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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 291"
COURSE NAME: "Medieval Rome and Its Monuments "
SEMESTER & YEAR: Fall 2019
SYLLABUS

INSTRUCTOR: Sharon Salvadori
EMAIL: [email protected]
HOURS: W 9:15-12:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS:
PREREQUISITES: On-site; activity fee: €25 or $33
OFFICE HOURS:

COURSE DESCRIPTION:
Rome City Series - An on-site survey of Roman urbanism, as well as developments in figural media and architecture, from the 4th to the 14th century. While the course will naturally emphasize the abundant religious art remaining in the city, it will also examine such secular achievements as towers, housing, defenses, and roads.
SUMMARY OF COURSE CONTENT:

This is an upper level survey on the art, architecture and topography of late-antique and medieval Rome. The aim of the course is to provide an in-depth familiarity and appreciation of the multifaceted nature of the city in these transformative and dynamic historical periods. The class often meets on-site, allowing for first-hand study of architecture, paintings, mosaics, sculpture, and other art works, as these are the “primary sources” for an examination of the religious, political, and social functions and meanings of the built environment and visual culture of the city. Classes on campus are meant to provide a broader context, including the discussion of important artworks either not extant or not visible in the city. 

A primary focus of the course is the development of Rome into the capital of Western Medieval Christendom. For that reason, our chronological framework begins with an examination of images from the mid- to late-third century AD, when the first significant body of Old and New Testament imagery develops in Rome under primarily Christian patronage. The chronological end point is the first decade of the 14th century, which witnessed the move (or “exile”) of the pope and his court from Rome to the French city of Avignon, essentially ending an era in the history of the city. 

While the Church in its many forms- from the papal court to convents to neighborhood parishes- was the most powerful political, social and economic institution in Rome during the 1000-year span we will be examining, many members of the secular elite- often belonging to the same families that staffed the papal court- also exerted a strong visual and cultural impact on city whether as patrons or as key designated viewers. Moreover, the city always retained a form of civic government whose office-holders were in charge with the all-important urban infrastructure (roads, walls, aqueducts, sanitation, etc.)  A second focus of the course is, therefore, an examination of the interplay between the religious (popes, priests, deacons, nuns, monks, etc.) and the lay inhabitants of Rome, if often through the filter of the mostly religious surviving evidence. 

Last but not least, medieval Rome may not be properly understood without examining how the city dealt with its Classical past. As the city “reshaped” itself between Late Antiquity and the Middle Ages, the topographical, monumental and artistic legacy of Ancient Rome was ever present and was preserved as a source of civic pride, transformed or repurposed, or left to decay, but never erased.

For logistical reasons (including meeting on campus, rush hour, opening times, mass times etc.), class often meets at 8:30 - the scheduled on-campus time-slot (and once at 8:00). It may last until either 11:00 - the scheduled on-campus time-slot or until 11:45 - the scheduled on-site time-slot.  For the longer sessions "compensation time-off" has been scheduled (one class). You in any case always pay special attention to the Meeting Time listed in the Course Schedule. Please also note that students may not be registered for a class that immediately follows this one, given the time required to travel back to from sites. In fact, it is advisable to give yourself a minimum of 90 minutes to return to campus or your next on-site class. The course has a €25 fee per student to cover cost of tickets at sites, churches and museums.

LEARNING OUTCOMES:


Ø  understanding of key aspects of urban layout and spatial organization in Medieval Rome

Ø understanding of key structural, functional and stylistic aspects of Roman Medieval art and architecture

Ø ability to analyze and interpret the urban topography and development of Medieval Rome and, more specifically, the motives in the creation, use and reception of areas, neighborhoods, monuments and artworks in their original (medieval) political, religious, and social contexts

Ø skills for the critical analysis of urban topography and visual culture generally

Ø familiarity with different methods of art historical analysis and terminology and the ability to deploy them successfully

Ø  ability to apply critical thinking and analysis generally

Ø  ability to select and organize material to produce a coherent and cogent argument both orally and in writing- and to do so to so respecting deadlines.

Ø  ability to exchange ideas and engage in discussion with peers

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Rome: Profile of a City, 312-1308Richard KrautheimerPrinceton U.P.0691049610 9780691049618  
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
ParticipationIn addition to attendance, active class participation is expected of all students. Participating effectively entails completing and taking notes on all "Required Reading" (listed in the Course Schedule), before class so that during class you can effectively engage: prepared to ask and answer questions and to share any pertinent observations. Although participation is only 5% of the course grade it could ensure an A rather than an A- as your final grade. Remember too that the more you engage, the more interesting and fun the class will be not only for you but also for everyone else (prof. included). 5
QuizzesPart of your preparation in the course of the semester will be evaluated through 6 quizzes based on the "Required Reading" and in-class lectures. The quiz with the lowest score will be excluded from the final tally. That means that each of the remaining 5 quizzes is worth 4% of your course grade. Please be aware that if you miss a quiz -for any reason, including illness- you will not be able to make it up (it will be the one not tallied). All the quizzes will be on material we have previously discussed in class (=review quizzes). They are designed to assess your knowledge of key facts concerning representative monuments and artworks and your ability to critically interpret their historical significance. Each quiz will consist in one or more questions on specific areas, monument or object types, individual monuments or artworks or sets of monuments or artworks. You may be asked the name of an area, monument, building or artwork, as well as its location, date, function and/or patronage; you may also be asked to describe it (structural and decorative components, materials used, style, iconography, etc.); or you may be asked to a question on some aspect of its significance (e.g. the intended meaning- political, religious, social, aesthetic- of the iconography of a given church apse mosaic) . Depending on the number and nature of the questions, you will be given anywhere between 10 and 15 minutes to answer. The dates and topics of the quizzes are listed in the Course Schedule. 20
Visual AnalysisThe assignment is intended to develop your skills in observation, critical interpretation and evaluation, as well as presentation/articulation (developing the ability to express in a clear, concise and effective manner is as important as content…content without form undermines content itself). Due Date: Wed. Nov. 13 (in hard copy in class and via email). Early Visual Analysis welcome. Late assignments not accepted. Outlines or drafts are optional but must be turned in at least 2 weeks prior to the due date; similarly, if you have questions on content and bibliography set up an appointment with me at least 2 weeks prior to the due date. Length: 1500 words, exclusive of footnotes, bibliography and supporting images The analysis must include: • a descriptive account of the monument/artwork: date, location in Rome, medium, size, technique, and iconographic (=subject / content), formal (= analysis of form), and stylistic analysis (= how form is rendered) - 50% of total • a historically informed contextual and interpretative discussion (function, patronage, intended and received meaning, impact, associations, etc., as relevant or known- 50% of total You must clearly demonstrate that: 1. you have read and understood the Required Reading listed on your syllabus for your topic/ period/medium (this will vary, but it will always include the historical period; see also the additional Visual Analysis Guidelines) 2. you have read and understood at least 2 additional academic sources on your topic. The most obvious (and easiest) option is to choose relevant publications from the "Suggested Reading" listed in the Course Schedule; but other pertinent books and periodicals in the Course Bibliography and the library may also be used. The analysis must include 1. Proof of having seen the art work first-hand (=in person): this may consist in a dated ticket of a site or museum or of a dated photograph before the art work or monument; in either case it must be attached to the paper. Obviously, no proof is necessary if we saw the artwork or monument together as a class. 2. Two or more sketches of the art work or monument being analyzed. The sketches are to be turned in with the paper but will not be evaluated in terms of the quality of your draftsmanship: even if you think you cannot draw, sketching greatly aids seeing (which is far more than simply looking!) and this is the point of the exercise, as hopefully you will discover when you come to your written description. Barring any official prohibition (which you must explain to me in detail in person), you must sketch on-site - so make sure to bring paper and pencil with you. The sketches are in addition to the 1500 word-count (obviously). 3. One or more photographic reproductions of the art work 4. Proper citations of relevant literature. Please note that but there is no required format for citations; what is required is consistency that is, pick one format and stick to it (see also the additional Visual Analysis Guidelines) 5. a Bibliography of: A. relevant titles from the "Required reading" from the Course Schedule B. The two (or more) additional titles (see 2 above in "You must clearly demonstrate") *Additional Visual Analysis Guidelines, including suggested topics are posted on Moodle. You are required to read these guidelines carefully by Wed. Sept. 18 (Class 3), when we will review them together. 15
Term PaperTERM PAPER (25% OF THE COURSE GRADE) is intended to develop skills of independent research, ability to evaluate and interpret materials and their inherent interests, and capability for discussing these in a nuanced manner in writing. It must combine iconographic, formal and stylistic analyses and an historically informed contextual and interpretative analysis. In other words, a formal essay that demonstrates the skills that you have developed and/or honed during the semester. The assignment has two parts: 1. a paper Abstract and Annotated Bibliography (15% of paper grade) due Wed. Nov. 6, both in hard copy (brought to class) and electronically (send me copy via email). The abstract should be 100 words (max). It is essentially a thesis statement, but it must mention what works you will be focusing on -no less than two no more than 4. The abstract must be accompanied by reproductions of the artworks you will be focusing on. The annotated bibliography must contain a minimum of 5 titles- 150 words per title- publication title excluded from word count. Each publication must be briefly summarized and its relevance to your paper explained. (See also additional Paper Guidelines) 2. the Term Paper itself (85% of paper grade) due Wed. Dec. 4, both in hard copy (brought to class) and electronically (send me copy via email). It must be 3000 words, exclusive of footnotes, bibliography, and (obviously) images. It must include a complete bibliography of primary and secondary sources used and all references must be fully cited in the paper itself. Supporting images are also required (no less than 4). Please note that it is perfectly acceptable and even encouraged to structure your term paper around the topic of your Visual Analysis (e.g. including the same monument or artwork, same historical period, same or similar viewing context, similar iconography, etc.) *Early Abstracts, Annotated Bibliography and Term Papers welcome. Late assignments not accepted. Outlines or drafts are optional but must be turned in at least 2 weeks prior to the due dates; similarly, if you have questions on content and bibliography set up an appointment with me at least 2 weeks prior to the due date. For minor questions on bibliography, format, paraphrasing, quoting primary and secondary sources or methods of citation set up an appointment with me at least one week prior to the due date. *Additional Paper Guidelines, including suggested topics are posted on Moodle You are required to read these guidelines carefully by Wed. Sept. 18 (Class 3), when we will review them together. 25
Mid-term ExamThe exam is designed to assess your knowledge of essential facts about areas, neighborhoods, monuments, artworks in Late Antique and Medieval Rome and your ability to critically interpret and assess their significance in their original historical context (that is more or less at the time they were built, rebuilt, decorated, restored and/ or repurposed). It consists in series of 8 comparisons, 15 minutes each. One or more images of two sites or monuments will be shown to you. You must first identify each one: name, typology, date, media, key structural and formal elements, (original) location, function, patronage must be specified as known or relevant. E.g. the Aurelian wall does not have a subject, but the apse mosaic in Santi Cosma e Damino does; a church may have a “basilican plan,” but how that plan is articulated (with one or two aisles, with or without a transept, with or without chapels, etc.) may vary; a representation of the Virgin Mary is just that, but how she is specifically represented (in a sequence of narrative images, as an icon, in regal garb, standing or sitting with the Christ child, with angels and saints on either side, etc.) and where (in an apse, on the altar, in a chapel, etc.) may vary and all must be specified and described- however briefly. Secondly (and most importantly) you must consider the two artworks or monuments in relation to one another, i.e. discuss significant similarities and differences. These are often thematic elements and meaning in historical context (patronage, intended message/s etc.), rather than media or structural components. 15
Final ExamLike the mid-term exam, the final exam is structured to assess your knowledge of essential facts about areas, neighborhoods, monuments, artworks in Ancient Rome and your ability to critically interpret and assess their historical significance. The exam is cumulative, although with a greater emphasis on material studied after the mid-term. You may expect material from earlier periods to show up especially in comparisons. The exam takes place during exam week (exact, day, time and classroom TBA) The exam is designed to assess your knowledge of essential facts about areas, neighborhoods, monuments, artworks in Late Antique and Medieval Rome and your ability to critically interpret and assess their significance in their original historical context (that is more or less at the time they were built, rebuilt, decorated, restored and/ or repurposed). It consists in series of 8 comparisons, 15 minutes each. One or more images of two sites or monuments will be shown to you. You must first identify each one: name, typology, date, media, key structural and formal elements, (original) location, function, patronage must be specified as known or relevant. E.g. the Aurelian wall does not have a subject, but the apse mosaic in Santi Cosma e Damino does; a church may have a “basilican plan,” but how that plan is articulated (with one or two aisles, with or without a transept, with or without chapels, etc.) may vary; a representation of the Virgin Mary is just that, but how she is specifically represented (in a sequence of narrative images, as an icon, in regal garb, standing or sitting with the Christ child, with angels and saints on either side, etc.) and where (in an apse, on the altar, in a chapel, etc.) may vary and all must be specified and described- however briefly. Secondly (and most importantly) you must consider the two artworks or monuments in relation to one another, i.e. discuss significant similarities and differences. These are often thematic elements and meaning in historical context (patronage, intended message/s etc.), rather than media or structural components. 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 that required for the course.
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:

Attendance is required, but  not graded  

All scheduled classes are mandatory. Roll will be taken at the beginning of each class (i.e. you must also be on time!) Lectures and on-site visits do more than simply complement required reading assignments so being absent inevitably results in extra work to catch up. Typically, missing 2 or more classes results in poor performance, if not a failing grade (because each class is a double period 2 classes are the equivalent of 4). Meeting on-site obviously requires moving, so you absolutely must also be punctual at our initial meeting points (specified below in the Course Schedule). It is your responsibility to find out where the meeting places are. You may ask me in advance, but no later than during the class the week before. I will not respond to last minute emails or phone calls. For subway and bus lines consult www.atac. it (available in English). Please also be aware that missing classes may entail missing quizzes, which may not be made up (but see below on the "throw away" quiz). For this and other more obvious reasons, it is imperative to attend all classes.

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

CLASS SCHEDULE

1. Wed. Sept. 4

    

Meeting place:

Meeting time:

 

Introduction to course: content, methodology, requirements, logistics 

On-site: San Crisogono: materials, architectural elements and plans, spolia, archaeological evidence, rebuilding and redecorating 

JCU, GK. 1.2

9:15

 

2. Wed. Sept. 11

 

 

Meeting place:

Meeting time:

 

Required reading:

  

 

Suggested Reading:

 

 

 

 

 

 

 

 

 

 

 

 

  

Quiz 1:

Rome between the 3rd and 5th century:

political, social and religious identities (overview)

 

JCU, GK. 1.2

8:30-11:15

 

Krautheimer (1980/ 2000): Chs. 1 and 2; Brandenburg (2005), Intro and Ch. 1: earliest churches, Ch 2: Lateran, and Ch. 3, 91-108: Old St. Peter's and Santa Croce in Gerusalemme

 

Brandenburg (2005), 55-91: ambulatory basilicas in 4th cent.; Brandt (2001): Lateran; Brenk (1987): spolia; Bowersock (2002): St. Peter's; Costambeys (2001): burial topography and power of Church 5th-6th cents.; Cooper (1999): politics of martyr cult in 5th-6th cents; Elsner (2000): Arch of Constantine; Dey (2011): Aurelian Wall 3d- 9th cents.; Ensoli, S. and La Rocca, E. eds. (2000): Pagan and Christian in Late Antiquity; Gem (2013): St. Peter's 4th cent.; Elsner (2003 and 2012): problems in the interpretation of late antique art; Finney (1994), esp. Chs. 5 and 6: earliest Christian art; Kalas (2015): Roman Forum in Late Antiquity; Kinney (1997, 2012, 2015): spolia; Kleiner (1992): 413-17 (Decennalia monument), 445-55 (Arch Constantine; on the reliefs of the Arch see also see also pp. 251-53 and 288-95); Krautheimer (1982): Introduction and Chs. 1 4: 4th and 5th century; Krautheimer (1989): St. Peter's in 4th cent.; Liverani (2008, 2015a and 2015b): St. Peter's in 4th cent.; Machado (2006): Monuments and Memory in the Roman Forum in Late Antquity; MacMullen (2010): Christian ancestor worship; Marlowe (2006): Arch Constantine; Mathews (1993), Chs. 2 and 3: early Christian iconography; Mulryan (2011): movement/ networks of devotion in L.A. Rome; Mulryan (2014): intramural building 4th-7th cents.; Peirce (1989): Arch of Constantine; Rebillard (2009a and 2009b): care of the dead and the Church in L.A. Sághy (2010 and 2012): martyrs' cult in 4th cent.; Thacker (2007a and 2007b): martyrs' cult 4th-7th cents; Thacker (2015): St. Peter's 4th to 8th cents; Thunø (2018): relics and cult of relics in L.A. Trout (2003): Damasus and Christianization; Winn Leith and Everingham Sheckler (2016): absence of relics in church consecrations; Yasin (2012): sacred spaces and images in L.A.

the basilica: ground plans, structural and decorative elements

(focus on what you learnt in S. Crisogono; suggested reading: Kinney (2006)

**Discussion of visual analysis and term paper**  

3. Wed. Sept. 18 


Meeting place:
 

Meeting time: 

Required reading:
 

Suggested Reading:

 

 

Burial in the Roman Suburbs: the Catacomb of Priscilla, the Catacomb of Sant'Agnese, the two Basilicas of Sant’ Agnese (4th cent. and 7th century), the Mausoleum of Costanza 

Catacomb of Priscilla – Via Salaria 430: take 63 bus at the beginning of Via del Corso -Piazza Venezia side- to stop “Priscilla”

8:30 (be aware that it may easily take an hour from Pzza Venezia)-11:45

Brandenburg (2005) 69-86: Sant’ Agnese and Santa Costanza; Fiocchi Nicolai et al. (2002): Ch. 2: art in Roman catacombs (F. Bisconti)

Bodel (2008): collective burials, columbaria and catacombs; Borg (2003), 72-121: catacombs and Christians and 252-269: Priscilla, biblical scenes in funerary art, and conclusion to 3rd cent. hypogeal decoration; Brandenburg (2005), 55-91: ambulatory basilicas in 4th cent.; Corrington (1989): comparison of Isis and Mary iconography; Elsner (2003 and 2012): problems in the interpretation of late antique art; Fiocchi Nicolai et al. (2002): Fiocchi Nicolai Ch.1: development catacombs; Finney (1994), esp. Chs. 5 and 6: earliest Christian art; MacMullen (2010): Christian ancestor worship; Mathews (1993), Chs. 2 and 3: early Christian iconography; Rebillard (2009a and 2009b): care of the dead and the Church in L.A.; Smith (1993): Susanna and the Elders in late antique funerary art; Yasin (2005): collective identity in burial -pagan to Christian

4. Wed. Sept. 25  

Meeting place: 

 

Meeting time:

Required reading:

 
 

Suggested Reading:

 

 

 
 

Quiz 2:

Christianization in late-4th- early-5th-century Rome  
S. Paolo, flm, Santa Pudenziana, S. Sabina  

Basilica of San Paolo- Piazzale San Paolo, 1 - atrium by porch of main entrance (if you are coming by subway - Metro B- you have to circle the church from the back to get to main entrance)

8:30- 11:45

Krautheimer (1980/ 2000): Ch. 2; Brandenburg (2005), 133 (intro Post-Constantian church building), 137-142 (S. Pudenziana), Ch. 6 (San Paolo, flm) and 167-176 (Santa Sabina); Mathews (1993), Ch. 4: (early Christian monumental decoration)

 Kinney (1992): apocalypse in early Christian iconography; Krautheimer (1982): Ch. 4: late 4th-5th century Rome; Liverani (2016): bishops and early Christian basilicas; Mulryan (2014): intramural building Rome 4th-7th cents.; Schlatter (1995): S. Pudenziana apse iconography; Thunø (2011): inscriptions on light in Rome; Thunø (2007): inscriptions S. Sabina; Thunø (2017): power of inscriptions; Winn Leith and Everingham Sheckler (2010): Crucifixion and doors of S. Sabina; Yasin (2012): sacred spaces and images in L.A.

biblical images in catacombs (focus on images in Priscilla)

 

Wed. Oct. 2

 

NO CLASS

(compensation time off) 

5. Wed. Oct. 9
  

Meeting place:

Meeting time: 

Required reading:

  

Suggested reading:

 

 

Christianization in 5th-century Rome, cont.: (S.M. Maggiore) / Rome 6th to 8th cent. (overview)

JCU, GK. 1.2

8:30

Krautheimer (1980/ 2000): Ch. 2 and 3; Brandenburg (2005): 133 (intro Post-Constantian church building) and 176-189 (S. Maria Maggiore); Mathews (1993), Ch. 4: (early Christian monumental decoration)

Andrews (2015): Marian cult in Rome and S. Maria M.; de Vegvar (2007): S. Maria M. gendered spaces and imagery placement; Dey (2008): charitable institutions in early-medieval Rome; Dyer (2007): religious processions medieval Rome; Kinney (1992): apocalypse in early Christian iconography; Goodson (2007): architecture saint veneration early medieval Rome; Krautheimer (1982): Ch. 4: late 4th-5th century Rome and Ch. 5: Carolingian Rome; Liverani (2016): bishops and early Christian basilicas; Loerke (1981): iconography S. Maria M.; Miles (1993): iconography S. Maria M.; Mulryan (2014): intramural building Rome 4th-7th cents.; Noble (1984), birth of the papal state (680-825); Noble (2001): making of papal Rome 8th-9th cents; Noreen (2005): icon of S. Maria M.; Spain (1979): iconography S. Maria M; Thunø (2003): Marian cult in Rome; Winn Leith and Everingham Sheckler (2016): absence of relics in church consecration in early medieval Rome; Yasin (2012): sacred spaces and images in L.A.

6. Wed. Oct. 16
  

Meeting Place:

Meeting time: 

Required reading: 

Suggested reading:

 

 

 

 

 

 

 

 

 Quiz 3:

Rome between Old and New and East and West (6th-8th centuries)
S. Maria Rotonda, SS. Cosma e Damiano, S. Maria Antiqua complex

Pantheon - in square (Piazza della Rotonda) by fountain

8:30 

Krautheimer (1980/ 2000): Chs. 3 and 4; Brandenburg (2005): 222-234 (SS. Cosma e Damiano, S. Maria Antiqua, S. Adriano, S. Maria Rotonda)

 Bolgia (2013a): light and med. mosaics; Constable (2000): Rome 7th and 8th cents.; Davis-Weyer (1999): iconography SS. Cosma e Damiano; Dey (2008): charitable institutions in early-middle ages; Folgerø (2009): S. Maria A. palimpsest wall; Jessop (1999): non-biblical saints in 7th-8th-cent.; Kalas (2015): Roman Forum in Late Antiquity; Knipp (2002): chapel of physicians, S. Maria A.; Lucey (2007): patrons of S. Maria A.; Machado (2006): Monuments and Memory in the Roman Forum in Late Antquity; Mulryan (2014): intramural building 4th-7th cents.; Noble (1984), birth of the papal state (680-825); Noble (2001): papal Rome 8th-9th cents; Osborne (2008): Jerusalem Temple and SS. Cosma e Damiano; Santangeli Valenzani (2000): Byzantines / Byzantine iconography; Teteriatnikov (1993): chapel of Theodotus, S. Maria A.; Thacker (2007a and 2007b): martyrs' cult 4th-7th cents; Thunø (2017): power of inscriptions; Thunø (2003): Marian cult; Thunø (2011): inscriptions on light; Thunø (2015a): apse mosaics (6th-9th); Thunø (2015b): S. Maria R.; van Asperen (2016): S. Maria R.; Wolf (2005): icons/ cult of Mary 

Mosaics of late 4th- and early 5th-century Rome

7. Wed. Oct. 23 
 

Meeting Place:

Meeting time: 

Required Reading: 

Suggested Reading:

  
 

Quiz 4:

Rome between Old and New, and East and West, cont.: 
Crypta Balbi / Mid-term exam review 

Crypta Balbi- Via delle Botteghe Oscure, 31- entrance

9:15

Krautheimer (1980/ 2000): Chs. 3 and 4

 Jessop (1999): non-biblical saints in 7th-8th-cent.; Mulryan (2014): intramural building 4th-7th cents.; Noble (1984), birth of the papal state (680-825); Santangeli Valenzani (2000): Byzantines / Byzantine iconography; Thacker (2007a and 2007b): martyrs' cult 4th-7th cents

 Wall-paintings in S. Maria Antiqua

**Please come to class having read mid-term review sheet**

8. Wed. Oct. 30 

Meeting Place:

Meeting time: 

MID TERM EXAM

JCU, GK. 1.2

8:30-10:30 

9. Wed. Nov. 6 

Meeting Place:

Meeting time: 

Required Reading: 

Suggested reading:

Rome late 8th-12th centuries: overview  

JCU, GK. 1.2

8:30 

Krautheimer (1980/ 2000): Chs. 5-7 

Bloch (1982): fascination with Ancient Rome in 12th cent.; Dyer (2007): religious processions medieval; Goodson (2007): architecture of saint veneration; Goodson (2006): Carolingian Renaissance and S. Prassede; Goodson (2010): Papal patronage under Pope Paschal I; Hamilton (2014): myth and liturgy in The Marvels of Rome; Kessler (1989): impact of Old St. Peter's on medieval church architecture; Kinney (1997, 2012, 2015): spolia; Kinney (2002): interpretations of the equestrian statue of Marcus Aurelius in the 12th cent.; Kinney (2006): church architecture 12th cent.; The Marvels of Rome (Mirabilia Urbis Romae); Noble (1984): birth of the papal state (680-825); Noble (2001): making of papal Rome 8th-9th cents; Oftestad (2014): constructs of the Jerusalem Temple in 12th; Peroni and Riccioni (2000): perceptions of Rome in Italy late 9th and 10th cents; Priester (1993): bell towers 12th and 13th century; Riccioni (2014): art, inscriptions and The Marvels of Rome; Sommerlechner (2004): Ancient monuments and The Marvels of Rome; Thacker (2000): Charlemagne and Rome; Thunø (2005): S. Maria in Domnica iconography; Thunø (2015a): apse mosaics (6th-9th), Twyman (2004): urban processions in 12th and 13th cents.; Wickham (2015a): Rome 900-1150; Wickham (2015b): Rome in 12th cent.

**Term paper Abstract and Annotated Bibliography due**

(in hard copy in class and via email)

10. Wed. Nov. 13
 

Meeting Place:

Meeting time: 

Required Reading: 

Suggested reading:

 

 

 

 

 

 

 

  

Papal patronage in ninth century Rome 
S. Prassede, S. Cecilia, and S. Marco  

Basilica of S. Prassede (Via di Santa Prassede, 9/a)- entrance

8:30 

Krautheimer (1980/ 2000): Ch. 5

Bolgia (2006): mosaics San Marco; Bolgia (2013a): light and medieval mosaics; Dyer (2007): religious processions medieval Rome; Emerick (2001): Santa Prassede function and audience; Emerick (2005): S. Prassede altars, cult of saints and chapel system; Goodson (2006): Carolingian Renaissance and S. Prassede; Goodson (2007): architecture of saint veneration early medieval Rome; Goodson (2010): Papal patronage in Rome under Pope Paschal I; Kinney (1997, 2012, 2015): spolia; Mackie (1989): S. Prassede, S. Zeno chapel iconography; Mackie (1995): S. Prassede, S. Zeno chapel abstract and vegetal design; Mauck (1987): S. Prassede, liturgical interpretation mosaic triumphal arch; Miedema and Slootjes (2016): S. Prassede cult of saints; Osborne (1979), square nimbus in medieval art; Thunø (2014): S. Prassede triumphal arch iconography; Thunø (2011): inscriptions on light in Rome; Thunø (2017): power of inscriptions; Thunø (2015a): apse mosaics in early medieval Rome (6th-9th)

**Visual Analysis due (in hard copy in class and via email)**

12. Wed. Nov. 20  

Meeting Place:

Meeting time:

Required Reading: 

Suggested reading:

 

 

 



Quiz 5:

Saints, bishops, monks and laypeople:  the Basilica of San Clemente

San Clemente- Via Labicana, 95- entrance

9:15 

Krautheimer (1980/ 2000): Chs. 6 and 7

 Barclay Lloyd (1989): building history of S. Clemente; Filippini (2004); iconography and function wall-paintings of St. Clemens in the lower church of S. Clemente; Jessop (1999): pictorial cycles of non-biblical saints in 7th-8th-cent. Rome; Mulryan (2014): intramural building Rome 4th-7th cents.; Osborne (1981a, 1981b, 1982, 1984, 1997): wall-paintings in the lower church of S. Clemente; Riccioni (2011): interpretation mosaics S. Clemente and S Maria in T.; Santangeli Valenzani (2000): Byzantines / Byzantine iconography in Rome; Yawn (2012): San Clemente 11th-cent. frescoes and 11th cent. rebuilding

Mosaics in 9th century Rome: the patronage of Pope Paschal I 

13. Wed. Nov. 27

Meeting Place:

Meeting time: 

Required Reading: 

Suggested reading:

 

 

 

 

 

 

 

 

 
Quiz 6: 

The Lateran Complex in the Middle Ages
The Basilica of the SS. Quattro Coronati

 Obelisk in front of Lateran Baptistery (Piazza San Giovanni in Laterano 4) 

9:15

Krautheimer (1980/ 2000): Chs. 7, 8 and 14

 Barberini (1993): SS. Quattro Coronati complex; Barelli and McDowall (2009): SS. Quattro Coronati complex; Bolgia (2008): Celestine III and patronage in Rome; Bosman (2016): Lateran architecture and architectural quotation; Bloch (1982): Fascination with Ancient Rome in 12th cent.; Dyer (2007): religious processions medieval Rome; Hamilton (2014): myth and liturgy in The Marvels of Rome; Herzmann and Stephany (2012): frescoes SS. Quattro Coronati; Kessler (1989): impact of Old St. Peter's on medieval church architecture in Rome and environs; Kinney (1997, 2012, 2015): spolia; Kinney (2002): interpretations of the equestrian statue of Marcus Aurelius in the 12th cent. Rome and later; Kinney (2006): church architecture 12th cent. Rome; The Marvels of Rome (Mirabilia Urbis Romae); Priester (1993): bell towers 12th and 13th century Rome; Oftestad (2014): constructs of the Jerusalem Temple in 12th Rome: Riccioni (2014): art, inscriptions and The Marvels of Rome; Sommerlechner (2004): Rome's Ancient monuments and The Marvels of Rome; Twyman (2004): urban processions in Rome 12th and 13th cents.; Triff (2009): Sancta Sanctorum in 13th cent.; Thunø (2002): cult of relics;

Frescos the Lower Church of San Clemente (iconography and meaning)

14. Wed. Dec. 4 

Meeting Place:

Meeting time: 

Required Reading: 

Suggested reading:

 

 

 

 

  

Santa Maria in Trastevere /Review session for Final Exam 

Piazza Santa Maria in Trastevere

8:00 (sorry mass starts at 9...)

Krautheimer (1980/ 2000): Chs. 7 and 8  

Bolgia (2013a): light and medieval mosaics; Kitzinger (1980): Virgin iconography in 12th Rome - S. Maria in T.; Kinney (1986): spolia S. Maria in T.; Kinney (2006): church architecture 12th cent. Rome; Kinney (2016), construction of memory in S. Maria in T; Priester (1993): bell towers 12th and 13th century Rome; Riccioni (2011): interpretation mosaics S. Clemente and S. Maria in T.; Tronzo (1989): apse decoration, liturgy and art - S. Maria in T.; and S. Maria M.

****Term Paper Due**** 

**Please come to class having read the final exam review sheet** 

Exam week:

*****Final EXAM at JCU******

Date, time and classroom TBA