Download Teacher's Guide - Saint Louis Art Museum

Art of 

Europe 

before 1800

Art of 

Europe 

before 1800

The materials in this curriculum packet are designed to be used by students 

of all ages and their teachers. The entire packet is available as an interactive 

program on the Museum’s website at www.slam.org/teachers 

We would appreciate your comments on these materials. Please log onto the 

Museum’s website at www.slam.org/packetevaluation to complete the online 

evaluation form. 

This curriculum packet contains the following items: 

• Posters of seventeen artworks from the collection of the Saint Louis Art Museum. 

Each poster offers information about the work of art and suggested questions for 

discussion with younger and older students. 

• A Teacher’s Guide, which includes images, learning activities, and an annotated 

list of source materials. 

We encourage classes to visit the Museum to view the works in this curriculum 

packet. Tours are free and may be scheduled for groups (pre-kindergarten through 

adults). All groups, whether led by a Museum docent or self-guided, must 

pre-register with the Museum to assure time in the designated galleries. 

To schedule a tour, complete the tour request form on the Museum’s website 

at www.slam.org/teachers or call the tour hotline at 314.655.5484. 

Please allow four weeks notice. 

Project Team 

Bill Appleton, Assistant Director for Public Programs and Education 

Ann Burroughs, Education Assistant 

Louise Cameron, Director of Educational Media 

Judith W. Mann, Curator of European Art to 1800 

Michael Murawski, Director of School Services 

Mary Nichols, Associate Educator 

Erika TenEyck, Associate Educator 

Written by Louise Cameron, Erika TenEyck, Ann Burroughs, 

and Bill Appleton, with assistance from Michael Murawski, 

Marianne Cavanaugh, Clare Vasquez, and Mary Nichols 

Edited by Louise Cameron and Fontella Bradford 

Designed by Lauri Kramer 

Copyright 2009 Saint Louis Art Museum 

cover image: 

François-André Vincent, French, 1746–1816 

Detail of Arria and Paetus, 1784 

oil on canvas 

39 ¾ x 48 inches 

Funds given by Mr. and Mrs. John Peters MacCarthy, Director’s Discretionary Fund, 

funds given by Christian B. Peper, and gift of Mr. Horace Morison 

by exchange 27:2008 

2 

Table of Contents 

Introduction 4 

Diptych with Scenes of the Passion and Afterlife of Christ 6 

Madonna and Child Enthroned with Saints Peter, 

John the Baptist, Dominic, and Nicholas of Bari 7 

St. Eustace 8 

Field Armor 9 

Reclining Pan 10 

Mary, Lady Guildford 11 

Judith and Holofernes 12 

Christ Shown to the People (Ecce Homo) 13 

Apollo and Marsyas 14 

Still Life with Mice 15 

Christ Presented to the People (“The Ecce Homo”) 16 

The Account Keeper 17 

Bust of a Black Man 18 

Interior of St. Peter’s, Rome 19 

Pair of Vases from the Swan Service 20 

Arria and Paetus 21 

A Harbor in Moonlight 22 

Learning Activities keyed to the Missouri Grade 

Level Expectations for Visual Arts 23 

Suggested Resources 26 

Useful Websites 28 

3

Introduction 

Who were the great masters of early European art? 

You might answer with famous names like Leonardo 

da Vinci, Michelangelo, Caravaggio, Rembrandt, and 

Jacques-Louis David. But there were many other talented 

individuals who responded to changing ideas in science, 

religion, and politics during the period from the 

thirteenth through the eighteenth century. This packet 

features seventeen works selected from the Saint Louis 

Art Museum’s collection of European Art to 1800, 

encompassing Gothic, Renaissance, Baroque, Rococo, 

and Neoclassical styles. These objects demonstrate the 

importance of art in European culture, and reveal the 

power of art to tell stories. 

During this early period, artists in Europe looked to the 

past and based their works on forms established by the 

ancient Greeks and Romans. Because this was a great age 

of discovery, painters and sculptors also experimented 

with new techniques and styles. Many factors influenced 

art in Europe before 1800, but one theme remained 

strong—visual storytelling. Stories from the Bible, 

mythology, and literature, fantastic creatures and sacred 

figures, important individuals and everyday citizens 

all came to life through art. In this packet we examine 

some of the ways this period approached art as a form 

of storytelling. 

The Christian church was one of the most significant 

influences on early European art. Because many congregants 

were not able to read, the Church used painting, 

sculpture, and other art forms to present its literature 

and litany. The ivory diptych, Scenes of the Passion and 

Afterlife of Christ (poster 1) is a small portable 

masterpiece that was used for personal worship. Its form 

is inspired by Gothic architecture. 

A much later work also reflects the influence of church 

architecture. During the eighteenth century, wealthy 

men and women began to travel on the Grand Tour, an 

extended journey to Italy to view the great masterpieces 

of ancient Rome and the Renaissance. Painted representations 

of well-known tourist sites were popular mementoes 

4 

for these travelers. In Giovanni Paolo Panini’s Interior 

of St. Peter’s, Rome (poster 14) a variety of people interact 

in a grand architectural setting. 

Images sacred to Christians remained dominant in 

European art through the fifteenth and sixteenth 

centuries. Titian’s Christ Shown to the People (Ecce 

Homo) (poster 8) gives us the artist’s vision of Christ just 

hours before his death. Piero di Cosimo’s Madonna and 

Child Enthroned with Saints Peter, John the Baptist, 

Dominic, and Nicholas of Bari (poster 2), incorporating 

the Pugliese coat of arms, was placed in a private chapel 

where it bore witness to the family’s faith and devotion 

as well as their financial status. 

Works based on Biblical tales of heroes and heroines 

inspired Renaissance viewers. Giorgio Vasari’s Judith 

and Holofernes (poster 7) portrays a dramatic moment 

from the tale of a Jewish widow whose bravery saved 

her town. Judith’s bulging muscles and dynamic pose 

depict female form using a super-human vocabulary. 

Heroes and heroines depicted in art were not always 

Christians. The excavation of the ancient Roman city of 

Pompeii in 1748 revived Europe’s interest in mythological 

legends and political sagas meant to inspire patriotism 

and instill lessons of virtue and honor. Arria and Paetus 

(Poster 16) with its dramatic lighting, clear lines, and 

distinct poses, recalls ancient sculpture. Its subject matter 

also teaches a lesson about duty, a virtue valued by 

ancient and contemporary audiences alike. 

This period also renewed interest in tales of mythological 

gods and goddesses, great wars, and bizarre creatures. 

Francesco da Sangallo’s Reclining Pan (poster 5) was 

inspired by ancient sculpture and created from recycled 

ancient marble. Bartolomeo Manfredi’s Apollo and 

Marsyas (poster 9) tells the story of a god’s revenge on 

an arrogant rival. 

In Northern Europe at this time, artists used precise 

details to convey narrative content. Mary, Lady Guildford 

(poster 6), painted in England by northern artist 

Hans Holbein the Younger, features the subject in a 

sumptuous costume suited for a noblewoman. With great 

skill, the artist recreated textures such as the fine gold 

thread of the fabric. Lady Mary’s pose, accessories, and 

expression convey her status as a member of the nobility. 

Portraits tell stories about their subjects, but sometimes 

research reveals interesting clues about their creation 

as well. Bust of a Black Man (poster 13) was executed 

during the time when the artist Melchior Barthel was 

working on a tomb sculpture. The subject of the bust 

may well have been one of his models for the larger, 

more elaborate project. 

With the invention of the printing press by Johannes 

Gutenberg in the mid-fifteenth century, religious texts, 

ancient prose, and other works could be widely circulated. 

Prints became an affordable alternative to more costly 

works of art. Albrecht Dürer’s innovative technique 

and eye for detail pushed the boundaries of printmaking 

to new levels. One of Dürer’s largest prints, St. Eustace 

(poster 3), sets the stage for the saint’s conversion through 

myriad details of plants, animals, and landscape. 

One hundred and fifty years after Dürer created 

St. Eustace, Rembrandt, working in a similar medium 

in the Netherlands, completed Christ Presented to 

the People (“The Ecce Homo”) (poster 11). The main 

figures, Christ, Barabbas, and Pontius Pilate, appear 

on an elaborate stage at a decisive moment in the 

dramatic series of events. Again the artist includes 

details that encourage us to look closely at the print 

to interpret its story. 

During the sixteenth and seventeenth centuries, Protestant 

reforms reduced the demand for sacred art works in the 

Netherlands. Patrons showed a great interest in the 

objects and events of everyday life, and artists responded 

by producing paintings such as Lodewik Susi’s Still 

Life with Mice (poster 10) and Nicholaes Maes’s genre 

painting, The Account Keeper (poster 12). Like many 

artists, Susi and Maes painted highly detailed works 

that exhibited their skill at representing surface textures 

and the play of light on objects. 

Another artist who demonstrated his skill at treating 

light was Joseph Vernet, whose landscape scene, A Harbor 

in Moonlight (poster 17), depicts the busy port of Naples 

at night. Using several light sources, the artist portrays 

an actual place with poetic sensibility. 

Decorative arts, including metalwork, reveal stories of 

how things were made. The steel Field Armor (poster 4) 

was engineered to provide the greatest amount of 

flexibility and protection during a battle. The porcelain 

Pair of Vases from the Swan Service (poster 15) was part 

of an extravagant gift that can still tell us about the 

wealth and status of the donor as well as the recipient. 

Both works help us visualize everyday life in early times. 

As you can see, the objects featured in this packet 

represent only a sample of the incredible works of art 

in the Museum’s collection of early European art. We 

encourage teachers and students to explore additional 

paintings, sculpture, decorative arts, and works on 

paper by visiting the Saint Louis Art Museum to look 

for stories in the art. 

5

This intricate object with columns and towers is like a 

tiny cathedral made from elephant ivory. Pointed arches 

which enclose each of the eighteen scenes are typical of 

Gothic architecture, a prominent building style in France 

in the thirteenth century. This diptych (DIP-tick) with 

two hinged parts would have been used during personal 

prayer in a private setting such as a bedroom. The scenes 

tell the story of Jesus Christ’s last days on earth. In the 

bottom row, from left to right, is the story of Judas’s 

betrayal of Jesus with a kiss and Judas’s suicide by 

hanging; the middle row is made up of events from 

the Crucifixion and burial; and the top row shows the 

resurrected Christ appearing to his followers. In the 

final scene in the top right corner we see Jesus’s feet as 

he ascends bodily into heaven. 

6 

1 

French 

Diptych with Scenes of the Passion and Afterlife 

of Christ, 1250–70 

elephant ivory with traces of paint 

8 3/16 x 7 1/16 x 3/8 inches 

Museum Purchase 183:1928 

For younger students: 

There is one figure that appears in many of the scenes. 

Can you find him? What is he doing in each scene? 

If you were going to make a diptych, what materials 

would you use? 

For older students: 

The diptych was once painted. How would this affect 

your reaction to the work? 

What does the shape and appearance of the diptych 

remind you of? Explain some reasons for your answer. 

This large painting featuring the Virgin Mary, baby Jesus, 

and four saints was once in a private chapel belonging 

to the Pugliese (Pool-YAZE-ee) family. Their coat of 

arms is in the frame’s lower corners. In the large central 

painting, Mary and the baby are sitting on a raised throne 

as Saints Peter and John the Baptist introduce the other 

two holy figures, Saints Dominic and Nicholas of Bari 

(BAR-ee). We can recognize the figures by their clothes 

and the objects they hold: Peter has two keys; John the 

Baptist wears a brown animal skin; Nicholas of Bari, 

dressed in green and red, holds three gold balls; and a 

white lily appears above Dominic’s shoulder. The saints’ 

poses and gestures direct our eyes to Jesus, who raises his 

hand in a sign of blessing. Dominic, John, and Nicholas 

also appear in the three smaller paintings along the 

bottom which show scenes from their lives. 

2 

Piero di Cosimo, Italian, 1461/62–1521(?) 

Madonna and Child Enthroned with Saints Peter, John 

the Baptist, Dominic, and Nicholas of Bari, c.1481–85 

tempera and oil on panel 

66 1/4 x 44 1/8 inches 



Is this painting symmetrical or asymmetrical? Why? 

What do you imagine each of the characters is saying 

in this painting? 


Describe some examples of symmetry in the painting. 

Be sure to include the frame in your discussion. 

This painting is called a sacred conversation because the 

figures all communicate with each other in some way. 

Name some of the ways. 

7

In this work we see five dogs, a horse, and a man. 

According to the story, Placidus (PLA-sid-us), a Roman 

general, was hunting when he saw a deer with a glowing 

crucifix between its antlers. This vision led Placidus to 

fall on his knees and convert to the Christian faith. At 

that time he took the name Eustace. In this print we see 

Albrecht Dürer’s (DER-er’s) fascination with depicting 

things from nature—trees, flowers, grass, and surface 

textures like animal fur. The artist made this engraving 

by cutting grooves into a metal plate. Ink was applied 

to the plate, which was wiped leaving ink in the grooves, 

then covered with paper and run through a printing 

press. This technique allowed Dürer to create amazing 

details using a variety of lines and tones. His innovative 

approach to printmaking made Dürer one of the most 

influential artists of the Renaissance. 

8 

3 

Albrecht Dürer, German, 1471–1528 

St. Eustace, c.1501 

engraving 

plate (irregular): 14 x 10 3/16 inches 



Name all of the animals you see. 

Imagine that you are in this picture—what would you 

be doing? 


Imagine yourself in the picture. Starting in the foreground, 

describe how you would walk through the middle 

ground to get to the castle in the background. 

What elements of art—line, color, shape, texture—does 

the artist use and how? 

Full suits of armor were worn by men on horseback for 

protection during battle. Custom-made to fit the owner, 

this suit is composed of separate sections that shield 

individual body parts. Some of the components, such as 

the gauntlet that covers the hand, are made up of small 

pieces of steel to provide flexibility and movement. 

Larger sections have surface flutes, or raised lines, that 

add rigidity and help deflect weapons. A lance or long 

spear would have rested on the curved hook near the left 

shoulder. Young squires or assistants helped the rider 

put on the forty-pound suit of armor. Leather straps at 

the shoulders, waist, wrists, and knees kept it in place. 

Armor’s appearance was influenced by fashion trends 

of the day. The wide-toed foot coverings of this suit were 

based on popular footwear for men. 

4 

Wilhelm von Worms the Elder (active 1497–1537) 

and others, Nuremberg and Landshut, Germany 

Field Armor, 1510–25 

steel, leather, and modern restorations 

68 x 30 1/2 x 19 inches 

weight: 40 lb. 15 oz. 

Museum Purchase 171:1926a–n 


Make up a very short story in which this suit of armor 

plays a role. 

Name some things you would not be able to do if you 

were wearing this suit of armor. 


Which of your five senses would be affected by wearing 

this suit of armor? Describe each and tell how the 

wearer could compensate. 

Think of some things we wear today for defense in 

sports or war. Are any similar to the Field Armor? 

9

Pan lies on a rocky bed surrounded by vines, grape 

clusters, and a slithery salamander. Carved from marble 

in this sculpture, Pan the satyr (SAY-ter)—a half-human, 

half-goat creature of mythology—is very well known 

for his bad behavior. This god of forests, mountains, 

flocks, and shepherds lives in the woods and often carries 

a reed pipe (seen here in his right hand). The pipe refers 

to the story of Pan and the maiden Syrinx (SEAR-inks). 

One day Syrinx saw Pan in the woods. She knew of his 

reputation and decided to run away before he could talk 

to her. Reaching a river that was too dangerous to cross, 

she asked the gods for help to escape. They changed her 

into a patch of reeds. Pan, heartbroken at losing Syrinx, 

picked several of the reeds and made a musical pipe, 

playing it in her honor. 

10 

5 

attributed to Francesco da Sangallo, Italian, 1494–1576 

previously attributed to Giovanni Angelo Montorsoli, Italian, 1507–1563 

Reclining Pan, c.1535 

marble 

52 3/4 x 25 x 23 1/4 inches 



Write three words you would use to describe the 

sculpture of Pan. 

Describe the environment in which Pan lives. 

Which details from the sculpture would you use 

in your description? 


Would you say this sculpture is real, stylized, or abstract? 

Why? (Use details from the sculpture to support 

your answer.) 

This sculpture once served as a fountain in a garden. 

Why would a person want a fountain featuring Pan? 

In this portrait, Lady Mary Guildford (GUILD-ford) is 

dressed in all the fashionable finery of King Henry VIII’s 

English court. She wears a black velvet dress decorated 

with six gold chains, fur trim, and sleeves of golden 

fabric. Her headpiece, which looks like a building’s 

pointed roof, was the height of English style at the time. 

She holds a prayer book and a rosary to show that she is 

religious. Lady Mary was the wife of Henry Guildford, 

whose job was to supervise the King’s finances. As 

appropriate for a husband and wife in such favor with 

the King, Mary and Henry both had their portraits 

prepared by court painter Hans Holbein (HOLE-bine) 

in 1527, when Mary was 27 years old. Today Henry’s 

portrait is in the Royal Collection at Windsor Castle, 

in England. 

6 

Hans Holbein the Younger, German, 1497/98–1543 

Mary, Lady Guildford, 1527 

oil on panel 

34 1/4 x 27 13/16 inches 



How many faces do you see in the painting? 

If you were going to have your portrait painted, what 

would you wear? 


Describe Lady Mary’s expression, pose, and dress. What 

does each suggest about her personality and status? 

What are some things people in the twenty-first century 

wear to indicate their status? 

11

In this painting based on a story from the Bible, the 

heroine Judith holds a sword above her head as she 

stands over a sleeping man. Judith and her maid Abra 

had entered the enemy camp of the Assyrian (A-SEARee-an) 

army with an offer to reveal secret information. 

Pretending to be on his side, Judith requested a meeting 

with the general Holofernes (ho-low-FAIR-knees). The 

general was captivated by her charm and invited her 

to a private feast. After the meal, Holofernes fell asleep. 

Judith took advantage of his condition and beheaded 

him, leaving the Assyrian forces in chaos. The artist 

shows Judith as a woman of great strength and power. 

Judith’s dynamic pose, bulging muscles, and militarylike 

costume highlight her victory. Over time, the story 

of Judith has come to symbolize triumph over cruelty 

and oppression. 

12 

7 

Giorgio Vasari, Italian, 1511–1574 

Judith and Holofernes, c.1554 

oil on panel 

42 1/2 x 31 3/8 inches 

Friends Fund and funds given in honor of 

Betty Greenfield Grossman 2:1982 


Make a list of adjectives that describe the painting. 

What do you think happened before or will happen 

after this scene? 


Why do you think the artist chose to portray this 

particular moment from the story? 

Judith’s courageous act helped save her town from 

enemy forces. Name some other women who have 

performed heroic deeds. 

Although the title of this painting is Christ Shown to 

the People, the artist has chosen to depict what happens 

before Jesus is actually shown to the crowd. To the right 

stands the elderly governor Pontius Pilate (PON-chus 

PI-lut), wearing a luxurious costume trimmed with fur 

and decorated with jewels. On the left is a young servant, 

also dressed in elaborate clothing. In contrast, the bearded 

figure of Jesus Christ stands between the two, covered 

only in a simple cloth and wearing a crown of thorns. 

Christ’s downturned gaze expresses humility; Pontius 

Pilate looks off to the right expectantly; the young 

boy looks to the right with an expression of animated 

anticipation. The simple composition and dark tones 

of the painting invite us to contemplate the scene and 

speculate on what will come next. 

8 

Titian (Tiziano Vecellio), Italian, c.1485-90–1576 

Christ Shown to the People (Ecce Homo), c.1570–76 

oil on canvas 

43 x 37 5/16 inches 



Compare and contrast this painting with Rembrandt’s 

Christ Presented to the People (“The Ecce Homo”) 

(poster 11). 

Choose one of the people in the painting and tell what 

you think he was doing before this scene takes place. 


Some sections of this work are painted in fine detail, 

while others are rendered in loose brushwork. Identify 

examples of both, and discuss the effect this has on how 

you see the painting. 

Compare and contrast this painting with Rembrandt’s 

Christ Presented to the People (“The Ecce Homo”) 

(poster 11). What has each artist chosen to emphasize? 

How might the differences in these works change the 

way we relate to the event and its characters? 

13

In this painting, Apollo, god of music, poetry, and the 

sun carries out a cruel punishment on the satyr Marsyas 

(MAR-see-us). According to an ancient myth, Marsyas 

believed that he could defeat Apollo in a musical contest. 

The stakes were high in this competition since the winner 

would decide the loser’s fate. Not surprisingly, the god 

Apollo won. He chose a shocking way to punish 

Marsyas for his pride—flaying, or peeling off his skin. 

This painting shows only the two characters. Marsyas, 

who lived in the woods, is shown tethered to the trees 

while Apollo, the god, is framed against a brightly lit 

sky. In contrast to Apollo’s calm expression, Marsyas 

appears shocked and horrified. 

14 

9 

Bartolomeo Manfredi, Italian, 1582–1622 

Apollo and Marsyas, 1616–20 

oil on canvas 

37 5/8 x 53 9/16 inches 

Friends Fund and funds given by Mr. and Mrs. John 

Peters MacCarthy, Phoebe and Mark Weil, and 

Christian B. Peper 62:2004 


Compare and contrast the appearance of the two figures. 

What do you think will happen next? Will the story 

have a happy ending or a tragic one? 


What if the artist had depicted the figures further 

back in the landscape? How would it affect the way 

we interpret the painting? 

Compare and contrast the figures of Apollo and 

Marsyas. What do their similarities and differences 

suggest about them? 

A lemon, an orange, apples, ginger sticks, and sugared 

almonds are shown in this still life. Even though the items 

appear randomly strewn on the table, the artist has 

actually placed them carefully. The arrangement creates 

a series of diagonal lines and color contrasts to form a 

balanced composition. (Notice how the red apple and 

reflective plate seem to balance the lemon and orange.) 

The knife and plate, which hang over the edge of the 

table, not only show the artist’s outstanding skills as a 

painter, but also bring us into the picture. The decay on 

the apple and the presence of mice could suggest another 

message to the viewer, since mice sometimes symbolize 

death or sin, and rotting food is often a metaphor for 

change and mortality. These elements serve to remind 

the viewer of life’s transformations and warn against 

overindulgences such as sweets. 

10 

Lodewik Susi, Flemish, active 1616–1620 

Still Life with Mice, 1619 

oil on panel 

13 3/4 x 18 5/16 inches 



Name all of the objects in the painting. 

Make up a story from the point of view of one 

of the mice. 


Discuss how the artist used the elements of art—line, 

shape, color, texture—in this painting. 

The food featured here would have been expensive at 

the time. What are some costly treats today? 

15

In this print based on an event in the Bible, the large 

crowd and monumental architecture provide a dramatic 

setting for the main figures. On the central platform, two 

men are shackled next to the governor Pontius Pilate 

(PON-chus PI-lut), who wears a turban. Jesus Christ is to 

the right, his head bowed while Barabbas (bar-RAB-us), 

a criminal, stands between Jesus and Pilate. At festival 

time in Jerusalem, it was traditional for the governor to 

release a prisoner. Pilate asks the crowd which of the men, 

Christ or Barabbas, should be released. It is a pivotal 

moment in the story—Christ will not be released and will 

instead be crucified. Rembrandt’s composition was made 

using the drypoint technique. The artist scratched and 

cut directly into a copper plate to produce a variety of 

lines. Then the plate was inked, wiped, and run through 

a printing press. In this resulting image printed on 

special paper, sharp lines contrast with blurred edges 

and rich tones. 

16 

11 

Rembrandt van Rijn, Dutch, 1606–1669 

Christ Presented to the People (“The Ecce 

Homo”), 1655 

drypoint on Japanese paper 

plate (irregular): 15 1/8 x 17 5/8 inches 

Museum Shop Fund, Friends Fund, and funds 

given in honor of James D. Burke, Museum Director 

from 1980 to 1999 by Mr. and Mrs. Lester A. 

Crancer Jr., Mr. and Mrs. Christian B. Peper, the 

Ruth Peters MacCarthy Charitable Trust, an 

anonymous donor, Mary and Oliver Langenberg, 

Phoebe and Mark Weil, Sam and Marilyn Fox, The 

Sidney S. and Sadie Cohen Print Purchase Fund, 

the Julian and Hope Edison Print Fund, Margaret 

Grigg Oberheide, an anonymous donor, Mr. and 

Mrs. Kenneth F. Teasdale, Mr. and Mrs. John W. 

Bachmann, the Anne L. Lehmann Charitable Trust, 

Anabeth Calkins and John Weil, Mrs. James Lee 

Johnson Jr., Suzanne and Jerry Sincoff, Mr. and 

Mrs. Sam Weiss, Mr. and Mrs. Martin E. Galt III, 

and Mr. and Mrs. Andrew B. Craig III 1:1999 


Make up a title that you think best describes this work. 

Describe three figures you see in the crowd. 


Name five ways by which Rembrandt draws attention 

to the main characters. 

Do you think the artist intended for us to be part of 

the scene? Why or why not? 

In this painting a woman appears to have fallen asleep 

in the middle of her work. She sits with a pile of books 

in front of her and holds a quill pen. The pile of books 

is sloppy, but the rest of the room is tidy. A large map 

of the world hangs on the wall. During this period in 

history European countries were exploring the globe, 

and people were fascinated by unknown territory. Keys 

hang from a nail below the map. The room and objects 

in it are typical of a Dutch middle class home in the 

1650s. Although the artist gives us few clues as to why 

the woman is sleepy, the objects and their arrangement 

show that she is part of a household that is orderly and 

financially sound. 

12 

Nicolaes Maes, Dutch, 1634–1693 

The Account Keeper, 1656 

oil on canvas 

26 x 21 1/8 inches 



How many round shapes do you see in the room? 

What do you think will happen next in this story? 


Why is there a sea monster in the map hanging 

on the wall? 

Which do you think is the primary focus of the 

painting—the room or the woman—and why? 

17

A bust, one of the oldest types of portraits, traditionally 

shows a person’s head and shoulders. Melchior Barthel 

(MEL-key-or Bar-TELL) skillfully carved this handsome 

bust of an African man, portraying him with a sensitive 

expression. The subject here was probably one of the 

models who posed for the artist in the preparation of a 

larger tomb sculpture. Carved from black marble, the 

sculpture’s face and neck are highly polished to contrast 

with the textured surface of his close-cropped hair. The 

man’s shirt and overcoat are elegantly crafted from white 

marble, adding a dramatic element. The bust is attached 

to a red marble base that serves as the pedestal. Exotic 

materials, contrasting colors, and stylish presentation 

illustrate the seventeenth-century preference for works 

that express emotion as well as the artist’s skill. 

18 

13 

Melchior Barthel, German, 1625–1672 

Bust of a Black Man, 1660s 

marble 

24 1/2 x 17 x 8 5/8 inches 

Funds given by Mr. and Mrs. R. Crosby Kemper Jr. through the 

Crosby Kemper Foundations 54:1990 


What would this sculpture say if it could talk? 

What materials would you use to make a portrait 

of a friend? 


Who do you think this man was? Does his clothing 

offer any clues? 

What are some reasons the artist might have created 

this bust? 

Giovanni Paolo Panini (joe-VON-ee PAWL-o 

Pa-NEE-nee) produced more than twenty versions 

of this painting showing the interior of St. Peter’s 

Basilica in Rome. Because they were so portable, 

paintings that could be rolled up and carried home 

were in high demand among tourists who visited Italy 

in the eighteenth century. This painting accurately 

records the appearance of the church in almost every 

detail. Panini used light and a low horizon line to draw 

attention to the central area. He peopled the grand 

interior with animated figures, allowing the painting 

to become a view of everyday life that tourists would 

have seen when visiting the famous church. 

14 

Giovanni Paolo Panini, 

Italian, 1691–1765 

Interior of St. Peter’s, Rome, 1731 

oil on canvas 

57 3/8 x 89 7/8 inches 



How many people do you see in the painting? Describe 

what they are doing. 

Name some geometric shapes you see throughout 

the building. 


What kind of building is this? What was it used for? 

When you visit a special place, how do you remember it? 

19

Four magnificent swans spread their wings and twist 

their necks behind them to form the handles of these 

vases. Originally, these two elaborate pieces were part 

of a lavish set of dinnerware. Referred to as the Swan 

Service, it was a gift presented to a German count in 

honor of his wedding. The set consisted of more than 

2,000 pieces that could serve up to one hundred guests. 

The gold coats of arms on the bodies of the vases were 

those of the two families being joined by marriage. 

Because swans mate for life, these graceful birds are 

often associated with weddings. The Swan Service was 

presented to wish the bride and groom a long and 

happy life together. 

20 

15 

Johann Joachim Kaendler, 

German, 1706–1775 

made by the Meissen Porcelain Manufactory, 

Germany 

Pair of Vases from the Swan Service, 1738 

glazed and gilded porcelain with gilded copper-alloy mounts 

each: 23 x 11 5/8 x 10 7/8 inches 

Museum Purchase 36:1945a,b 


Look carefully at the pair of vases; are they exactly 

alike? How are they different? 

The vases belong to a much larger set of dishes that 

would have been used for fancy dinner parties. What 

would you use these two vases for? 


Why did the designer choose to decorate the vases 

with swans? 

The vases are made out of porcelain. Why do you think 

the maker used porcelain instead of silver or bronze? 

Arria (ARR-ee-uh) and her husband Paetus (PIE-tus) 

look as though they are on a stage performing a scene 

from a play. Arria leans forward and points to her head, 

ready to plunge the knife into herself; Paetus shrinks in 

horror at the thought of imitating Arria’s actions. The 

dark background and dramatic lighting emphasize the 

drama of their poses and expressions. This painting is 

based on ancient Roman history in which Paetus joins 

a conspiracy against the emperor. When the plot fails, 

Paetus is cast out of Rome. Eventually, he is called back 

to the city to be imprisoned. Arria knows that in order to 

avoid the shame of going to jail, the only honorable thing 

for her husband to do is commit suicide. When Paetus 

proves unwilling, Arria seizes the knife to demonstrate. 

Arria’s actions would have been seen as courageous in 

ancient times. 

16 

François-André Vincent, French, 1746–1816 

Arria and Paetus, 1784 

oil on canvas 

39 3/4 x 48 inches 

Funds given by Mr. and Mrs. John Peters MacCarthy, 

Director’s Discretionary Fund, funds given by 

Christian B. Peper, and gift of Mr. Horace Morison 

by exchange 27:2008 


See if you can pose like one of the two people 

in the painting. 

What do the two characters’ expressions and gestures 

indicate they are each feeling? 


Why do you think the artist chose to depict this 

moment from the story? 

Compare the figure of Arria to that of Judith in Judith 

and Holofernes (poster 7). Describe some similarities 

and differences. 

21

There seems to be a lot of activity in this moonlit scene 

based on the harbor of the Italian city of Naples. In the 

foreground, a person kneels in a boat and feeds a large 

net to two men who stand on the rocky shore. Two others 

work with nets in the boat. To the left, a group gathers 

around a fire and large kettle. Out in the harbor, giant 

sailing ships drop anchor while small rowboats with 

passengers hover nearby. A tall tower shines its light 

over the harbor, and moonlight glistens on the water’s 

calm surface. Vernet, who specialized in painting 

harbors, captures meticulous details of the people 

going about their tasks as clouds move gently over 

the harbor’s calm water. 

22 

17 

Joseph Vernet, French, 1714–1789 

A Harbor in Moonlight, 1787 

oil on canvas 

24 x 32 inches 

Gift of Christian B. Peper 37:2006 


How many different sources of light can you find 

in this painting? 

Look carefully at the painting and describe the sounds 

and smells of the scene. 


Describe some elements in the foreground, middle 

ground, and background. 

The scene in this painting takes place at night; are there 

other paintings in the packet that also take place at 

night? How can you tell? 

Learning Activities 

These learning activities are based on the five strands for Visual Arts Grade Level Expectations of the Missouri 

Department of Elementary and Secondary Education. 

The learning activities listed in this packet are written with middle level students (grades 5—7) in mind, but many 

of them can be adapted for other levels. 

Art GLEs are grade level benchmarks for the Fine Arts Content Standards in the Show-Me Standards for Missouri 

Schools. It is expected that 80% of students will demonstrate proficiency at the GLE level. As school districts build 

curriculum documents, it is understood that concepts and skills should be introduced at earlier grade levels, assessed 

at the GLE level, and continue to be reviewed/reinforced at later grade levels. At each grade level, students should be 

able to demonstrate the GLEs from previous years as well as those specified for the current grade. Emphasis is 

placed on skill refinement and increasing control of each medium. Students are expected to grow in their ability to 

select art materials which are best suited for creatively communicating their ideas. 

Strand I Product-Performance 

Artists communicate ideas through artworks by selecting and applying media techniques and processes, 

subject matter, and themes. 

1.A–D Select and apply two-dimensional media, 

techniques, and processes to communicate ideas 

and solve challenging visual art problems—various 

art media. 

3.A Communicate ideas about subject matter and 

themes in artworks created for various purposes— 

subject matter: fine art. 

Using one of the poster images, create a two-dimensional 

work of art based on the image but done in a medium 

different from the original. (examples: a continuous line 

drawing based on Bust of a Black Man or Field Armor; 

a linoleum print based on Vases from the Swan Service 

or Still Life with Mice) Discuss how the students’ works 

differ from the originals. 

Discuss the arrangement of objects in Still Life with Mice. 

Talk about the role of foreground, middle ground and 

background, overlap, and size. Then ask students to 

arrange a group of simple objects on a table and draw or 

paint a still life from observation. Ask students to title 

their finished works and write a museum label for each. 

23

Strand II Elements and Principles 

Artists communicate ideas through artworks by selecting and applying art elements and principles. 

1.A Select and use elements of art for their effect in 

communicating ideas through artwork—line. 

1.E Select and use elements of art for their effect in 

communicating ideas through artwork—color. 

2.A Select and use principles of art for their effect in 

communicating ideas through artwork—balance. 

2.C Select and use principles of art for their effect in 

communicating ideas through artwork—contrast. 

24 

Using Panini’s Interior of St. Peter’s, point out different 

kinds of lines—horizontal, vertical, diagonal, straight, 

curved, etc. Then have students create a drawing, 

painting, or diorama of an architectural space in their 

lives—bedroom, classroom or other—where many 

kinds of lines occur. 

Make photocopies from the posters of sculptures 

and prints in the packet. These objects are mostly 

monochromatic. Discuss how color affects the way we 

think about works of art. Ask students to use crayons 

or colored pencils to “color” one of the photocopies 

and then write a paragraph explaining why they used 

particular colors. Display the colored photocopies and 

written texts together. 

Have students work in small groups or as a class to 

sort the posters into two piles—one that demonstrates 

symmetry and one that shows asymmetry. Ask them to 

explain their choices and see if all students agree. 

Using the poster of Apollo and Marsyas ask students 

to point out all the ways the artist has used contrasts in 

the painting (i.e., color, texture, expression, placement 

of figures, pose, environment). Then ask students to 

create a drawing or painting of two people in which 

contrast plays a major part. 

Strand III Artistic Perceptions 

Viewers respond aesthetically to artworks based upon their personal experience and cultural values. 

Viewers analyze, interpret, and evaluate the quality of artwork through art criticism. 

1.A, 2.A Investigate the nature of art and discuss 

responses to artworks—aesthetics. Analyze and 

evaluate art using art vocabulary—art criticism. 

1.A Explain connections between visual and performing 

arts—connecting visual and performing arts. 

2.A Explain the connections between Visual Art 

and Communication Arts, Math, Science or Social 

Studies—connecting art and non-art subjects. 

1.A Compare and contrast artworks from different 

historical time periods and/or cultures—historical 

period or culture. 

1.B Compare and contrast artworks from different 

historical time periods and/or cultures—characteristics 

of artworks. 

Using the poster of Mary, Lady Guildford, ask students 

to consider issues of beauty. Is this person beautiful? Do 

you think someone living in her time would have thought 

her beautiful? Is the painting beautiful? Why or why not? 

Ask students to write a definition of what they think the 

word beauty means and to give some examples. 

Strand IV Interdisciplinary Connections 

Visual art is connected to performing arts, communication arts, math, science, and social studies. 

Strand V Historical and Cultural Contexts 

Visually literate citizens understand the role and functions of art in history and culture. 

Artists influence and are influenced by the cultures and time periods in which they live. 

Have small groups of students choose one of the posters 

on which to base a skit. The skit should explain what 

happened before the moment captured by the painting 

or sculpture, and what will happen after it. Present the 

skits for the class. 

Ask students to work in pairs to create a timeline using 

all the works in the curriculum packet. Then have them 

do research on the internet or in books to find significant 

scientific or historical events or works of literature that 

could have had an impact on the creation of the art 

works, and add them to the timeline. 

Ask students to choose a poster to present to the class. 

Presentations should consist of a description of the 

work, something about the artist (if available) and the 

historical period when the work was created, and a 

question for other students to respond to. 

Have students select two posters to compare and contrast. 

Create a Venn diagram (two overlapping circles) that 

shows how the two works are alike and how they differ. 

25

Suggested Resources 

Books 

All books are available from the Saint Louis Public Library 

Grades PK–3 

General 

Editors of Phaidon Press. The Art Book for Children: 

Book 2, 2007. 

This overview spans from the 14th century to today 

with pictures of famous works of art accompanied 

by interactive questions and simple observations that 

encourage readers to observe details. The book is not 

arranged by chronology, medium, or style, so readers 

have the option to pick and choose the works to study– 

much like visiting favorite paintings in a museum. The 

book can be used to stimulate discussion and a higher 

level of appreciation of art. 

Medieval 

Patrick O’Brien. The Making of a Knight: How Sir James 

Earned His Armor. Charlesbridge Publishing, 1998. 

This informative picture book set in Medieval England, 

follows James from the age of 7 to 21 as he proves 

himself a knight. Readers learn about tournaments, 

feasts, 15th-century manners and customs, and the 

training in archery, sword-fighting, and horsemanship 

(as well as in reading, writing, and music) typically 

required of an aspiring knight. 

Renaissance 

Mike Venezia. Getting To Know the World’s Great 

Artists. Also available in DVD & VHS formats. 

This series of books on famous artists combines 

cartoons about the artist’s life with color photographs 

of paintings. A third grade student could read the 

text. Younger students would enjoy hearing the 

books read aloud. 

• Rembrandt, Children’s Press, 1998 

• Titian, Children’s Press, 2003. 

26 

Grades 4–7 

General 

Gillian Wolfe. Oxford First Book of Art. New York: 

Oxford University Press, 2001. 

This introduction to art explains how to look at art 

by asking questions about what is shown to better 

understand what an artist is trying to communicate. 

Medieval 

Laura Amy Schlitz. Good Masters! Sweet Ladies! Voices 

from a Medieval Village. Candlewick reprint edition 2008. 

This book contains a series of interconnected monologues 

and dialogues featuring young people living in 

and around an English manor in 1255. This work could 

be a rewarding choice for a performance or for reading 

aloud in the classroom. 

Andrew Langley. Medieval Life (DK Eyewitness Books). 

DK Children, 2004. 

This introduction to the Middle Ages gives a clear 

picture of the times through a combination of brief 

text and an abundance of high-quality pictures with 

descriptive and informative captions. 

Renaissance 

Alison Cole. Eyewitness Renaissance. DK Children, 2000. 

Discover the art of the Northern and Italian Renaissance, 

from the 14th to the 16th century. 

Kathryn Lasky. The Royal Diaries Series. 

This series of fictional diaries focusing on royalty 

provides a clear portrait of upper-class life, living 

conditions, games and recreations, holidays, food, and 

education in their respective times and places. The diary 

format makes this series useful for integrating writing 

into the art curriculum. Appropriate titles for this 

curriculum packet are: 

• Marie Antoinette: Princess of Versailles, Austria-France, 

1769. Scholastic Press, 2000. 

• Elizabeth I: Red Rose of the House of Tudor, England, 

1544. Scholastic Press, 1999. 

• Mary Queen of Scots: Queen Without a Country, 

France, 1553, Scholastic Press, 2002. 

• Catherine: the Great Journey, Russia, 1743, Scholastic 

Press, 2005. 

Middle and High School 

General 

H. W. Janson. Janson’s History of Art: The Western 

Tradition. 7th ed. Upper Saddle River, NJ: Pearson 

Prentice Hall, 2007. 

Alexander Sturgis. Understanding Paintings: Themes in 

Art Explored and Explained. London: Octopus, 2000. 

This book surveys painting by genre and theme rather 

than by chronology. Well-organized, short but thorough 

discussions of religious painting, myth, portraiture, still 

life, landscape, etc. 

Quick Reference 

The Guide to Imagery Series from the J. Paul Getty 

Museum combines great visual presentation and 

authoritative content to provide answers to such 

questions as: Who is that? Why did the artist depict 

this scene that way? What does the mouse or lemon 

mean in that painting? How do you make an etching? 

What is porcelain? 

• Lucia Impelluso. Gods and Heroes in Art. 

Los Angeles: J. Paul Getty Museum, 2003. 

• Chiara de Capoa. Old Testament Figures in Art. Los 

Angeles: J. Paul Getty Museum, 2003. 

• Stefano Zuffi. Gospel Figures in Art. 

Los Angeles: J. Paul Getty Museum, 2003. 

• Rosa Giorgi. Saints in Art. Los Angeles: 

J. Paul Getty Museum, 2003. 

Medieval 

Barbara A. Hanawalt. The Middle Ages: An Illustrated 

History. New York: Oxford University Press, 1991. 

The next step up from the “Eyewitness” series of 

books, this history book is accurate and fun to read. 

Its illustrations include black-and-white medieval maps, 

drawings, illustrations, photographs, documents, and 

artifacts. The appended chronology, glossary, and furtherreading 

sections allow the student to move deeper into 

a subject area. 

Renaissance and Beyond 

Abrams Discoveries 

This series of small well-researched books includes 

illustrations of the artists and primary documents such as 

diary entries or letters. Interested students will benefit 

from the bibliography for further reading. 

Relevant titles in the series are: 

• Pascal Bonafoux. Rembrandt: Master of the Portrait. 

New York: Abrams, 1992. 

• Alessandro Vezzosi. Leonardo Da Vinci. New York: 

Abrams, 1997. 

27

Useful web sites for all ages 

http://www.slam.org/teachers 

This is the teacher resources page of the Saint Louis Art Museum’s 

web site. There is an online version of this packet, student activities, 

and other materials for use in classrooms. 

http://www.nga.gov/education/classroom/ 

This site has a lot of information and activities, some of which 

are listed separately below. We suggest that teachers explore this 

changing site to see if there is material they can use. 

http://www.nga.gov/kids/zone/index.htm#stilllife 

In this program users create their own still-life paintings. 

Users may need to download Shockwave software. 

http://www.nga.gov/kids/zone/zone.htm#dollhouse 

Learn about Dutch life and art, and create your own Dutch house 

with this program. Users may need to download Shockwave software. 

http://www.clevelandart.org/kids/armor/index.html 

This museum web site is dedicated to armor. Students can make their 

own helmets. 

http://gallery.ca/cybermuse/kids/stories/index_e.jsp 

This site lets students do a variety of activities relating to how works 

of art tell stories—contains seek and find; details; crossword. 

http://www.metmuseum.org/toah/hi/te_index.asp?i=Europe 

The timeline of European history has sections on artists and themes 

in various time periods. Best used for high school and older. 

http://www.artic.edu/artaccess/AA_RenBar/ 

This site from the Art Institute of Chicago has information on 

Baroque and Renaissance art. 

Web sites last verified August 1, 2009 

28

One Fine Arts Drive, Forest Park, St. Louis, Missouri 63110-1380 

Telephone 314.721.0072 www.slam.org 

© 2009 Saint Louis Art Museum

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