A recent cultural history of the art and architecture of the European Baroque Period, which spanned roughly the entire seventeenth century, uses well-known works to sketch a fresh and surprising perspective on the impact of these works on the imaginations of their original viewers. The author, an emeritus professor at an Ohio university, does not bother to challenge the customary list of Baroque characteristics–opulence, grandeur, movement, large scale, emotion, bold colors, gold–but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground. Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified. From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy. The author most likely mentions the ceilings of St. Peter’s Basilica in order to A. Provide evidence supporting the idea that art can be used to solidify power. B. Offer readers a visual image of the work of art in question. C. Demonstrate that works of art often inspire awe. D. List the distinctive characteristics of a famous building. E. Present an explanation of the building’s visual power.

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V01-33, V01-34, V01-35, V01-36

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miag

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07 Jan 2026, 02:30

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Hi,

Not sure if I understood your doubt correctly but let me try explaining:

The ceilings are mentioned to show how a specific work of art actually achieved the political goal described - reinforcing Church authority by inspiring awe. That is exactly what A) says.

Hope this helps!

amandancsg

I did not quite understand the solution. Can you explain option C - These two ideas are contrasted, not connected, in the passage.
I dont understand how the power concentration and religious devotion are contrasted

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17 Mar 2026, 08:12

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I did not quite understand the solution. how did we narrow down to the single suugestion that this is part of a book review section? Please tell me the elimination process and how did can one recognise from the tone of the passage

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26 May 2026, 07:23

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I did not quite understand the solution. Is re-centralising same as centralising?

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07 Jun 2026, 03:41

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I like the solution - it’s helpful.

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08 Jun 2026, 04:39

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INeel Hello Let me help you in this-
Re-centralising and centralising are different, Re-centralizing = bringing power back to the center after it was lost or weakened and Centralizing = bringing power to the center for the first time.
and if apply this to the passage .
The Protestant Reformation movement happened,weakened the Church's central authority.
So First Church HAD central power → then LOST some of it due to the Reformation → then tried to GET IT BACK.
That "getting it back" part is exactly what re-centralizing means here.
I hope this helps.