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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 298-1"
COURSE NAME: "Baroque Rome and Its Monuments"
SEMESTER & YEAR: Spring 2025
SYLLABUS

INSTRUCTOR: Patricia Rocco
EMAIL: [email protected]
 HOURS: T 2:15 PM 5:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: On-site; activity fee: €25 or $33
OFFICE HOURS:
COURSE DESCRIPTION:

Rome City Series - Rome is the city where the baroque style originated and flourished, and this on-site course focuses on some of the most significant works of art, architecture, and urban planning of the 17th-18th centuries. The course will discuss the works of artists and architects like Caravaggio, Artemisia Gentileschi, Gian Lorenzo Bernini, Francesco Borromini, and Pietro da Cortona. From Villa Borghese to the Trevi Fountain the artworks and urban spaces will provide an opportunity to discuss aspects like Baroque illusionism, artistic techniques, influential art theories, and the religious and political contexts of art production and collection in this dynamic and vibrant period.

Satisfies "the Early Modern World" core course requirement for Art History majors
SUMMARY OF COURSE CONTENT:
Students will have the opportunity to encounter the art and architecture of Baroque Rome first-hand, acquiring an in-depth knowledge of these famous works of art in their historical context and original reception sites. We will study various media, from architecture and sculpture to panel painting and frescoes. Themes covered include: Baroque theatricality, spiritual revolution of Loyola, impact of the new orders on the visual arts in the Counter Reformation City, collecting and the relationship between artists and their powerful patrons, etc.
LEARNING OUTCOMES:

LEARNING OUTCOMES

Students will learn to:

Develop critical reading, writing and research skills necessary to analyse artwork via weekly readings, class discussion, writing assignments and essay exams.

Evaluate an object within its appropriate social and historical context, while engaging with theories of gender, identity and patronage critical to the production of visual culture in the Renaissance and early modern period.

Interpret the visual culture of the period through the lens of both iconography and formal analysis, as well as gaining a broad methodological framework, including the use of primary sources.

On-site experience of art and architecture leading to an in-depth analysis and appreciation of the work in-situ.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
art and architecture in italy 1600-1750, vols. 1-2wittkoweryale0-300-07939-7; 0-300-07940-7     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
2 exams, attendance on visits, class participation and final paperGRADING POLICY Required Coursework and Evaluation: Midterm exam: Identifications and comparisons (1/2 class period) Final Paper: Choose a topic from within the span of Baroque art and architecture in Rome that intrigues you and write a brief research essay to share with the class. You may of course refer to items that we have discussed but the focus is to identify and choose an artwork as it relates to the terms, ideas, and key concepts of the Baroque in your opinion. The goal is to choose an example that you can analyze first hand and develop a theme/line of inquiry around this object that will serve as the basis for your writing; reception is a key element here. Your topic choices will be due by mid-semester and the paper will be due at the end of the course. Further details will be discussed in class. Final Exam: Cumulative identifications and essays (including material from supplemental readings) Reading Comprehension Homework: Each week we will discuss the readings assigned for that day’s class. It is imperative to keep up with the readings for both class discussions and written exams. Further information regarding assignments and exams will be provided in class. Assessment methods: Midterm Exam: 25% Final Paper and Presentation: 25% Final Exam: 25% Class Participation and Homework: 25%  
   
Midterm Exam 25%
Final Paper and Presentation: 25%
Final Exam:  25%
Class Participation and Homework:  25%

-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
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

Schedule of Classes and Readings (readings will be provided online)

 

Week 1, Tues (Jan 21):     In classroom:            Introduction to Baroque Rome, Setting the Scene; the Counter-Reformation and the Church

Reading: Wittkower, volume 1, p. 1-18; Vernon Hyde Minor,

        p. 20-26, 43-55; Blunt, sources and documents on the Counter Reformation

 

 (Jan 28):      On-site:                                   Caravaggio and the Baroque Altarpiece in the Counter-Reformation; Church of San Luigi dei Francesi; Church of San Agostino

Reading: Wittkower, volume 1, chapter 2; Brown, Sacred and Profane, p. 276-286

 

 (Feb. 4): On site:                                         New Orders: the Jesuits and Heavenly Ceilings: Church of the Gesu and Church of Ignatius of Loyola

Reading: Vernon Hyde Minor, p. 79-84, 141-148; Loyola, excerpt from Spiritual Exercises

 

(Feb. 11):  On site                           Collecting the Baroque: Palazzo Barberini

                                                          Reading: Wittkower, volume 2, p. 74, chapter 4; Vernon Hyde Minor, p. 153-155; Brown, Sacred and Profane, p. 286-300

 

 

(Feb 18):  On site                             Crafting Sainthood: the Chiesa Nuova

                                                          Reading: Wittkower, volume 1, chapter 2 and 4; Treffers, the Arts and Craft of Sainthood

 

(Feb. 25):                                         In-class review and discussion of themes for the midterm

 

(March 4):                                      Midterm Exam

                                                         Phase I paper proposal due

 

(Mar 10-14)                                    Spring Break     

 

(March 18):  On site                                   Spiritual Ecstasy in Stone: Bernini and Borromini; Church of Santa Maria della Vittoria and the Church of San Carlo alle Quattro Fontane

Readings: Wittkower, volume 2, chapter 2, p. 6-21, and chapter 3, p. 39-     

 

(March 25):   On site                                 The Theater of Water: Baptizing the Piazza; Piazza Navona and the Church of Sant’Agnese

Reading: Wittkower, volume 2, chapter 3, p. 39; Vernon Hyde Minor, p. 84-93, 315-318

 

 (April 1):   On site                                 Collecting the Baroque, part 2: Palazzo Doria Pamphili

Reading: Vernon Hyde Minor, p. 126-132; Brown, Sacred and Profane, p. 286-300, also relevant here.

 

 (April 8):   On site                                      Artists, Patrons and Artistic Envy in Baroque Rome; Piazza del Popolo and the Church of Santa Maria del Popolo

                                    Reading: Wittkower, volume 3, chapter 1; Brown, the Black Wings of Envy

 

 (April 15):   On site                                  The Baroque Church Triumphant: Colonizing the Obelisk; Piazza of St. Peter’s Square

Reading: Wittkower, volume 2, chapter 2, start p. 23.

 

 (April 22):                                      Review and discussion of themes for the exam

 

(April 29):                                       Film on the Baroque and critique

 

(May 6)                                            Final Exam and Final Paper Due

 

Readings will be posted and selected from the following:

Wittkower, Rudolph. Art and Architecture in Italy: 1600-1650, Vols. 1-3. New Haven, Connecticut: Yale University Press, 1999.

Hyde Minor, Vernon. Baroque and Rococo Art and Culture, London, UK: Laurence King Publishing, 1999.

Adams, Laurie Schneider. The Methodologies of Art: An Introduction, Boulder, Colorado: Westview Press, 1996.

Barnet, Sylvan.  A Short Guide to Writing About Art, 5th edition, New York: Longman, 1997.

Broude, Norma and Mary Garrard, ed. Reclaiming Female Agency: Feminist Art History after Postmodernism, Berkeley: University of California Press, 2005.

Freedberg, David. The Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press, 1989.

Slatkin, Wendy. Women Artists in History: from Antiquity to the Present, Upper Saddle River, New Jersey: Prentice Hall, 1997.

Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations, 6th edition, Chicago: The University of Chicago Press, 1996.