Abstract

Northrop Frye once remarked that when art reaches a certain level of intensity it begins to speak about itself. Karsten Harries, in his excellent new book, provokes in the reader an image of the Bavarian rococo church having reached this degree of self-consciousness, to the extent that it calls into question not only its own special limits, but those of all sacred art. In Harries's words, the Bavarian rococo church is "no longer able to take seriously the pathos and rhetoric of the baroque, yet refuses to give them up; so it plays with them." Harries's argument centers around three axes: first, the conflation of painting, architecture, and ornament into a single art form; second, the change in and thematization of the viewer's perspective resulting from this conflation; third, the encroachment of the aesthetic upon the sacramental, an encroachment which follows from this new emphasis on the viewer's perspective. Thus, Harries's claim: the very principles of the Bavarian rococo church lead to its own disintegration at the hands of an "aesthetic attitude," according to which "a work of art is governed by the demands of its own aesthetic perfection."