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WHY DO WE CARE ABOUT THE BAROQUE?

Despite the demands of the Council of Trent, the Baroque sought not so much to
teach (docere) but to inspire (movere) and to allure (delectare). Owing to the predominance of this aesthetic principle, the Baroque preserved human integrity in a
period when the Renaissance worldview utterly collapsed, when professional disciplines
became compartmentalized, when the infinitely small and great worlds revealed themselves through the microscope and the telescope, and when anatomists
and physiologists went inside the human body.
Only in its sensual aspect is Baroque art seemingly opposed to the rationality of
philosophic and scientific thought. The creative practices of the coryphaei of the
Baroque were carried out under the rubric of ratio. The apotheosis of rationalism
in the arts was the opera house with all of its constituent parts: from the libretto,
the music and vocal techniques to the financial arrangements of the impresarios,
the tiered seating and the wonders of scenography. Leaving behind adherence to
the Renaissance ideal of intellectual and creative excellence, the Baroque encouraged
going beyond what had been known and accomplished, and its message is still
heard today.
From the beginning of European history to the Napoleonic Wars, the Baroque
stands out for its extreme bellicosity. However, the Baroque is surprisingly optimistic
despite the great number of terrible events. From this era on, a European
perceived death not as an impersonal fatal blow, but as a private event whose likelihood
at every point was partly dependent on one’s own actions. Baroque monuments
in Asia and in the Americas show that globalization first manifested itself
in the spread of the Baroque style. But the landing of the Pilgrim founding fathers
on the shore of Cape Cod and the Mayflower Compact they signed were phenomena
of global significance that had nothing in common with the way colonization
of distant territories had been carried out by Europeans before the age of the
Baroque.