SYLLABUS
Theology & 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 … for the Core Curriculum Theological Understanding Learning
Goal:
At the end of this course students will …
a. demonstrate an understanding of one or more aspects of Christian tradition
and/or another religious tradition or traditions, acquired through focused study in
a sub-field of theology or religious studies;
b. demonstrate an ability to explore religious questions from a believer’s point of
reference and from the critical perspective of the academy.
Learning Outcomes … for the major or minor in Theology & Religious Studies:
Major Content: At the end of this course students will…
a. demonstrate an understanding of the Christian theological tradition through an
exploration of specific topics in theology and the Bible;
b. demonstrate an understanding of how Christian thought and/or practice has
developed in a specific historical period;
c. demonstrate an understanding of the implications of the Catholic concept of the
fundamental dignity of the human person.
Major Skills: At the end of this course students will…
a. demonstrate an ability to evaluate the interplay between religion and social,
cultural, and/or political phenomena.
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 Art
Richard Harries, The Passion in Art
Marcia 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 “firstorder” 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, 5963.
--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 15thcentruy 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. 138160.
--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,”
Companion to Christian Art and Architecture .
--More readings TBA
The
Oxford
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 more
TomPoundstone, “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 EXAM
FINAL 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.