Reseña de Ut Pictura Non Poesis. Los Trabajos de Persiles y Sigismunda and the Construction of Memory.

Ut Pictura Non Poesis. Los Trabajos de Persiles y Sigismunda and the Construction of Memory. de Cervantes: Bulletin of the Cervantes Society of America Resumen del Libro

PAINTING AND LITERATURE IN Early Modern Spain were powerful tools used to educate the population in a theocratic and absolutist ideology. Although the resolutions of the Council of Trent did not create a new style, they did provide a corpus of rules that shaped the artistic and literary production of the Catholic nations. Among the most important consequences of these resolutions may have been the necessity of controlling the different expressions of human creativity in order to maintain the country's dominant ideology. The next logical step for art and literature was to break with the intellectual elitism of the Renaissance and Mannerism in order to become more appealing to the senses of the population (Portus 21). Spain, the champion of the Catholic Reformation, developed a theory of the art of painting based on its "usefulness" in narrating stories to the faithful using strategies such as compositio loci or in illustrating complicated concepts with the rhetorical help of the demonstratio ad oculos. The seductive power of images was considered key to teaching the appropriate behaviors. (1) Francisco Pacheco established this importance in his Arte de la pintura (1649), in which he considers the aim of the Christian painter to "persuadir al pueblo, y llevarlo, por medio de la pintura, a abrazar alguna cosa conveniente a la religion" (I, 11; 252). Thus, decorum, became a major preoccupation of the authorities. During the Renaissance decorum referred to the sacrifice of accuracy regarding historical details to gain in effectiveness, but for theologians, men of letters, and the hierarchy of the Church, the meaning of decorum soon fell under the semantic influence of "decency." The artist and the writer were thus compelled to "amend" the so-called "errors" to which strict historical fidelity could fall prey, because it was accepted, art could--and should--perfect nature (Portus 27). If imitatio and inventio were not clearly distinguished in the early sixteenth-century theory of art, the influence of the moral concept of decency on the artistic dispositio could only complicate things even more. (2)

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