physical manifestation, often imposed from above, that could not be ignored. It was just for this reason that reformers favoured a single dramatic coup, and many premature acts in this line sharply increased subsequent hostility between Catholics and Calvinists in communities  for it was generally at the level of the city, town or village that such actions occurred, except in England and Scotland.

But reformers often felt impelled by strong personal convictions, as shown by the case of Frau Göldli, on which Zwingli was asked to advise. She was a Swiss lady who had once made a promise to Saint Apollinaris that if she recovered from an illness she would donate an image of the saint to a local convent, which she did. Later she turned Protestant, and feeling she must reverse what she now saw as a wrong action, she went to the convent church, removed the statue and burnt it. Prosecuted for blasphemy, she paid a small fine without complaint, but flatly refused to pay the additional sum the court ordered be paid to the convent to replace the statue, putting her at risk of serious penalties. Zwingli's letter advised trying to pay the nuns a larger sum on condition they did not replace the statue, but the eventual outcome is unknown. [12] By the end of his life, after iconoclastic shows of force became a feature of the early phases of the French Wars of Religion, even Calvin became alarmed and criticised them, realizing that they had become counter-productive. [13]

Daniel Hisgen's paintings are mostly cycles on the parapets of Lutheran church galleries. Here the Creation (left) to the Annunciation can be seen. St. Michaelis Oberkleen Blick nach Westen 02.JPG
Daniel Hisgen's paintings are mostly cycles on the parapets of Lutheran church galleries. Here the Creation (left) to the Annunciation can be seen.

Subjects prominent in Catholic art other than Jesus and events in the Bible, such as Mary and saints were given much less emphasis or disapproved of in Protestant theology. As a result, in much of northern Europe, the Church virtually ceased to commission figurative art, placing the dictation of content entirely in the hands of the artists and lay consumers. Calvinism even objected to non-religious funerary art, such as the heraldry and effigies beloved of the Renaissance rich. [14] Where there was religious art, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Narrative scenes from the Bible, especially as book illustrations and prints, and, later, moralistic depictions of modern life were preferred. Both Cranachs painted allegorical scenes setting out Lutheran doctrines, in particular a series on Law and Gospel . Daniel Hisgen, a German Rococo painter of the 18th century in Upper Hesse, specialized in cycles of biblical paintings decorating the front of the gallery parapet in Lutheran churches with an upper gallery, a less prominent position that satisfied Lutheran scruples. Wooden organ cases were also often painted with similar scenes to those in Catholic churches.

Lutherans strongly defended their existing sacred art from a new wave of Calvinist-on-Lutheran iconoclasm in the second half of the century, as Calvinist rulers or city authorities attempted to impose their will on Lutheran populations in the "Second Reformation" of about 1560-1619. [2] [15] Against the Reformed, Lutherans exclaimed: "You black Calvinist, you give permission to smash our pictures and hack our crosses; we are going to smash you and your Calvinist priests in return". [2] The Beeldenstorm, a large and very disorderly wave of Calvinist mob destruction of Catholic images and church fittings that spread through the Low Countries in the summer of 1566 was the largest outbreak of this sort, with drastic political repercussions. [16] This campaign of Calvinist iconoclasm "provoked reactive riots by Lutheran mobs" in Germany and "antagonized the neighbouring Eastern Orthodox" in the Baltic region. [17] Similar patterns to the German actions, but with the addition of encouragement and sometimes finance from the national government, were seen in Anglican England in the English Civil War and English Commonwealth in the next century, when more damage was done to art in medieval parish churches than during the English Reformation.

A major theological difference between Protestantism and Catholicism is the question of transubstantiation, or the literal transformation of the Communion wafer and wine into the body and blood of Christ, though both Lutheran and Reformed Christians affirmed the real presence of Christ in the Eucharist, the former as a sacramental union and the latter as a pneumatic presence. [18] Protestant churches that were not participating in the iconoclasm often selected as altarpieces scenes depicting the Last Supper. This helped the worshippers to recall their theology behind the Eucharist, as opposed to Catholic churches, which often chose crucifixion scenes for their altarpieces to remind the worshippers that the sacrifice of Christ and the sacrifice of the Mass were one and the same, via the literal transformation of the Eucharist.

The Protestant Reformation also capitalized on the popularity of printmaking in northern Europe. Printmaking allowed images to be mass-produced and widely available to the public at low cost. This allowed for the widespread availability of visually persuasive imagery. The Protestant church was therefore able, as the Catholic Church had been doing since the early 15th century, to bring their theology to the people, and religious education was brought from the church into the homes of the common people, thereby forming a direct link between the worshippers and the divine.

There was also a violent propaganda war fought partly with popular prints by both sides; these were often highly scurrilous caricatures of the other side and their doctrines. On the Protestant side, portraits of the leading reformers were popular, and their likenesses sometimes represented the Apostles and other figures in Biblical scenes such as the Last Supper.

Genre and landscape

After the early years of the reformation, artists in Protestant areas painted far fewer religious subjects for public display, although there was a conscious effort to develop a Protestant iconography of Bible illustration in book illustrations and prints. In the early Reformation artists, especially Cranach the Elder and Younger and Holbein, made paintings for churches showing the leaders of the reformation in ways very similar to Catholic saints. Later Protestant taste turned from the display in churches of religious scenes, although some continued to be displayed in homes. There was also a reaction against large images from classical mythology, the other manifestation of high style at the time. This brought about a style that was more directly related to accurately portraying the present times. The traditions of landscapes and genre paintings that would fully flower in the 17th century began during this period.

Peter Bruegel (1525–1569) of Flanders is the great genre painter of his time, who worked for both Catholic and Protestant patrons. In most of his paintings, even when depicting religious scenes, most space is given to landscape or peasant life in 16th century Flanders. Bruegel's Wedding Feast, portrays a Flemish-peasant wedding dinner in a barn, which makes no reference to any religious, historical or classical events, and merely gives insight into the everyday life of the Flemish peasant. Another great painter of his age, Lucas van Leyden (1489–1533), is known mostly for his engravings, such as The Milkmaid, which depicts peasants with milk cows. This engraving, from 1510, well before the Reformation, contains no reference to religion or classicism, although much of his other work features both.

Peter Bruegel's Peasant Wedding Feast. Pieter Bruegel d. A. 011.jpg
Peter Bruegel's Peasant Wedding Feast.

Bruegel was also an accomplished landscape painter. Frequently Bruegel painted agricultural landscapes, such as Summer from his famous set of the seasons, where he shows peasants harvesting wheat in the country, with a few workers taking a lunch break under a nearby tree. This type of landscape painting, apparently void of religious or classical connotations, gave birth to a long line of northern European landscape artists, such as Jacob van Ruisdael.

With the great development of the engraving and printmaking market in Antwerp in the 16th century, the public was provided with accessible and affordable images. Many artists provided drawings to book and print publishers, including Bruegel. In 1555 Bruegel began working for The Four Winds, a publishing house owned by Hieronymus Cock. The Four Winds provided the public with almost a thousand etchings and engravings over two decades. Between 1555 and 1563 Bruegel supplied Cock with almost 40 drawings, which were engraved for the Flemish public.

The courtly style of Northern Mannerism in the second half of the century has been seen as partly motivated by the desire of rulers in both the Holy Roman Empire and France to find a style of art that could appeal to members of the courtly elite on both sides of the religious divide. [19] Thus religious controversy had the rather ironic effect of encouraging classical mythology in art, since though they might disapprove, even the most stern Calvinists could not credibly claim that 16th century mythological art really represented idolatry.

Council of Trent

The Last Judgment fresco in the Sistine Chapel by Michelangelo (1534-41) came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon. Last Judgement (Michelangelo).jpg
The Last Judgment fresco in the Sistine Chapel by Michelangelo (1534-41) came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon.

During the Reformation a great divergence arose between the Catholic Church and the Protestant Reformers of the north regarding the content and style of art work. The Catholic Church viewed Protestantism and Reformed iconoclasm as a threat to the church and in response came together at the Council of Trent to institute some of their own reforms. The church felt that much religious art in Catholic countries (especially Italy) had lost its focus on religious subject-matter, and became too interested in material things and decorative qualities. The council came together periodically between 1545 and 1563. The reforms that resulted from this council are what set the basis for what is known as the Counter-Reformation.

Italian painting after the 1520s, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style, striving for effect, that concerned many churchman as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic Church councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.

Statements are often made along the lines of "The decrees of the Council of Trent stipulated that art was to be direct and compelling in its narrative presentation, that it was to provide an accurate presentation of the biblical narrative or saint’s life, rather than adding incidental and imaginary moments, and that it was to encourage piety", [20] but in fact the actual decrees of the council were far less explicit than this, though all of these points were probably in line with their intentions. The very short passage dealing with art came only in the final session in 1563, as a last minute and little-discussed addition, based on a French draft. The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person themself, not the image, and further instructed that:

...every superstition shall be removed ... all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous, seeing that holiness becometh the house of God. And that these things may be the more faithfully observed, the holy Synod ordains, that no one be allowed to place, or cause to be placed, any unusual image, in any place, or church, howsoever exempted, except that image have been approved of by the bishop ... [21]

The number of decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Saint Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Many traditional iconographies considered without adequate scriptural foundation were in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus. [22] According to the great medievalist Émile Mâle, this was "the death of medieval art". [23]

Art and the Counter-Reformation

Scipione Pulzone's Lamentation, a typical Counter-Reformation work. Lamentation Scipione Pulzone.jpg
Scipione Pulzone's Lamentation , a typical Counter-Reformation work.

While Calvinists largely removed public art from religion and Reformed societies moved towards more "secular" forms of art which might be said to glorify God through the portrayal of the "natural beauty of His creation and by depicting people who were created in His image", [24] Counter-Reformation Catholic church continued to encourage religious art, but insisted it was strictly religious in content, glorifying God and Catholic traditions, including the sacraments and the saints. [25] Likewise, "Lutheran places of worship contain images and sculptures not only of Christ but also of biblical and occasionally of other saints as well as prominent decorated pulpits due to the importance of preaching, stained glass, ornate furniture, magnificent examples of traditional and modern architecture, carved or otherwise embellished altar pieces, and liberal use of candles on the altar and elsewhere." [26] The main difference between Lutheran and Roman Catholic places of worship was the presence of the tabernacle in the latter. [26]

Sydney Joseph Freedberg, who invented the term Counter-Maniera , cautions against connecting this more austere style in religious painting, which spread from Rome from about 1550, too directly with the decrees of Trent, as it pre-dates these by several years. He describes the decrees as "a codifying and official sanction of a temper that had come to be conspicuous in Roman culture". [27]

Scipione Pulzone's (1550–1598) painting of the Lamentation which was commissioned for the Church of the Gesù in 1589 is a Counter-Maniera work that gives a clear demonstration of what the holy council was striving for in the new style of religious art. With the focus of the painting giving direct attention to the crucifixion of Christ, it complies with the religious content of the council and shows the story of the passion while keeping Christ in the image of the ideal human.

Paolo Veronese's Last Supper (The Feast in the House of Levi) Paolo Veronese.jpg
Paolo Veronese's Last Supper (The Feast in the House of Levi)

Ten years after the Council of Trent's decree Paolo Veronese was summoned by the Inquisition to explain why his Last Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Inquisition: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. [28] Veronese was told that he must change his indecorous painting within a three-month period - in fact he just changed the title to The Feast in the House of Levi , still an episode from the Gospels, but a less doctrinally central one, and no more was said. [29] No doubt any Protestant authorities would have been equally disapproving. The pre-existing decline in "donor portraits" (those who had paid for an altarpiece or other painting being placed within the painting) was also accelerated; these become rare after the Council.

Repentance of Peter by El Greco, 1580-1586. Las lagrimas de san Pedro El Greco 1580.jpg
Repentance of Peter by El Greco, 1580–1586.

Further waves of "Counter-Reformation art" occurred when areas formerly Protestant were again brought under Catholic rule. The churches were normally empty of images, and such periods could represent a boom time for artists. The best known example is the new Spanish Netherlands (essentially modern Belgium), which had been the centre of Protestantism in the Netherlands but became (initially) exclusively Catholic after the Spanish drove the Protestants to the north, where they established the United Provinces. Rubens was one of a number of Flemish Baroque painters who received many commissions, and produced several of his best known works re-filling the empty churches. [30] Several cities in France in the French wars of religion and in Germany, Bohemia and elsewhere in the Thirty Years War saw similar bursts of restocking.

The rather extreme pronouncement by a synod in Antwerp in 1610 that in future the central panels of altarpieces should only show New Testament scenes was certainly ignored in the cases of many paintings by Rubens and other Flemish artists (and in particular the Jesuits continued to commission altarpieces centred on their saints), but nonetheless New Testament subjects probably did increase. [31] Altarpieces became larger and more easy to make out from a distance, and the large painted or gilded carved wooden altarpieces that were the pride of many northern late medieval cities were often replaced with paintings. [32]

Some subjects were given increased prominence to reflect Counter-Reformation emphases. The Repentance of Peter , showing the end of the episode of the Denial of Peter , was not often seen before the Counter-Reformation, when it became popular as an assertion of the sacrament of Confession against Protestant attacks. This followed an influential book by the Jesuit Cardinal Robert Bellarmine (1542–1621). The image typically shows Peter in tears, as a half-length portrait with no other figures, often with hands clasped as at right, and sometimes "the cock" in the background; it was often coupled with a repentant Mary Magdalen, another exemplar from Bellarmine's book. [33]

As the Counter-Reformation grew stronger and the Catholic Church felt less threat from the Protestant Reformation, Rome once again began to assert its universality to other nations around the world. The religious order of the Jesuits or the Society of Jesus, sent missionaries to the Americas, parts of Africa, India and eastern Asia and used the arts as an effective means of articulating their message of the Catholic Church's dominance over the Christian faith. The Jesuits' impact was so profound during their missions of the time that today very similar styles of art from the Counter-Reformation period in Catholic Churches are found all over the world.

Despite the differences in approaches to religious art, stylistic developments passed about as quickly across religious divisions as within the two "blocs". Artistically Rome remained in closer touch with the Netherlands than with Spain.

Notes

  1. 1 2 Spicer, Andrew (5 December 2016). Lutheran Churches in Early Modern Europe. Taylor & Francis. p. 237. ISBN   9781351921169. As it developed in north-eastern Germany, Lutheran worship became a complex ritual choreography set in a richly furnished church interior. This much is evident from the background of an epitaph painted in 1615 by Martin Schulz, destined for the Nikolaikirche in Berlin (see Figure 5.5.).
  2. 1 2 3 4 5 6 Lamport, Mark A. (31 August 2017). Encyclopedia of Martin Luther and the Reformation. Rowman & Littlefield Publishers. p. 138. ISBN   9781442271593. Lutherans continued to worship in pre-Reformation churches, generally with few alterations to the interior. It has even been suggested that in Germany to this day one finds more ancient Marian altarpieces in Lutheran than in Catholic churches. Thus in Germany and in Scandinavia many pieces of medieval art and architecture survived. Joseph Leo Koerner has noted that Lutherans, seeing themselves in the tradition of the ancient, apostolic church, sought to defend as well as reform the use of images. "An empty, white-washed church proclaimed a wholly spiritualized cult, at odds with Luther's doctrine of Christ's real presence in the sacraments" (Koerner 2004, 58). In fact, in the 16th century some of the strongest opposition to destruction of images came not from Catholics but from Lutherans against Calvinists: "You black Calvinist, you give permission to smash our pictures and hack our crosses; we are going to smash you and your Calvinist priests in return" (Koerner 2004, 58). Works of art continued to be displayed in Lutheran churches, often including an imposing large crucifix in the sanctuary, a clear reference to Luther's theologia crucis. ... In contrast, Reformed (Calvinist) churches are strikingly different. Usually unadorned and somewhat lacking in aesthetic appeal, pictures, sculptures, and ornate altar-pieces are largely absent; there are few or no candles; and crucifixes or crosses are also mostly absent.
  3. The Reformation and Counter-Reformation. Historicist and Causes of the Reformation. New Advent.
  4. Picken, Stuart D.B. (16 December 2011). Historical Dictionary of Calvinism. Scarecrow Press. p. 1. ISBN   9780810872240. While Germany and the Scandinavian countries adopted the Lutheran model of church and state, France, Switzerland, the Netherlands, Hungary, what is now the Czech Republic, and Scotland created Reformed Churches based, in varying ways, on the model Calvin set up in Geneva. Although England pursued the Reformation ideal in its own way, leading to the formation of the Anglican Communion, the theology of the Thirty-Nine Articles of the Church of England were heavily influenced by Calvinism.
  5. Nuechterlein, Jeanne Elizabeth (2000). Holbein and the Reformation of Art. University of California, Berkeley.|access-date= requires |url= (help)
  6. Marquardt, Janet T.; Jordan, Alyce A. (14 January 2009). Medieval Art and Architecture after the Middle Ages. Cambridge Scholars Publishing. p. 71. ISBN   9781443803984. In fact, Lutherans often justified their continued use of medieval crucifixes with the same arguments employed since the Middle Ages, as is evident from the example of the altar of the Holy Cross in the Cistercian church of Doberan.
  7. Michalski, 89
  8. Dixon, C. Scott (9 March 2012). Contesting the Reformation. John Wiley & Sons. p. 146. ISBN   9781118272305. According to Koerner, who dwells on Lutheran art, the Reformation renewed rather than removed the religious image.
  9. Noble, 19, note 12
  10. Institutes, 1:11, section 7 on crosses
  11. Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, p. 193, 1990, Yale, ISBN   0300046758; Hales was the brother of John Hales (died 1572)
  12. Michalski, 87-88
  13. Michalski, 73-74
  14. Michalski, 72-73
  15. Michalski, 84. Google books
  16. Kleiner, Fred S. (1 January 2010). Gardner's Art through the Ages: A Concise History of Western Art. Cengage Learning. p. 254. ISBN   9781424069224. In an episode known as the Great Iconoclasm, bands of Calvinists visited Catholic churches in the Netherlands in 1566, shattering stained-glass windows, smashing statues, and destroying paintings and other artworks they perceived as idolatrous.
  17. Marshall, Peter (22 October 2009). The Reformation. Oxford University Press. p. 114. ISBN   9780191578885. Iconoclastic incidents during the Calvinist 'Second Reformation' in Germany provoked reactive riots by Lutheran mobs, while Protestant image-breaking in the Baltic region deeply antagonized the neighbouring Eastern Orthodox, a group with whom reformers might have hoped to make common cause.
  18. Mattox, Mickey L.; Roeber, A. G. (27 February 2012). Changing Churches: An Orthodox, Catholic, and Lutheran Theological Conversation. Wm. B. Eerdmans Publishing. p. 54. ISBN   9780802866943. In this "sacramental union," Lutherans taught, the body and blood of Christ are so truly united to the bread and wine of the Holy Communion that the two may be identified. They are at the same time body and blood, bread and wine. This divine food is given, more-over, not just for the strengthening of faith, nor only as a sign of our unity in faith, nor merely as an assurance of the forgiveness of sin. Even more, in this sacrament the Lutheran Christian receives the very body and blood of Christ precisely for the strengthening of the union of faith. The "real presence" of Christ in the Holy Sacrament is the means by which the union of faith, effected by God's Word and the sacrament of baptism, is strengthened and maintained. Intimate union with Christ, in other words, leads directly to the most intimate communion in his holy body and blood.
  19. Trevor-Roper, 98-101 on Rudolf, and Strong, Pt. 2, Chapter 3 on France, especially pp. 98-101, 112-113.
  20. Art in Renaissance Italy. Paoletti, John T., and Gary M. Radke. Pg. 514.
  21. Text of the 25th decree of the Council of Trent
  22. Blunt Anthony, Artistic Theory in Italy, 1450-1660, chapter VIII, especially pp. 107-128, 1940 (refs to 1985 edn), OUP, ISBN   0-19-881050-4
  23. The death of Medieval Art Extract from book by Émile Mâle
  24. Art of the Reformation and Counter-Reformation. Nosotro, Rit.
  25. The Art of the Counter Reformation. Metropolitan Museum of Art.
  26. 1 2 Lamport, Mark A. (31 August 2017). Encyclopedia of Martin Luther and the Reformation. Rowman & Littlefield Publishers. p. 138. ISBN   9781442271593.
  27. (Sidney) Freedberg, 427–428, 427 quoted
  28. "Transcript of Veronese's testimony". Archived from the original on 2009-09-29. Retrieved 2007-03-26.
  29. David Rostand, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP ISBN   0-521-56568-5
  30. (David) Freedberg, throughout
  31. (David) Freedberg, 139-140
  32. (David) Freedberg, 141
  33. Hall, pp. 10 and 315

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References

Further reading