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

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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 4
antiquarianism of its iconography? What was particiularly innovative about the theme of this apse? Oct. 10 X. Romanesque Art and Architecture and Civic Pride in Tuscany and North Italy Snyder, 320-33; Petzold, 50-51; Hearn, Romanesque Sculpture, 155-63. How does Romanesque architecture in Tuscany and North Italy differ from that of France studied thus far? How does the disposition of monumental stone sculpture depart from the French model? How are the roles of civic patron and artist highlighted? Oct. 15 XI. "Multiculturalism" in Twelfth-century Norman Sicily Petzold, 85-92, 146-155; W. Tronzo, "The Medieval Object Enigma and the problem of the Cappella Palatina,” READER What specific historical circumstances led the Normans to appropriate the artistic forms and iconography of other Islamic and Byzantine cultures in their royal art and architecture? How are Islamic forms used differently in other contexts described by Petzold? How does Tronzo use ritual to explain the unusual combination of distinctive traditions in the Cappella Palatina in Palermo? How is the “Byzantine” decoration of the sanctuary adapted for the Norman ruler’s view point? What was the apparent function of the western “nave” space of the chapel? Oct. 17 XII. San Marco in Venice Dale, “Stolen Property: St. Mark’s First Venetian Tomb and the Politics of Communal Memory,” READER. For additional illustrations: Otto Demus, The Mosaics of San Marco in Venice , 4 volumes (Chicago, 1984). What motivated the Venetian theft of the relics of Saint Mark from Alexandria? How do the architectural form and mosaic decoration of San Marco adapt Byzantine prototypes and why? How and why did the Venetians update their sacred narrative history around the focal point of Mark’s first Venetian tomb? How was San Marco transformed in the wake of the Fourth Crusade? Oct. 22: MIDTERM (covers lectures and readings I-XI) Oct. 24 XIII. Ornamenta Ecclesiae: Romanesque and Gothic Metalwork in service of the Liturgy Theophilus, Treatise on Divers Arts in Davis-Weyer, Early Medieval Art,176-178; Petzold, 61-66; R. Calkins, “Metalwork of the Church Treasuries,” in Monuments of Medieval Art (New York, 1979),115-132 in READER. What is the role of the craftsman/artist according the Theophilus’s treatise on Divers Arts? Why did medieval metalworkers acquire a particularly elevated status as artists? What is the 5
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