Art and the Counter-Reformation

Lesson

1. Split the class into 4 groups. Assign each group a focus topic: Protestant Reformation, Counter Reformation, About Madonna and Child with Angels on Clouds, About St. Martin and Other Saints Appealing to the Virgin. In groups, have them read the information about the artwork and context and summarize their focus topic.

2. Have each group summarize their topic to the class.

3. Give each student a copy of The Council of Trent and Religious Art. Have each student highlight portions of the excerpt that describe how Counter-Reformation art should look.

4. As a group, come up with a Counter Reformation Art Checklist to see if the artwork passes the test.

Ideas for your Counter Reformation Art Checklist

1. Art is made for the Church.
2. Art teaches about the lives and deeds of Mary, Jesus and the Catholic saints.
3. The subject is clear and easy to understand.
4. The subject is dramatic and evokes emotion.

5. Ask your students, “Is The Madonna and Child with Angels in Clouds” an example of Counter-Reformation art?

1. Is it made for a church? Yes, it is a study for a church altarpiece.
2. Does it teach about the lives and deeds of Mary, Jesus, and the Catholic saints? Yes. It shows Mary, Jesus and saints including St. Francis, St. Dominic, St. Clara, and St. Anthony of Padua.
3. Is the subject clear and easy to understand? Yes, the figures are clear and in the foreground and were identifiable to the viewer by their commonly known symbols.
4. Does the subject evoke drama and emotion? Yes, the saints depicted gave many sacrifices to the church.

6. Ask students to think about what they have learned about the Protestant Reformation and ask why Counter-Reformation art adhered to these guidelines.

1. Art is made for the Church – After the Protestant Reformation, the Catholic Church stopped the practice of indulgences and revitalized their doctrine. Many had been damaged from protests. New art was a way to make the Church an inviting place while teaching their revised doctrine.
2. Teaches the lives and deeds of Mary, Jesus and the Saints –These images were to celebrate their deeds rather than function as idols, as suggested by the Reformation.
3. Clear and easy to understand – Prior to the Reformation, the Catholic Church was considered elitist, rather than a place for the masses. The Counter-Reformation changed this approach and the Catholic Church tried to open itself to all audiences. Art was a way to teach both the literate and illiterate about Christianity.
4. Evokes drama and emotion – The Counter Reformation’s new doctrine emphasized the sacrifices and martyrdom of saints. Scenes that recall the dramatic and emotional sacrifices of saints reinforced religious fervor.
5. 7. Tell students that even 150 years after the Council of Trent, religious art still focused on celebrating the sacrifices of saints, but did this in a different style. See how St. Martin and Other Saints Appealing to the Virgin compares with your Counter Reformation Art Checklist.

8. Show St. Martin and Other Saints Appealing to the Virgin

1. Is it made for a church? Yes, it was likely a study for a larger altar. You can tell it was a study by the gridlines.
2. Does it teach about the lives and deeds of Mary, Jesus, and the Catholic saints? Yes. Along with other saints, this focuses on St. Martin.
3. Is the subject clear and easy to understand? The subject is identified by gesture and the angles that lead to St. Martin.
4. Does the subject evoke drama and emotion? Yes, the movement, gestures and emotional face of St. Martin evoke a sense of drama.

9. Today, many of the same differences still exist between the way Protestants and Catholics treat religious imagery. If students participate in an organized religion, have them share what types of images they see and what those images mean to them.



THE COUNCIL OF TRENT AND RELIGIOUS ART

Twenty-Fifth Session, December 3 and 4, 1563

From http://puffin.creighton.edu/fapa/aikin/Webfiles/baroque%20webs/council_of_trent_and_religious_a.htm The excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.The excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.

“The holy council commands all bishops and others who hold the office of teaching. . . instruct the faithful diligently in matters relating to intercession and invocation of the saints, the veneration of relics, and the legitimate use of images. . . .   Moreover, that the images of Christ, of the Virgin Mother of God, and of the other saints are to be placed and retained especially in the churches, and that due honor and veneration is to be given them; not, however, that any divinity or virtue is believed to be in them by reason of which they are to be venerated, or that something is to be asked of them, or that trust is to be placed in images, as was done of old by the Gentiles who placed their hope in idols; but because the honor which is shown them is referred to the prototypes which they represent, so that by means of the images which we kiss and before which we uncover the head and prostrate ourselves, we adore Christ and venerate the saints whose likeness they bear. That is what was defined by the decrees of the councils, especially of the Second Council of Nicaea, against the opponents of images.

Moreover, let the bishops diligently teach that by means of the stories of the mysteries of our redemption portrayed in paintings and other representations the people are instructed and confirmed in the articles of faith, which ought to be borne in mind and constantly reflected upon; also that great profit is derived from all holy images, not only because the people are thereby reminded of the benefits and gifts bestowed on them by Christ, but also because through the saints the miracles of God and salutary examples are set before the eyes of the faithful, so that they may give God thanks for those things, may fashion their own life and conduct in imitation of the saints and be moved to adore and love God and cultivate piety. . . Furthermore, in the invocation of the saints, the veneration of relics, and the sacred use of images, all superstition shall be removed, all filthy quest for gain eliminated, and all lasciviousness avoided, so that images shall not be painted and adorned with a seductive charm, or the celebration of saints and the visitation of relics be perverted by the people into boisterous festivities and drunkenness, as if the festivals in honor of the saints are to be celebrated with revelry and with no sense of decency.

Finally, such zeal and care should be exhibited by the bishops with regard to these things that nothing may appear that is disorderly or unbecoming and confusedly arranged, nothing that is profane, nothing disrespectful, since holiness becometh the house of God. That these things may be the more faithfully observed, the holy council decrees that no one is permitted to erect or cause to be erected in any place or church, howsoever exempt, any unusual image unless it has been approved by the bishop: also that no new miracles be accepted and no relics recognized unless they have been investigated an approved by the same bishop, who, as soon as he has obtained any knowledge of such matters, shall, after consulting theologians and other pious men, act thereon as he shall judge consonant with truth and piety.”

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Teacher’s Guide: Descriptive Excerpts

THE COUNCIL OF TRENT AND RELIGIOUS ART
Twenty-Fifth Session, December 3 and 4, 1563

From http://puffin.creighton.edu/fapa/aikin/Webfiles/baroque%20webs/council_of_trent_and_religious_a.htmThe excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.

“The holy council commands all bishops and others who hold the office of teaching. . . instruct the faithful diligently in matters relating to intercession and invocation of the saints, the veneration of relics, and the legitimate use of images. . . .   Moreover, that the images of Christ, of the Virgin Mother of God, and of the other saints are to be placed and retained especially in the churches, and that due honor and veneration is to be given them; not, however, that any divinity or virtue is believed to be in them by reason of which they are to be venerated, or that something is to be asked of them, or that trust is to be placed in images, as was done of old by the Gentiles who placed their hope in idols; but because the honor which is shown them is referred to the prototypes which they represent, so that by means of the images which we kiss and before which we uncover the head and prostrate ourselves, we adore Christ and venerate the saints whose likeness they bear. That is what was defined by the decrees of the councils, especially of the Second Council of Nicaea, against the opponents of images.

Moreover, let the bishops diligently teach that by means of the stories of the mysteries of our redemption portrayed in paintings and other representations the people are instructed and confirmed in the articles of faith, which ought to be borne in mind and constantly reflected upon; also that great profit is derived from all holy images, not only because the people are thereby reminded of the benefits and gifts bestowed on them by Christ, but also because through the saints the miracles of God and salutary examples are set before the eyes of the faithful, so that they may give God thanks for those things, may fashion their own life and conduct in imitation of the saints and be moved to adore and love God and cultivate piety. . . Furthermore, in the invocation of the saints, the veneration of relics, and the sacred use of images, all superstition shall be removed, all filthy quest for gain eliminated, and all lasciviousness avoided, so that images shall not be painted and adorned with a seductive charm, or the celebration of saints and the visitation of relics be perverted by the people into boisterous festivities and drunkenness, as if the festivals in honor of the saints are to be celebrated with revelry and with no sense of decency.

Finally, such zeal and care should be exhibited by the bishops with regard to these things that nothing may appear that is disorderly or unbecoming and confusedly arranged, nothing that is profane, nothing disrespectful, since holiness becometh the house of God. That these things may be the more faithfully observed, the holy council decrees that no one is permitted to erect or cause to be erected in any place or church, howsoever exempt, any unusual image unless it has been approved by the bishop: also that no new miracles be accepted and no relics recognized unless they have been investigated an approved by the same bishop, who, as soon as he has obtained any knowledge of such matters, shall, after consulting theologians and other pious men, act thereon as he shall judge consonant with truth and piety.”

Artist

About the Artist

Alessandro Turchi was born in Verona, Italy and was nicknamed l’Orbetto after guiding his blind begging father around Verona.  In 1597 he became a member of the studio of Felice Brusasorzi.  Turchi completed commissions for local churches and was appointed to decorate the organ shutters of the Accademia Filharmonica, his style was considered reflective of Veronese painting traditions. In 1616 he was commissioned by Cardinal Scipione Borghese to paint frescoes in the Casino del Barco and was elected ‘principe’ of the Accademia di san Luca in 1637.

Artwork

About The Madonna and Child with Angels in Clouds

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This artwork, an ink on paper sketch with a brown wash, is characteristic of Counter-Reformation art: dramatic use of line and color (composition), focus on the lives of the saints (content), clearly understood. The drawing is of the Madonna and child sitting among angels in the clouds, appearing to St. Francis, St. Dominic and St. Clara and St. Anthony of Padua.  St. Francis of Assisi was a poor man who spent the majority of his life free of material possessions. He devoted his life to rebuilding abandoned chapels and preaching the teachings of Jesus.  St. Dominic felt the need to combat the heresy against the Church and did so through preaching.  He established an order to link humanity with the life of God and believed that study and prayer would bring salvation to the people.  In the painting, Turchi positions St. Dominic and St. Francis in a triangular embrace, which leads the viewer up to the scene in above of Mary and Jesus.  St. Clara is situated off to the left of St. Francis who was her lifelong friend and spiritual guide.  Her facial expression, similar to that of the other saints, is one of anguish, longing and possibly fear.  St. Anthony of Padua is positioned to the right of the embraced St. Francis and St. Dominic. St. Anthony is acknowledged as a man of intense prayer and a fine scholar of scripture and theology.  He was a friar in the Franciscan order of Monks, the first to teach theology to other friars.  He also preached to heretics in hopes of leading them to the “right path.”

This drawing is considered a study for an unknown altarpiece.  It has rich lines and contrast and is extremely detailed in rendition. In this piece Turchi conformed to the standards of the Church’s Counter-Reformation, promoting the lives of the saints and the value of their presence in the lives of Mary and Jesus.

Context

About the Counter Reformation

In response to the growth of the Protestant Reformation, the Catholic Church responded first by reforming from within. Between 1545 and 1563, the 19^th ecumenical council of the Roman Catholic church was held at Trent in northern Italy to reaffirm basic doctrines of the Church.  During this council they eliminated the practice of indulgences (which had sparked the flames of Reformation) and put numerous social and political changes into action.  The art of the Counter-Reformation manifested these changes in dramatic ways.  Protestants considered Catholic images as idolatrous, and in the most violent era of reformation, mobs destroyed Catholic churches and artwork.  To counteract this destruction, the artwork of the Counter-Reformation focused on graphic depictions of Martyrdom, the idealized lives of the saints and the dramatic fervor of religious devotion.  The Council of Trent established guidelines for art, which called for emotional drama and dogmatic instruction.  This art along with the reinvigorated missionary zeal of the Catholic Church enabled the Church to regain some of its lost ground both geographically and politically.