And then came the battle of Protestant and Catholic to turn men's minds into other channels than that of beauty. Even when the Reformation was not consciously opposed to art, it shoved it aside as a distraction from the real business of life. Thus it has come {690} about in Protestant lands that the public regards art as either a "business" or an "education." Luther himself loved music above all things and did much to popularize it,—while Erasmus shuddered at the psalm-singing he heard from Protestant congregations! Of painting the Reformer spoke with admiration, but so rarely! What could art be in the life of a man who was fighting for his soul's salvation? Calvin saw more clearly the dangers to the soul from the seductions of this world's transitory charm. Images he thought idolatrous in churches and he said outright: "It would be a ridiculous and inept imitation of the papists to fancy that we render God more worthy service in ornamenting our temples and in employing organs and toys of that sort. While the people are thus distracted by external things the worship of God is profaned." So it was that the Puritans chased all blandishments not only from church but from life, and art came to be looked upon as a bit immoral.
[Sidenote: Counter-Reformation]
But the little finger of the reforming pope was thicker than the Puritan's loins; where Calvin had chastised with whips Sixtus V chastised with scorpions. Adrian VI, the first Catholic Reformer after Luther, could not away with "those idols of the heathen," the ancient statues. Clement VII for a moment restored the old régime of art and licentiousness together, having Perino del Vaga paint his bathroom with scenes from the life of Venus in the manner of Giulio Romano. But the Council of Trent made severe regulations against nude pictures, in pursuance of which Daniel da Volterra was appointed to paint breeches on all the naked figures of Michelangelo's Last Judgment and on similar paintings. Sixtus V, who could hardly endure the Laocoon and Apollo Belvidere, was bent on destroying the monuments of heathendom. The ruin was complete when to her cruel hate the church added {691} her yet more cruel love. Along came the Jesuits offering, like pedlars, instead of the good old article a substitute guaranteed by them to be "just as good," and a great deal cheaper. Painting was sentimentalized and "moralized" under their tuition; architecture adopted the baroque style, gaudy and insincere. The church was stuffed with gewgaws and tinsel; marble was replaced by painted plaster and saintliness by sickliness.
SECTION 5. BOOKS
[Sidenote: Numbers of books published]
The sixteenth was the first really bookish century. There were then in Germany alone about 100,000 works printed, or reprinted. If each edition amounted to 1000—a fair average, for if many editions were smaller, some were much larger—that would mean that about a million volumes were offered to the German public each year throughout the century. There is no doubt that the religious controversy had a great deal to do with the expansion of the reading public, for it had the same effect on the circulation of pamphlets that a political campaign now has on the circulation of the newspaper. The following figures show how rapidly the number of books published in Germany increased during the decisive years. In 1518 there were 150, in 1519 260, in 1520 570, 1521 620, in 1522 680, 1523 935, and 1524 990.
Many of these books were short, controversial tracts; some others were intended as purveyors of news pure and simple. Some of these broadsides were devoted to a single event, as the Neue Zeitung: Die Schlacht des türkischen Kaisers, [Sidenote: 1526] others had several items of interest, including letters from distant parts. Occasionally a mere lampoon would appear under the title of Neue Zeitung, corresponding to our funny papers. But these substitutes for modern journals were both rare and irregular; the world then got along with much {692} less information about current events than it now enjoys. Nor was there anything like our weekly and monthly magazines.
The new age was impatient of medieval literature. The schoolmen, never widely read, were widely mocked. The humanists, too, fell into deep disgrace, charged with self-conceit, profligacy and irreligion. They still wandered around, like the sophists in ancient Greece, bemoaning their hard lot and deploring the coarseness of an unappreciative time. Their real fault was that they were, or claimed to be, an aristocracy, and the people, who could read for themselves, no longer were imposed on by pretensions to esoteric learning and a Ciceronian style.
Even the medieval vernacular romances no longer suited the taste of the new generation. A certain class continued to read Amadis of Gaul or La Morte d'Arthur furtively, but the arbiters of taste declared that they would no longer do. The Puritan found them immoral; the man of the world thought them ridiculous. Ascham asserts that "the whole pleasure" of La Morte d'Arthur, "standeth in two special points, in open manslaughter and bold bawdry." The century was hardly out when Cervantes published his famous and deadly satire on the knight errant.
[Sidenote: Poetry]