JCU Logo
JOHN CABOT UNIVERSITY

COURSE CODE: "AH 294-2"
COURSE NAME: "Renaissance Rome and Its Monuments"
SEMESTER & YEAR: Spring 2026
SYLLABUS

INSTRUCTOR: Patricia Rocco
EMAIL: [email protected]
 HOURS: T2:15 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 - This on-site course will study the monuments of Renaissance Rome: painting, sculpture and architecture produced by such masters as Bramante, Raphael, and Michelangelo, all attracted to the lucrative service of popes, cardinals and nobles of the Roman court. On-site classes will investigate examples of palace and villa architecture, chapel decoration that encompasses altarpieces and funerary sculpture, as well as urbanistic projects where the city itself was considered as a work of art. In-class lectures will introduce historical context and theory allowing the student to understand artworks studied conceptually and place commissions of painting and sculpture within a socio-historic framework.

Satisfies "the Early Modern World" core course requirement for Art History majors
SUMMARY OF COURSE CONTENT:

SUMMARY OF COURSE CONTENT:

 

Students will have the opportunity to encounter the art and architecture of Renaissance 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: the transformation of the Byzantine style into a revival of classical antiquity, the impact of papal patronage on the visual arts in Renaissance churches, 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:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Midterm Exam 25%
Final Exam:  25%
Final Paper and Presentation: 30%
Class Participation and Homework:  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 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

 

 

Week 1 (Jan 20), Tues:                 In-class: Introduction to the Renaissance in Rome, Setting the Scene

Reading: Rowland, Introduction to the Classical Revival; Partridge, Introduction to Renaissance Rome

 

 (Jan 27, Tues):                                 On site: Santa Maria in Trastevere, from Byzantine Icon to Renaissance Style

Reading: Vasari, Preface 1,2,3; Hager, 36-40; Holmes, Image and Efficacy; Hansen, Spolia Churches

 

 (Feb 3):                                               Santa Maria Sopra Minerva: Artists, Patrons, and Piety

Reading: Partridge cont’d; Geiger on Lippi; Cole, Status of the Artist

 

(Feb 10):                                              Collecting the Renaissance, Part I, Palazzo Barberini Gallery Raphael: Beauty, Eroticism, and Portraiture

                                                                Reading: Raphael’s Labels, Goffen; Jones and Penny on Raphael’s portraits, part one  

 

(Feb 17):                                              Villa Farnesina: Raphael’s Flights of Fancy  and Antiquity (if possible, since our class time slot is outside of their hours)

Reading: Varriano, Fruits and Vegetables as Metaphor; Jones and Penny on Villa Farnesina; Rowland on Chigi

                                                                Or

                                                                Santa Maria del Popolo: Raphael and his Patrons

Readings: Hager, 125-130; Lotz, 20-22, Rowland, on Chigi

 

(Feb 24):                                              In-class review and discussion of themes for the midterm

                                                               

(March 3):                                           Midterm Exam; Phase I paper proposal due

 

(March 9-13)                                     Spring Break

 

 

 

(March 17):                                        San Pietro in Vincoli, Michelangelo, Julius II and the Nonfinito

Reading: Hibbard, the Julius Tomb, parts 1&2,148-177.            

 

 (March 24):                                       Collecting the Renaissance, Part 2, Palazzo Doria Pamphili

                                                Reading: Jones and Penny on Raphael’s portraits, part two                                                     

 (March 31):                                       Capitoline Hill, Michelangelo’s Architecture and Antiquity 

Reading: Ackerman, 136-170

 

(April 7):                                               Santa Maria Maggiore, the Afterlife of Sacred Space, from Antiquity to the Modern Times

                                                                Reading: Noreen, The Icon of Santa Maria Maggiore

 

(April 14):                                            In-class: Student presentations of final paper topics

 

(April 21):                                            In-class: Student presentations of final paper topics

 

(April 28):                                            In class review and discussion of themes for the exam

 

(May 4-8):                                           Final Exam (date to be confirmed by registrar) and Final Paper Due