: Renaissance in Italy Volumes 6 and 7 (of 7) The Catholic Reaction by Symonds John Addington - Renaissance Italy; Catholic Church Italy History

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OF THE SECOND VOLUME.

TORQUATO TASSO.

THE "GERUSALEMME LIBERATA."

GIORDANO BRUNO.

PALESTRINA AND THE ORIGINS OF MODERN MUSIC.

THE BOLOGNESE SCHOOL OF PAINTERS.

Decline of Plastic Art--Dates of the Eclectic Masters--The Mannerists--Baroccio--Reaction started by Lodovico Caracci--His Cousins Annibale and Agostino--Their Studies--Their Academy at Bologna--Their Artistic Aims--Dionysius Calvaert--Guido Reni--The Man and his Art--Domenichino--Ruskin's Criticism--Relation of Domenichino to the Piety of his Age--Caravaggio and the Realists--Ribera--Lo Spagna--Guercino--His Qualities as Colorist--His Terribleness--Private Life--Digression upon Criticism--Reasons why the Bolognese Painters, are justly now Neglected

CONCLUSION.

The Main Events of European History--Italy in the Renaissance--Germany and Reformation--Catholic Reaction--Its Antagonism to Renaissance and Reformation--Profound Identity of Renaissance and Reformation--Place of Italy in European Civilization--Want of Sympathy between Latin and Teutonic Races--Relation of Rome to Italy--Macaulay on the Roman Church--On Protestantism--Early Decline of Renaissance Enthusiasms--Italy's Present and Future

RENAISSANCE IN ITALY.

TORQUATO TASSO.

It was under the conditions which have been set forth in the foregoing chapters that the greatest literary genius of his years in Europe, the poet who ranks among the four first of Italy, was educated, rose to eminence, and suffered. The political changes introduced in 1530, the tendencies of the Catholic Revival, the terrorism of the Inquisition, and the educational energy of the Jesuits had, each and all, their manifest effect in molding Tasso's character. He represents that period when the culture of the Renaissance was being superseded, when the caries of court-service was eating into the bone and marrow of Italian life, when earlier forms of art were tending to decay, or were passing into the new form of music. Tasso was at once the representative poet of his age and the representative martyr of his age. He was the latter, though this may seem paradoxical, in even a stricter sense than Bruno. Bruno, coming into violent collision with the prejudices of the century, expiated his antagonism by a cruel death. Tasso, yielding to those influences, lingered out a life of irresolute misery. His nature was such, that the very conditions which shaped it sufficed to enfeeble, envenom, and finally reduce it to a pitiable ruin.

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