Lutheranism is a major branch of western Christianity that identifies with the teaching of Martin Luther, a 16th century German reformer. Luther's efforts to reform the theology and practice of the church launched the Protestant Reformation; the reaction of the government and church authorities to the international spread of his writings, beginning with the 95 Theses, divided Western Christianity. The split between the Lutherans and the Catholics was made public and clear with the 1521 Edict of Worms: the edicts of the Diet condemned Luther and banned citizens of the Holy Roman Empire from defending or propagating his ideas, subjecting advocates of Lutheranism to forfeiture of all property, half of the seized property to be forfeit to the imperial government and the remaining half forfeit to the party who brought the accusation; the divide centered on two points: the proper source of authority in the church called the formal principle of the Reformation, the doctrine of justification called the material principle of Lutheran theology.
Lutheranism advocates a doctrine of justification "by grace alone through faith alone on the basis of Scripture alone", the doctrine that scripture is the final authority on all matters of faith. This is in contrast to the belief of the Roman Catholic Church, defined at the Council of Trent, concerning authority coming from both the Scriptures and Tradition. Unlike Calvinism, Lutherans retain many of the liturgical practices and sacramental teachings of the pre-Reformation Church, with a particular emphasis on the Eucharist, or Lord's Supper. Lutheran theology differs from Reformed theology in Christology, divine grace, the purpose of God's Law, the concept of perseverance of the saints, predestination; the name Lutheran originated as a derogatory term used against Luther by German Scholastic theologian Dr. Johann Maier von Eck during the Leipzig Debate in July 1519. Eck and other Roman Catholics followed the traditional practice of naming a heresy after its leader, thus labeling all who identified with the theology of Martin Luther as Lutherans.
Martin Luther always disliked the term Lutheran, preferring the term Evangelical, derived from εὐαγγέλιον euangelion, a Greek word meaning "good news", i.e. "Gospel". The followers of John Calvin, Huldrych Zwingli, other theologians linked to the Reformed tradition used that term. To distinguish the two evangelical groups, others began to refer to the two groups as Evangelical Lutheran and Evangelical Reformed; as time passed by, the word Evangelical was dropped. Lutherans themselves began to use the term Lutheran in the middle of the 16th century, in order to distinguish themselves from other groups such as the Anabaptists and Calvinists. In 1597, theologians in Wittenberg defined the title Lutheran as referring to the true church. Lutheranism has its roots in the work of Martin Luther, who sought to reform the Western Church to what he considered a more biblical foundation. Lutheranism spread through all of Scandinavia during the 16th century, as the monarch of Denmark–Norway and the monarch of Sweden adopted Lutheranism.
Through Baltic-German and Swedish rule, Lutheranism spread into Estonia and Latvia. Since 1520, regular Lutheran services have been held in Copenhagen. Under the reign of Frederick I, Denmark–Norway remained Catholic. Although Frederick pledged to persecute Lutherans, he soon adopted a policy of protecting Lutheran preachers and reformers, the most significant being Hans Tausen. During Frederick's reign, Lutheranism made significant inroads in Denmark. At an open meeting in Copenhagen attended by the king in 1536, the people shouted. Frederick's son Christian was Lutheran, which prevented his election to the throne upon his father's death. However, following his victory in the civil war that followed, in 1537 he became Christian III and advanced the Reformation in Denmark–Norway; the constitution upon which the Danish Norwegian Church, according to the Church Ordinance, should rest was "The pure word of God, the Law and the Gospel". It does not mention the Augsburg Confession; the priests had to understand the Holy Scripture well enough to preach and explain the Gospel and the Epistles for their congregations.
The youths were taught from Luther's Small Catechism, available in Danish since 1532. They were taught to expect at the end of life: "forgiving of their sins", "to be counted as just", "the eternal life". Instruction is still similar; the first complete Bible in Danish was based on Martin Luther's translation into German. It was published with 3,000 copies printed in the first edition. Unlike Catholicism, the Lutheran Church does not believe that tradition is a carrier of the "Word of God", or that only the communion of the Bishop of Rome has been entrusted to interpret the "Word of God"; the Reformation in Sweden began with Olaus and Laurentius Petri, brothers who took the Reformation to Sweden after studying in Germany. They led elected king in 1523, to Lutheranism; the pope's refusal to allow the replacement of an archbishop who had supported the invading forces opposing Gustav Vasa during the Stockholm Bloodbath led to the severing of any official connection between Sweden and the papacy in 1523.
Four years at the Diet of Västerås, the king succeeded in forcing the diet to accept his dominion over the national church. The king was given possession of all church properties, as well as the church appointments and approval of the clergy. While this granted official sanction to Lutheran ideas, Lutheranism did not become official until 1593. At that time the Uppsa
Lucas Cranach the Elder
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, 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 painted religious subjects, first in the Catholic tradition, trying to find new ways of conveying Lutheran religious concerns in art, he continued throughout his career to paint nude subjects drawn from religion. Cranach had a large workshop and many of his works exist in different versions, he has been considered the most successful German artist of his time. He is commemorated in the liturgical calendars of the Lutheran churches, he was born at Kronach in upper Franconia in 1472. His exact date of birth is unknown, he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491; the name of his birthplace was used for his surname, another custom of the times.
How Cranach was trained is not known, but it was with local south German masters, as with his contemporary Matthias Grünewald, who worked at Bamberg and Aschaffenburg. There are suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century, his work drew the attention of Duke Frederick III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. The records of Wittenberg confirm Gunderam's statement to this extent that Cranach's name appears for the first time in the public accounts on the 24 June 1504, when he drew 50 gulden for the salary of half a year, as pictor ducalis. Cranach was to remain in the service of the Elector and his successors for the rest of his life, although he was able to undertake other work. Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and born there. Cranach owned a house at Gotha, but most he got to know Barbara near Wittenberg, where her family owned a house, that also belonged to Cranach.
The first evidence of Cranach's skill as an artist comes in a picture dated 1504. Early in his career he was active in several branches of his profession: sometimes a decorative painter, more producing portraits and altarpieces, woodcuts and designing the coins for the electorate. Early in the days of his official employment he startled his master's courtiers by the realism with which he painted still life and antlers on the walls of the country palaces at Coburg and Locha. Before 1508 he had painted several altar-pieces for the Castle Church at Wittenberg in competition with Albrecht Dürer, Hans Burgkmair and others. In 1509 Cranach went to the Netherlands, painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V; until 1508 Cranach signed his works with his initials. In that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the court painter to the electors of Saxony in Wittenberg, an area in the heart of the emerging Protestant faith.
His patrons were powerful supporters of Martin Luther, Cranach used his art as a symbol of the new faith. Cranach made numerous portraits of Luther, provided woodcut illustrations for Luther's German translation of the Bible. Somewhat the duke conferred on him the monopoly of the sale of medicines at Wittenberg, a printer's patent with exclusive privileges as to copyright in Bibles. Cranach's presses were used by Martin Luther, his apothecary shop was open for centuries, was only lost by fire in 1871. Cranach, like his patron, was friendly with the Protestant Reformers at a early stage; the oldest reference to Cranach in Luther's correspondence dates from 1520. In a letter written from Worms in 1521, Luther calls him his "gossip", warmly alluding to his "Gevatterin", the artist's wife. Cranach first made an engraving of Luther in 1520, he was godfather to their first child, Johannes "Hans" Luther, born 1526. In 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him.
The Dukes became noted collectors of Cranach's work, some of which remains in the family collection at Callenberg Castle. The death in 1525 of the Elector Frederick the Wise and Elector John's in 1532 brought no change in Cranach's position.
The intersection of two to three barrel vaults produces a rib vault or ribbed vault when they are edged with an armature of piped masonry carved in decorative patterns. While the mechanics of the weight of a groin vault and its transmission outwards to the supporting pillars remained as it had been, the new use of rib vaults demonstrates the skill of the masons and the grandeur of the new ideas circulating at the introduction of Gothic architecture in the end of the eleventh century; this technique was new in the late eleventh century, for example in the roofs of the choir side-aisles at Durham Cathedral. Romanesque ancestors of the Gothic rib vault can be found in early Gothic constructions at Cefalù, Caen and elsewhere; some ribbed vaults have six sections in each bay. These advances in vaulting allowed for the addition of windows higher up in the building's walls, in the clerestory and the triforium. Early Gothic buildings display ribbed vaulting made of stone for the support of the weight of a wooden ceiling.
Stone ceilings are stronger. Examples of cathedrals in England that incorporate early Gothic style features can be found in Salisbury, Southwell in Nottinghamshire, Bristol and Worcester. Gothic style was used by cathedral builders and two continental examples are the cathedral at Reims and the Sint Niklaaskerk in Ghent. Where intersecting barrel vaults were not of the same diameter, Romanesque construction practice resulted in the twisting of the groins. Hitherto the intersecting features were geometrical surfaces, of which the diagonal groins were the intersections, elliptical in form weak in construction and twisting; the medieval builder reversed the process, set up the diagonal ribs first, which were utilized as permanent centres, on these he carried his vault or web, which henceforward took its shape from the ribs. Instead of the elliptical curve, given by the intersection of two semicircular barrel vaults, or cylinders, he employed the semicircular arch for the diagonal ribs. To meet this, at first the transverse and wall ribs were stilted, or the upper part of their arches was raised, as in the Abbaye-aux-Hommes at Caen, the Abbey of Lessay, in Normandy.
The problem was solved by the introduction of the pointed arch for the transverse and wall ribs - the pointed arch had long been known and employed, on account of its much greater strength and of the lessened thrust it exerted on the walls. When employed for the ribs of a vault, however narrow the span might be, by adopting a pointed arch, its summit could be made to range in height with the diagonal rib. Moreover, when utilized for the ribs of the annular vault, as in the aisle round the apsidal termination of the choir, it was not necessary that the half ribs on the outer side should be in the same plane as those of the inner side; the first introduction of the pointed-arch rib took place at Durham Cathedral and pre-dated the vaulting of compartments of varying shapes seen at the Abbey of St. Denis. Whilst the pointed rib-arch is seen as an identifier for Gothic architecture, Durham is a Romanesque cathedral whose masons experimented with the possibility of rib-arches before it was adopted by western church architecture.
It was in the church at Vezelay. Before entering into the question of the web or stone shell of the vault carried on the ribs, the earlier development of the great vaults which were thrown over the naves of a cathedral, or church, before the introduction of the pointed arch rib, shall here be noted; as has been pointed out, the aisles had in the early Christian churches been covered over with groined vaults, the only advance made in the developments being the introduction of transverse ribs' dividing the bays into square compartments. This was an immense space to vault over, moreover, it followed that every alternate pier served no purpose, so far as the support of the nave vault was concerned, this would seem to have suggested an alternative, viz. to provide a supplementary rib across the church and between the transverse ribs. This resulted in what is known as a sexpartite, or six-celled vault, of which one of the earliest examples is found in the Abbaye-aux-Hommes at Caen; this church, built by William the Conqueror, was constructed to carry a timber roof only, but nearly a century the upper par
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Catholic and Eastern Orthodox celebration of the announcement by the Archangel Gabriel to the Blessed Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking His Incarnation. Gabriel told Mary to name her son Yeshua, meaning "YHWH is salvation". According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy with John the Baptist. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus; the Annunciation is a key topic in Christian art in general, as well as in Marian art in the Catholic Church during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes itself called an Annunciation. In the Bible, the Annunciation is narrated in Luke 1:26–38: 26 In the sixth month of Elizabeth’s pregnancy, God sent the angel Gabriel to Nazareth, a town in Galilee, 27 to a virgin pledged to be married to a man named Joseph, a descendant of David.
The virgin’s name was Mary. 28 The angel went to her and said, “Greetings, you who are favored! The Lord is with you.” 29 Mary was troubled at his words and wondered what kind of greeting this might be. 30 But the angel said to her, “Do not be afraid, Mary. 31 You will conceive and give birth to a son, you are to call him Jesus. 32 He will be called the Son of the Most High. The Lord God will give him the throne of his father David, 33 and he will reign over Jacob’s descendants forever. 34 “How will this be,” Mary asked the angel, “since I am a virgin?” 35 The angel answered, “The Holy Spirit will come on you, the power of the Most High will overshadow you. So the holy one to be born will be called the Son of God. 36 Even Elizabeth your relative is going to have a child in her old age, she, said to be unable to conceive is in her sixth month. 37 For no word from God will fail.” 38 “I am the Lord’s servant,” Mary answered. “May your word to me be fulfilled.” The angel left her. A separate, briefer annunciation is given to Joseph in Matthew 1:18–22: 18 This is how the birth of Jesus the Messiah came about: His mother Mary was pledged to be married to Joseph, but before they came together, she was found to be pregnant through the Holy Spirit.
19 Because Joseph her husband was faithful to the law, yet did not want to expose her to public disgrace, he had in mind to divorce her quietly. 20 But after he had considered this, an angel of the Lord appeared to him in a dream and said, “Joseph son of David, do not be afraid to take Mary home as your wife, because what is conceived in her is from the Holy Spirit. 21 She will give birth to a son, you are to give him the name Jesus, because he will save his people from their sins.” 22 All this took place to fulfill what the Lord had said through the prophet: 23 “The virgin will conceive and give birth to a son, they will call him Immanuel”. Manuscript 4Q246 of the Dead Sea Scrolls reads: shall be great upon the earth. O king, all people shall make peace, all shall serve him, he shall be called the son of the Great God, by his name shall he be hailed as the Son of God, they shall call him Son of the Most High. It has been suggested that the similarity in content is such that Luke's version may in some way be dependent on the Qumran text.
The Annunciation is described in the Quran, in Sura 003:045 verses 45–51: 45 Behold! the angels said: "O Mary! Allah giveth thee glad tidings of a Word from Him: his name will be Christ Jesus, the son of Mary, held in honour in this world and the Hereafter and of those nearest to Allah. In the Eastern Orthodox, Eastern Catholic, Oriental Orthodox Churches, the Feast of the Annunciation is one of the twelve "Great Feasts" of the liturgical year, is among the eight of them that are counted as "feasts of the Lord". Throughout the Orthodox Church, the feast is celebrated on March 25. In the churches that use the new style Calendar, this date coincides with March 25 on the civil calendar, while in those churches using the old style Julian calendar, March 25 is reckoned to fall on April 7 on the civil calendar, will fall on April 8 starting in the year 2100; the traditional hymn for the feast of the Annunciation goes back to St Athanasius. It runs: As the action initiating the Incarnation of Christ, Annunciation has such an important place in Orthodox Christian theology that the festal Divine Liturgy of St. John Chrysostom is always celebrated on the feast if it falls on Great and Holy Friday, the day when the crucifixion of Jesus is remembered.
Indeed, the Divine Liturgy is celebrated on Great and Holy Friday only when the latter coincides with the feast of the Annunciation. If the Annunciation falls on Pascha itself, a coincidence, called Kyriopascha it is celebrated jointly with the Resurrection, the focus of Easter. Due to these and similar rules, the rubrics surrounding the celebration of the feast are the most complex of all in Orthodox Christian liturgics. St Ephraim taught that the date of the conception of Jesus Christ fell on 10 Nisan on the Hebrew calendar, the day in which the passover lamb was selected according to Exodus 12; some years 10 Nisan falls on March 25, the traditional date for the Feast of the Annunciation and is an offi
Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, much of Southern and Central Europe, never quite effacing more classical styles in Italy. In the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas Germany, Late Gothic art continued well into the 16th century, before being subsumed into Renaissance art. Primary media in the Gothic period included sculpture, panel painting, stained glass and illuminated manuscripts; the recognizable shifts in architecture from Romanesque to Gothic, Gothic to Renaissance styles, are used to define the periods in art in all media, although in many ways figurative art developed at a different pace. The earliest Gothic art was monumental sculpture, on the walls of abbeys. Christian art was typological in nature, showing the stories of the New Testament and the Old Testament side by side.
Saints' lives were depicted. Images of the Virgin Mary changed from the Byzantine iconic form to a more human and affectionate mother, cuddling her infant, swaying from her hip, showing the refined manners of a well-born aristocratic courtly lady. Secular art came into its own during this period with the rise of cities, foundation of universities, increase in trade, the establishment of a money-based economy and the creation of a bourgeois class who could afford to patronize the arts and commission works resulting in a proliferation of paintings and illuminated manuscripts. Increased literacy and a growing body of secular vernacular literature encouraged the representation of secular themes in art. With the growth of cities, trade guilds were formed and artists were required to be members of a painters' guild—as a result, because of better record keeping, more artists are known to us by name in this period than any previous. Gothic art emerged in Île-de-France, France, in the early 12th century at the Abbey Church of St Denis built by Abbot Suger.
The style spread beyond its origins in architecture to sculpture, both monumental and personal in size, textile art, painting, which took a variety of forms, including fresco, stained glass, the illuminated manuscript, panel painting. Monastic orders the Cistercians and the Carthusians, were important builders who disseminated the style and developed distinctive variants of it across Europe. Regional variations of architecture remained important when, by the late 14th century, a coherent universal style known as International Gothic had evolved, which continued until the late 15th century, beyond in many areas. Although there was far more secular Gothic art than is thought today, as the survival rate of religious art has been better than for secular equivalents, a large proportion of the art produced in the period was religious, whether commissioned by the church or by the laity. Gothic art was typological in nature, reflecting a belief that the events of the Old Testament pre-figured those of the New, that this was indeed their main significance.
Old and New Testament scenes were shown side by side in works like the Speculum Humanae Salvationis, the decoration of churches. The Gothic period coincided with a great resurgence in Marian devotion, in which the visual arts played a major part. Images of the Virgin Mary developed from the Byzantine hieratic types, through the Coronation of the Virgin, to more human and intimate types, cycles of the Life of the Virgin were popular. Artists like Giotto, Fra Angelico and Pietro Lorenzetti in Italy, Early Netherlandish painting, brought realism and a more natural humanity to art. Western artists, their patrons, became much more confident in innovative iconography, much more originality is seen, although copied formulae were still used by most artists. Iconography was affected by changes in theology, with depictions of the Assumption of Mary gaining ground on the older Death of the Virgin, in devotional practices such as the Devotio Moderna, which produced new treatments of Christ in subjects such as the Man of Sorrows, Pensive Christ and Pietà, which emphasized his human suffering and vulnerability, in a parallel movement to that in depictions of the Virgin.
In Last Judgements Christ was now shown exposing his chest to show the wounds of his Passion. Saints were shown more and altarpieces showed saints relevant to the particular church or donor in attendance on a Crucifixion or enthroned Virgin and Child, or occupying the central space themselves. Over the period many ancient iconographical features that originated in New Testament apocrypha were eliminated under clerical pressure, like the midwives at the Nativity, though others were too well-established, considered harmless; the word "Gothic" for art was used as a synonym for "Barbaric", was therefore used pejoratively. Its critics saw this type of Medieval art as unrefined and too remote from the aesthetic proportions and shapes of Classical art. Renaissance authors believed that the Sack of Rome by the Gothic tribes in 410 had triggered the demise of the Classical world and all the values they held dear. In the 15th century, various Italian architects and writers complained that the new'barbarian' styles filtering down from north of the Alps posed a similar threat to the classical revival promoted by the early Renaissance.
The "Gothic" qualifier for this art was first used in Raphael's letter to Pope Leo X c. 1518
The Baroque is a ornate and extravagant style of architecture, painting and other arts that flourished in Europe from the early 17th until the mid-18th century. It preceded the Rococo and Neoclassical styles, it was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, exuberant detail, deep colour and surprise to achieve a sense of awe; the style began at the start of the 17th century in Rome spread to France, northern Italy and Portugal to Austria and southern Germany. By the 1730s, it had evolved into an more flamboyant style, called rocaille or Rococo, which appeared in France and central Europe until the mid to late 18th century; the English word baroque comes directly from the French, may have been adapted from the Portuguese term barroco, a flawed pearl. Both words are related to the Spanish term berruca; the term did not describe a style of music or art.
Prior to the 18th century, the French baroque and Portuguese barroco were terms related to jewelry, An example from 1531 uses the term to describe pearls in an inventory of Charles V's treasures. The word appears in a 1694 edition of Le Dictionnaire de l'Académie Française, which describes baroque as "only used for pearls that are imperfectly round." A 1728 Portuguese dictionary describes barroco as relating to a "coarse and uneven pearl."The French term for the artistic style may have had roots in the medieval Latin word baroco, a philosophical term, invented in the 13th century by scholastics to describe a complicated type of syllogism, or logical argument. In the 16th century the philosopher Michel de Montaigne associated the term'baroco' with "Bizarre and uselessly complicated." In the 18th century, the term was used to describe music, was not flattering. In an anonymous satirical review of the première of Jean-Philippe Rameau's Hippolyte et Aricie in October 1733, printed in the Mercure de France in May 1734, the critic wrote that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances changed key and meter, speedily ran through every compositional device.
In 1762, Le Dictionnaire de l'Académie Française wrote that the term could be used figuratively to describe something "irregular, bizarre or unequal."Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, the movement limited, it appears that term comes from the word'baroco' used by logicians."In 1788, the term was defined by Quatremère de Quincy in the Encyclopédie Méthodique as "an architectural style, adorned and tormented". The terms "style baroque" and "musique baroque" appeared in Le Dictionnaire de l'Académie Française in 1835. By the mid-19th century, art critics and historians had adopted the term as a way to ridicule post-Renaissance art; this was the sense of the word as used in 1855 by the leading art historian Jacob Burkhardt, who wrote that baroque artists "despised and abused detail" because they lacked "respect for tradition."Alternatively, a derivation from the name of the Italian painter Federico Barocci has been suggested.
In 1888, the art historian Heinrich Wölfflin published the first serious academic work on the style, Renaissance und Barock, which described the differences between the painting and architecture of the Renaissance and the Baroque. The Baroque style of architecture was a result of doctrines adopted by the Catholic Church at the Council of Trent in 1545–63, in response to the Protestant Reformation; the first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, declared that the arts should communicate religious themes with direct and emotional involvement. Lutheran Baroque art developed as a confessional marker of identity, in response to the Great Iconoclasm of Calvinists. Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below.
The dome was one of the central symbolic features of baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, with stucco statuettes of angels, giving the impression to those below of looking up at heaven. Another feature of baroque churches are the quadratura. Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real; the interiors of baroque churches became more and more ornate in the High Baroque, an
Joseph II, Holy Roman Emperor
Joseph II was Holy Roman Emperor from August 1765 and sole ruler of the Habsburg lands from November 1780 until his death. He was the eldest son of Empress Maria Theresa and her husband, Emperor Francis I, the brother of Marie Antoinette, he was thus the first ruler in the Austrian dominions of the House of Lorraine, styled Habsburg-Lorraine. Joseph was a proponent of enlightened absolutism, he has been ranked, with Catherine the Great of Russia and Frederick the Great of Prussia, as one of the three great Enlightenment monarchs. His policies are now known as Josephinism, he died with no sons and was succeeded by his younger brother, Leopold II. Joseph was born in the midst of the early upheavals of the War of the Austrian Succession, his formal education was provided through the writings of Voltaire and the Encyclopédistes, by the example of his contemporary King Frederick II of Prussia. His practical training was conferred by government officials, who were directed to instruct him in the mechanical details of the administration of the numerous states composing the Austrian dominions and the Holy Roman Empire.
Joseph married Princess Isabella of Parma in October 1760, a union fashioned to bolster the 1756 defensive pact between France and Austria. Joseph loved his bride, finding her both stimulating and charming, she sought with special care to cultivate his favor and affection. Isabella found a best friend and confidant in her husband's sister, Maria Christina, Duchess of Teschen; the marriage of Joseph and Isabella resulted in the birth of Maria Theresa. Isabella was fearful of pregnancy and early death a result of the early loss of her mother, her own pregnancy proved difficult as she suffered symptoms of pain and melancholy both during and afterward, though Joseph attended to her and tried to comfort her. She remained bedridden for six weeks after their daughter's birth. On the back of their newfound parenthood, the couple endured two consecutive miscarriages—an ordeal hard on Isabella—followed by another pregnancy. Pregnancy was again provoking melancholy and dread in Isabella. In November 1763, while six months pregnant, Isabella fell ill with smallpox and went into premature labor, resulting in the birth of their second child, Archduchess Maria Christina, who died shortly after being born.
Progressively ill with smallpox and strained by sudden childbirth and tragedy, Isabella died the following week. The loss of his beloved wife and their newborn child was devastating for Joseph, after which he felt keenly reluctant to remarry, though he dearly loved his daughter and remained a devoted father to Maria Theresa. For political reasons, under constant pressure, in 1765, he relented and married his second cousin, Princess Maria Josepha of Bavaria, the daughter of Charles VII, Holy Roman Emperor, Archduchess Maria Amalia of Austria; this marriage proved unhappy, albeit brief, as it lasted only two years. Though Maria Josepha loved her husband, she felt inferior in his company. Lacking common interests or pleasures, the relationship offered little for Joseph, who confessed he felt no love for her in return, he adapted by distancing himself from his wife to the point of near total avoidance, seeing her only at meals and upon retiring to bed. Maria Josepha, in turn, suffered considerable misery in finding herself locked in a cold, loveless union.
Four months after the second anniversary of their wedding, Maria Josepha grew ill and died from smallpox. Joseph neither visited her during her illness nor attended her funeral, though he expressed regret for not having shown her more kindness, respect, or warmth. One thing the union did provide him was the improved possibility of laying claim to a portion of Bavaria, though this would lead to the War of the Bavarian Succession. Joseph never remarried. In 1770, Joseph's only surviving child, the seven-year-old Maria Theresa, became ill with pleurisy and died; the loss of his daughter was traumatic for him and left him grief-stricken and scarred. Lacking children, Joseph II was succeeded by his younger brother, who became Leopold II. Joseph was made a member of the constituted council of state and began to draw up minutes for his mother to read; these papers contain the germs of his policy, of all the disasters that overtook him. He was a friend to religious toleration, anxious to reduce the power of the church, to relieve the peasantry of feudal burdens, to remove restrictions on trade and knowledge.
In these, he did not differ from Frederick, or his own brother and successor Leopold II, all enlightened rulers of the 18th century. He tried to liberate serfs. Where Joseph differed from great contemporary rulers, where he was akin to the Jacobins, was in the intensity of his belief in the power of the state when directed by reason; as an absolutist ruler, however, he was convinced of his right to speak for the state uncontrolled by laws, of the sensibility of his own rule. He had inherited from his mother the belief of the house of Austria in its "august" quality and its claim to acquire whatever it found desirable for its power or profit, he was unable to understand that his philosophical plans for the molding of humani