Contents: Introduction: The social context of the Baroque period: the beginnings of modernity. Part I: The survival of the classical paradigm of the cross in Roman Catholicism. Chapter 1: The theoretical mediation: the cross in Baroque Tridentine orthodoxy. Chapter 2: The aesthetic mediation: the cross in Baroque Catholic art. Chapter 3: The aesthetic mediation: the Passion in Catholic music. Part II: The cross in Protestant orthodoxy. Chapter 4: The theological mediation: Baroque Lutheran and reformed theology of the cross. Chapter 5: The aesthetic mediation: the cross in Protestant art. Chapter 6: The aesthetic mediation: Protestant Passion music. Part III: The challenge to the orthodox doctrine of redemption: the Enlightenment paradigm. Chapter 7: Challenges to the classical paradigm of the cross, and the emergence of a new paradigm of salvation. Envoi. Appendix 1: Virtual museum. Appendix 2: Discography of Passion music of the Baroque period.

Summary: The Baroque period was in some senses the beginning of modern Western scientific and intellectual culture, the early budding of the Enlightenment. In the light of a new scientific and historical consciousness, it saw the rise of deism and the critique of traditional forms of Christianity. Secular values and institutions were openly or surreptitiously replacing the structures of traditional Christian society. At the same time, it was a time of religious renewal and of the reaffirmation of tradition. In sacred art, it was the age of of Bernini, Rubens, Van Dyck, Velázquez, and Rembrandt; in church music, the period of Monteverdi, Scarlatti, Handel, Telemann, and Bach. The pathos of Christ's crucifixion - its power to evoke strong emotions of pity and compassion - was a central element in Baroque theology and spirituality. The sacred arts of the period reflect the centrality of this theme. Many of the works of the period retain their ability to move us emotionally and spiritually centuries later - even though the theology they represent has been challenged and frequently rejected. This volume traces the ways in which Roman Catholic and Protestant theologies of the period continued to proclaim the centrality of cross of Christ to human salvation. In a parallel movement, it illustrates how musical and artistic works of the period were both inspired and informed by these theologies, and how they moved beyond them in an aesthetic mediation of faith.

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