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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 267"
COURSE NAME: "Special Topics in Medieval Art: Saints and Relics"
SEMESTER & YEAR: Spring 2022
SYLLABUS

INSTRUCTOR: Sharon Salvadori
EMAIL: [email protected]
HOURS: TTH 4:30 PM 5:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
Specialized courses offered periodically on specific aspects of the art of the medieval world. Courses are normally research-led topics on an area of current academic concern.
May be taken more than once for credit with different topics.
SUMMARY OF COURSE CONTENT:

Saints were central in the late antique and medieval Christian visual repertoire, as well as in doctrine, worship and ritual. This is now acknowledged by most medievalists, despite a long tradition, originating in late antiquity itself, disparaging the veneration of saints as either outright idolatry or as tied to the culture of the uneducated masses -and so too exploited by the elites as a form of social control. This course investigates the role of art in the cult of saints in Europe from the mid-third to the central Middle Ages (c.250-1200), with the understanding that it provides an indispensable insight into Christian medieval visual culture. Funerary monuments, reliquaries, liturgical objects, illuminated manuscripts (and their covers), wall paintings and mosaics are examined in the context of both communal veneration and private devotion. The iconography, deployment and meaning of iconic representations and of pictorial narratives and the function and meaning of (artistic) materiality and media are a main focus.

     The course begins with a historical investigation of the centrality of the cult of saints in late antiquity (3rd-5th c.) and its development in the medieval period (6th-12th c.). This is the framework to understand the impact of the cult on art and the impact of art on the cult, with the understanding that the two are inseparable. In other words, throughout the course issues such as the promotion of the cult locally and through pilgrimage, the role of local ecclesiastical and lay patronage, church liturgy and urban and extra urban processional liturgies, the role of relics, the production of saints lives, martyrdom, the gendering of saints, and more are examined through the extant material and visual evidence (if with the support of written documentation).

     Local "realities" in north-western Europe will be also analyzed in the context of or as a foil to the unique conditions of saint veneration in Rome, as well as the city's primary role in an international network of saint veneration.

     Last but not least, the course provides an opportunity to consider broader questions: do artifacts and images provide evidence that is absent from texts? Should art be understood as its own ideological discourse/construct or as evidence? How do we define evidence vs discourse? What implications could such a debate have in interpreting medieval art in the “service” of the cult of saints?

     The course has two mandatory Saturday field trips (exact dates TBA) to sites in Rome, for a total cost € 25.

LEARNING OUTCOMES:

- knowledge and understanding of the Christian cult of relics from Late Antiquity to the late Middle Ages in the Latin West

knowledge and understanding of a representative corpus of monuments and artworks in different media deployed in the cult of saints and relics from Late Antiquity to the central Middle Ages (for the purposes of the course c. 250-1200) in the Latin West 

- Ability to analyze and interpret the art and architecture deployed in the cult of saints in their original religious, political, and social contexts

- skills for the critical analysis of visual culture generally

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

- ability to apply critical thinking and analysis generally

- 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.

- ability to exchange ideas and engage in discussion with peers

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
ParticipationActive class participation is expected of all students. Participating effectively entails completing and taking notes on all "Required Reading" (listed in the Course Schedule; see also above “Course Reading”) before class to become familiar with the names, dates, locations and main features of the monuments and art works to be covered during class, so that you may effectively engage with the material; 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 a A-/ B+ as your final grade. Remember too that the more you engage, the more interesting the class will be, not only for you but also for everyone else, prof. included5
QuizzesPart of the preparation for the course will be evaluated through 5 quizzes based on the "Required Reading" and in-class lectures. All 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 and art 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 specific mosaic); or you may be asked to compare two monuments or art works. The dates, timing and topics of the quizzes are listed in the "Course Schedule." The quizzes will be administered on Moodle. The quiz with the lowest score will be excluded from the final tally. That means that each of the remaining 4 quizzes is worth 5% of your course grade. 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). Length: 1500 words, exclusive of footnotes, bibliography and (obviously) supporting images. Format: the paper must be in Word = .docx (freely available at JCU) The visual analysis must include: • a descriptive account of the monument/artwork: date, location, 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 Students must clearly demonstrate that: 1. they 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 Visual Analysis Guidelines on Moodle) 2. They have read and understood at least 2 additional academic sources on the chosen 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 or in the library may also be used. Unless recognized “classics,” publications should not be earlier than 1980. 3. Proof of student 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 the artwork or monument was viewed in person during class. 4. Two or more sketches of the art work or monument being analyzed. The sketches are to be turned in with the paper (scanned / photographed and inserted in the Word document) but will not be evaluated in terms of the quality of draftsmanship, as sketching in any form greatly aids seeing (which is far more than simply looking!) and this is the point of the exercise, as hopefully students will discover when they come to the written description. Students are required to sketch on-site - so must make sure to bring paper and pencil during visit to monument. 5. One or more photographic reproductions of the art work (again scanned / photographed and inserted in the Word document) 6. 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 officially recognized format (MLA and Chicago are the standard) and stick to it (see also the Visual Analysis Guidelines on Moodle) 7. Bibliography consisting of: A. all relevant titles from the "Required reading" from the Course Schedule B. the two (or more) additional titles (see 2 above in "Students must clearly demonstrate") *Additional Visual Analysis Guidelines, including suggested topics will be posted on Moodle by week 2. Students are required to read these guidelines carefully by Class 7 when they will be discussed in class. But students should feel free to set up an appointment with the professor any time before (and after) that date. 15
Term PaperThe Term paper 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) to be submitted on Moodle 1 month before final essay is due. 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), also to be submitted on Moodle The paper 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 the 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 1 week prior to the due dates. Similarly, for minor questions on bibliography, format, paraphrasing, quoting primary and secondary sources or methods of citation students must set up an appointment at least one week prior to the due date. If, however, students have questions on content and bibliography, they must set up an appointment at least 2 weeks prior to the due date. *Additional Paper Guidelines, including suggested topics will be posted on Moodle by week 3. You are required to read these guidelines carefully by Class 13 (the class after the mid-term exam), when will be reviewed class. But feel free to set up an appointment any time before (and after) that date. 25
ExamsThe Mid-term Exam takes during regular class hours during class 12. It covers material studied up to Class 11. The Final Exam takes place during exam week (exact, day, time and classroom TBA). It is cumulative, although with a much greater emphasis on material studied after the mid-term. Both exams are designed to assess your knowledge of essential facts about monument and artworks focusing on saints in Late Antiquity and the Middle in western Europe 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). Both exams consist in series of comparisons, 15 minutes each (4 comparisons for the mid-term and 8 for the final). 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, formal and iconographical elements, (original) location, function, patronage must be specified as known or relevant. 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 meaning/s etc.), rather than media or structural components. *Review sheets will be posted on Moodle a week before each exam. Review sessions are scheduled for both exams (see Course Schedule). Students are encouraged to submit comparisons before the review session for each exam, provided they are willing to argue for their relevance during the review sessions. If viable, student comparisons could very well show up on exam. 15 (mid-term) 20 (final

-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 REQUIREMENTS AND EXAMINATION POLICY

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 reading assignments so being absent inevitably results in extra work to catch up. Typically, missing 4 classes results in poor performance, if not a failing grade.

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

1.

Introduction to course

 

Ø course aims

Ø course logistics: overview of course texts, assignments, etc.

Ø intro. to course content

 

2.

 

Required Reading:

 

Setting the stage I: saints, relics and religion

 

Angenendt (2010): relics and their veneration; Krueger (2010): religion

of relics in Late Antiquity and Byzantium

 

3.

 

 

Required Reading:

 

Setting the stage II:

the rise of the cult of saints in the Latin West (3rd-6thc.)

 

Brown, P. (1981): Chs. 1, 4 and 6: ideology/ context cult of saints western late antiquity

 

4.

 

Required Reading:

 

The visual culture of the cult of saints in the Latin West (3rd-6thc.)

 

Thunø, E. (2018): context of “imaging” of relics/ cult of relicsand reliquaries Late Antiquity

 

5-7

 

 

 

 

Meeting time / place:

 

Required Reading:

 

On-site visit 1:

S. Paolo, flm, S. Agnese, flm: catacomb,

4th cent. basilica, 4th c. mausoleum of S. Costanza,

and 7th cent. ad corpus basilica of Sant’Agnese

 

Meet 8 AM outside of entrance of San Paolo (Piazzale di San Paolo, 1)

 

Coon. L.L. and Sexton, K. (2020): circiform basilicas/ cult of martyrs in Rome

8.

 

 

Required Reading:

 

 

Setting the stage III:

the cult of saints in the early Medieval West (7th-10th c.)

 

Geary (1990): Chs. 1 and 2: context cult of saints early Medieval West

 

9.

 

 

 

Required Reading:

 

 

Setting the stage IV: the cult of saints in the early Medieval West, cont./ Visual culture in the cult of saints in the early Medieval West: reliquaries

 

Bagnoli (2010): reliquaries medium and craft; Geary (1990): Chs. 4 and 5: context cult of saints early Medieval West

 

10.

 

 

Required Reading:

 

The visual culture of the cult of saints in the early Medieval West: reliquaries, cont.

 

Hahn, C. (2010); function of reliquaries

 

 

11.

 

 

Required Reading:

 

The visual culture of the cult of saints in the early Medieval West:

Rome, apse mosaics, 7th -9th (intro.)

 

Thunø (2015), Introduction and Ch. 1: apse mosaics in early med. Rome

 

 

12-14

 

 

Meeting time / place:

 

Required Reading:

 

On-site visit 2

SS. Cosma e Damiano, S. Prassede and Santa Cecilia

 

10Am outside of SS. Cosma e Damiano (on Via dei Fori Imperiali)

 

Mauck, M. (1987): S. Prassede triumphal arch: liturgical interpretation

 

 

 

Submit mid-term comparisons 24 hrs

before the review session for mid-term exam

 

 

15.

 

Mid-term review: please come to class having read mid-term review

 

 

16.

 

 

MID- TERM EXAM

 

 

17.

 

 

Required Reading:

 

 

Setting the stage V: the cult of saints in the central Middle Ages

(11th-13th c.)

 

Hahn (1997): construction of sanctity: Medieval saints’ shrines

 

**Review of Visual Analysis and Term Paper**

 

 

18.

 

 

Required Reading:

 

The visual culture of the cult of saints

in the central Middle Ages (11th-13th c.)

 

Abou-El-Haj (1994), Ch. 1

 

 

 

 

19.

 

 

Required Reading:

 

The visual culture of the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, intro.

 

Abou-El-Haj (1994), Ch. 2

20.

 

 

Required Reading:

The visual culture of the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, cont.

 

see previous class

 

21-23

 

Meeting time / place:

 

Required Reading:

 

 

On-site visit 3: San Clemente

 

10am; Basilica of San Clemente entrance

 

Filippini (2004), Pictorial Narratives and Liturgical Spaces eleventh-century frescoes in San Clemente

 

 

24.

 

 

 

Required Reading:

 

 

The visual culture of the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, cont.:

images of “normative” gender and violence

 

Easton (2002): iconography of pain, torture and death of martyrs (through case study)

 

 

25.

 

 

 

Required Reading:

 

The visual culture of the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, cont.:

images of “normative” gender and violence, cont.

 

see previous class

26.

 

 

Required Reading:

Visual culture in the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, cont.: gender ambivalence

 

Grayson (2009): images of transvestite saints

 

 

27.

 

 

Required Reading:

 

Visual culture in the cult of saints in the central Middle Ages

(11th-13th c.): pictorial narrative, cont.: gender ambivalence, cont.

 

see previous class

28.

 

Loose ends/ recap

 

 

Final Exams

 

Final exam date, time and classroom T.B.A.

 

OVERVIEW OF KEY BIBLIOGRAPHIC WORKS FOR THE COURSE (Required Reading)

 

     Abou-El-Haj, B. (1994), The medieval cult of saints: formations and transformations (excerpts)

     Bagnoli, M. et al. eds. (2010), Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe [British Museum exhibition catalogue]:

            Angenendt, A, “The Religion of Relics in Late Antiquity and Byzantium,” 19-28

            Bagnoli, M., “The Stuff of Heaven: Materials and Craftsmanship in Medieval Reliquaries,” 137-147

            Hahn, C., "The Spectacle of the Charismatic Body. Patrons, Artists and Body-Part Reliquaries," 163-172

            Krueger, D. “The Religion of Relics in Late Antiquity and Byzantium,” 5-17

            Palazzo, E. “Relics, Liturgical Space, and the Theology of the Church,” 99-107

     Brown, P. (1981), The Cult of Saints. Its Rise and Function in Latin Christianity (excerpts)

     Coon. L.L.  and Sexton, K. (2020), “Racetrack to Salvation: The Circus, the Basilica and the Martyr” Gesta 59/1, 1-42

     Easton, M. (2002), “Pain, Torture and Death in the Huntigton Library Legenda Aurea” in Riches, S. and Salih, S. eds. Gender and Holiness: Men, Women and Saints in Late Medieval Europe, 49-64

     Filippini, C. (2004), "Functions of Pictorial Narratives and Liturgical Spaces: the eleventh-century frescoes of the titular saint in the Basilica of San Clemente in Rome" in Dale, T. E. A. and Mitchell, J. eds. Shaping Sacred Space and Institutional Identity in Romanesque Mural Painting. Essays in Honour of Otto Demus

     Foletti, I. (2017), "Maranatha: Space, Liturgy, and Image in the Basilica of Saints Cosmas and Damian on the Roman Forum" in Foletti, I. and Gianandrea M. eds. The Fifth Century in Rome. Art Liturgy, Patronage, 161-179

     Geary, P.J. (1990), Furta Sacra. Thefts of Relics in the Central Middle Age (excerpts)

     Gerevini, S. (2014), "Christus crystallus: Rock Crystal, Theology and Materiality in the Medieval West" in Robinson, J. and de Beer, L. eds. with Harnden, A. Matter of Faith: An Interdisciplinary Study of Relics and Relic Veneration in the Medieval Period

     Goodson, C. (2007), "Building for Bodies. The Architecture of Saint Veneration in Early Medieval Rome" in Ó Carragáin, É. and de Vegvar, C. N. eds. Roma Felix: Formation and Reflections on Medieval Rome, 51-79

     Grayson, S. (2009), "Disruptive Disguises: The Problem of Transvestite Saints for Medieval Art, Identity, and Identification" Medieval Feminist Forum 45/2: 138-174

     Hahn, C. (1997), “Seeing and Believing: the construction of sanctity in early Medieval saints’ shrines” in Nees, L. ed. Approaches to Early Medieval Art, 121-148

     Hahn, C. (2001) Portrayed on the Heart: Narrative Effect in Pictorial Lives of Saints from the Tenth to the Thirteenth Century (excerpts)

     Hahn, C. (2010), "What Do Reliquaries Do for Relics?' Numen 57 3/

     Mauck, M. (1987), "The Mosaic of the Triumphal Arch of S. Prassede: A Liturgical Interpretation" Speculum 62/ 4, 813-828

     Riches, S. and Salih, S. (2002) " Introduction” in ibid. eds. Gender and Holiness: Men, Women and Saints in Late Medieval Europe, 152-173

     Smith, K.A. (2008), “Saints in Shining Armor: Martial Asceticism and Masculine Models of Sanctity, ca. 1050-1250” Speculum 83/ 3: 572-602

     Thunø, E. (2015), The Apse Mosaic in Early Medieval Rome

     Thunø, E. (2018)," Relics and the Cult of Relics in Late Antiquity" in Jensen, R. M. and Ellison, M.D. eds. The Routledge Handbook of Early Christian Art, 150-168