Summer Module, 3 Sessions

History of Religious Imagery in Western Art
ART 386-01
Executive Session Monty Helm
Summer 2004 Weekend College Brescia University
Email: monty@montyhelm.com Website: www.thestudioarts.com

Office Hours: By appointment
Session Times: Saturdays, 8 to 5 p.m., June 5,19,July 10
Room: 111A
Phone and Email: 683-8256 or monty@montyhelm.com Students are encouraged to contact me by phone or email. Website course information: www.thestudioarts.com
Required Texts:
Ladner, Gerhart B. God, Cosmos, and Humankind. Berkeley: University of California Press, 1992.
Stokstad, Marilyn. Medieval Art. New York: Harper & Row Publisher, 1986.
Prerequisite: Art 180 or permission of instructor.
Course Description:
The course is an examination of the origins and migration of religious icons and imagery found in Western European art. Major themes, motifs, and symbols will be identified and researched in an attempt to discern their meaning, development, and points of origin. Romanesque and Gothic Art represent an apex in the culmination of Christian iconography and design. Some of the developments were contemporary innovations of these periods, however, most lead back to ancient, classical, and tribal sources. Students will carefully examine how these images evolved into sculpture, painting, and architectural monuments.
Course Objective:
The objective of this course is for the student to develop an understanding of the iconographical meaning and development of Christian art in Western Europe. It is an objective for the student to comprehend the sequential history of the art, as well as the adaptations and innovations that contributed to evolution of the image. Students will incorporate an ability to intellectually discern the intrinsic meaning of various monuments and also identify cultural influences.

Course Outline:
Part One One:
A. Historical Beginning, Numerology, The Garden,
An introduction to the early developments in Christian Art beginning with the catacomb images and leading through the imperial influence up until the collapse of Rome. Numerology, symbols and icons, and creation imagery will be examined.
B. Early Images of Christ. The early images of Christ are the major theme of discussion. Students will follow the development of the image of Christ as a symbol and a man.
Part Two:
A. The Passion, Christian Eschatology. Students will learn about the visual meaning of some of the most powerful images in Christian Art. Included among these images are the passion series, the Last Judgement, the Majestas Domini, Agnus Dei, and the hierarchy of angels. In addition, to the theme analysis, students will continue to examine the developments in art from the barbarian invasion up until the Romanesque Period.

B. The Western Tympanum. Students will examine the imagery and symbolic meaning of the sculptural reliefs found upon the western façade of the church, abbey, and cathedral.

Part Three:
The Church and the Cathedral. Students will exam the imagery, design, and architectural elements of the church. The progression of the art and architecture of the Romanesque and Early Gothic Periods will be addressed in this last session.

Assignments and Essays 1. Pre-assignment 10% Due Session 1
2. Saint research. 20% Due Session 2
3. Cathedral research. 20% Due Session 3
4. Symbolism Notebook. 20% Due Session 3
5. Three in class essays 30%

1. Pre-assignment paper on numerology. Numerology is one of the main elements of design and intrinsic meaning in early Christian art. First write a brief statement on the meaning or significance of numerology. Using your text, God, Cosmos, and Humankind (Chapter 8) as your main source, create a list beginning with "the number one" and explain its meaning/s. Do this for each number listed in the text. Also include the meaning of odd and even numbers. If you so desire to use other sources to enhance your numerological list make sure you cite your sources. (Important: your numerology paper will be the first section of your symbolism notebook, make sure you have a copy so you can transfer the information).
Secondly include in your paper in a list form, "the abbreviating logograms" found on page 258, second full paragraph, in God, Cosmos, and Humankind.

2. In class response papers: During the class you will be asked to respond to a particular concept or theme. This will take place after thorough discussion and viewing of related images in various formats. A clear criterion of the desired analysis will be given prior to these response sessions.

3. Saint Essay: This is a three-page paper on a Saint. Students will locate an example/s of the Saint represented in Christian Art; include biographical information; who the Saint is patron to; attributes; and if possible where the Saints relics are located.

4. Cathedral/Church Research Paper: This is the main research paper for the course and is expected to be at least five pages in length. You will be assigned a church or cathedral during the first session. You are to gather as much related information as possible on your structure. The criteria will be carefully discussed during the first session.

5. Symbolism Notebook: During the six weeks of the class you will create a notebook on the meaning of symbols in Christian Art. Both texts will prove invaluable in creating your notebook but there are many other resources available. All entries must be cited.

Writing papers:
1. Writing papers is a major means of communicating knowledge, ideas, and critical analysis in this course. In writing papers, take notes on your subject as you read and use an outline to organize your ideas and research. This approach will allow you to present your subject in your own fashion, communicating through your own words. Papers in which information is continually taken directly from another individual's authorship without metamorphosis of idea will be graded accordingly.

2. All papers, whether in the list or essay form must be typed and double-spaced (single-spaced for the notebook is acceptable). Illustrations are always beneficial in explaining your thesis. In addition to the assigned number of pages include a bibliography and cite your sources in your paper.

3. Your Symbolism Notebook will be more a less a list form. This will be presented in a bound format.

Grade Scale: 100 - 90% A, 89 - 80% B. 79 - 70% C, 69 - 60% D, 59% - F
Class Attendance: Obviously attendance is an extremely important aspect of any class. Students will be expected to attend all classes and come prepared to discuss assigned readings and topics.
Assignments: All work is due on the assigned dates, late work will be marked down a letter grade. Papers will be returned to you graded the following class session. Your final papers and notebooks may be picked up at the Weekend College office.

Reading Assignments
Reading Assignment 1 (to be completed prior to the first class session)
God, Cosmos, and Humankind
Introduction (p 1-10)
Chapter 1. The Incarnation (p 11-19)
Chapter 2. The Death, Resurrection, and Ascension of Christ (p 20-29)
Chapter 3. The Holy Spirit and the Trinity (p 30-34)
Chapter 4. Mary-- Virgin and Mother of God (p 35-37)
Chapter 6. Creation Symbolism from the Book of Genesis to Augustine (p 65-88)
Chapter 8. Symbolism of the Cosmos and of Numbers(p 99-114)
Medieval Art
Chapter 1. Art in the First Centuries of the Christian Era (p 1-17)
Chapter 2. The Art of the Triumphant Christian Church (p 18-48)
Chapter 3. The Golden Age of Byzantium (p 49-77)
Chapter 4. Barbarian Art (p 78-106)

Reading Assignment 2 (to be completed prior to the second class session)
God, Cosmos, and Humankind
Chapter 5. Eschatology According to the New Testament and the Sibylline Oracles (p 38-61)
Chapter 7. Symbolism of the Divine Unity and of the Hierarchies in Pseudo-Dionysius the Areopagite (p 89-98)
Medieval Art
Chapter 5. Carolingian Art (p 107-131)
Chapter 6. Art Outside the Carolingian Empire (p 132-177)
Chapter 7. The Imperial Tradition (p 178-218)

Reading Assignment 3 (to be completed prior to the third class session)
God, Cosmos, and Humankind
Chapter 12. The Christian Roman Empire in Relationship to the Kingdom of God (p 201-212)
Chapter 13. Church, Liturgy, and Sacraments (p 213-253)
and page 258 on name abbreviation
Medieval Art
Chapter 8. Romanesque Art in Western Europe (p 219-264)
Chapter 9. The Origins of Gothic Style (p 265-291)

Bibliography:
Armi, C. Edson, The 'Headmaster' of Chartes and the Origins of 'Gothic' Sculpture. Pennsylvania State Univ. Press, 1994.
Benton, Janetta R.. Holy Terrors: Gargoyles on Medieval Buildings. Abbeville Press, Inc., 1997.
Book of Kells. NY: Knopf, 1980.
Carra', Massimo, Ivories of the West. Middlesex, England: Hamlyn Publishing,1970.
The Catholic Encyclopedia. NY: Encyclopedia Press Inc., 1910.
Ferguson, George, Signs and Symbols in Christian Art. NY: Oxford University Press, 1967.
Gough, Michael, Origins of Christian Art. NY: Praeger Publishers, 1973.
Grabar, Andre, Early Christian Art. NY: Odyssey Press, 1968.
Grabar, Andre', Early Medieval Painting from the Fourth to the Eleventh Century. NY: Skira, 1957.
Grubb, Nancy, Angels in Art. Artabras, 1995.
Henkel, Kathryn, The Apocalypse. Washington, DC: Museum Press, 1973.
The Horizon Book of Great Cathedral, Jay Jacobs, editor. NY: American Heritage Publishing, 1968.
Lowrie, Walter, Art in the Early Church. NY: Harper, 1965.
Male, Emile, The Gothic Image: Religious Art in France of the Thirteenth Century. NY: Harper, 1958.
Male, Emile, Religious Art from the Twelfth to Eighteenth Century. NY: Pantheon, 1949.
Meer, Frederik van der, Apocalypse: Visions from the Book of Revelation in Western Art.
Payne, Anne, Medieval Beast. New Amsterdam Books, 1991.
Rees, Elisabeth, Christian Symbols, Ancient Roots. Jessica Kingsley Publisher, 1992.
Salvini, Roberto, Medieval Sculpture. Greenwich, CT: New York Graphic Press, 1969.
Sheridan, Ronald, Gargoyles and Grotesques: Paganism in the Medieval Church.
Short, Ernest, A History of Religious Architecture. London: Eyre and Spottiswoode, 1955.
Strzygowski, Josef, Origins of Christian Church Art; New Facts and Principles of Research.
Sumptions, Jonathan, Pilgrimage: An Image of Medieval Religion. Totowaj, NJ: Rowman and Littlefield, 1975.
Webber, F.R., Church Symbolism. Cleveland, OH: J.H., 1938.
Wilson, Peter L., Angels. NY: Pantheon Books,1980.
Vallentine's Jewish Encyclopaedia, Hymson and Silbermann, editors. London: Shapiro, Vallentine and Co., 1938.

V. History of Religious Imagery in Western Art complements the established curriculum in art as a specialized course in art history. The course provides an in depth study of the development of major themes in art covering a wide span of time. The course strengthens the department's academic offerings because of its nature - traditionally, art history courses focus on a particular period or media, where the proposed course focuses on concepts that have manifested through the hands of many people of varying cultures.
VI. Relation of course to work in other areas at the college. The course not only strengthens the curriculum in the art department by offering the students specialized study in art history; the design and nature of this course certainly supports and compliments Brescia University's mission as a catholic and a liberal arts institution.
VII. General Education Requirements: (course fulfills General Education Requirements)
Art History courses in relation to value outcomes, present the student with the study of a variety of cultures. Works of art provide students with a common ground to discuss and interpret ethical values and intellectual concepts of the society in focus, along with individual artistic responses to them.
In regard to knowledge outcome, students will expand their sensitivity in the arts through in depth studies and examinations of specific monuments. Students will discern the contributing factors (individuals, events, political and religious thought, and cultural influences) and how these elements contribute to the development of artistic theme.

Students will exercise skills in logic, creative and philosophical thought, and critical analysis to achieve understanding in the arts. These skills will be demonstrated verbally and literally as they interpret classroom and individual research experiences in the form of writing and presentation. Student's research skills in library science will be realized as a key to success. These skills will lead students to obtain information necessary for critical analysis, both in their research assignments, classroom discussion, and presentations. Students will employ the use of the internet to visit distant cites - through this source they will experience directly, information from museums and collections holding masterworks of art. Students will develop analytical skills in an environment which promotes discussion and diversity of thought. The success factors mentioned in this statement will be reflected in the participation of the student in the classroom, the assigned research and readings.