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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 294"
COURSE NAME: "Renaissance Rome & Its Monuments (On-site)"
SEMESTER & YEAR: Summer Session I 2018
SYLLABUS

INSTRUCTOR: Tom True
EMAIL: [email protected]
HOURS: TTH 9:00-12:45PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: On-site; activity fee: €25 or $33
OFFICE HOURS: by appointment

COURSE DESCRIPTION:
Rome City Series - This on-site course will study the monuments of Renaissance Rome: painting, sculpture and architecture produced by such masters as Bramante, Raphael, and Michelangelo, all attracted to the lucrative service of popes, cardinals and nobles of the Roman court. On-site classes will investigate examples of palace and villa architecture, chapel decoration that encompasses altarpieces and funerary sculpture, as well as urbanistic projects where the city itself was considered as a work of art. In-class lectures will introduce historical context and theory allowing the student to understand artworks studied conceptually and place commissions of painting and sculpture within a socio-historic framework.
SUMMARY OF COURSE CONTENT:

After the return of the papacy from Avignon, around 1420 the squalid  and neglected conditions in Rome began to improve. By the middle of the 15th century, Rome began to supplant Florence as the leading center of the  Renaissance, a period characterized by the reconciliation of classical ideals and ancient humanistic learning with Christian beliefs.  The re-establishment and expansion of papal power revived, restored, and renewed  Rome, seat of the Catholic Church and Ancient Roman Empire, as "caput mundi".  Self-aggrandizing popes and cardinals commissioned grand works during the High Renaissance (ca. 1500-1520) from artists renowned for their genius, such as Bramante's New Saint Peter's project, Michelangelo's Sistine Ceiling and Raphael's frescoes in the Stanza della Segnatura.  This on-site  course  investigates how and why  Renaissance paintings, sculptures, buildings,  and urban projects not only reflect, but actively create, the image of Rome as an ideal heavenly and secular city.

Classes are organized chronologically and thematically, with a focus on the invaluable opportunity to view firsthand  works of art in their original context. Class discussions will be based on the analysis of  monuments and  textual sources from the time period, as well as more recent studies conducted with different methods, but closely related to on-site visits. Familiarity with original works of art and primary sources will  provide the foundation for studying the specific historical and cultural context of the Renaissance in Rome.

LEARNING OUTCOMES:

Students will obtain extensive  firsthand knowledge of  Renaissance painting, sculpture and architecture in Rome, and  learn about the period's cultural context.

Viewing, analyzing, reading about and discussing works of art in their original location will train students to understand and interpret visual culture. 

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
General requirementsThis is an upper-level art history course. No distinction is made between art and non-art majors in class. Grading is not based on a curve. All students are expected to attend every class and meet on time, keep up with the assigned reading, and complete all assignments and take exams on schedule. Grades will be lowered for non-compliance and unexcused absences. Specific guidelines for all assignments will be provided and graded accordingly. Assigned readings will be available on reserve or on JSTOR or Couse Post-it on the My JCU website. The professor should be contacted immediately if any questions or problems arise. Any student who has a need for accomodation based on the impact of a disability should contact the professor privately to discuss the specific situation as soon as possible at the beginning of the course. The required documentation should be on file. Please see the website for the complete policy. 
Journal (each entry 250 words)Students will turn in a written analysis of what was learned from reading, viewing, and discussing Renaissance monuments studied on-site in each class. Specific guidelines will be provided.30%
Oral presentationA brief presentation/class-led discussion of a monument (about 10 minutes) will be given. The topic will be chosen by the student from a list of options.20%
Final Exam Specific guidelines will be provided, including a list of monuments and images on-line.30%
Participation and improvementRegular and punctual class attendance is mandatory. Viewing and discussing works of art on-site will be the highlight of the course. Even if students have studied the course material before, it is expected that they will attend every class and learn something new. It is essential to meet on time and bring student IDs for discounts when possible. In churches,respectful behavior and appropriate dress (no sleeveless shirts, mini-skirts, shorts, hats, flip-flops, etc) are required. Visits to other sites in Rome will be recommended. Students should take advantage of Italy's incomparable artistic wealth by visiting other cities with Renaissance art, especially Siena, Florence and Venice. To earn a high grade it is necessary to be actively engaged and participate regularly in class discussions.20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond t
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

Regular and punctual class attendance is mandatory. Absences are excused only with official documentation of illness or emergency.

You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Tuesday, May 22, 2018 (Meet in classroom Corsini 2)

Tracing the Rebirth of Antiquity in Rome
The Arch of Constantine, Santa Maria Maggiore, San Clemente

Reading: Vasari, Preface to "Lives of the Artists" (particularly pp. 25-38; 45-47); Stinger, pp. 59-76


Thursday, May 24, 2018 (Meet in classroom Corsini 2 before going on-site)

Pantheon and Renaissance art in Santa Maria sopra Minerva

Reading: Geiger, pp. 62-75; Wallace, "Michelangelo's Risen Christ", pp. 1251-1280; Wallace, pp. 3-19, 28-49


Tuesday, May 29, 2018 (Meet at obelisk in centre of St Peter's Square)

New St Peter's Basilica and Michelangelo's Pieta

Reading: Vasari, "Life of Michelangelo"; Contract for the "Pietà"; Michelangelo's letter about the Tomb of Julius II (2 May 1506); Selected poems by Michelangelo; Ziegler "Michelangelo's 'Pietà'", pp. 28-36; Wallace, pp. 222-229 (Michelangelo at Saint Peter's)


Thursday, May 31, 2018 (Meet in classroom Corsini 2 before going on-site)

Renaissance Churches
Santa Maria del Popolo; Sant'Agostino; Santa Maria della Pace and Bramante's cloister

Reading: Dunlop 2003, pp. 259-285; Bonito 1982, pp. 268-276; Stinger, pp. 31-46


Tuesday, June 5, 2018 (with Professor Paul Tegmeyer; meet in Corsini 2)

Painting from the so-called Proto-, Early and High Renaissance periods
Pinacoteca at the Vatican Museums

Reading: Pastor, pp. 165-214; Cennini, excerpts from "Il libro dell'arte"; Leon Battista Alberti, "On Painting"; Vasaro, Preface to Part Two "Lives of the Artists"


Thursday, June 7, 2018 (with Professor Paul Tegmeyer; meet outside Colosseo subway station)

"Power made visible"
Capitoline Hill and Piazza del Campidoglio; Michelangelo's Moses Statue in San Pietro in Vincoli

Reading: Blondin 2005, pp. 1-25; Stinger, pp. 254-264; Wallace, pp. 72-80, 105-107, 188-199 ; Burroughs, pp. 85-111; Frommel, pp. 39-65; Panofsky, pp. 561-579


Tuesday, June 12, 2018 (Meet in classroom Corsini 2 before going on-site)

Ponte Sisto, Via Giulia, and Bramante's Tempietto

Reading: Stinger, pp. 181-88; Rowland 2006/7, pp. 225-238


Thursday, June 14, 2018 (Meet in classroom Corsini 2)

Class-room study day. Michelangelo, Raphael, and Vasari. Visual analysis practice 

Reading: Saint Augustine on Christian Doctrine, pp. 64-65, 74-75; Stinger, pp. 264-291; Vasari, "Life of Raphael"; Verdon, "Pagans in the Church: 'The School of Athens' in Religious Context"; Wolfflin, pp. 50-67; Wallace, pp. 89-105, 180-188


Tuesday, June 19, 2018 (Meet in classroom Corsini 2 before going on-site)

Renaissance Palaces
Palazzo Venezia, Palazzo della Cancelleria, Palazzo Farnese, Villa Farnesina

Reading: Rowland 1986, pp. 673-730


Thursday, June 21, 2018 (Meet in classroom Corsini 2 before going on-site)

Into the Baroque
Sant'Andrea al Quirinale; San Carlino alle Quattro Fontane

No reading


Friday, June 22, 2018: FINAL EXAM