Romanesque & Gothic Art & Architecture (Fall 2005) Prof. T. Dale ...

nudity and corporeal posture in the figure of Eve at Autun? What is the significance of
Salome in the context of the Toulouse capital depicting the Feast of Herod? According to
Seidel, how would this figure have been understood by the intended audience of canons at
the cathedral and how was the narrative represented in a different fashion for the monks of
La Daurade?
Sept. 26
VII. Glorified Bodies: Romanesque Cult Images, Saints and Tomb Portraits
H. Belting, “Statues, Vessels, and Signs: Medieval Images and Relics in the West,” in
Likeness and Presence, 297-310 and in READER; T. Dale, “Rudolf von Schwaben, the
Individual, and the Resurrected Body in Romanesque Portraiture,” Speculum 77, no. 3
(2002):707-743 in READER.
How did the Western church come to accept sculptural images of the Virgin Mary and the
saints, in spite of traditional fears of idolatry? What explains the different approach to Holy
Images in Byzantium and the West? What is the siginificance of the form, material of these
images? To what extent can they be considered to be “portraits”? How do the cult images
of the saints in metalwork suggest an analogy for funerary effigies like that of Rudolf von
Schwaben? How are the theology of resurrection and the special dual status of the royal
body reflected in the form and medium of the effigy?
Oct. 1
VIII. The Warrior Class: Knighthood, Holy Warfare and Crusade
Petzold, 71-85; Staley, 83-101.
What was the political and religious function of the knight in medieval society? How did the
knight gain a special, sanctified status during the Crusades? What allegorical roles did
images of the knight fulfill in Romanesque art? How do the chansons de geste and
narratives such as that on the Bayeux tapestry represent feudal, political and religious
values? What were the basic design features of castles in the eleventh to thirteenth
centuries and what symbolic values were embodied in their exterior appearance?
Oct. 3, 8 (QUIZ I on Oct. 3: covers lectures I-VII)
IX. Reform, Renovatio, Ritual and Antiquarianism: Rome and South Italy in the
Eleventh and Twelfth Centuries
Leo of Ostia, Chronicle of Montecassino in Davis-Weyer, Early Medieval Art, 135-40, 156-62;
R. Krautheimer, Rome: Profile of a City (Princeton, 2000), 161-202; E. Kitzinger, “A Virgin’s
Face: Antiquarianism in Twelfth-Century Art,” Art Bulletin 62.1 (1980):6-19 in READER.
Additional Illustrations: Snyder, 313-33; Demus, Romanesque Mural Painting, plates 18-37.
What were the impetus and sources for the artistic revival that took place at Montecassino
during the second half of the half of the eleventh century? What role did Montecassino play
in the artistic revival in Rome after 1100? What were the ecclesiastical and political motives
for the Gregorian reform and the subsequent artistic programs in Rome and what role did
individual patrons play? Why does Rome constitute a special case of antiquarianism? How
is ancient art re-interpreted by medieval viewers? How is the urban space of Rome
Christianised by the ritual of Assumption Day? How does the apse mosaic of Santa Maria in
Trastevere re-present the ritual in concrete form and what is the meaning of the
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