This article sets forth, through a small collection of case studies, the extent to which the literal and pictorial figures of the Beati moderni constituted potentially provocative and disputed hermeneutical territory between particular religious constituencies, in this case the Oratorians and the Jesuits, and an increasingly stringent Curia ca. 1600. A reexamination of Beati moderni hagiographic imagery, and curial censorship of such imagery, potentially problematizes scholarly assumptions that these images served the Counter-Reformation Church’s demands to control the meaning of religious images and the cult of the saints. Such reassessment calls for the reevaluation of a newly-constituted, uniquely post-Tridentine genre of hagiographic imagery: the Beati moderni devotional altar image and its reproductive printed devotional derivatives.

Most colonial religious paintings in the period from the late 16 th century to the early 19 th century were inspired by prints imported from Europe; the Jesuit order, present on most continents, played an extremely important role in the dissemination of models, at least until the order was abolished in 1773. Jesuit collections gathered in libraries accompanying colleges were also important. Artists creating compositions in colonial areas used illustrated book publications, ephemeral prints and individual prints. For the purposes of the discussion presented here, two subjects have been selected. The first one is two representations from the allegorical cycle showing the fate of the human soul on the road to salvation, based on prints by Boetius Adams Bolswert (Via vitae aeternae Antoon Sucquet, Antwerp, 1620), found in the sacristy of the Pauline church on Jasna Góra and the chapel of Our Lady of Sorrows in the Cathedral in Goa. The second subject is Jesuit themes inspired by the works of Peter Paul Rubens. We should also remember that the strategy of using paintings played a particularly significant role in the Jesuit evangelisation process.

The end of the 16th and the dawning of the 17th century found the tottery Europe having to face poverty, epidemic outbursts, lethal diseases, population’s increased mortality and numerous revolutions. Religious and political wars and social unrest gave a blood like color to the motley Europe’s chessboard and while political leaders sought ways for the new political status to obtain some balance. While the early forms of European nations were struggling to establish their independence, the Holy Roman Empire was finding it impossible to establish a new subsistence and the French Monarchy was reaching its apex, the new catastrophic element of the irreversible religious schism between the Catholic and the Protestant Church appeared, leading to a whole diverse prospect of Europe’s religious identity. Luther’s Reformation undeniable challenge towards the Catholic Church, the almost immediate response of the papal power through the Council of Trent (1545 - 1563) with the movement of the Counter-Reformation and the devastating consequences of the Thirty Years War (1618-1648) completed the picture strife-torn Europe. Within such ambiguous and divided environment Baroque art was born. Despite all the difficulties, the adamant Catholic Church, following the Council of Trent’s commands and with the succor of Ignatius Loyola’s Jesuits, redefined its relationship with art and its commitment to the fight against Protestantism. Art became sacred and expressed in a high tone the catholic doctrine aiming at spreading the ecclesiastical morale over the world. The papal hierarchy was the key patron to Baroque Art which glorified God and the power of the Catholic Church by appealing to the human senses as a means of spiritual awakening and enlightenment to convince the faithful Catholics for the prestige and grandeur of Catholicism. This project aims to indicate, through an intensive research of the 17th and 18th century artistic movements, the great impact of Baroque’s art on the religious propaganda of the Catholic Church and the Counter Reformation movement and to also examine its extensions to politics. Throughout this project and by perusing certain case studies of artistic creations, such as the Bernini’s marble statue of Santa Teresa, currently located in the church of Santa Maria Della Vittoria in Italy, we will present the significance and the power of Art to accompany, empower and enhance the religious effort of the Sacra Congregatio de Propaganda Fide organization to lead the “prodigal” crowd into awareness and back within the true Catholic faith. Arcangelo Correlli’s music piece Christmas Concerto Grosso in Sol minor Op. 6, No 8, will establish the attempt of the Catholic Cleric leadership to create strong connections of preference and friendship to the European Royal Courts.