American Society for Eighteenth Century Studies (ASECS)

Comparing the Arts in the Age of Baroque Author(s): H. James Jensen Reviewed work(s): Source: Eighteenth-Century Studies, Vol. 6, No. 3 (Spring, 1973), pp. 334-347 Published by: The Johns Hopkins University Press. Sponsor: American Society for Eighteenth Century Studies (ASECS). Stable URL: http://www.jstor.org/stable/3031689 . Accessed: 11/11/2011 01:04
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Comparing Arts the in theAgeofBaroque

H. JAMES JENSEN
SEVENTEENTH-CENTURY POETS, painters,musicians,architects, and otherartists their saw creations primarily vehicles which as by they couldmovetheir audiences spectators specific or in ways,affectingthem with specifically intended passions. Thatis,they artistic saw creation and function as organic as rhetorical nature. not but in We can, therefore, comparethe arts,whether theory in specific in or works, onlythrough generally not the shared imagery which by artists produced their effects, also in terms artistic but of intention rheand torically inducedpassionand emotion. a limited In way,I wantto showwhy and howwe can usefully compare arts, the rather thanparallel one withanother, falseanalogywhichbothwe and theartists a so often how thesecomparisons make,1 work,and how our underof standing them enhances effect valueofparticular the and creations forus. Usingseveral linesfrom first laststanzasofJohn the and Dryden's 1687 "SongforSt. Cecilia'sDay" as a focalpoint, shalltry I to showand define therhetorical first orientation Western of European in artists theorists theseventeenth and how artists and century, next, withsimilar different intentions, working through media,used culimagery produceanalogouseffects. to turally shared and Artists theorists theseventeenth, also thesixteenth and of and of unlike mostofus, conceived artistic creation eighteenth centuries, thatis, as consisting separate,rhetorical of as nonorganic, parts.
1 Plato first arts: "To warnsagainstmakingfalse analogiesbetweendifferent or of havinga 'good color' . . . is not allowspeak metaphorically a melody figure 4th BenjaminJowett, ed. (Oxable" Laws, Book II, The Dialoguesof Plato,trans. of comparisons colors seventeenth-century ford,1953). Despite Plato's statement, it and musicaltones are so numerous would be follyto figures withrhetorical a "thatwhichgiveth poem a true mentions them.Hobbes,forinstance, enumerate

is in 1908). The idea of poeticpictures a gallery (Oxford, ed. Century, J. Spingarn Arts(Chicago,1958). GerardG. LeCoat, The by mentioned JeanHagstrum, Sister in of of Aspects theTheory Expression theBaroqueAge,"ECS, 5 in "Comparative argument mosteffective the 1971/72),210-11, mentions idea. For thefirst (Winter Laocoon (1766). see comparisons, G. E. Lessing, fallacious against of anylength
334

and natural color" in "Answer to Davenant," Critical Essays of the Seventeenth

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PLATE 3. Rubens, Le Coup de Lance. Photo: Royal Museum of Fine Arts,Antwerp

COMPARING

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Works artand treatises artofthattimeare fullofreferences of on to of theunification artistic thought processes, terminology, effects. and Rubens'"The Educationof Marie de' Medici" (P1. 1), forexample, is a painting allegorically expressing rhetorical the divisions invenof tio(intention theprocuring ideas or images), or of dispositio (design, and arrangement, organization, a disciplining theimagesor ideas of elocutio(elocution, produced theimagination memory), by and coland and of and sometimes, oring, figures tropes, figures tropes music, in oratory, including delivery). Marie is beinginstructed writing, in the of conand Athena,representing faculty judgment (primarily of cerned with organization, arrangement, theelimination superand and Hermes fluous material), doingtheactualteaching correcting. is from front the drawsa curtain of (thegod oforatory elocution) and or thesprings MountParnassus(representing on inspiration invention),showing thatthrough us elocutionwe expressour ideas (or images).Apollo, the god of poetry, music,sculpture, painting, and represents thesearts,whichare all createdin thesame way,by the same process.The Three Graces,the threenude figures, represent The with regular its beauty, symmetry, balance,and harmony. effect ofthecraggy waterfalls lessharmonious yetmoreexaltedthan is and theregularized beautyof theThree Graces; and the portrait the at bottom represents grotesque theugly, perhaps unleft the and or the of The is comfortable passionofterror. painting an allegory theunification all thearts, of and all kindsofart,bothin theprocessofcreationand in artistic on of effect, centering theperson Mariede' Mediciwhois learning aboutit,as we are.The painting, all becauseofthe to predominance theallegory, of appealsprimarily ourreasonor unin to soul derstanding, other words, ourhighest (therational). Thosewhowrote aboutpainting, poetry, musicalso refer and specifically rhetorical to parallels. For example, talking in aboutmusic, Peachamsays(1622), Henry more no or Yea, in myopinion. rhetorick persuadeth music], hath [than her the greater power overthemind: hath Musicke figures, same nay not but her which rhetorique? is a revert herapostrophe? reports, What but [sic] her sweet her antimetaboles? passionanaphoras? counter-change ofpoints. ateairs prosopopeias's? infinite ofthesame but with other nature.
2 Henry 1906). (1622; rpt.Oxford, Gentleman Peacham,The Compleat

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of Peacham's comparisonof figures speech withmusical devices and would be fallaciousexceptthatthe figures devicesof rhetoric, their powersoverthemindare through in whether musicor speech, or designedto produce certaineffects passions in an audience.3 (1676) is evenmoreexplicit: ThomasMace in Musick'sMonument (of and conceits, passions all sorts) humours, various Andas in languages, or conceit, passion may humours, in so be may exprest; likewise music, any words as any and be so (never various) exprest; so significantly, rhetorical or in too not (if are expressions ableto do; only I may be thought extravagant so speaks transcenmusick be; ifanydifference itis,inthat myexpressions) intellectothe so itsnotions intelligibly internal, and dentally, communicates of all beyond language soul;so far faculties and tual, incomprehensible ofthe unexpressible bythose and raptures contemplations, into anddrawn divine divine of and perswasions, instructionsmusic's uncontroulabla rhetorical, rhetorick.4 by best than yet language, ever I havebeen, the verbal
Allmaines, and and fervently, zealouslycaptivated, words. . . I have been moresensibly,

He He saysmusichas "allusionsand references." saysthat"Pavins,

. . .

argumentasubtil,and intricate and sublimediscourses; rhetorical and secret, intellectual to and tions;so suitable, agreeing theinward, of faculties thesoul and mind."5 to references all kindsof writers the "modes" by The numerous discusses NicolasPoussinalso often the ofmusicexpress sameideas.6 proof and poetry, musicin terms effects between painting, parallels of He talks(1647) in terms painting techniques. ducedby rhetorical Plato on is associated mode,whichat leastfrom aboutthePhrygian musicproduces:7 "Son aspectplus aigu ... veeffect witha specific
"faculties and sensible, of division thesoul intovegetable, to of thesoul" refers thetripartite idea of souls.The bestexplanation thisall-pervasive is in F. N. Codffereasonable Edward trans. of A teau,"Preface," Treatise thePassions,TheirCauses and Effects, in published France in 1614). The workis in the (London, 1621; first Grimeston The HarvardUniversity. "Preface"alone may also be foundin Library, Houghton ed. Prose of the EnglishRenaissance, J. W. Hebel et al. (New York, 1952), pp. 581-88. 5 Mace,p. 234. 6 For examples A see overa rangeof years, ThomasMorley, Plaineand published Harmonie Music (London,1597); Marin Mersenne, to Easy Introduction Practicall et la contenant theorie la pratiquede la musique(Paris, 1636); Jeanuniverselle: Le (Paris,1722); Camus de Mezieres, Genie Rameau,Traitede l'harmonie Philippe de (Paris,1780). ou de l'architecture l'analogie cetartavec nos sensations 1955), Part III, pp. H. trans. D. P. Lee (Harmondsworth, 7 See Plato,Republic, 138-39. Book II. Rhetoric, see 3 For thebeginning this tradition, Aristotle, of (London, 1676), p. 118. Mace's 4 Thomas Mace, Musick'sMonument

ayres [are] . . . so many pathetical stories,

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12 withtheireffects." Mersenne goes even farther:

J'esfurieux, severe, qui rendles personnes et hement, tres etonnees. peredevant qu'il soitun an, depeindre sujetavec ce modephrygiun which en." 8 At other times, Poussintalksaboutthetwoinstruments affect souls of listeners: what the action and diction.He mentions Demosthenes, Cicero, and Quintiliansay about action (actio) in the of terms rhetorical delivery, and thensays thatwithout use of or action thepostures hischaracters, and colors(words dicin of lines of tion)are useless.9 also speaks,as do manyothers, parallelgenHe whichtreats res in thearts,each genredefined a viewof reality by is.10 Each muthe nature better, sameas, or worsethanit actually as sical (or artistic, poetic)mode could be used to arousea different or the of passion.Thus Camus de Mezieres(in 1780) compares orders to architecture themodesand evento keysin music,because of the different And Lomazzo (in 1584effect each orderwill produce.1" in muchlikeF. N. Coeffeteau hisTable ofHumanePassions 85), very the (1614), saysthat"painting speaksall languages," and describes lisof mindin affecting mindof a viewer, operation thecreative the ofdifferent colorsin tener, reader. discussion themeanings or His of hisBook III is thesame as MarinMersenne's discussion well-known ofthemeaning certain of instruments, and modes(1636). Lokeys, mazzo says, "Neitherdoth it [color] onely expressthe outward formes things; also discovereth of but certain inward passions;paintbefore eyes,theaffections themind, our of inq,and as itwerelaying

La musiqueest un imitation representation, bien que la poesie,la ou aussi tragedie, la peinture, ou comme i'ay ditailleurs, ellefaitavec les sons,ou car la voixarticulee que le poetefait le ce avecles vers, comedien avecles gestes, et le peinture avec la lumiere, l'ombre, les coleurs.13 et
8 Nicolas Poussin, is ed. Lettres, Pierredu Colombier(Paris, 1929). This letter 1647. dated24 November 9 Elizabeth Holt,A Documentary G. II History Art, (GardenCity, of N.Y., 1958), to 143-44.JacqueGohory saysthesamethings aboutmusicin his "Preface" Adrien to etc. and PlaineInstruction Set All Musicke, (1574; first le Roy,A Brief published the in Frenchin 1557). See also GiovanniLomazzo, A TracteContaining Artesof and Richard trans. Curious Paintinge, Carvinge, Building, Haydocke(London,1598; in first published 1584-5),Book II, p. 4. 10 For an earlyversionof this idea see Aristotle, Poetics,trans.Leon Golden (Englewood Cliffs, N.J.,1968),Ch. iii,pp. 4-5. 11Mezieres, 30-32. pp. 12 Lomazzo,Book III, p. 95.
13

Mersenne,p. 93.

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the we comparisons can makebetween artsin the Mostoftheuseful wantedto expressand passionscreators periodinvolvethe specific or auditors specmovedthesepassionsin thesoulsoftheir howthey or tators.The passions are invented discovered(inventio)by the and imagery techin (dispositio) conventional whocaststhem creator samepassions. (elocutio)those express niqueswhich and dispositio, (inventio, processof composition The rhetorical and Quintilian Cicero.We can also relateitdielocutio)comesfrom soul, and of conceptions thetripartite to rectly seventeenth-century explains of psychology theperiod,as thatpsychology to thefaculty both to howthehumanmindand soulwas thought function, in coma posingor receiving work of art. The work of art comes to us commonsense and the memory the through senses,movesthrough soul (the all and imagination, a partof thesensibleor concupiscent At thispoint,theworkof art secondsoul),theseat of thepassions. soul where"undergo mayeither on to thereasonable(thehighest) and standing" "will"judge itsgoodnessor badnessor receiveitsinthatthereaor struction, itmayexcitethepassionsto suchan extent to (and we act according apand sonablesoul is overcome bypassed to of and passion,notreason).The weakness artwas thought petite soul. Artsecondary be itsappeal to thepassionsin thelesselevated, ausoulsoftheir the to used therefore, allegory instruct rational ists, elevatedartwas supmorally But diencesand spectators. although or the to posedtobe a delight theunderstanding judgment, excitation assumedthata It ofthesensesand passioncame first. was generally the it the workof arthas to delight sensesbefore can instruct under4 be end ofart. All might thegreat instruction standing, eventhough of bothin terms to according theprocessjustdescribed, artsworked wereinterchangeable kinds endsand means.Thus,thedifferent ofart couldproin interchangeable thesensethatanyone ofthem vehicles, to ject thesame kindof imagery producethesame kindof passion, its imagesvaries, place and functhe and although artof expressing
tinn in theinroiesz of creativitv remains the same.
14 For a standard "Preface." versionof how the sensesworkedsee Coeffeteau, For but of variations thetheory, hereitis laid outclearly. a standard Therearemany see to of exampleof the relationship "delight" "instruction," JohnDryden'smany (MinneTerms Critical of Dryden's A Jensen, Glossary John in comments H. James apolis,Minn.,1969),pp. 39, 66-67. To Dryden,who changedhis mindover the the end,butinstruction greatend. becomesthefirst "delight" years,

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Once we see theconnections between rhetorical theory intenand tionand method the arts,thenwe can understand in whyany poet wouldthink expressed he himself like an architect, painter, a a or musician. And we can see howpoetsusedcommonly sharedimagery from different to achievespecific arts effects. content effect The and of musicaland visuallyartistic images thatJohnDryden,forexample,uses in his poetry to a greatextent are bothcontrolled and in wereemployed other arts. can thereWe expanded thewaythey by fore its analyzea poembycomparing intents, to effects, imagery and kindsof art.To help understand appreciate thoseofother and Dryden's "Song forSt. Cecilia's Day" (1687), we can look at Vivaldi's for in "Concerto Two Trumpets C" (ca. 1700), Rubens'"Le Coup de Lance,"Fra AndreaPozzo's ceiling Sant'Ignazioin Rome(1691in 94), Michelangelo's "Last Judgment," Rubens' "Large Judgand mentDay," All theseworks, including Dryden's, dependon similar rhetorically oriented conventions devicesto signify and elevatedinwouldhave called tentions, producein their to audienceswhatthey and thestrong passions admiration astonishment wellas others of (as which weaker).15 are In Fra AndreaPozzo's ceilingin Sant' Ignazio (P1. 2), we see the with deception sublimeelevation of (elevation was synonymous the in sublime theseventeenth century), thefalse~ by archesand columns, theeffect a contrived of perspective, thetrompe of l'eil whichproducestheillusion height, deception greatspace. The range of the of of the painting the dome movesmetaphorically allegorically in or from Hell's fires theheights Heaven. The sensesof theviewer to of are supposed be overcome thespace, and themotion to by provided
15 Le Brun (Holt, passions are and out points thatastonishment admiration strong is admiration "a pleasure[one of thepassions] pp. 161-63 and Fig. 7). To Dryden, stunsor whichproducesastonishment by not to be expressed words."Something do and astonishment admiration All makesspeechless. of theseworksin eliciting that proportions people called beautiful harmonious the morethanexhibit regular, "Gro"Sublime," pp. under"Beautiful," 26-27; see also "Admiration," (see Jensen looks up whichDrydensays,"The sight concerning terms), and all related tesque," [rational not and mountains, continues intent rocksand barren withpainon craggy to it." in is on thought] anyobjectwhich wanting shadesand greens entertain Lomazand joy, mirth, sweetness, lightproduces zo says thatgreenproducespleasurable are These sensations passions[see Book III, p. 112] whichare associated delight. The effects and of symmetry, beauty. effects harmony, moregentle with smaller, the strikethe and passionsof astonishment admiration whichproducethe stronger starts. the soul before contemplation overcoming rational rapidly, senses

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from emanating the of bytheupwardthrust thecolumns, rayoflight the of God, theupwardflight thecharacters, windwhichshowsthe space, and theimpliedaction,all of whichpromovement through the in motions emotions) us. The instruction, appeal (or duce strong of or the soul,comesfrom allegory, story, Jesuitical tothereasonable soul, is impression on theconcupiscible but work, thefirst missionary on thepassions.The ceilingis splendidand sublime:we shouldnot we be able to expressthe admiration feel;we shouldbe overcome, from emanateprimarily by or stunned, thedeceit.The maineffects enhancedspace, and themotionof thecharacthevast,artistically of and the that in ters and through space,in short, vastness sublimity thespectacle. againare effects the concerto, predominant In theVivalditrumpet sincethetrumof The space and motion."6 space was first all literal, theyplayed. pets would be placed on oppositesides of wherever Through the be echoes,enhancing effect. wouldalso Thereprobably along withthe rapid dialogue betweenthe trumpets, the brilliant Vivaldiintends and protimeofthemusicitself, movement through of effect motion.The wholeworkis splendidly duces a heightened and up building to a climaxofgreatstrength and energetic buoyant, and in of a exchange openintervals fanfares, a series effort,stunning the between instrutrumpet) ofrepeated highG's (on a modemB-flat effect The sensory ending. whichcomestheperfunctory after ments, the Although appeal to the as is at leastas stunning Pozzo's ceiling. whichpeopleof thetimesaw in a worklikeVireason,theallegory pointoutgenerally commentators lost valdi's,is largely tous,modern of music,and theorists thetimetalkof his penchant allegorical for can (1636) saysthatmusicians talkwith whatmusicsays.Mersenne and the so instruments thatotherscan understand discourse,17 we of discussthemeanings keys,modes,and knowthatmanytheorists rathgaiety level,a majorkeydenotes On instruments.18 thesimplest er thansadness,just as it does withus. On a morecomplexlevel,a
16 1 could also have used worksby Dryden's HenryPurcell, and protege friend attributed is in for suchas his "Voluntary Two Trumpets C" (which onlytentatively of and to him).Purcellwrotea lot of musicfortrumpets thesame kindof analysis would hold forhim,as it also would for Handel's numerous and intent imagery is and there no servesas a clear example, parts.The Vivaldipiece merely trumpet of problem attribution. 17 Mersenne, Book II, p. 39. 18 For a brief in of discussion expression musicand "Ut Poesis Musica" see LeCoat,pp. 221-23.

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Walter there wereno textKolneder, saysthat modern commentator, practice, but in booksdealingwithmusicalrhetoric Italianmrusical acquaintedwithmusicalformulae thatmusicians were"thoroughly muof He for interpretationwords." says,"Vivaldi'sinstrumental the sic is richin characteristic turns phrase... whichare used in such of maybe found worksthatin them a specific sensein hisprogrammic 19Vivaldispeaks oeuvre." of keysto theinterpretation his complete a musicallanguage,just as Rubensin his "Educationof Marie de' to language.He is tryinig say something Medici" speaksa painter's effects. through artistic Dryden'sode excitespassionssimilarto thoseof Pozzo's ceiling of or is The story, allegory, aboutthehistory and Vivaldi'sconcerto. to of theworldfrom beginning theend of time,in terms music the and sound The intellectual, and its effects. moststunning pictorial, Irn are and effects locatedin thefirst laststanzas.20 stanzaone,thehistoricalmeaningsof "diapason" (in "The diapason closingfull in the Dryif man")needto be explained we are to understaad imagery withhis elevated intentions. den associates withtheterm, consonant full of We haveno realconception "thediapasonclosing in man"unand lesswe knowwhata diapasonwas to musicians, thekindofvisual imagescreatedfor the period by artists. Mqusically, diapason meansunity, fullrangeof notes,and JohnIdiltonin "At a Solthe (plus theallegorical meaning emnMusic" usesit withthattechnical unity withGod and Godlikepower): equationof harmonious
undiscording voice Thatwe on Earthwith answer that melodious noise; May rightly As oncewe did,tilldisproportioned sin Jarred and withharshdin Nature'schime, against musicthatall creatures made Brokethefair To their motion swayed Lord,whoselove their great whilst In perfect stood they diapason,
ctStP, Tn firct, -%Uprlip"nronrAthp-or

21 n%f onnr1r

19WalterKolneder, and Los AnAntonioVivaldi,trans.B. Hopkins(Berkeley Vivaldi(Paris,1953). geles,1970),pp. 85-87. See also Marc Pincherle, 20 Earl Minerhas explicated thesourcesand analoguesof thepoem in his book has Bronson Ind., 1967),pp. 274-85; and Bertrand (Bloomington, Poetry Dryden's of analyzedHandel's setting the ode in his essay, "Some Aspectsof Music and and Los Angeles,1968), pp. (Berkeley Facets of the Enlightenment Literature," 91-118. 21 JohnMilton,"At a Solemn Music," The Poems of JohnMilton,ed. James (New York, 1936),p. 101. See also Mace, Book I, pp. 265-70, for Holly Hanford withGod and his power. of explanation theequationof harmony

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Diapason can be usedin connection with but anyinstrument, in stanza one, Dryden's resonant nasal soundsecho theorgan,withwhich diapasonwas mostcommonly associated. was very Dryden conscious of thesoundsofwords, he demonstrates hispoem,and saysin as in manyplaces in his criticism.22 organimagery based on the His is tonesofthemagnificent after baroqueorgan,an instrument which, a longperiodof neglect, craftsmen musicians and have onlyrecently from modern the rediscovered. Judging imitations, imageis indeed impressive.23 Dryden's But is visualas wellas auralbecause imagery of his connection between"diapason" and "man." Thomas Mace (1676) also usesvisualconnotations whenhe saysthatofall things in nature"some harmonize diapason's deep, / Othersagain more in lofty circleskeep."24 Something like Mace's comment Rubens' or ceilingat Whitehall to mayhave suggested Drydenthevisualimagery of diapason, but I thinkPozzo's ceiling or perhapsRubens' "Large Last Judgment"-even though Drydenneversaw them-are better for examples explicating poem.25A poet'simagination the may welltranscend works artat hisdisposal,iftheworks very the of lead to greater ideas, if he hears descriptions unseenworks,if other of poetsor theorists himtheimage,or ifhis own imagination give can transcend limitations his surroundings. the of This would be especiallytrue, sinceDrydenwas trying achievespecific, to greateffects. A worklikePozzo's ceiling helpsus see, and thusfeel,"thediapason full closing in man"muchmorevividly because of itsrange,itsown diapason."The diapasonclosingfullin man" assumesadded dimensionsif theimagery visualas well as auricular, is and theintention and effect Vivaldi'sconcerto, of Pozzo's ceiling,and Dryden'sfirst stanzaaregenerally similar terms admiration astonishment. in of and Tlhelast stanzaof Drvden'spoem triesto achieveeven stronger
109. E. PowerBiggs,"The King of Instruments Returns," Horizon,(2 March 1960), 72-80. 24 Mace, Book I, pp. 265-70. 25 Dryden, of course,knewmore of Rubensthan the ceilingat Whitehall. He mentions him (and Michelangelo)as a history painterin his "Parallel Betwixt Poetry and Painting," DramaticPoesy,ed. G. Watson,II (London,1962), 182. Of JeanHagstrum mentions whathe calls Dryden's"spiritual" affinities Rubens with in The Sister Arts(Chicago,1958),p. 207. I suggest thattheseaffinities to do have withsimilarity visionor imagery intent, thesesimilarities illuminate of and and help Dryden'spoetry. Drydenalso, no doubt,saw Roland Freartde Chambray, The
*23See

22 See "Sound"in Jensen, p.

on wholesection Michelangelo's "Last Judgment," 74-80. pp.

Idea of the Perfection of Painting, trans. John Evelyn (London, 1668). There is a

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effects thanstanzaone. Artistic theory and theuses of trumpets in and music, painting, poetry thatare similar intent elevateus in can to farenough visualize, hear,and feeltheastonishment admiraand tionthat Dryden intends hislastlines: in TheTRUMPETshall heard high, be on Thedeadshall the live, living die. AndMUSIC shall the untune sky. By seeingand hearingDryden'simageryas much as possiblein seventeenth-century we recognizethathe envisions"Judgterms, scenefilled withsubment Day" as a vastspace, a greatpanoramic for effects thepaslimesounds. The artofusingtrumpets sublime on is of here.We cansionsbybaroquecomposers worthy consideration or notunderstand powerofVivaldi'strumpet the concerto, theimagof eryin Milton's"The wakeful trump doom mustthunder through forSt. Cecilia's Day" thedeep,"26 or Dryden's endingin the"Song in the unless haveheardorimagined someversion splendid we effects in of supposedly produced trumpets theworksof composers the by time.The significance construction thetrumpet changed of and has since J. S. Bach. According modernresearchon the historical to trumpet, "The toneof theseventeenth-century trumpet [owingto its greater length]embodiesa richness, broadness, power,and (in the highregister 4thoctave]) delicateness [the whichis notcharacteristic of themodern trumpet whichis almostunknown and today."27 Mersenne that trumpet "merveilleusement says the is grande, que lors l'on en sonneen perfection, que l'on prendtousses tondepuisle et plus gravejusques au plus aigu, car elle faitun trent-deuzieme: de sorte qu'ellesurpasse tousles claviers epinettes des orgues"(p. des et 248). In other words, Dryden's trumpet imagery Vivaldi'sconand certoexcited passionsby employing the trumpets withricher, more powerful soundsthanthosewe associatewithmodern instrumentation. Thereweretwokindsoftrumpet horn)playing:a high, (and associatedwith courts princes elevated of the and events, a low,assoand
John Milton, "On theMorning Christ's of Nativity," Poems,ed. Hanford, 65. p. HubertHenderson, Studyof the Trumpetin the Seventeenth "A Century," (master's thesis, University NorthCarolina,1949),p. 7. See also Mersenne, of Book III, pp. 247-61; Daniel Speer,Grundrichtiger kurtz-leicht nothiger und jetztwolvermehrter unterricht mnusicalischen (Ulm, 1687). der kunst
26 27

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ciatedwithwarfare, and Rubens emhunting, otherlike activities. ploystrumpets different in paintings whichobviously expressan associationwith violence,chaos, or splendor.In "The Wild Boar Hunt,"a hunter blowshis horn,witha red face,cheekspuffed out, head thrust forward. sceneprojects relatively The the crudeemotions of of themurder a boar. In "Marie de' Medici as Protector the of Arts,"we see a joyous trumpet, playernot straining the nearlyso Rubens'trumpeter allegorical is much.In "The Captureof Juliers," of prowessin battle.He displaysviolence,and appears,framed by on In darkness, a cloud behindtheangelof deathand destruction.28 less Rubens'"Large Judgment Day," we have a version, though impressive, Michelangelo's of "The Last Judgment." thetrumpets But cheeks and trumpeters still impressively are wild and energetic, puffed heads thrust out, forward. They are placed wellbelow Heaven's serenity, nextto the abyss of light(as in Michelangelo).The highstyle trumpet of playing, associatedwiththe courtsof princes (heavenly affiliation) thelow,violent and style (associated with huntingand watchtowers) united. can see and hear(in ourimagiWe are whatRubensintended, as we see and hear theimages nations) just us Drydenintended to imagine. To showhowcreators useda shared pool ofimagery, can briefwe ly look at variousimagesof Judgment as expressed several Day by artists.29 bothRubens' and Michelangelo's In "Last Judgments" the trumpets theimaginary and soundsemanating from themare setoff of by an abyssof light front thetrumpet in players, overlooking the chasmthatseparates earthfrom heaven.Each artist places histrumpet playerslowerthanthe prophets and the otherheavenly beings thatdisplaylove,concord,and theequilibrium divinejudgment. of Powerand disharmony reflected theway theangelsare bloware in ing,cheeks puffed (against rulesoftrumpet out all technique), red the
28 See also Mersenne, in Book III, p. 261. Drydenapproximates his poem what des Mersenne says"[Trumpets] preparoient cceuret les esprits soldatspour aller le a la guerre, pour aller 'a l'assault,et pour donnerles combats."Later, Mersenne talksaboutJudgment Day. 29 The imagery availableto painters, musicians, poetswas a kindof pool of and In images ideas,theuse of whichcame from invention discovery). otherwords, (or see Rhetoric, werea partof the"topoi"(equivalent therhetorical to term; Aristotle's other Thus,as late Book II). These imagescan comefrom works, well as nature. as in as 1769,SirJoshua Reynolds, "Discourse No. 2," Discourses on Art (Indianapolis, is Ind., 1965) can say, "The moreextensive therefore youracquaintance withthe will be your powers of worksof those who have excelled,the more extensive invention."

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and thetrumpets facesshowing greateffort, headsoftheblowers the The Fra thrust forward.30 earlier Angelico(d. 1455) in hisbalanced, serene showsus gentle with paintings on trumpeters, little emphasis theinstruments players or exceptas partof thedesign.The angleof Thisis trueofhis "Last one instrumentsetoff is its against opposite. of Judgment" theConvent San Marco in Florence,as well as the in in one in theKaiser-Friedrich Museum,Berlin.Although each, half is are ofearth in chaos,thegentle trumpeters a serene partof a harof trueof his "Coronation the monious heaven.The same is largely is that trumpeter theupperright rendered in the more Virgin," except With naturalistically. cheekspuffed and head thrust out, forslightly out of keeping withthe ward,theangeldisplaysan energy slightly restof thebenign The trumpeters Luca Signorelli's in company. (d. 1523) "Choirof Angels"in theOrvietoDuomo are lowerthanthe restof the angels,moreindecorous, moreenergetic. Their clothes showmotion, their and cheeksare puffed It is notuntilMichelout. angelo's"Last Judgment," thatwe can "hear"themarvelhowever, ous sound,thatgrand,loud, half-cacophonous noise of powerful his with trumpets. connects trumpeters thechaosofearth He through their themfrom violence,and separates earthby an abyssof light. The paintings themselves us a feeling theturmoil dishargive of and monyof Judgment whichwill resolvefrom Day, yettheunity that dreaddayis reflected thejudgers by themselves placed on high, who appeal to our reason.But if we reactas we should,thesepaintings exciteour passionsto theextent thatwe are engulfed speechless in admiration. imagery, arousing passions(appealing our in our The to senses)overcomes reason.We think theallegory our of onlyafter we respond emotionally powerful to stimuli. The effects Rubens,Michelangelo, Drydenare trying proand to duce are similar, Dryden's and trumpet imagery thusbe visualas can wellas audible.The kindofimageDrydencalls up by thelast three lines of the poem is clearlyrelatedto Michelangelo's and Rubens' paintings meansof thedescription Judgment by of Day. We see the image even more clearlyif we know that elsewhere envisions he
30 Freartde Chambray, 77. Evelyn translates p. that in Michelangelo's "Last Judgment" angels"grimace" the "mouthing theirtrumpets" the in of (besides"the contortion their of bodies").Freartdislikes vulgarity "excess," this and and dislikes Michelangelo's workin general, preferring Raphael'sbeauty.Evelyn,the Englishman,in his "To theReader"disagrees withFreart's low appraisalof Michelangelo and rateshim highest, higher even thanRaphael.

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in of God's throne "[as] darkness th'abyss light, A blaze of glory / thatforbids sight," the just as Rubens and Michelangeloseparate God's throne from violenceof thetrumpeters from and the earthby an abyssoflight.31 we can go evenfarther ourconsideration But in of imagery. sublime The paradoxofthelastlineoftheode, "And MUon SIC shall untune sky,"restspartly theharmony-disharmony the one in of conjunctive finds discussions music.Disharmony movesto harmony a musicalpiece movesfrom relatively as a chord dissonant to thetonic.The dissonance Judgment movesto theharmony of Day of eternity, image whichrestson God's sublimejudgment an and harmony thought feeling, unity a of and talkedaboutat somelength The octaveand thetonicrepresent bybaroquemusicians. God's unity, forcing tothesenseofharmony peace we feelfrom conus and the templation a harmonious of and eternity therestful of a piece of end music.Peacham saysthatwe relish concordmorebecause of previ32 ous "jarres" which were"harshand discordant." Mace, connecting musicand religious mystical thought, thattheoctaveunites says and harmonizes unity like itself, thattheHoly Trinity reflected and is in three harmonic concords, 3, and 5. He saysthata separation 1, from unity musicis "irksome unpleasing a well-tuned in and to soul." Further illustrate point, includes poemcalled"GreatGod": to his he a Mysterious ofallmysterie; center Allthings originate themselves inThee, Andintheir revolution, tend wholly To thee their octave, most their happy end. Allthings (what e'er)innature, thus are rounded, Thusmystically limited grounded, and Some harmonizeDiapason's in deep, Others more circles again, lofty keep. "In in harHe goeson in thesamevein,ending unity, th'unconceived 33 Dissonance, certain lack ofharmony, monious mystery." produces
31 JohnDryden, Part I, 11.66-67. This poem was "The Hind and the Panther," Budick, published sameyearas the"SongforSt. Cecilia'sDay." See also Sanford the could Drydenand the Abyssof Light(Ithaca, N.Y., 1970). Dryden'sdescription of because his "blaze of glory in not,of course,be reproduced paintings the time, .. . forbids media.The imagein the mind the sight."But we are not comparing are is in actuality muchthesame,and theeffects supposedto be similar. 32 HenryPeacham,Minerva Britanna(London, 1612; facs.ed. Leeds, 1966),p. 204. 33 Mace, Book I, pp. 265-70.

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as in effcts an audience.We can use a painting an exampleto show howtheprinciple kindofart.Noticethelack maybe usedin another ofharmony Rubens'"Le Coup de Lance." (P1.3) The complexion in ofthesoldier with speardenotes the discordant choler.If we observe the he side (note closely, appearsto be pulling spearout of Christ's hisbalance,thekindofgriphe is using, and thespurting blood). The skyis streaked, dark,and wild,and thesunis goingintoeclipse.The writhing the thieves of These grisly augments effect. the and cacophonousmotions produceuncomfortable, disharmonious emotions in us. Yet, we knowthatout of suchdiscordharmony result. will In Dryden's and poem,whichalso drawsitsimagery itseffects from religion, disharmonious the connotations "untunes" resolved of are by theopen vowelof "sky,"and our knowledge and feeling the of for whichwillresult subsequent eternal peace, harmony, unity and after of Judgment If we can see,hear,and feelthepowerful Day. complex imagesDrydenuses to arouseour passions,we are leftin astonishmentand admiration. Without historical a background, muchof baroque artcannotbe or of properly appreciated reproduced. Painting, music,and poetry theperiodcan be better and understood feltby comparing imagery in and intent all the arts,because of the rhetorical way creators viewedtheartistic processof creation If and itseffects. we can compare similarintents, and we effects, imagery, can compareworks from different without arts makingfalseanalogiesbetween arts the themselves. Each genrein any givenmediumof expression be can compared withanother, another in medium, because theclassinot fications similar, because each genreintends specific are but a emotionaleffect uses similar and imagery. The basis of genreclassification is thusrhetorical. and musicof the baroque period shed Art greatlight mostof literature on written thattime,and vice versa. at used comparisons rewarding Carefully are beyondexpectation. Indiana University