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JOHN CABOT UNIVERSITY
COURSE CODE: "AH 298"
COURSE NAME: "Baroque Rome and Its Monuments (Rome City Series)"
SEMESTER & YEAR:
Fall 2015
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SYLLABUS
INSTRUCTOR:
Linda Nolan
EMAIL: [email protected]
HOURS:
W 9:15 AM 12:00 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
On-site; activity fee: €25 or $33
OFFICE HOURS:
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COURSE DESCRIPTION:
Rome City Series - This on-site course in Rome covers monuments of the seventeenth century (later known as the "baroque" period). Rome is the city where the baroque style originated and flourished, and it is the ideal place to study some of the most significant works of painting, sculpture, architecture, and urban planning from ca. 1580-to ca. 1750. We will critically examine major works by Annibale Carracci, Caravaggio, Artemisia Gentileschi, Domenichino, Lanfranco, Pietro da Cortona, Andrea Sacchi, and especially Gian Lorenzo Bernini and Francesco Borromini. The following are some important aspects of baroque art, which we will have the opportunity to study more effectively on-site than in the classroom: style, technique, scale, collocation, urban context, effects on the viewer (for example, theatrical squares, fountains, illusionist ceiling frescoes, fake domes). We will discuss artistic theory, concerns for decorum, the "affetti", classicism vs. naturalism, parallels between poetry and painting, papal patronage, and psychological and feminist interpretations of artists. The Counter-Reformation and the Catholic Revival, papal propaganda and nepotism, the powerful new orders, such as the Jesuits, as well as Queen Christina of Sweden's life, will be investigated.
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SUMMARY OF COURSE CONTENT:
The Roman Baroque (late 16th century-17th century) was a time of dramatic social, scientific, and religious change in which the role of art in society laid the ground work for our modern ideas about good art, collecting/museums, and appropriate experience with art. Emphasis will be placed on the artists Bernini and Caravaggio, the sacred spaces of Rome, and people who viewed and discussed the monuments and artists. Although conceived as a way to provide an in-depth introduction to monuments of the Roman Baroque, students will be introduced to key themes by means of readings directly related to site visits. Some of the themes include:
- how artists unified the visual arts to create spectacular, visually stunning monuments.
- the problem of using the biography of an artist for understanding works of art.
- the critical reception and impact of the Renaissance and ancient Roman “pagan” monuments/sculpture on artists.
- the politics of collecting and display of art.
- the relationship between Christian archaeology and art, with emphasis on the controversial cult of relics of saints and Christ.
- the impact of the decisions of the Council of Trent and the Counter-Reformation.
- the social urban development of the city, with reference to the impact of natural events (plaque and floods).
- the pilgrim versus the art connoisseur view of art.
The on-site classes are arranged by themes and chronology. Emphasis is placed on close looking and the interpretation of objects in their specific social, historical contexts.
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LEARNING OUTCOMES:
Students will be able to identify Roman Baroque art and architecture beyond the scope of the course, interpret the social, political, and religious meaning of monuments they see, and thinking critically about what they read.
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TEXTBOOK:
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Attendance and Participation | Class participation will be evaluated during each meeting based on arriving on time, contributions, attentiveness, and respect for classmates. Please note that being respectful and physically present in all class sessions (or missing 1 session) will only result in a grade of B- for Class Participation. If you strive for a higher grade, you must be visibly engaged and participate in discussions. | 15% |
| In-Class Writing Assignments | Periodic in-class writing assignments will foster critical looking and writing skills. | 10% |
| Mid-Term Exam | A Midterm Exam preparation document will be distributed one week prior to the exam. The Midterm exam consists of image-identifications (artist, title, and date) and three sets of “slides“ in which you must identify the monuments (artist, title, and date) and write a short essay in response to a prompt. | 20% |
| Paper Assignment | Students will write one site-based, critical observation paper (6-7 pages), a prompt for which will be distributed by week 2. | 25% |
| Final Exam | Similar in format to the Midterm Exam with the addition of a thematic essay related to course readings. Students will have three topics to pick from. Again, an exam preparation document will be distributed one week prior to the exam. | 30% |
-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 cour
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:
One unexcused absence is permitted (but highly discouraged) without grade penalty. You are still responsible for the content of that missed meeting, which may include a site-based writing assignment. Three tardies count as one unexcused absence. Because this is an on-site class, students are expected to plan accordingly to arrive on time to class, wear the appropriate shoes and clothing for inclimate weather and dress appropriately for sacred spaces (knees and shoulders covered, and all parts in between!).
Please see the ATAC link below for directions on public transit to arrive. A document including tips on arriving to various sites will also be posted on the course page (MyJCU).
ARRIVE ON TIME. Students who arrive late to class will have to find the group on their own, disrupt class already in session, pay their own entrance to the museum, miss important information announced at the start of class, and/or possibly not be able to enter the museum due to group reservations.
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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.
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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.
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SCHEDULE
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| Session | Session Focus | Reading Assignment | Other Assignment | Meeting Place/Exam Dates |
| Sept 2 - Meeting 1 | Introduction to course; Site visit to the Pantheon and S. Maria sopra Minerva | Dixon, ed. 2008: Reading 1 (after meeting);
Recommended: Marder 1989.
| | JCU Campus, then on-site CHURCH DRESS CODE |
| Sept 9 - Meeting 2 | The Counter-Reformation: the reform of sacred art and space: S. Stefano Rotondo, S. Pressede, S. Maria Maggiore | Korrick 1999 | | Arch of Constantine, near Colosseum CHURCH DRESS CODE |
| Sept 16 - Meeting 3 | The image of the female saint/blessed: S. Cecilia and Beata Ludovica: S. Cecilia in Trastevere and S. Francesco a Ripa | Kampf 2001 | In-Class Writing | Piazza Belli, Viale Trastevere (8 tram stop) CHURCH DRESS CODE |
| Sept 30 - Meeting 4 | Caravaggio, from beginning to end: Galleria Borghese | Bellori, bio of Caravaggio; Dixon, ed. 2008: Reading 2 (Bellori), esp p. 23, and 30-33. | | Entrance to Galleria Borghese at ** 8.45AM ** |
| Oct 7- Meeting 5 | Caravaggio, the most famous painter in Rome: S. Maria del Popolo, S. Agostino, and S. Luigi dei Francesi | Jones 2008, ch. 2; Olson 2014 | | Steps of S. Maria del Popolo CHURCH DRESS CODE |
| TBA pm Make-Up Class- Meeting 6 | Creating the Baroque City: Piazza/Palazzo Mattei, Palazzo Spada, Campo di Fiori, Piazza Navona, Sant’Agostino, and Palazzo Borghese | San Juan 2001, Ch. 4; Nussdorfer 1997 | | “Turtle Fountain”, Piazza Mattei |
| Oct 14 - Meeting 7 | From Renaissance innovations to Baroque competitions in painting styles
Site: Vatican Museums (Paintings Gallery: Nicholas Poussin, Valentin de Bolougne, Caravaggio, and Orazio Gentileschi) and Sistine Chapel (Michelangelo) | Dixon, ed. 2008: Reading 3 (Sohm), esp p. 39-41 | In-Class Writing | Entrance to Vatican Museums CHURCH DRESS CODE |
| Oct 21 - Meeting 8 | MIDTERM EXAM | | | JCU Campus |
| Oct 28 - Meeting 9 | Bernini’s beginnings: Galleria Borghese | Cole 2007; Kenseth 1981; | | Entrance to Galleria Borghese at ** 8.45AM ** |
| Nov 4 - Meeting 10 | Two faces of the Baroque: Bernini and Borromini
Sites: S. Maria della Vittoria (S. Teresa), S. Carlo alle Quattro Fontane, S. Andrea al Quirinale | Call 1997; Dixon, ed. 2008: 5 (Connors); | | Caffe Piccarozzi”, Piazza della Repubblica 62, end of Via Nazionale CHURCH DRESS CODE |
| Nov 11 - Meeting 11 | Collecting Art: The Aldobrandini and Pamphili family art collections at Galleria Doria Pamphili | Cappelletti 2014, esp. pp.80-82, and 86-88. | In-Class Writing | Entrance to Galleria Doria Pamphili, via del Corso |
| Nov 18 - Meeting 12 | "Minerva of the North": Queen Christina of Sweden | Zirpolo 2005 | | Guarini Campus, then Palazzo Corsini |
| Friday, Nov 20 - PAPER DUE | By 5pm, via email (See Paper Assignment Handout for Details) | | | |
| Nov 25 - Meeting 13 | Reforming/rebuilding early Christian sites: St. Peter’s Basilica: Piazza, Basilica, and “Grotte” (crypt) | Lavin 2005;
Recommended: Rice 2008; McClendon 1989
| | Egyptian obelisk, center of piazza, St. Peter’s Basilica CHURCH DRESS CODE |
| Dec 2 - Meeting 14 | The Barberini: Palazzo Barberini | Waddy 1999; Dixon, ed. 2008: Reading 15 (Vitzhum) | In-Class Writing | Piazza Barberini, at Bernini’s “Triton Fountain” |
| TBA | FINAL EXAM | TBA | TBA | |
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