The Croatian Literary Baroque

Bartol Kašić (1575-1650)

On my island of olive growers and fisherman I feel as far away from the baroque as is possible. The landscape is dotted with tiny café latte tinted stone chapels, perfectly contrasted with the pine green forests and iron rich soil. These appear to have sprung out of the earth, so sympathetic are they with their natural, yet cultivated surroundings. Human in scale and spiritual in content, they are reminders of a simple, aesthetic and pure faith. This seems to be what the architects of the baroque were trying to bulldoze in their efforts to appeal to the emotions and senses of the wavering congregations. Revision here is quite entertaining, and what follows is a fleshing out of the notes that I'm working through - it is inevitable that an art style which I really don't like has produced so many posts!
 

The Montalto Madonna and the intellectual and spiritual life of Cardinal Peretti di Montalto

My thought soars not so high ; though duly bent
In reverence, and awe, and long attent,
To study Nature and the works and ways,
So wondrous, that surround us : but no mind,
Whom earthly fetters bind,
Though led to truth, and swift to utter praise,
Can pierce the crystal that enshrines above
The Flower of endless Love ; …1

Torquato Tasso (1544-1595) 'The Nativity' Rome, December 1588

The poetic extract above precisely demonstrates the ease with which the sixteenth-century patron moved between the intellectual and religious; for them, there was little distinction. With this in mind this essay sets out to explore how a private devotional image can provide an insight into the mind and life of the commissioning patron. Although we cannot be certain how individual spiritual or even intellectual experience manifested itself in relation to small devotional images, Burt Treffer offers a useful line of thought. His method applies a mix of pictorial analysis and iconography, investigation into the purpose of the painting and who it was for, as well as a close reading of the associated literature.2 

A recently rediscovered devotional image by Annibale Carracci The Holy Family with the Infant Saint John the Baptist, or the Montalto Madonna (National Gallery, London) (c1600) is perfectly placed to demonstrate and reflect the pursuits of its first owner, the Roman Cardinal Deacon Alessandro Damasceni Peretti di Montalto (1571–1623). Taken in its wider context, this small painting on copper enables the art historian to explore reformation church politics, familial ambition as well as flourishing city wide intellectual pursuits. 

Tasso and the Search for En-light-enment

It has long been appreciated that an interdisciplinary approach has to be taken when looking at the arts. A book from 1922 said the 'pictorial qualities of the arts corresponded psychologically and aesthetically to the musical qualities of literature'. But it was the author's next words that struck me as particularly relevant, 'the formal objects of the art historian and the literary scholar, as far as the Baroque is concerned, are ... similar because the mode of conceiving reality is the same, and this same type of concept is anchored in the spirit and will of the men of that epoch' (my emphasis).1

It's an old fashioned way of stating that art, literature, music – and not forgetting the natural sciences – are all products of a particular time and place. Therefore although I'm ostensibly focusing on a piece of art, I feel that it is crucial to see across as many disciplines possible, whether art, literature or music because all of these offer valuable insights into prevailing thoughts. This explains why the final part of my essay moves from baroque musical monody to a different kind of poetic voice.

The Nativity by Torquato Tasso

Nativity of Christ, Santa Maria Maggiore, Rome

I looked everywhere for this poem online but it seems to be only in a fragile pamphlet 1907; I hope you enjoy reading it as much as I did.

I was very much struck with the mention of the study of nature. I enjoyed the allusions to truth and light, and the chasing away of pagan and pre Christian gods. But above all it was the 'flower of endless love' when all the imagery and 16th century language falls away, leaving nothing but warmth and sincerity. A stunning piece.