{The Baroque Period [continued]}[7th May 1991]

[Redbook9:286-287][19910507:0915b]{The Baroque Period [continued]}[7th May 1991]

19910507:0915

[continued]

‘The decrees promulgated after the last session of the Council of Trent in 1563 reaffirmed the old mediaeval concept of art as the servant of the Church; but to this were added the specific demands for simplicity, ** intelligibility, realism, and an emotional stimulus to piety. For the reformers, works of art had a value only as propaganda material, the subject matter being all-important; and in Rome there was as a result a sharp decline in artistic quality. Under austere Counter-Reformation popes such as Paul IV and Pius V, the uncompromisingly dry and prosaic nature of of most official patronage was symptomatic of the times; and this late 16th-century*** [ce] style is best called Counter-Reformation Realist. A similar process took place in Florence, where a strong movement away from Mannerist conventions is seen in the last sculptures Giambologna and in the paintings of L. Cigoli[,] and in Milan where the dominant artistic personalities were the painters Cerano and Morazzone.

****

*64S~1544

Council of Trent:

Period 1: 1545-47[ce]; {64S~1544[ce]}

Period 2: 1551-52[ce]; {64M~1552[ce]}

Period 3: 1562-63[ce]; {64U~1560[ce]}

64U~1560

**R~

(+s~?)

***A~1568|G~1584|C1600[ce]

****– E[ncyclopaedia] B[ritannica] 25:352-353

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