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.

Satisfies "the Medieval World" core course requirement for Art History majors

DESCRIPTION

    The course is an upper-level survey of visual narrative from Late Antiquity to the Middle Ages (c. 250-1200).

    It investigates pictorial narratives that have textual counterparts. The relationship between pictorial and written narratives is, therefore, a central focus of investigation.

    Visual representation is a form of communication that is entirely distinct from the written word; it is literally impossible to translate word into image. Yet, in both text and image, narrative entails characters and plot set in specific temporal and spatial dimensions. A primary aim of the course is to learn the mechanics of visual storytelling; for example, how the use of codified gestures and poses, dress and costume, and natural or constructed landscape settings shape the narrative. Equally important is to come to terms with how medieval pictorial narratives did not merely "illustrate" written narratives- even when they are physically juxtaposed to them, as in manuscripts. But, rather, how they interpreted them and, indeed, contributed to the rich tradition of medieval story-telling.

    The course is intended to provide a visual “primer” for narrative imagery produced in Latin Christendom; but it should also provide a basis for understanding narrative imagery produced in earlier and later centuries. 

 CONTENT

    The course focuses on biblical narrative images produced in Latin Christendom from c. 250 to c. 1200. These were among the most popular contemporary representations and were instrumental in shaping not only the perceptions of the divine and the holy, but in elucidating the meanings of past and present human experiences, desires, expectations, anxieties and fears.

    This rich and varied visual repertoire will be explored by analysing pictorial narratives intended for public viewing (for example in monumental sculpture, painting, and mosaic) and for both public and private audiences (for example, tombs, reliquaries, and illuminated manuscripts). It is assumed that different kinds of viewing contexts were instrumental in constructing or negotiating the meanings variously embedded in the narrative images by contemporary image-makers (patrons and artists). Just as stories in the Bible were retold and reinterpreted by medieval authors, whether mainstream or otherwise, for specific audiences in a variety of literary genres (new prose narratives, poems, commentaries, sermons, liturgical plays, and more), so too did medieval image-makers re-present the stories for different visual venues and viewers. Last, but not least, medieval viewers themselves may be assumed to have had an active role in the creation of meaning.  

    The course begins with an investigation into the forms of pictorial narrative and their relationship to written narratives. This is followed by a significant number of sessions on biblical visual exegesis in Late Antique Christian art (3rd to 6th centuries). A number of biblical pictorial narratives had a long history in multiple viewing contexts. Others were very popular only in some periods or in specific viewing contexts -and this includes a number of representations common in Late Antiquity. Yet it is in this formative period that many of the strategies for the visual construction and interpretation of biblical narrative were developed. The second half of the course investigates biblical pictorial narratives in the early and central Middle Ages through a number of case studies. The Bible in translation will provide the primary written source for interpretation. Art historical scholarship complements this textual framework throughout.

1. Knowledge of the content and form of a significant repertoire of biblical pictorial narratives in late antique and medieval Christian art

2. Knowledge of important biblical stories as narrated in the Bible

3. A critical understanding of the relationship between biblical texts and images

4. A critical understanding of the function and meanings, of the historical and visual contexts of late antique and medieval Christian pictorial narrative

5. A critical understanding of the relationship of text and image generally

5. Skills for critical analyses of written and visual sources

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. Unless officially exempted by the university, all students must attend classes on campus. 

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 ____________

**Quiz 1: Narratives featuring Christ in Late Antique funerary art **

CLASS 9

Scripture "Christianized" in Late Antique funerary art, cont.

Adam and Eve, the Crossing of the Red Sea, and Jonah

Required Reading:

    **Re-read relevant parts (on Jonah and the Crossing of the Red Sea) in Chs. 2 and 3 in Mathews (1999), The Clash of Gods. A reinterpretation of Early Christian Art E.R.

    Elsner, J. (2012) “’Pharaoh’s Army got Drownded’ Some Reflections on Jewish and Roman Geneologies in Early Christian Art” in Kessler, H. L. and Nirenberg, D. eds. Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism. E.R.

    Scripture: Adam and Eve Creation and Fall: Gn. 1: 26-28; Gn. 2: 7-24; and Gn 3; the Crossing of the Red Sea: Ex 14; Jonah: Jnh;

    New Testament: Jonah: Lk: 11: 29-32

Suggested Reading:

    Balch, D. (2008) "From Endymion in Roman Domus to Jonah in Christian Catacombs: From Houses of the Living to Houses for the Dead. Iconography and Religion in Transition" in Brink, L., O.P. and Green, D. Commemorating the Dead. Texts and Artifacts in Context. Studies of Roman, Jewish and Christian Burials, 243-270 E.R.

    Salvadori, S. (2009) "Sin and Redemption, Sexuality and Gender. Adam and Eve in the Funerary Art of Late Antique Rome" in Alchermes, J. D. and Thomas, T.K. eds. Anaomata Eoptika. Studies in Honor of Thomas F. Mathews, 271-282 Academia.edu

    Spier, J. (2007), Picturing the Bible: The Earliest Christian Art on order

CLASS 10

Scripture "Christianized" in Late Antique funerary art, cont.

the Three Men in the Fiery Furnace, Daniel in the Lion's Den,

and Susanna and the Elders

Required Reading:

    **Re-read relevant parts (the Three men and Daniel in the Lion's Den) in Chs. 2 and 3 in Mathews (1999), The Clash of Gods. A reinterpretation of Early Christian Art E.R.

    Smith, K.A. (1993) "Inventing Marital Chastity: The Iconography of Susanna and the Elders in Early Christian Art" The Oxford Art Journal 1, 3-23 JStor

    Scripture: The three men in the fiery furnace: Dn: 3; Daniel in the Lion's Den: Dn 6; Susanna and the Elders: Dn 13

Suggested Reading:

    Jensen, R.M. (2016) "The Three Hebrew Youths and the Problem of the Emperor's Portrait" in Leibner, U. and Hezser, C. eds. Jewish Art in Its Late Antique Context E.R.

    Sheckler, E. A. and Leith, W.L. (2010) “The Crucifixion Conundrum and the Santa Sabina Doors” The Harvard Theological Review 103/ 1, 67-88 JStor

    Spier, J. (2007), Picturing the Bible: The Earliest Christian Art on order

    Tkacz, B.C. (1999) “Susanna as a Type of Christ” Studies in Iconography 20: 101-155 JStor

CLASS 11

Scripture "Christianized" in monumental narrative programs

5th and 6th centuries

Rome: Santa Maria Maggiore and Santa Sabina

Ravenna: San Vitale

narratives: Cain and Abel, Abraham visited by Angels, Sacrifice of Isaac, Abraham and Melchisedech, Moses: calling /burning bush, miracle of the rock, Red Sea crossing; Aaron and the rod

Required Reading:

    Miles, M. R. (1993) “Santa Maria Maggiore’s Fifth-Century Mosaics: Triumphal Christianity and the Jews” Harvard Theological Review 86/2: 155-175 Jstor

    Scripture: Cain and Abel: Gn 4: 1-16; Abraham visited by Angels / Feast of Abraham: Gn 18: 1-15; Sacrifice of Isaac: Gn 22; Abraham and Melchisedech: Gn 14: 18-20; Moses and Aaron: Ex....

Suggested Reading:

    Neumann de Vegvar, C.N. (2007), "Gendered Spaces. The Placement of Imagery in Santa Maria Maggiore" in Ó Carragáin, É. and de Vegvar, C. N. eds. Roma Felix: Formation and Reflections on Medieval Rome, 97-111 Res DG 811 .R55

    Mathews (1999), "Larger than Life" - Ch. 4 in The Clash of Gods. A reinterpretation of Early Christian Art E.R.

    Parlby, G. (2014), "Images of Conflict: the Art of anti-Judaism in fifth-century Rome" in Prickett, S. ed. The Edinburgh Companion to the Bible and the Arts, 149–160 E.R.

    Sheckler, E. A. and Leith, W.L. (2010) “The Crucifixion Conundrum and the Santa Sabina Doors” The Harvard Theological Review 103/ 1, 67-88 JStor

    Spain, S. (1979) “The Promised Blessing: The Iconography of the Mosaics of Santa Maria Maggiore” Art Bulletin 61/4: 518-540 JStor

    Stokstad, M. (2004), "The Early Byzantine Period" Ch. 3 in ibid.  Medieval Art. Res N5970.S75

**Quiz 2: Images of Scripture in early Christian funerary art**

CLASS  12

The New Testament in monumental narrative programs

5th and 6th centuries

Rome: Santa Maria Maggiore and Santa Sabina

Ravenna: Orthodox and Arian baptisteries and Sant'Apollinare Nuovo

Infancy of Christ and John the Baptist / Baptism of Christ

Required Reading:

    Foletti, I. (2017), "The Doors of Santa Sabina: Between Stational Liturgy and Initiation" in Foletti, I. and Gianandrea M. eds. The Fifth Century in Rome. Art Liturgy, Patronage, 121-138 Academia. edu / DG 209 .F 65 2017

    New Testament: infancy of Christ and John the Baptist / Baptism of Christ: Mt 1-3, Mk 1: 1-15 Lk 1-2, Jn 1: 1-37

Suggested Reading:

    Corrington, G.P. (1989) "The Milk of Salvation: Redemption by the Mother in Late Antiquity and Early Christianity" Harvard Theological Review 82/4: 393-420 JStor

    Loerke, W.C. (1981), "Observations on the Representation of the Doxa in the Mosaics of S. Maria Maggiore, Rome and St. Catherine's, Sinai" Gesta XX/1: 15-22 JStor

    Mathews (1999), "Larger than Life," "Christ the Chamelon" and "Convergence" Chs. 4- 6 in The Clash of Gods. A reinterpretation of Early Christian Art E.R.

    Nees, L. (2002), "Endings and Beginnings" - Ch. 5 in ibid. Early Medieval Art Res. N5970 .N44 2002

    Parlby, G. (2014), "Images of Conflict: the Art of anti-Judaism in fifth-century Rome" in Prickett, S. ed. The Edinburgh Companion to the Bible and the Arts, 149–160 E.R.

    Sheckler, E. A. and Leith, W.L. (2010) “The Crucifixion Conundrum and the Santa Sabina Doors” The Harvard Theological Review 103/ 1, 67-88 JStor

    Stephen J. Shoemaker, S. J. (2005), “Jesus’ Gnostic Mom: Mary of Nazareth and the Gnostic Mary Traditions,” in Good, D. ed. Mariam, the Magdalen, and the Mother Academia.edu

    Spain, S. (1979) “The Promised Blessing: The Iconography of the Mosaics of Santa Maria Maggiore” Art Bulletin 61/4: 518-540 JStor

CLASS 13

Monumental narrative programs

5th and 6th centuries

Required Reading:  See Class 11 and 12

Suggested Reading: See Class 11 and 12

**Quiz 3: Pictorial narratives at Santa Maria Maggiore**

**Review for mid-term exam**

CLASS 14

Mid-Term Exam

CLASS 15

The Passion Resurrection and Ascension of Christ

on portable objects, 4th-6th centuries

Required Reading:  

    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 Academia. edu

    New Testament:  Passion: Mt 26:15-27:66; Mk 14:12-15:47, Lk 22:7-23: 56, Jn 13:1-19:42, Resurrection and Ascension: Mk 16; Mt 28; Lk 16; Jn 20-21 and Acts 1

Suggested Reading:

    Elsner, J. (2011) “Image and rhetoric in early Christian sarcophagi: reflections on Jesus' trial” in ibid. and Huskinson, J. eds. Life, death and representation some new work on Roman sarcophagi. E.R.

    Kateuz, A. (2015), “Ascension of Christ or Ascension of Mary? Reconsidering a Popular Early Iconography” JECS 23/2: 273-303 Project M

    Nees, L. (2002), "Endings and Beginnings" - Ch. 5 in ibid. Early Medieval Art Res. N5970 .N44 2002

    Thunø, E. (2002), Image and relic: mediating the sacred in early medieval Rome NK 6408 .T48 2002

TBA

CLASS 16

The Passion Resurrection and Ascension of Christ

on portable objects, 4th-6th centuries, cont.

Required Reading:  See Previous Class

Suggested Reading: See Previous Class

CLASS 17

Scripture and the New Testament in Early Medieval Art,  

Introduction to the 8th and 8th and 9th centuries

Required Reading:

    Stokstad, M. (2004), "Early Medieval Art" and "Carolingian Art" Chs. 4 and 5 in ibid. Medieval Art. Res N5970.S75

Suggested Reading:

    Ataoguz, K. (2013), “The Apostolic Ideal at the Monastery of Saint John in Müstair, Switzerland.” Gesta 52/ 2 91–112.

    Beckwith, J. (1964), "The Revival of the Imperial Tradition" - Ch. 1 in ibid Early Medieval Art

    Costambeys, M. Innes, M. and MacLean, S. (2011), The Carolingian World

    Geary, P. J. (1988) Before France and Germany: The Creation and Transformation of the Merovingian World

    Lasko, Peter. Ars Sacra, 800-1200. 2nd ed. Pelican History of Art. New Haven: Yale University Press, 1994: Chapter 1

    Kornbluth, G. (1992), "The Susanna Crystal of Lothar II: Chastity, the Church and Royal Justice" Gesta XXXI/1: 25-39

    Neumann de Vegvar, C.N. (2008), "Reading the Franks Casket: Context and Audiences" in Blanton, V. and Scheck eds. Intertexts: Studies in Anglo-Saxon Culture Presented to Paul E. Szarmach, 141-59 on order

    Schapiro, M. (1944), "The Religious Meaning of the Ruthwell Cross" repr. in ibid. (1979), Late Antique, Early Christian and Mediaeval Art. Res N7832 .S26

    Webster, L. (1999), "The Iconographic Program of the Franks Casket" in Hawkes, J. and Mills, S. eds. Northumbria's Golden Age, 227-46

    TBA

**Quiz 4: The Iconography Passion and Resurrection, 4th-6th century**

CLASS  18

Word and Image in the Court of Charlemagne

Required Reading:

    Diebold, W. (2019), “‘Not Pictures but Writing Was Sent for the Understanding of Our Faith:’ Word and Image in the Soissons Gospels,” in Die Handschriften Der Hofschule Kaiser Karls Des Große (Trier: Verlag fur Geschichte und Kultur, 2019): 17–36 Academia. edu

Suggested Reading:

    Diebold, W. (1992), "Verbal, Visual and Cultural Literacy in Medieval Art: Word and Image in the Psalter of Charles the Bald" Word and Image 8/2 89-99

    Contreni, J. J. (2014), “Learning for God: Education in the Carolingian Age.” The Journal of Medieval Latin 24, 89–129.

    Nordenfalk, C. (1988), "Carolingian Illumination " in ibid. Early Medieval Book Illumination Res ND2920 .N68

    See also Previous class

    TBA

CLASS  19

Scripture and the New Testament at the Millennium,

Art in the 10th and 11th centuries: Introduction

Required Reading:

    Stokstad, M. (2004), "Art at the Millennium. The Imperial Tradition Continues" Ch. 7 in ibid. Medieval Art. Res N5970.S75

Suggested Reading:

    Beckwith, J. (1964), "The Consolidation of the Imperial Tradition" - Ch. 2 in ibid Early Medieval Art

TBA

CLASS  22

"Re-presenting" Psalms in Monastic Contexts

Required Reading:

  Openshaw, K. M. (1993) "Weapons in a Daily Battle: Images of the Conquest of Evil in the Early Medieval Psalter" AB LXXXV/ 1, 17-38 E.R.

  Scripture: Ps- Selected excerpts TBA

Suggested Reading:

    Nordenfalk, C. (1988), "Anglo-Saxon Illumination in the Tenth and Eleventh Centuries" in ibid. Early Medieval Book Illumination Res ND2920 .N68

    Schapiro, M. (1943), "The Image of the Disappearing Christ. The Ascension in English Art Around the Year 100" repr. in ibid. (1979), Late Antique, Early Christian and Mediaeval Art. Res N7832 .S26

TBA

CLASS  20

Re-presenting the Apocalypse:

"Visionary" Narrative in Beatus Manuscripts

Required Reading: 

    Werckmeister, O.K. (1993), "Art of the Frontier: Mozarabic Monasticism" in Metropolitan Museum of Art (1993) The Art of Medieval Spain, A.D. 500-1200, 120-132 and cat. entries # 78-82 Res N7103.A78

    New Testament: Rev - Selected Excerpts TBA

Suggested Reading:

    Böse, K. (2019), "In Between, Center and Periphery. The Art of Illumination in the Early Iberian Peninsula" in Kitzinger, B. and O'Driscoll, J. eds. After the Carolingians. Re- defining Manuscript Illumination in the 10th and 11th Centuries, 213-244 E.R.

    Doods, J.D. (1993), "Islam, Christianity, and the Problem of Religious Art" in Metropolitan Museum of Art (1993) The Art of Medieval Spain, A.D. 500-1200 , 28-37 Res N7103.A78

    Nordenfalk, C. (1988), "Mozarabic Illumination " in ibid. Early Medieval Book Illumination Res ND2920 .N68

    Reilly, B. F. (1993), "Medieval Spain" in The Art of Medieval Spain, A.D. 500-1200, 120-132 Res N7103.A78

    Schapiro, M. (1963), "The Beatus Apocalypse of Gerona" repr. in ibid. (1979), Late Antique, Early Christian and Mediaeval Art. Res N7832 .S26

    Williams, J.W. (1993), "Christian Spain and the Art of its Neighbors" in Metropolitan Museum of Art (1993) The Art of Medieval Spain, A.D. 500-1200 , 12-25 Res N7103.A78

CLASS  23

Asserting episcopal authority in Ottonian Germany: Eve and Mary

Required Reading:

    Cohen, A.S. and Derbes, A. (2001) “Bernward and Eve at Hildesheim,” Gesta 41.1: 19-38 E.R.

Suggested Reading:

    Nordenfalk, C. (1988), "Ottonian Illumination" in ibid. Early Medieval Book Illumination Res ND2920 .N68

TBA

**Quiz 5: the Apocalypse in Beatus Manuscripts**

CLASS  24

Scripture and the New Testament in Romanesque Art

late 11th-early 13th century: Introduction

Required Reading:

    Stokstad, M. (2004), "Romanesque Art" Ch. 8 in ibid. Medieval Art. Res N5970.S75

Suggested Reading: TBA

CLASS  25

Narrative programs in Monumental Sculpture

on the Pilgrimage Routes to Santiago de Campostella

Required Reading:

    Forsyth, I. (2002), "Narrative at Moissac: Schapiro's Legacy" Gesta 41/2, 71-93 E.R.

    New Testament: Parable of Lazarus and the Rich Man: Lk 16: 19-31

Suggested Reading:  TBA

CLASS  26

Narrative Images in the Romanesque Monastic Cloister

Required Reading:

    Seidel, L. (1988), "Medieval Monastic Carving and Monastic Mentalité" in The Medieval Monastery xerox

    New Testament:  Salome: Mt 14: 6-11; Mk 6: 21-28

Suggested Reading:

    Seidel, L. (1984), "Salome and the Canons" Women's Studies, 11, 29-66

    TBA

**Quiz 6: the narrative portals at St. Pierre, Moissac**

CLASS  27

Noah's Drunkeness: a Narrative of Obscene Sight

Required Reading:

    Caviness, M. (2012) “A Son’s Gaze on Noah: Case or Cause of Viriliphobia?” in Lindquist, S. ed. The Meanings of Nudity in Medieval Art, 1-44 E.R.

    Scripture: Noah' Drunkeness: Gn 9: 20-27

CLASS  28

Loose Ends / Review for Final