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The Augsburg Interim was a period where Counter-Reformation measures were exacted upon defeated Protestant populations following the Schmalkaldic War. During the centuries of Counter-Reformation, new towns, collectively termed Exulantenstädte (plural), were
[1] [2] Prompted by the Protestant Reformation at the time, it has been described as the embodiment of the Counter-Reformation. [3] [4] It was the last time an ecumenical council was organised outside the city of Rome.
Some subjects were given increased prominence to reflect Counter-Reformation emphases. The Repentance of Peter, showing the end of the episode of the Denial of Peter, was not often seen before the Counter-Reformation, when it became popular as an assertion of the sacrament of Confession against Protestant attacks.
"Catholic Reformation" is distinguished by the historian Massimo Firpo from Counter-Reformation. In his view, Catholic Reformation was "centered on the care of souls ..., episcopal residence, the renewal of the clergy, together with the charitable and educational roles of the new religious orders", whereas Counter-Reformation was "founded upon ...
Borromeo founded the Confraternity of Christian Doctrine and was a leading figure of the Counter-Reformation together with Ignatius of Loyola and Philip Neri. In that role, he was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests.
Il Gesù was the first of many Counter-Reformation churches built in Rome; serving as the mother church of the new Jesuit order. Designed by Giacomo Barozzi da Vignola, the church of Il Gesù soon became the prototype for the Baroque churches that the Jesuit order built or rebuilt during the Counter-Reformation era. [4]
By the time he left Germany, the Society of Jesus in Germany had evolved from a small band of priests into a powerful tool of the Counter-Reformation. Canisius spent the last twenty years of his life in Fribourg, where he founded the Jesuit Collège Saint-Michel, which trained generations of young men for careers and future university studies. [6]
The painting expresses the basic tenets of the Counter Reformation through the figures of the Virgin and saints. In the upper niche of the retable is a marble statue depicting the Virgin as the Mater Dolorosa whose heart is pierced by a sword, which was likely sculpted by Lucas Faydherbe, a pupil of Rubens.