Core Curriculum Designation ProposalTheological Understanding: Theological ExplorationsTRS 167, “Seeing Salvation: Theological Explorations of Christian Art and Architecture”

SMC Core Curriculum Course Proposal Form

1. Name of Proposer: Tom Poundstone

2. Email address: tpoundst@stmarys-ca.edu

3. Department/Program of Proposer: Theology & Religious Studies

4. Name of Department/Program housing the course: Theology & Religious Studies

5. Name(s) of Program Director/Department Chair: Michael Barram

6. Course Acronym, Number and Title: TRS 167, “Seeing Salvation: Theological Explorations of

Christian Art and Architecture” to be renamed “Visual Theology: Christian Art and Architecture”

7. Semester(s) in which course will be offered: Summer 2013

8. How often is this course taught? Randomly in the regular semesters, annually in summer

school

9. Course Prerequisites (if any): TRS 097, “The Bible & Its Interpretation”

10. Unit Value of Course: 1 course credit

11. Proper Audience for the course (delete those that don’t apply):

Freshmen Sophomores Juniors Seniors

12. The Learning Goals for which the course is being submitted: Theological Understanding:

Theological Explorations

NARRATIVE

In TRS 167, the subfield of theology under consideration is Christian art. This course examines the paintings, mosaics, sculptures, and to some extent the architecture that Christian artists over the centuries have created in their attempts to give visible embodiment to their religious experiences. The course focuses on what their creations reveal of how they understood the gospel, what they saw as essential to that message, how well they gave expression to the deepest longings of the human heart, and the influence of their creations on our understanding of the Christian faith. The course also examines such things as the role and power of visual communication in general and the life of faith in particular.

Throughout, our goal will be to move beyond mere identification of the subject, though that is often a major step, and ask deeper questions about the selection of this particular subject from the countless options available, how various depictions of the same subject might be subtly and

sometimes significantly different in meaning, and what it means to place this subject in this context, let alone the impact of the placement of this subject in relation to other works of art.

The approach in the class is a mixture of historical and thematic, with the historical being emphasized at first, especially as we focus on the earliest of Christian art and work our way through the catacombs in Rome and the mosaics in Ravenna.  Throughout, regardless of our subject, we will be interested in thick descriptions of the art we are studying with special attention to the historical and theological context.

Students will be required to spend significant amounts of time reading both primary sources and secondary texts, and examining works of art which will be the focus of lectures and discussions in the class. (For specifics topics and readings, see the syllabus below.) The class format is a mixture of lecture, questions, and discussion with. Students are expected to be dialogue partners in the learning process, and they need to be prepared to raise questions in response to the reading, engage in respectful dialogue and debate with their classmates, and be prepared to respond to questions posed in class. Students are frequently called upon to summarize the content of an article or chapter. Thus, for this and many reasons careful reading of assigned materials is essential for success in this course.

Student learning is assessed through multiple means throughout the course. On a daily basis, students are required to submit focused written reflections on the reading and their analysis of the art we are studying. As such, students are daily given a chance to think and write critically about various themes, tensions, and rival visions in the study of Christian art.

More important for assessment, the course has a take-home midterm examination which requires students to answer three essays questions in depth, usually for a total of at least twelve pages. The final exam is an in-class examination. The format of the exams will be a mixture of various types of questions, especially essays. The exams are comprehensive, incorporating both large concepts and themes and the small details. The final exam is cumulative.

Also a final creative project is required. It is described at the end of the syllabus.

SYLLABUSTheology & Religious Studies 167 Seeing Salvation: Theological Explorations of Christian Art

Course Description:

This course will examine the paintings, mosaics, sculptures, and to some extent the architecture that Christian artists over the centuries have created in their attempts to give visible embodiment to their religious experiences. The course will focus on what their creations reveal of how they understood the gospel, what they saw as essential to that message, how well they gave expression to the deepest longings of the human heart, and the influence of their creations on our understanding of the Christian faith.

Some might critique the course as just the Bible illustrated.  Even if that were

the case, that wouldn’t be a bad thing.  Nevertheless, such a critique underestimates the role and power of visual communication.  It also overlooks the interpretive element in any attempt at illustration. This critique also erroneously equates all art which focuses on the Bible as illustration. As we will see, visual art may serve many different functions:  decorative, illustrative, referential, didactic, exegetical, symbolic, liturgical, iconic, as well as political, cultural, and oh so many more, and often several of these at the same time.  Part of our task is to understand the role that art can play in each of these functions.  Throughout, our goal will be to move beyond mere identification of the subject, though that is often a major step, and ask deeper questions about the selection of this particular subject from the countless options available, how various depictions of the same subject might be subtly and sometimes significantly different in meaning, and what it means to place this subject in this context, let alone the impact of the placement of this subject in relation to other works of art.

Our approach will be a mixture of historical and thematic, with the historical being emphasized at first, especially as we focus on the earliest of Christian art and work our way through the catacombs in Rome and the mosaics in Ravenna.  Our use of the book Seeing Salvation by Neil MacGregor as our core text will supply us with an outline and guide us through a thematic approach, though MacGregor’s book seems to develop historically as well, with more modern art coming into play later in the book.  Throughout, regardless of our subject, we will be interested in thick descriptions of the art we are studying with special attention to the historical and theological context.

Time permitting, we might focus our attention in the last week on architecture, but if you are more interested, we could shift our attention for the last week to either a series of Christian masterpieces such as Van Eyk’s Mystic Lamb in Ghent, Giotto’s Scrovegni Chapel in Padua, or even dedicate three or four days to the Sistine Chapel.  Presuming it will be the former, a book we might read will be Jeanne Halgren Kilde’s Sacred Power, Sacred Space:  An Introduction to Christian Architecture and Worship.  But if we would look at the Sistine Chapel in depth, the book might be either Andrew Graham-Dixon’s Michelangelo and the Sistine Chapel or, on a much grander scale, Heinrich Pfeiffer’s The Sistine Chapel:  A New Vision.  But I suspect we might elect to focus on a series of small topics.  There is so much worth looking at in the field of Christian art, and so little time to do it well, we have to be selective.

But there are numerous approaches we could take. One which I definitely invite you to ponder with me concerns what we would do if given a contract to revise and expand MacGregor’s text. That could focus on the missing chapters, major lacuna in his work, developing some topics more fully, or outlining some trajectories for where the different themes might be developing. Basically, what should a textbook on Christian art contain? What should a book for a class like this contain?

Another project would be ways to supplement the Bible class, units which could help take insights and hermeneutics to new depths, opening students eyes to

dimensions of the text they might have missed, showing them different ways that the text has been viewed over the centuries. There are countless themes which could be developed, and the lessons of how these themes have been dealt with over the centuries opens significant insights into both the text and the nature of interpretation.

Learning Outcomes:

1)  Students will be able to explain and illustrate how images of the crucifixion developed from being images of victory to images of atonement.  In addition, students will be able to explain and illustrate two or three additional paradigms for how the crucifixion has been presented in the last two centuries in both secular and Christian traditions with specific reference to both transcendental, political, and diverse ethnic interpretations.

            2)  Students will be able to trace out the development of a series of biblical and theological topics (such as the adoration of the magi or the crucifixion or more specific topics such as depictions of the Good Samaritan) as to how they have been presented over the centuries in art and how those different representations reflect changing theological understandings.

            3)  Students will be able to explain how the decoration of the churches in Ravenna visualize the idea of “timeless worship” as expressed in the liturgy.

4)  Students will be able to show how the mosaics in Santa Maria Maggiore express the theme of “imperial Christianity,” explain how such a topic reflects when the mosaics were created, and indicate what images it felt necessary to suppress in order to achieve this end.

5)  Students will be able to explain what is meant by crediting Saint Francis of Assisi with transforming Christian art both with relation to the nativity and the passion.

            6)  Students will be able to contrast two fundamental paradigms for the depiction of the Parable of the Sheep and the Goats and explore the implications of this for our reflections on the moral life, how we view others, and the motives for our response to those in need.

            7)  Students will be able to describe the paired personifications of the “church” and the “synagogue” on the façade of the cathedral of Notre Dame in Paris, analyze the message of this pairing, and explain how the new stained glass window in Santa Maria Maggiore in Rome commissioned by Pope John Paul II is an attempt to counter that message.

8)  Students will be able to define typology, give examples of its use in art, and explain what it reveals about how Christians over the centuries have read the bible? 

9)  Students will be able to describe the theological vision created by Bernini in his church of S. Andrea alle Quirinale as an expression of a distinctively Catholic approach to church decoration.  

10)  Students will be able to describe the theological message of Lukas Cranach the Younger’s “The “Allegory of Redemption,” and in particular be sure to explain how Cranach and Grünewald depict the lamb differently, and why that difference matters in the sixteenth century debates between Catholics and Protestants. Also, students will be able to contrast the message of Cranach’s painting with the message of Juan de Valdés Leal’s “Finis Gloria Mundi (End of Worldly Glory)” in reference to both the means and assuredness of salvation.

Required Texts:

Neil MacGregor with Erica Langmuir, Seeing Salvation: Images of Christ in Art  Jeanne Halgren Kilde,  Sacred Power, Sacred Space:  An Introduction to Christian Architecture and Worship Stefano Zuffi, Gospel Figures in ArtRichard Harries, The Passion in ArtMarcia B. Hall, The Sacred Image in the Age of Art

Topic Schedule

1. INTRODUCTION: CORRECTIVE VISION

Sample Questions:1) Compare and contrast the presentation of Matthew 25: 31-46 in Nicolò and

Giovanni’s The Last Judgment done in the second half of the 12th century and Carlo da Camerino’s six-panel predella of The Seven Works of Mercy done at the end of the 14th century. How does each capture a different dimension of the biblical passage? Would it be possible to capture both dimensions simultaneously, or is it an either/or, either follow Nicolò and Giovanni or follow Carlo da Camerino? Where in this spectrum would you place Murillo’s “Christ Healing the Paralytic”?

2) What would it be like if Carla da Camerino had painted in an where realism was more the fashion and he had chosen to use the face and perhaps even the orange prison jumpsuit and the stenciled in name of an identifiable prisoner, say the convicted Oklahoma City bomber Timothy McVeigh, as the prisoner? Challenging and

insensitive as it might be, consider whether that might that take us to the heart of what the passage is about.

3) Explain how these paintings might illustrate the principle of mediation which is so central to Catholic ethics.

4) How might the paintings be linked to the distinction drawn between a “first-order” and a “second order” motivation for the exercise of moral virtues?

5) How might the two interpretations be linked to the contrast between “revealed morality” and “revealed reality”?

6) What is the difference between a functional dignity which we can merit or which is determined by our achievements and an inherent and inviolable dignity?

2A. INTRODUCING THE STUDY OF CHRISTIAN ART

--Letter of St. Gregory the Great to Serenus, the bishop of Marseilles.--Beth Williamson, Christian Art: A Very Short Introduction , pp. 1-3, 66-

68.--James Elkins, Pictures and Tears , pp. ix-xi.--Robin Jensen, “Introduction,” Understanding Early Christian Art , pp. 1-7.

2B. INTRODUCTION TO THE CATACOMBS: THE CUBICULUM OF THE VELATIO, CATACOMB OF PRISCILLA

--Tom Poundstone, “Early Christian Art and the Catacombs.”--“Catacombs,” “Symbolic Birds,” “ Balaam,” “Noah,” “Alpha and Omega,” “Nomen

Sacrum,” The Oxford Companion to Christian Art and Architecture .--“Peacock,” “Pelican,” “Phoenix”--Robin Jensen, “Non-narrative Images: Christian Use of Classical Symbols

and Popular Motifs,” Understanding Early Christian Art , pp. 32-44, 59-63.

--Boniface Ramsey, “A Note on the Disappearance of the Good Shepherd from Early Christian Art.”

--Biblical texts: Jonah; Matthew 12:38-42; Daniel, chapters 3, 6, 13, 14; Genesis 22:1-18; Hebrews 11: 17-18.

Sample Questions:1) Describe and analyze the decorative pattern of the “Cubiculum of the

Velatio” in the Catacombs of Priscilla. How does the juxtaposition of images contribute to a comprehensive message for the cubiculum much greater and more coherent than the simple sum of its parts.

2) A significant theme of our early discussions will be on the roles of context and juxtaposition for interpretation. How, for instance, do we interpret a representation of Abraham and Isaac when juxtaposed with the images in the

Cubiculum of the Velatio as contrasted with similar representations of Abraham and Isaac such as in Ravenna’s church of San Vitale? Going further, how should we interpret the frequent juxtaposition in the catacombs of the boys in the furnace with Noah? Likewise how should we interpret depictions of either the boys in the furnace or Daniel in the lion’s den in close proximity to the magi adorning the infant Jesus?

2C. THE GREEK CHAPEL, CATACOMB OF PRISCILLA

-- Robin Jensen, “Pictorial Typologies and Visual Exegesis,” Understanding Early Christian Art , pp. 64-93.

-- Biblical texts: Daniel, chapters 6, 13, 14

Sample Questions:1) In the “Greek Chapel,” Susanna is depicted three times. Who is she, and what

does that say about the status of her story in the canon of the church, at least in Rome, if not everywhere? Shortly after 9/11, Attorney General Ashcroft was in Rome, and as a devout member of the Assemblies of God, he was given a private tour of the Catacomb of Priscilla. The tour guide, Sandro Magnus, stressed the story of Susanna to Ashcroft. What is the lesson he wanted to make sure Ashcroft heard? Why did Ashcroft, who has certainly read the entirety of the Bible many times, probably have no idea who Sandro was talking about in his reference to Susanna?

2) Not too long ago, I naively stated that while the “Cubiculum of the Velatio” has a coherent message, the first room in the “Greek Chapel” is just an assortment of images. What kind of deeper coherence of these images might I have been missing?

3) A significant theme of our early discussions will be on the roles of context and juxtaposition for interpretation. How, for instance, do we interpret a representation of Abraham and Isaac when juxtaposed with the images in the Cubiculum of the Velatio as contrasted with similar representations of Abraham and Isaac such as in Ravenna’s church of San Vitale? Going further, how should we interpret the frequent juxtaposition in the catacombs of the boys in the furnace with Noah? Likewise how should we interpret depictions of either the boys in the furnace or Daniel in the lion’s den in close proximity to the magi adorning the infant Jesus?

3. THE DUAL NATURE, PART I: TIMELESS WORSHIP IN RAVENNA

--Neil MacGregor, chapter two, “A King Among Kings,” Seeing Salvation, pp. 17-44.--“Ravenna,” “Melchizedek,” “Tetramorph,” “Evangelist Symbols,” “Rivers of

Paradise,” The Oxford Companion to Christian Art and Architecture .--Exhibition description, “Art for the Cathedral of Our Lady of the Angels,

John Nava: Tapestries from Proposal to Installation”

Sample Questions:1) We will spend a class looking at the mosaics in Ravenna’s San Vitale and

Sant’ Apollinare Nuovo under the heading I’ve given this unit: “ timeless worship.” Explore the theological ideas of these churches in Ravenna. How does the art in both churches, through different paths, take us into a timeless dimension of worship? Where do the tapestries in the new cathedral in Los Angeles fit in this discussion? Indeed, how do they not only echo but improve on the idea established 1,500 years earlier in Ravenna?

2) There is a book titled “The Universe of Chartres.” Imagine that you might use that title for a book on the churches in Ravenna. What might be the theological universe cumulatively created by the churches of Ravenna?

(Two years ago a student asked me for clarification on this question, so let me expand. In asking about the “universe,” the question asks us to think of each church's vision of the meaning of life and all that exists, both physical and spiritual.  That really means everything: the heavens and the earth, God and us, Jesus, Mary, the communion of saints, the damned, our work life, our role models, basically the overall meaning of existence, it's purpose, and where we fit in the scheme of things. Sometimes when we enter these spaces, we sense that we have entered into a different world, and in both the architecture and the decorations, we sense a message, sometimes even a complete message, about what life is about, a message which might be quite different from what we see or feel in the world around us.)

3) What are the symbols of the four evangelists? How can we tell which animal represents which gospel?

4. THE DUAL NATURE, PART II: IMPERIAL CHRISTIANITY & FLORENTINE PAGEANTRY

--Neil MacGregor, chapter two, “A King Among Kings,” Seeing Salvation, pp. 17-44.--Ronald Lightbown, Sandro Botticelli: Life and Work, pp. 65-69, 247-253.--Carol Plazzotta, “Kingdom Come, Botticelli’s Mystic Nativity.”--“Savonarola,” The Oxford Companion to Christian Art and Architecture .--Victor L. Simpson, “Odd Associates Marking Anniversary of the Death of 15th-

centruy Monk,” Fort Worth Star Telegram, August 21, 1998.--“Girolamo Savonarola” from Justo Gonzales’ History of Christianity, Part One.--Two excerpts from Sarah Dunant’s The Birth of Venus.

Sample Questions:1) As part of this unit which I have titled “Imperial Christianity,” we will look at

the mosaics in the triumphal arch of Santa Maria Maggiore in Rome. How does knowledge of contemporary doctrinal developments as well as the historical context in Rome help in the interpretation of these mosaics from A.D. 431? Explain how the

imperial theme might be explicit in the central image of the mosaic, but perhaps far more powerfully stated in the depiction of Jesus and Mary. What scene is most conspicuously missing in this collection of scenes which begin with the Annunciation and extend to Jesus being greeted by local kings in Egypt? Why does the depiction of Jesus and Mary (and perhaps the very theme of Imperial Christianity) require that omission? What should we make of that omission as we assess the understanding of the gospel expressed in the triumphal arch?

2) Trace out the development of the magi theme from the Greek Chapel in the Catacomb of Priscilla to the church of Santa Maria Maggiore, to Ravenna, to Gentile da Fabriano through Benozzo Gozzoli to Sandro Botticelli.

3) In our study of paintings of the magi, we will look at Botticelli’s “Adoration of the Magi” done in 1475, then took up his “Mystical Nativity” done in 1500. How does the first capture, not only much of what was being featured in paintings of the magi, but also the heart of Florentinian society at the time, while the second painting both repudiates that and captures a meaning of Christmas which was at risk of being lost if the trajectory of Gentile and Gozzoli had continued without interruption? Historically what could have happened to mark such a shift in Botticelli’s thinking?

4) Contrast the two detailed studies of Botticelli by Plazzotta and Lightbown. If you were going to share only one of the two interpretations while giving a presentation on Botticelli’s “Mystical Nativity,” which would you select and why?

5) Color symbolism is notoriously tricky to interpret. How does MacGregor interpret the colors of the magi in the Greek Chapel in the Catacomb of Priscilla? (How might that same analysis be applied to Raphael’s depiction of “Theology” on the ceiling of the Stanza della Signature in the Vatican?) Likewise, when MacGregor takes us through portraits of the Magi such as Benozzo Gozzoli’s chapel of the Magi in Florence or the work of Diego de la Puente in Peru, how do we see the continents, the ages of man, the seasons and times of day, and the virtues all brought into play?

5. THE DUAL NATURE, PART III: SOVEREIGN HELPLESSNESS

--Neil MacGregor, chapter three, “Sovereign Helplessness,” Seeing Salvation, pp. 45-59.--Neil MacGregor, chapter one, “Jan Gossaert: The Adoration of the Kings,” Seeing Salvation, pp. 11-16--Neil MacGregor, Seeing Salvation, chapter four, “Pieter Bruegel the Elder: The Adoration of the Kings,” Seeing Salvation, pp. 60-63.

Sample Questions:1) Explain what MacGregor means by crediting Frances of Assisi with

inventing Christmas. Explore the kind of transformation of art which accompanied Frances’ invention. How does the Franciscan emphasis (which he notes was already present in Bernanrd of Clarivaux) take us from what we saw in MacGregror’s chapter

two to the series of paintings which he reviewed in his chapter three? Try to make specific reference to some of chapter three’s paintings as you make your point.

2) I will try to present MacGregor’s chapters of “A King among Kings” and “Soverign Helplessness” as the two poles of the discussion of the dual nature of Jesus. Are some of these paintings better equipped than others at bridging these two poles?

3) Focusing on the gifts which the magi present, what do they say about the nature and role of Jesus? Though there are many points of contrast between the paintings of Gossaert (chapter one) and Bruegel (chapter four), how might the gifts themselves and Jesus’ (and everyone else’s) reaction to them be at the heart of how these two paintings might be contrasted? If the gifts are such a critical element in Gossaert’s and Bruegel’s paintings, why is it especially crucial whom De la Puente has present the frankincense?

4) MacGregor goes into depth on two paintings which bear the same name and which are now are shown in the same room in London’s National Gallery: Jan Gosaert’s and Pieter Bruegel’s “Adoration of the Kings.” What is at the heart of the contrast of these two paintings? Were you to be giving a tour of the National Gallery and could only chose one of these two paintings as part of a detailed tour, which painting would you chose, why, and what details would you highlight?

5) A theme which MacGregor develops is that Christian artists read their New Testament in light of the Old Testament. How do we see this in the ubiquitous presence of the ox and the ass which are not mentioned in the infancy narratives in either Matthew or Luke? What is the message of their inclusion which MacGregor says is not as benign as art has made us believe? Linking this to what MacGregor says about the Bruegel painting, what does he think the ass in that painting might represent? (Getting a bit more complex than MacGregor on this point, how might the presence of the ox and the ass be quite positive in a Lukan context but negative in a Matthean sense?) Like MacGregor’s point about the ox and the ass, how might we see the development of the magi over time as a reflection of Old Testament influence more than the New Testament text?

6. SYMBOLS AND PORTRAITS

--Neil MacGregor, Seeing Salvation, chapter five, “Signs and Deeds,” Seeing Salvation, pp. 66-84.--Neil MacGregor, Seeing Salvation, chapter six, “The Quest for the True Likeness,” Seeing Salvation, pp. 85-115.

Sample Questions:1) MacGregor’s fifth chapter links together an interesting amalgam of

paintings, mosaics, and other works of art. How does MacGregor link together paintings as diverse as Zurbaran’s “Bound Lamb” and Holman Hunt’s “Light of the

World”? To this collection in class we will add Geertgen tot Sint Jans’ “Nativity at Night” and Paris Bordone’s “Christ as the Light of the World” to further develop the theme of Hunt’s work; we will also look at the work of an anonymous Neapolitan artist and Hunt’s “The Scapegoat” to compliment Zurbaran’s painting. What do these supplementary paintings add to the discussion, and how do they further illuminate the Zurbaran and Hunt paintings? Furthermore, why does MacGregor seem so critical of Hunt’s painting which he identifies as one of the most popular paintings of its time?

2) First, how does the origin of Veronica’s veil differ from that of the mandylion? Second, how did the anonymous woman represented in the sixth station of the cross receive the name “Veronica,” and what forces in the church ultimately led her veil to being one of the most important relics?

3) Who is St. Wilgefortis, a saint included in Westminster Abbey, and how did her story originate? And how does the story of Wilgefortis, as bizarre as it is, illustrate the tremendous popularity of items such as Veronica’s veil?

4) After the long and perhaps unedifying detour of chapter six, how might we link the final two paintings of MacGregor’s chapter to the theme which he is developing in this and his previous chapter? Along those lines, would Caravaggio’s “Calling of Matthew” fit in this chapter? Similarly, consider Caravaggio’s two depictions of the “Supper at Emmaus.”

7. PRAYING THE PASSION

--Neil MacGregor, chapter eight, “Passion and Compassion,” Seeing Salvation, pp. 138-160.

--Neil MacGregor, chapter nine, “Rembrandt’s Three Crosses and Michelangelo’s Pietà,” Seeing Salvation, pp. 161-175.

-- Loren Partridge. “Michelangelo’s Pietàs,” The Art of Renaissance Rome: 1400-1600.-- Kaitlyn Gligo, Michelangelo’s “Pietà”-- Joy Makin, Michelangelo’s “Pietà”--David Freedberg, chapter eight, “ Invisibilia per visibilia : Meditation and

the Uses of Theory,” The Power of Images : Studies in the History of Theory and Response , pp. 161-191.

--Karen Sue Smith, “Artful Contemplation: Praying with Art During Lent and Easter,” America, March 3, 2008, pp. 15-19.

--William Hood, “Habits and Manners: Frescoes in the Novices Dormitories,” Fra Angelico at San Marco, pp. 199-207.

Sample Question:1)  Michelangelo's Pieta in St. Peter's is always worth reflecting upon.  Consider

the various theories for why Mary looks so young.  (One which I will present is

different than Partridge's in our readings, though it is inspired by some of his points.) What other work by Michelangelo that we saw might support one of these theses?  How does Mary's body posture, the way she is holding Jesus, and her slightly disproportionate body size in comparison to Jesus contribute to our appreciation of her as Jesus’ mother, the mother we celebrate in the Christmas season? Also, please explain the proportions and disproportions in the sculpture: "controlled disproportion." If you would like, part of your answer could include a contrast with the Michelangelo’s pieta in the Museum of the Duomo in Florence.

Mid-Term Examination Distributed

8. IMAGES OF THE CRUCIFIXION: ISENHEIM AND BEYOND

--Neil MacGregor, chapter seven, “From Victory to Atonement,” Seeing Salvation, pp. 118-137.

--Neil MacGregor, chapter 11, “Till Kingdom Come,” Seeing Salvation, pp. 217-225.--Everyone is asked to bring three depictions of the crucifixion--If you haven’t seen it, I would encourage you to watch Mel Gibson’s The Passion of

the Christ, perhaps pairing it with Denys Arcand’s Jesus of Montreal.

9. IMAGES OF THE CRUCIFIXION: ISENHEIM AND BEYOND (CONTINUED)

-- TBA

10. THE ANNUNCIATION: IMAGES OF MARY

--“Annunciation,” “Assumption,” “Rosary,” “Sorrows of Mary,” The Oxford Companion to Christian Art and Architecture .

--More readings TBA

11. THE MINISTRY YEARS: BETWEEN THE NATIVITY AND THE PASSION

--Readings TBA

12A. THE SOCIAL BODY: TITIAN, CARAVAGGIO, AND MORE

--Neil MacGregor, chapter ten, “The Body Lowered and Raised,” Seeing Salvation, pp. 179-193.

--Heidi J. Hornik and Mikeal C. Parsons, “The Harrowing of Hell,” Bible Review (June

2003), pp. 18-26

12B. CATHOLIC AND PROTESTANT VISIONS

--Neil MacGregor, chapter 11, “Till Kingdom Come,” Seeing Salvation, pp. 194-225.--Neil MacGregor, “Epilogue,” Seeing Salvation, pp. 226-228.--TBA on Cranach

Sample Question:1) There is a book with an intriguing title: “The Universe of Chartres.”  With the

spirit of that title in mind, describe the theological “universe” created by Bernini in the churches and chapels designed and/or decorated by him in Rome, especially S. Andrea. Likewise, what is the theological universe which artists like Van der Weyden and Cranach try to create?

13. GOTHIC ARCHITECTURE: NOTRE DAME, CHARTRES, BOURGES

--Jeanne Halgren Kilde, “The Gothic Church,” Sacred Power, Sacred Space: An Introduction to Christian Architecture and Worship, pp. 66-75.

--“Gothic Art and Architecture,” The Oxford Companion to Christian Art and Architecture .

--Biblical Texts: The Parable of the Good Samaritan, The Parable of the Rich Man and Lazarus, The Parable of the Rich Fool

Sample Question:1)  What four elements enable and define gothic architecture?2)  Both Chartres and Bourges had windows weaving the story of the Good

Samaritan with the Creation story, though the window at Bourges brought in another Old Testament parallel while simplifying other parts.  Explain your understanding of how these stories are related, and comment on what the window in Bourges adds to the story.

14. TYPOLOGY: S. GIOVANNI, LINCOLN COLLEGE, AND EXETER COLLEGE

“Type, Anitype, and Typology,” The Oxford Companion to Christian Art and Architecture .

Biblical texts: Numbers 16, plus several moreTomPoundstone, “The Lower Panels in the Sistine Chapel.”Charles L. Stinger, The Renaissance in Rome, pp. 203-210.

Sample Questions:1) What is typology, and what does it say about how Christians over the

centuries have read the bible?  2) Outline the typological comparisons in we observed in St. John Lateran as well

as the Oxford chapels. Then compare the first pairing in S. John Lateran with the top row of the Holy Door at St. Peter's.

3) Outline the typological scheme of the lower paintings in the Sistine chapel, then focus on the typological comparisons in the paintings of the punishment of Korah and the conferral of the keys. In particular, what is the political agenda behind this pairing?

15. SAINTS

--Readings TBA

16. IN CLASS FINAL EXAMFINAL PROJECT DUE TUESDAY AT NOON

FINAL PROJECT:  The Christian Story in Art

This is an invitation to create, at least in outline form, something like your own version of an erudite coffee table book, akin perhaps to a book which I once saw in Barnes & Noble:   Keith White's Masterpieces of the Bible.  (I will be glad to supply you some excerpts from his book if it would help, but each of you can already do as well or better than White has done.) My idea for this project originally came from “The Life of Christ” audio tour which is available in London's National Gallery, probably an idea of MacGregror himself. 

Here are a few guidelines.  More rules than I would like, but guidelines often help you get started.

First, the key number is 15. Though you can include more than 15 primary works, and I welcome that, make sure you have at least 15. 

Second, though you might want to confine yourself to the Gospels, feel free to expand into the Old Testament, though try to keep at least a core five works dedicated to the life of Christ. Also, feel free to expand the focus of your masterpieces beyond the parameters of the Bible to include the Christian faith more broadly understood, otherwise works like Bernini's “Theresa in Ecstasy” wouldn't fit.  Indeed, as long as you can explain why it fits in a collection focused on the Christian art, your selections can be quite varied and inclusive. (In the opening page of his book, MacGregor writes of how Christian art can help us more deeply appreciate the fundamental experiences of human life. From that, I would think the opposite might be true: art which is insightful to the human condition might help us appreciate the Christian faith.) You might want to begin, not with art, but with what you think should be the highlights, kind of like your opening project, kind of like your list of key scenes from the ministry of Jesus, then find art that captures those points. I’ll be glad to try to help you find pieces, that or suggest some comparisons which you might want to consider alongside your primary picks.

Third, feel free to include various mediums such as sculpture, mosaic, and stained glass. The

list can include entire chapels and buildings, though unless they are a true unity, like the Cornaro chapel in Santa Maria della Vittoria or all of Bernini’s S. Andrea, I would suggest you pick a smaller element in the church.

Fourth, don't allow any one artist's contribution to exceed four the 15 items.Fifth, remember that this collection is designed for something more like a coffee table book on

art, not a book to be sold in a church bookstore. Hence, you don't need to worry about causing scandal with some of your choices.  (Alas, poor Caravaggio never had such good fortune.  Many wanted his work for their private collections, but there was often scandal about putting his work in the churches he painted them for.) 

Sixth, don't follow the model from White's “Masterpieces of the Bible” too closely.   For instance, to the extent that you might want to include the first two sections at all (“artistic background” and “biblical background”), keep them brief.  The part to concentrate on is “theological reflection on the work of art,” though in that part you might want to discuss the biblical story somewhat without summarizing it or retelling it, and certainly part of explaining a work involves setting it in its historical context. Botticelli’s The Punishment of Korah is only fully appreciated in the context of conciliarism, just like Botticelli’s Mystical Nativity might profit from an appreciation of the influence of Savonarola.   My concern in removing the “artistic background” is that I don't want you to have to do research on the artists beyond what we have learned, and my concern in removing the biblical background is that I don't want you to summarize the biblical story.  Sometimes telling part of the story is crucial in talking about the artwork. I just don't want to find detailed summaries of the biblical text to substitute for or crowd out reflection and true encounter with the work of art itself.

Seventh, and most important, try to discuss your selected work of art in light of other interpretations of the same theme, either by that same artist such as Michelangelo with his various pietas or with other artists such as in the wide variety of annunciation scenes. So, for instance, if you were to choose Artemisa Gentilischi's "Judith," you would want to comment on her interpretation of the scene as well as contrast it with say Botticelli's and perhaps one or two others. This will indicate your awareness of the various ways that a scene might be expressed in art. That makes your selection all that more deliberate.

In brief, and unlike your original project of decorating a church, you wouldn't simply choose a generic crucifixion or a generic last supper scene.  Under each of those you would speculate, not only on why you chose that particular scene out of so many options, but also on how you would want that scene presented with a discussion as to why that way and why not differently.   The point:  whatever stories you chose, explain why that story and why this particular representation of it.  After all, there are thousands of options before you, and your particular selections reveal your understanding of both art and the gospel.

Now let me make it a bit easier. This might be way too much, which is why I in the opening sentence I referred to it as an outline. Though I ask that you select 15 primary works of art (along with their contrast pieces which I mentioned in point #7), you aren’t required to supply extended commentary on all of them. A significant commentary on five would be sufficient and a supply enough of a clue what you would do with the others.

Let me also propose some alternatives. You could select to do something focusing on the Stations of the Cross (in which case you would only have 14 primary selections). You could select to focus on 15 of the 20 mysteries of the rosary, though I ask that the newest set announced by Pope John Paul II be included.

Know this: students have taken this project and gone in a hundred different directions. I’ll be glad to show you examples of some I still have. I leave the project vague enough to give you freedom to make it your own. What I am looking for is the quality, depth, insight, and creativity of your comments.