ABSTRACT
This chapter argues that while a singular Counter-Reformation style cannot be unequivocally identified, the origins of a key aspect of late-Cinquecento and early-Seicento sacred imagery-affectivity through the vehicle of tangible presences-can be established. The chapter focuses on to Lombardy as a critical exponent in the complex dialog between Counter-Reformation objectives and late Cinquecento and early Seicento style, but redirects the origins of Counter-Reformation affectivity to late Quattrocento Lombardy under the influence of Franciscan devotion. Typically ascribed as a key component to the dramatic vein of Counter-Reformation style, affectivity in sacred art developed independently of the Tridentine decree on images and post-Tridentine treatises, but was quickly recognized as a useful means to engender faith among the general populace. Although used in a derogatory manner in Malvasia, Lombardy's affective style of inerudita semplicita played a critical role in paving the road to salvation for the common man.
