Arts and Humanities Through The Eras: The Age of the Baroque and Enlightenment (1600-1800)

569 Pages·2004·15.852 MB·English

by  Edward Bleiberg

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A R T S & H U M A N I T I E S
T h r o u g h t h e E ra s
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A R T S & H U M A N I T I E S
T h r o u g h t h e E ra s
The Age of the Baroque
and Enlightenment
1600–1800
Philip M. Soergel, Editor
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Arts and Humanities Through The Eras: The Age of the Baroque and Enlightenment (1600–1800)
Philip M. Soergel
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LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Arts and humanities through the eras.
p. cm.
Includes bibliographical references and index.
ISBN 0-7876-5695-X (set hardcover : alk. paper) —
ISBN 0-7876-5696-8 (Renaissance Europe : alk. paper) —
ISBN 0-7876-5697-6 (Age of Baroque : alk. paper) —
ISBN 0-7876-5698-4 (Ancient Egypt : alk. paper) —
ISBN 0-7876-5699-2 (Ancient Greece : alk. paper) —
ISBN 0-7876-5700-X (Medieval Europe : alk. paper)
1. Arts—History. 2. Civilization—History.
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C O N T E N T S
ABOUT THE BOOK . . . . . . . . . . . . . . . . . . ix François de Cuvilliés. . . . . . . . . . . . . . . . . . . . 63
Louis XIV. . . . . . . . . . . . . . . . . . . . . . . . . . . 64
CONTRIBUTORS . . . . . . . . . . . . . . . . . . . . xi
Christopher Wren. . . . . . . . . . . . . . . . . . . . . . 66
ERA OVERVIEW . . . . . . . . . . . . . . . . . . . . xiii DOCUMENTARY SOURCES . . . . . . . . . . . . . . . 68
CHRONOLOGY OF CHAPTER 2: DANCE
WORLD EVENTS . . . . . . . . . . . . . . . . xix IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . 70
OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
CHAPTER 1: ARCHITECTURE
AND DESIGN TOPICS IN DANCE
Social Dance in the Baroque . . . . . . . . . . . . . . 76
IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . . 2
Dance in Court Spectacle . . . . . . . . . . . . . . . . 81
OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Rise of the Ballet in France. . . . . . . . . . . . 83
TOPICS IN ARCHITECTURE AND DESIGN The Ballet Elsewhere in Europe . . . . . . . . . . . . 88
The Renaissance Inheritance and Social Dance in the Eighteenth Century . . . . . . 91
Catholic Renewal . . . . . . . . . . . . . . . . . . . . . 7 The Enlightenment and Ballet . . . . . . . . . . . . . 94
The Rise of the Baroque Style In Italy . . . . . . . 11 Ballet in an Age of Revolution. . . . . . . . . . . . . 98
The Achievements of Gianlorenzo Bernini . . . . . 13
SIGNIFICANT PEOPLE
The Tempestuous and Fanciful Baroque . . . . . . 14
Gasparo Angiolini. . . . . . . . . . . . . . . . . . . . . 100
Architecture in France in the Seventeenth
Marie-Ann de Cupis de Camargo. . . . . . . . . . 101
Century . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Jean-Georges Noverre . . . . . . . . . . . . . . . . . . 102
Different Directions in England. . . . . . . . . . . . 29
Gaetano Vestris . . . . . . . . . . . . . . . . . . . . . . 103
Classicism and City Planning in the
John Weaver . . . . . . . . . . . . . . . . . . . . . . . . 105
Netherlands . . . . . . . . . . . . . . . . . . . . . . . . 34
The Baroque in Central Europe. . . . . . . . . . . . 36 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 106
The Rococo in the Eighteenth Century. . . . . . . 44
CHAPTER 3: FASHION
The Development of Neoclassicism. . . . . . . . . . 49
Revivals and Romanticism. . . . . . . . . . . . . . . . 57 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 108
SIGNIFICANT PEOPLE OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Robert Adam. . . . . . . . . . . . . . . . . . . . . . . . . 60 TOPICS IN FASHION
Francesco Borromini. . . . . . . . . . . . . . . . . . . . 62 The Regulation of Consumption . . . . . . . . . . 113
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Contents
Fashion Trends in the Early Seventeenth Performers, Performances, and Audiences. . . . . 218
Century . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Italian Opera in the Seventeenth Century . . . . 223
The Rise of the Netherlands. . . . . . . . . . . . . . 117 Opera in France. . . . . . . . . . . . . . . . . . . . . . 226
The Age of Louis XIV. . . . . . . . . . . . . . . . . . 119 Opera in the Early Eighteenth-Century
Fashion Beyond the Court. . . . . . . . . . . . . . . 125 World . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
The High Tide of French Fashion . . . . . . . . . 128 Oratorio and Cantata . . . . . . . . . . . . . . . . . . 238
Reaction to the Rococo. . . . . . . . . . . . . . . . . 133 Baroque Instruments. . . . . . . . . . . . . . . . . . . 242
Fashion During the French Revolution . . . . . . 138 Baroque Keyboard Music. . . . . . . . . . . . . . . . 246
Baroque Music for Instrumental
SIGNIFICANT PEOPLE
Ensembles. . . . . . . . . . . . . . . . . . . . . . . . . 248
Marie-Jeanne Bécu du Barry. . . . . . . . . . . . . . 142
Music During the Rococo . . . . . . . . . . . . . . . 251
Josephine Bonaparte . . . . . . . . . . . . . . . . . . . 143
The Reform of Opera . . . . . . . . . . . . . . . . . . 255
Françoise d’Aubigné Maintenon. . . . . . . . . . . 144
The Rise of Classicism and Romanticism. . . . . 258
Marie-Antoinette . . . . . . . . . . . . . . . . . . . . . 144
Jeanne-Antoinette Poisson Pompadour . . . . . . 146 SIGNIFICANT PEOPLE
Johann Sebastian Bach . . . . . . . . . . . . . . . . . 266
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 147
George Frideric Handel. . . . . . . . . . . . . . . . . 268
CHAPTER 4: LITERATURE Josef Haydn. . . . . . . . . . . . . . . . . . . . . . . . . 269
Jean-Baptiste Lully . . . . . . . . . . . . . . . . . . . . 271
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 150
Wolfgang Amadeus Mozart . . . . . . . . . . . . . . 272
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Antonio Vivaldi . . . . . . . . . . . . . . . . . . . . . . 273
TOPICS IN LITERATURE
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 274
English Literature in the Early
Seventeenth Century . . . . . . . . . . . . . . . . . 156 CHAPTER 6: PHILOSOPHY
French Literature in the Seventeenth
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 278
Century . . . . . . . . . . . . . . . . . . . . . . . . . . 162
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Baroque Literature in Germany . . . . . . . . . . . 168
Restoration Literature in England. . . . . . . . . . 172 TOPICS IN PHILOSOPHY
English Literature in the Early Eighteenth Baroque Philosophical Roots . . . . . . . . . . . . . 283
Century . . . . . . . . . . . . . . . . . . . . . . . . . . 178 The Scientific Revolution and
The Origins of the Novel in England . . . . . . . 182 Philosophical Rationalism. . . . . . . . . . . . . . 288
The Novel and Mid-Eighteenth-Century Empiricism . . . . . . . . . . . . . . . . . . . . . . . . . 296
English Literature . . . . . . . . . . . . . . . . . . . 185 The Enlightenment. . . . . . . . . . . . . . . . . . . . 304
French Literature during the The Enlightenment in France. . . . . . . . . . . . . 306
Enlightenment. . . . . . . . . . . . . . . . . . . . . . 189 The Enlightenment Elsewhere in Europe. . . . . 311
The Enlightenment in Germany. . . . . . . . . . . 195 Political Philosophy. . . . . . . . . . . . . . . . . . . . 315
SIGNIFICANT PEOPLE SIGNIFICANT PEOPLE
Daniel Defoe . . . . . . . . . . . . . . . . . . . . . . . . 199 René Descartes. . . . . . . . . . . . . . . . . . . . . . . 319
John Donne. . . . . . . . . . . . . . . . . . . . . . . . . 200 David Hume . . . . . . . . . . . . . . . . . . . . . . . . 321
Hans Jacob Christoffel von Gottfried Wilhelm Leibniz. . . . . . . . . . . . . . . 322
Grimmelshausen . . . . . . . . . . . . . . . . . . . . 201 John Locke . . . . . . . . . . . . . . . . . . . . . . . . . 323
Samuel Richardson. . . . . . . . . . . . . . . . . . . . 202 Baron de Montesquieu . . . . . . . . . . . . . . . . . 325
Marie de Rabutin-Chantal Sévigné . . . . . . . . . 204
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 326
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 205
CHAPTER 7: RELIGION
CHAPTER 5: MUSIC
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 330
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 208 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 334
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 211 TOPICS IN RELIGION
TOPICS IN MUSIC The State Church in Early-Modern
Origins and Elements of the Baroque Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 The Thirty Years’ War and Its Aftermath . . . . 341
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The English Civil Wars. . . . . . . . . . . . . . . . . 344 SIGNIFICANT PEOPLE
The Restoration Settlement in England. . . . . . 348 Aphra Behn. . . . . . . . . . . . . . . . . . . . . . . . . 448
Catholic Culture in the Age of the Pedro Calderón de la Barca . . . . . . . . . . . . . . 449
Baroque . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Pierre Corneille . . . . . . . . . . . . . . . . . . . . . . 451
Protestant Culture in the Seventeenth Nell Gwyn. . . . . . . . . . . . . . . . . . . . . . . . . . 452
Century . . . . . . . . . . . . . . . . . . . . . . . . . . 355
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 452
Free Will Versus Predestination in the
Dutch Republic. . . . . . . . . . . . . . . . . . . . . 358 CHAPTER 9: VISUAL ARTS
Jansenism and the Jesuits in France. . . . . . . . . 361
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 456
Magic and Witchcraft . . . . . . . . . . . . . . . . . . 366
Pietism . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Christianity, Science, and the TOPICS IN VISUAL ARTS
Enlightenment. . . . . . . . . . . . . . . . . . . . . . 377 The Renaissance Legacy. . . . . . . . . . . . . . . . . 462
Christianity in the Revolutionary Era . . . . . . . 382 The Counter Reformation’s Impact on Art . . . . 464
SIGNIFICANT PEOPLE Elements of the Baroque Style . . . . . . . . . . . . 466
Realism and Emotional Expressivity . . . . . . . . 470
Jacobus Arminius . . . . . . . . . . . . . . . . . . . . . 385
The Caravaggisti. . . . . . . . . . . . . . . . . . . . . . 473
Cornelius Jansen. . . . . . . . . . . . . . . . . . . . . . 386
Sculpture in Italy . . . . . . . . . . . . . . . . . . . . . 476
William Laud. . . . . . . . . . . . . . . . . . . . . . . . 387
The Baroque Matures in Italy. . . . . . . . . . . . . 481
John Wesley. . . . . . . . . . . . . . . . . . . . . . . . . 388
Baroque Classicism in France. . . . . . . . . . . . . 483
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 389 Painting in the Low Countries. . . . . . . . . . . . 488
Spanish Painting in the Seventeenth
CHAPTER 8: THEATER
Century . . . . . . . . . . . . . . . . . . . . . . . . . . 498
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 394 The Rococo. . . . . . . . . . . . . . . . . . . . . . . . . 501
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 398 The Decorative Arts in Eighteenth-
Century Europe. . . . . . . . . . . . . . . . . . . . . 504
TOPICS IN THEATER
Neoclassicism. . . . . . . . . . . . . . . . . . . . . . . . 507
The Commercial Theater in Early
Seventeenth-Century England. . . . . . . . . . . 401 SIGNIFICANT PEOPLE
Court Spectacle in Stuart England . . . . . . . . . 410 Michelangelo Merisi da Caravaggio. . . . . . . . . 513
Theater in Golden-Age Spain. . . . . . . . . . . . . 411 Jacques-Louis David . . . . . . . . . . . . . . . . . . . 515
The French Stage at the Beginning of the Artemisia Gentileschi. . . . . . . . . . . . . . . . . . . 516
Baroque . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Rembrandt van Rhijn . . . . . . . . . . . . . . . . . . 517
Neoclassicism in Seventeenth-Century Peter Paul Rubens. . . . . . . . . . . . . . . . . . . . . 518
Paris. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 520
The Legacy of Corneille, Racine, and
Molière. . . . . . . . . . . . . . . . . . . . . . . . . . . 418 GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . 521
Theater and Stagecraft in Italy . . . . . . . . . . . . 422
FURTHER REFERENCES. . . . . . . . . . . . 529
Restoration Drama in England. . . . . . . . . . . . 425
The Hanoverian Theater . . . . . . . . . . . . . . . . 431
MEDIA AND ONLINE SOURCES . . . . 541
Central Europe Comes of Age . . . . . . . . . . . . 436
The French Enlightenment and Drama. . . . . . 439
ACKNOWLEDGMENTS . . . . . . . . . . . . . 547
The Rise of Revolutionary Sentiment in
France and Its Impact on the Theater . . . . . 444 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
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A B O U T T H E B O O K
SEEING HISTORY FROM A DIFFERENT ANGLE. An Although treated in separate chapters, the connections
education in history involves more than facts concern- between these topics are highlighted both in the text and
ing the rise and fall of kings, the conquest of lands, and through the use of “See Also” references to give the reader
the major battles fought between nations. While these a broad perspective on the culture of the time period.
events are pivotal to the study of any time period, the Readers can learn about the impact of religion on liter-
cultural aspects are of equal value in understanding the ature; explore the close relationships between dance,
development of societies. Various forms of literature, music, and theater; and see parallel movements in ar-
the philosophical ideas developed, and even the type of chitecture and visual arts. The development of each of
clothes worn in a particular era provide important clues these fields is discussed within the context of important
about the values of a society, and when these arts and historical events so that the reader can see history from
humanities are studied in conjunction with political and a different angle. This angle is unique to this reference
historical events a more complete picture of that society work. Most history books about a particular time period
is revealed. This inter-disciplinary approach to studying only give a passing glance to the arts and humanities in
history is at the heart of the Arts and Humanities Through an effort to give the broadest historical treatment possi-
the Eras project. Patterned in its organization after the ble. Those reference books that do cover the arts and
successful American Decades, American Eras, and World humanities tend to cover only one of them, generally
Eras products, this reference work aims to expose the
across multiple time periods, making it difficult to draw
reader to an in-depth perspective on a particular era in
connections between disciplines and limiting the per-
history through the study of nine different arts and
spective of the discipline’s impact on a specific era. In
humanities topics:
Arts and Humanities Through the Eras each of the nine
• Architecture and Design disciplines is given substantial treatment in individual
chapters, and the focus on one era ensures that the analy-
• Dance
sis will be thorough.
• Fashion
AUDIENCEANDORGANIZATION.Arts and Human-
• Literature
ities Through the Eras is designed to meet the needs of
• Music
both the beginning and the advanced history student.
• Philosophy The material is written by subject experts and covers a
vast array of concepts and masterworks, yet these con-
• Religion
cepts are built “from the ground up” so that a reader
• Theater
with little or no background in history can follow them.
• Visual Arts Technical terms and other definitions appear both in the
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About the Book
text and in the glossary, and the background of historical sites are subject to change and may become obsolete in
events is also provided. The organization of the volume the future.
facilitates learning at all levels by presenting information
PRIMARY DOCUMENTS AND ILLUSTRATIONS. In
in a variety of ways. Each chapter is organized accord-
an effort to provide the most in-depth perspective pos-
ing to the following structure:
sible, Arts and Humanities Through the Erasalso includes
• Chronology covering the important events in that numerous primary documents from the time period,
discipline during that era offering a first-hand account of the culture from the
people who lived in it. Letters, poems, essays, epitaphs,
• Brief overview of the development of that disci-
and songs are just some of the multitude of document
pline at the time
types included in this volume, all of which illuminate
• Topics that highlight the movements, schools of some aspect of the discipline being discussed. The text
thought, and masterworks that characterize the is further enhanced by 150 illustrations, maps, and line
discipline during that era drawings that bring a visual dimension to the learning
experience.
• Biographies of significant people in that discipline
• Documentary sources contemporary to the time CONTACT INFORMATION. The editors welcome
your comments and suggestions for enhancing and im-
period
proving Arts and Humanities Through the Eras. Please
This structure facilitates comparative analysis, both be- mail comments or suggestions to:
tween disciplines and also between volumes of Arts and
The Editor
Humanities Through the Eras, each of which covers a
different era. In addition, readers can access additional Arts and Humanities Through the Eras
research opportunities by looking at the “Further Refer- Thomson Gale
ences” and “Media and Online Sources” that appear at
27500 Drake Rd.
the back of the volume. While every effort was made to
Farmington Hills, MI 48331-3535
include only those online sources that are connected to
institutions such as museums and universities, the web- Phone: [phone]
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C O N T R I B U TO R S
Andrew E. Barnesreceived the Ph.D. in history from Renaissance(Cornell, 1992); The Philosopher’s Game
Princeton University in history in 1983. He taught at (Michigan, 2001); and a translation of Raffaele Bran-
Carnegie-Mellon University for a number of years before dolini’s On Music and Poetry(Medieval and Renaissance
accepting his current position at Arizona State Univer- Texts and Studies, Vol. 323). Originally trained as a
sity in Tempe in 1995. His books include The Social musician, Moyer continues to read widely in the history
Dimension of Piety(Paulist Press, 1994) and Social His- and musicology of Western music.
tory and Issues in Human Consciousness(NYU, 1989)
with Peter Stearns. He has published many articles on Philip M. Soergel, Editor,received the Ph.D. in history
the religious history of early-modern France, and has from the University of Michigan in 1988, and has been
more recently turned to examine European missionizing a member of the Department of History at Arizona
efforts in nineteenth- and twentieth-century Africa. State University since 1989. There he is responsible for
Currently, he is completing a history of Western mis- teaching courses on the Renaissance, the Reformation,
sions in Nigeria, where he served as a senior Fulbright and early-modern Europe. From 1993–1995, he was a
lecturer during 1992–1993. member of the Institute for Advanced Study in Prince-
ton, and he has also held fellowships from the Friedrich
Ann E. Moyerreceived the Ph.D. in history from the Uni- Ebert and Woodrow Wilson foundations, the American
versity of Michigan in 1987, and taught at the Univer- Philosophical Society, and the National Endowment
sity of Chicago and the University of California, Santa for the Humanities. He has twice served as a visiting
Barbara, before accepting her current position at the professor at the University of Bielefeld in Germany.
University of Pennsylvania. Moyer was also a member Professor Soergel’s research interests lie in the history
of the Institute for Advanced Study in Princeton from of the Protestant and Catholic Reformations, particu-
1994–1996, and has held numerous fellowships. Her larly in their use of miracles as propaganda. His books
scholarship focuses on the intellectual history of the later include Wondrous in His Saints: Counter-Reformation
Italian Renaissance. She has published widely on the Propaganda in Bavaria(California, 1993); the forth-
place of music in humanism and is now researching the coming Miracles and the Protestant Imagination; and
birth of the social sciences in the period. Her books in- the Renaissance volume in Thomson-Gale’s Arts and
clude Musica Scientia: Musical Scholarship in the Italian Humanities Through the Erasseries.
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E R A O V E RV I E W
ONE PERIOD, MANY DESCRIPTIONS. The seven- “in search of stability.” In more poetic terms, too, it has
teenth and eighteenth centuries have long been described even been dubbed the “Iron Century.” The eighteenth
as the culmination of the “early-modern world,” a des- century, though, generally fares considerably better in
ignation that calls attention to the period’s role in form- such summations, for it has most often been called the
ing the institutions, economies, and societies that we “Age of Reason,” or the “Century of Light.” The fun-
associate with the modern West. The rise of science and damental disparity of these terms points to an underly-
technology, the birth of industrial capitalism, and the ing fact about the two centuries. Although many
appearance of new political theories that eventually in- common threads link them, both periods have their own
spired the French and American Revolutionaries were distinctive character, but a character that is hard to sum
just a few of the many important developments in the up in the description of a few words. This book pri-
years that anticipated the consumer-oriented, mass marily treats artistic and intellectual developments in
democracies of nineteenth- and twentieth-century Eu- these two centuries, and consequently the text engages
rope. At the same time the early-modern period was a in discussion of political, social, and economic changes
curious amalgam of the old and the new, and for this only when they are necessary to illuminate cultural de-
reason historians have coined numerous terms and velopments. Consequently, we have avoided those labels
phrases in the hopes of describing its many conflicting that call attention to political, religious, or social issues
features. Many scholars have long referred to both the in the period, and have instead decided to opt for the
seventeenth and eighteenth centuries as “Europe of the title, “The Age of Baroque and Enlightenment,” a title
Old Regime,” a phrase that draws attention to the wide-
that calls attention to the two pervasive cultural move-
spread religious intolerance, economic inequities, aristo-
ments of the age, movements that had far-reaching ef-
cratic dominance, and political absolutism that were
fects on intellectual life and the arts.
realities in the period. The challenge of finding a suit-
able terminology to describe these centuries has also led THE ORIGINS OF THE BAROQUE. Like the term
historians to separate the seventeenth century from the “Gothic,” the word “Baroque” was originally a pejorative
eighteenth that followed it. The earlier century, for ex- term used to condemn the arts of seventeenth- and early
ample, has often been treated in ways that call attention eighteenth-century Europe. The word may derive from
to its many religious conflicts, its authoritarian political a Portuguese word barroco that had long been used to
systems, and the generally dismal tenor of life. It has describe pearls that were rough and heavily encrusted
been described, for instance, as the Age of Absolutism, with sediment. Or its origins might lie in the Italian
the Age of Religious Wars, or the Age of Confessions. baroco, a term that referred to a thorny problem in logic.
Some historians have treated this same period as the Its use can be first traced to the 1730s, when it began to
“Crisis of the Seventeenth Century,” or a time that was be used almost simultaneously to describe both music
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