Absolutism I

The Treaty of Westphalia in 1648 ends the Thirty Years' War, yet religion and rulership remain inseparable. Protestant and Catholic princes see their rule as a divine mandate. After the war, for many, there is only one goal: to rebuild their war-torn nations. They stimulate the economy, invest in education, promote scientists and artists. All of which likewise serves their purpose of self-aggrandizement. No one masters this art as expertly as King Louis XIV of France. Power-conscious, he portrays himself as absolute ruler by the grace of God, from whom all political decisions radiate. The famous Palace of Versailles becomes the baroque stage for his centralist state policy.

In the course of the Reformation, Western Christianity is splitting and ever more people are converting to the Protestant faith – denominational conflicts are inevitable. Although the 1555 Peace of Augsburg establishes confessional coexistence in the empire, mistrust and aggression continue to shape the relationship between the religions. This results in the founding of two defense alliances, the "Protestant Union" and "Catholic League", in 1608/1609. Ten years later, the Thirty Years' War ultimately begins with the defenestration of Prague. Initially a war of religion, it quickly escalates into a multi-layered conflict with numerous parties and interests, involving almost all the major powers of Europe.

As of the mid-16th century, Europe experiences a small ice age. The winters grow colder with frequent flooding in the summer, followed by poor harvests and famine. As people cannot explain the extreme change in the weather, they search for culprits - and they are quickly found. The scapegoats are supposedly "witches", but also those of another faith: the Jews. Long since excluded from society, they are confined to their own districts. In such cities such as Frankfurt, with large Jewish communities, there are riots and pogroms. As a result of the persecution of the Jews, many lose their property, their homes - and some even their lives.

When Louis XIV first sees the light of day, the French call him "Dieudonné" - gift from God. Already at 22, he assumes the affairs of state. His reign becomes the epitome of absolutism: all power emanates from the king. He alone stands at the head of the state, only supported by some confidants. To demonstrate his glory, the "Sun King" has magnificent buildings erected - such as the Palace of Versailles - organises glittering celebrations and maintains a magnificently lavish court. But Louis XIV is also a warlike monarch who seeks to secure France's supremacy in Europe and takes brutal action against the Protestants in his kingdom: the Huguenots.

France is heavily indebted in the 17th century. To fill the empty state coffers, Louis XIV appoints Jean-Baptiste Colbert as Minister of Finance, who sets store on trade and a mercantile economic policy. Domestically-produced goods are henceforth sold abroad at maximum profit. At the same time, protective tariffs prevent foreign goods from entering the land. Colbert also expands the infrastructure and founds numerous factories for the production of such luxury goods as textiles and mirror glass. Through the acquisition of colonies, he also seeks to tap into new and inexpensive sources of raw materials.

The art of the Baroque is all about drama, illusion and an overwhelming effect. Its origin is celebrated in Rome - as a response to the Reformation, which had weakened the power of the Vatican. In order to lure believers back to the Catholic faith, this new art is aimed at extolling the greatness of the Catholic Church and the glory of the papacy - with great success. It is through the Baroque that Catholicism acquires vividly graphic influence. The Italian Gianlorenzo Bernini is regarded as the star in Rome’s artistic firmament. His patrons - popes such as Innocent X - finance his elaborate pictorial and building program with huge sums of money. Countless buildings in Rome bear Bernini's signature, including St. Peter's Basilica.