ART 305: EARLY MEDIEVAL ART: IMAGING GOD, IMAGING POWER
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Spring 2014, Tuesday/Thursday, 11:00-12:15; McCormack Building 3rd Floor, Room 430, U Mass Boston;
Professor: Dr. David S. Areford; Office hours: Tuesday 12:30-3:30 and by appointment; Office: McCormack
Building, 4th Floor, Room 453; E-mail: david.areford@umb.edu
COURSE DESCRIPTION:
This course surveys the art and architecture of Western Europe and Byzantium from the Early Christian period to
the rise of the Holy Roman Empire (c. 200 - c. 1100 A.D.) and beyond in the case of Late Byzantine art (c. 1350).
Although medieval art objects are displayed in museums and many medieval buildings survive throughout the
world, this art often seems completely foreign to modern viewers who are unfamiliar with both its subject matter
and the purposes of its design. The art of this period was made primarily to serve the needs of the Christian
church and the Christian faithful, as well as both religious and political leaders. This course aims to return
medieval objects and architectural spaces to the religious, political, and socioeconomic contexts in which they
were produced. Although the material is organized chronologically, lectures, readings, discussions, and
assignments will stress key themes such as the origins or “invention” of Christian images, the changing depictions
of God/Christ, the debated place of images in religious worship, the relationship between text and image, the role
of patrons and politics, the impact of pilgrimage, the cult of relics and saints, the liturgical function of the art
object, and how art and architecture is designed to communicate ideas and to focus and channel the response of
the viewer. Beyond exploring these specific themes, students will gain a detailed knowledge of Christian
iconography as represented in a variety of media – architecture, sculpture, painting, manuscript illumination,
mosaic, ivory, and metalwork. In addition to three exams, students will complete two essays – a critical analysis
of a book-length study of Early Christian art and a research/position paper that explores the role of images in
religious worship. Class meetings will consist of lectures, as well as discussions and video screenings.
This course fulfills the Arts Distribution requirement. As defined by the College of Arts and Sciences, courses in
the arts and humanities “investigate human concerns, ideas and experiences, as well as the creative productions
through which humanity seeks to express itself.” Students will develop a “better appreciation of the ways in
which the aesthetic, moral, intellectual and spiritual aspects of the human condition have been...articulated.” The
course readings, lectures, discussions, exams, and assignments stress the Arts Distribution capabilities of critical
thinking/verbal reasoning and critical reading and analysis.
REQUIRED READING:
James Snyder, Medieval Art: Painting, Sculpture, Architecture 4th-14th Century (Prentice Hall, 2nd ed., 2005) –
available in the campus bookstore and Course Reserves in Healey Library.
Thomas F. Mathews, The Clash of Gods: A Reinterpretation of Early Christian Art (Princeton, rev. ed., 1999) –
available in the campus bookstore and Course Reserves in Healey Library.
Selected readings available as PDFs on the course website.
Recommended Reading (any one of the following dictionaries):
James Hall, Dictionary of Subjects and Symbols in Art (Harper Collins, 1979; or Richard Irwin, 1985).
George Ferguson, Signs and Symbols in Christian Art (Oxford Univ. Press, 1961; reissue 1966).
Peter and Linda Murray, Oxford Companion to Christian Art & Architecture (Oxford Univ. Press, 1998).
Peter and Linda Murray, Dictionary of Christian Art (Oxford Univ. Press, 2001; new edition 2004).
COURSE REQUIREMENTS and GRADING:
Class participation (attendance, discussion, reading, worksheets, written summaries):
Essay 1 (analysis of The Clash of Gods):
Essay 2 (on the role of images in worship):
Exam 1:
Exam 2:
Exam 3:
EARLY MEDIEVAL ART
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Grading scale: 100-97/A+, 96-93/A, 92-90/A-, 89-86/B+, 85-83/B, 82-80/B-, 79-76/C+, 75-73/C, 72-70/C-, 6966/D+, 65-63/D, 62-60/D-, 59 and lower/F. NOTE: All assignments must be turned in on the date due and at the
beginning of the class meeting. Assignments will not be accepted via e-mail.
ATTENDANCE:
Students are expected to attend all class meetings and to be punctual. Attendance will be taken at the beginning
of class; if a student arrives after the attendance is taken, it is the student’s responsibility to inform the professor
of his/her presence at the conclusion of the class meeting. If a student must be absent due to an emergency or for
any reason, the professor should be notified in advance. NOTE: Attendance is part of the class participation
grade, and it is hoped that students will attend all class meetings. But each student is allowed two unexplained
absences (for emergencies, etc.). Beyond these two allowed absences, the class participation grade will be
reduced – three absences will result in a one letter grade reduction; four absences will result in a two letter grade
reduction; and five absences will result in failure of the entire class participation grade. NOTE: If a student is
absent six times or more, the student will fail the entire course. If a student is repeatedly late to class, the class
participation grade will also be reduced; for every two late arrivals one absence will be recorded and the course
participation grade will be reduced as mentioned above. (Please speak to the professor immediately if you have
an emergency or an unusual life situation that affects your attendance.)
HONOR CODE:
For all assignments, each student is bound to the Code of Student Conduct (as outlined in the U Mass Boston
Student Handbook). In participating in this class, each student pledges to produce original work (no plagiarism or
collaboration!).
CLASSROOM ETIQUETTE:
Class meetings will begin promptly at the scheduled time. You are expected to arrive on time and remain seated
during the duration of class with all of your attention focused on the information being communicated by your
professor. During class discussions, students should also show respect for and pay attention to their fellow
students. Please do not leave early or begin preparations for departure before class is over. Also, make sure that
beepers, cell phones, and other electronic devices are turned off before class begins.
ONLINE COMPONENT:
This course is linked to a course webpage (http://art305-areford.wikispaces.umb.edu/). To access the course
webpage, go to the webpage address and then input your UMB email username and password. On the course
webpage, you will be able to download and print lists of “Objects and Terms” for each week’s lectures (NOTE:
Each student will need to bring these to class as a guide to the lectures), Video Worksheets, Exam Study Guides,
Essay and reading assignments. There are also various “Links and Resources” (including ARTstor).
This course also uses ARTstor (http://www.artstor.org.ezproxy.lib.umb.edu/index.shtml), a database of thousands
of digital images of art objects. For each exam, a file of study images will be posted on ARTstor for review.
(ARTstor includes many images not included in the course or in the course textbook. Students are encouraged to
explore this database on their own, looking at alternate views of objects covered in class, etc.) NOTE: After
connecting to the website, click on “Enter Here” (in the upper right corner); then you can search “Folders and
Image Groups” (in the middle of the page) for posted files of study images or other images as you like. From your
home computer, you will need to enter your last name and library barcode to access the site.
DISABILITY STATEMENT:
If you have a disability and feel you will need accommodations in order to complete course requirements, please
contact the Ross Center for Disability Services (Campus Center, UL, Rm. 211) at 617-287-7430.
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CLASS SCHEDULE:
WEEK 1:
T, Jan. 28: Course Overview: Art Before the Era of Art
Th, Jan. 30: The Origins of Christianity 1: From Jesus to Christ
Reading, etc: Begin the readings listed for T, Feb. 4; and study Frontline webpage:
http://www.pbs.org/wgbh/pages/frontline/shows/religion
In-class screening: Part 3 of “From Jesus to Christ: The First Christians,” a Frontline
documentary, PBS, 1998.
In-class worksheet: Complete Worksheet for part 3 (print out and bring to class).
WEEK 2:
T, Feb. 4: The Origins of Christianity 2: The Textual Tradition
Reading: PDF: (1) The Gospel According to Mark and (2) The Gospel According to
John, from The New Oxford Annotated Bible, eds. Bruce Metzger and Roland
Murphy (New York: Oxford University Press, 1991).
Read sections on the Gospels of Mark and John, under “The Story of the Storytellers,” http://www.pbs.org/wgbh/pages/frontline/shows/religion
In-class screening: Part 4 of “From Jesus to Christ: The First Christians,” a Frontline
documentary, PBS, 1998.
In-class worksheet: Complete Worksheet for part 4 (print out and bring to class).
Th, Feb. 6: The First Christian Images 1: Catacombs
Reading:
Snyder: Ch. 1: “Art and Religion in Late Antiquity,” 2-12.
WEEK 3:
T, Feb. 11: The First Christian Images 2: Sarcophagi and a House-Church
Reading: Snyder: Ch. 1: “Art and Religion in Late Antiquity,” 13-16.
Th, Feb. 13: The Clash of Gods 1 – Class Discussion
Reading: Thomas F. Mathews, The Clash of Gods: A Reinterpretation of Early Christian
Art (Princeton Univ. Press, 1993), 3-53 (Chs. 1-3).
WEEK 4:
T, Feb. 18: Christian Art Becomes Official: The Basilica and the Mausoleum
Reading: Snyder: Ch. 2: “Constantine and the Arts,” 17-24; and Ch. 3: “The Fifth and
Sixth Centuries,” 31-40.
Th, Feb. 20: The Clash of Gods 2 – Class Discussion
Reading: Thomas F. Mathews, The Clash of Gods: A Reinterpretation of Early
Christian Art (Princeton Univ. Press, 1993), 54-141 (Chs. 4-7 & Epilogue).
WEEK 5:
T, Feb. 25: Christian Art and Architecture Beyond Rome
Reading: Snyder: Ch. 2: “Constantine and the Arts,” 26-30; and Ch. 3: “The Fifth and
Sixth Centuries,” 49-52.
Th, Feb. 27: Christian Text and Image: Manuscripts, Boxes, Flasks, and Doors
Reading: Snyder: Ch. 2: “Constantine and the Arts,” 24-30; and Ch. 3: “The Fifth and
Sixth Centuries,” 35-48.
Due in class: Essay 1 (analysis of The Clash of Gods).
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WEEK 6:
T, March 4: Justinian and the Golden Age of Byzantium
Reading: Snyder: Ch. 4: “Byzantine Art Before Iconoclasm,” 54-65.
PDF: Bissera V. Pentcheva, “Hagia Sophia and Multisensory
Aesthetics,” Gesta 50/2 (2011): 93-111.
Th, March 6: The Art of Mosaic Decoration 1: Thessaloniki and Mount Sinai
Reading: Snyder: Ch. 4: “Byzantine Art Before Iconoclasm,” 65-70.
View (at home): First section on Thessaloniki churches, “Five Byzantine Churches,” a
film linked to the exhibition Heaven and Earth: Art of Byzantium from Greek
Collections, National Gallery of Art, Washington, DC. Link to website and click
on “Related Resources”:
www.nga.gov/content/ngaweb/exhibitions/2013/heaven-and-earth.html
WEEK 7:
T, March 11: Exam 1 (covers Early Christian Art; Snyder, Chs. 1-3).
Th, March 13: The Art of Mosaic Decoration 2: Ravenna
Reading: Snyder: Ch. 4: “Byzantine Art Before Iconoclasm,” 72-90.
WEEK 8:
SPRING BREAK
WEEK 9:
T, March 25: The Art of Mosaic Decoration 3: More Ravenna
Th, March 27: Class Cancelled
.
WEEK 10:
T, April 1: Icon or Idol? 1 – The Politics and Theology of Image Making/Image Viewing
Reading: Snyder: Ch. 4: “Byzantine Art Before Iconoclasm,” 70-71; and Ch. 5:
“Middle and Late Byzantine Art,” 91-96.
Th, April 3: Icon or Idol? 2 – Evaluating the Arguments (Class Discussion)
Reading: PDF: (1) Justin Martyr and others, “Selected Statements from the Early
Christian Fathers;” (2) Tertullian, “The Argument from Scripture” and Minucius
Felix, “A Philosophical Argument,” in Caecilia Davis-Weyer, ed. Early Medieval
Art 300-1150. University of Toronto Press, 1986; (3) St. Gregory the Great, “St.
Gregory the Great to Bishop Serenus of Marseille,” in Caecilia Davis-Weyer, ed.
Early Medieval Art 300-1150. University of Toronto Press, 1986; (4) “The
Iconoclastic Position” and “The Orthodox Position,” in Cyril Mango, ed., The Art
of the Byzantine Empire, 330-1450: Sources and Documents. University of
Toronto Press, 1986; (5) Easter Sermon, Constantinople, 867.
WEEK 11:
T, April 8: Medieval Family Feud – Iconophiles vs. Iconophobes (Class Discussion)
In-Class Debate: Based on reading for Th, April 3.
Due in class: Summary of key arguments for and against images.
Th, April 10: The Triumph of Orthodoxy: Mosaics, Manuscripts, Ivories, & Reliquaries
Reading: Snyder: Ch. 5: “Middle and Late Byzantine Art, 96-105.
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WEEK 12:
T, April 15: Symbolic Space: Middle Byzantine Mosaic Decoration
Reading: Snyder: Ch. 5: “Middle and Late Byzantine Art,
105-111.
Due in class: Essay 2 (on the role of images in worship).
View (at home): Sections on Hosios Loukas (2:26) and Daphni (6:14) churches, “Five
Byzantine Churches,” a film linked to the exhibition Heaven and Earth: Art of
Byzantium from Greek Collections, National Gallery of Art, Washington, DC.
Link to website and click on “Related Resources”:
www.nga.gov/content/ngaweb/exhibitions/2013/heaven-and-earth.html
Th, April 17: East Meets West: Venice and Sicily 1
Reading: Snyder: Ch. 6: “Byzantine Art and Italy,”120-132.
WEEK 13:
T, April 22: Meanwhile Back in Constantinople: Late Byzantine Art
Reading: Snyder: Ch. 6: “Byzantine Art and Italy,” 118-119
Th, April 24: Exam 2 (covers Byzantine Art; Snyder, Chs. 4-6)
WEEK 14:
T, April 29: The Barbarians are Coming! – Early Medieval Art in the West
Reading: Snyder: Ch. 7: “Northern Traditions and Synthesis,” 134-138, 150-163;
and Ch. 9: 214-216.
Th, May 1: Ireland and England: Illumination and Transformation
Reading: Snyder: Ch. 7: “Northern Traditions and Synthesis,” 138-150.
WEEK 15:
T, May 6: Charlemagne and the Revival of the Roman Empire
Reading: Snyder: Ch. 8, “Carolingian Art and Architecture,”164-192.
Th, May 8: The Art of the Holy Roman Empire: The Ottonians
Reading: Snyder: Ch. 9: “Diffusion and Diversity,” 201-213.
WEEK 16:
T, May 13: Drama and Gender in the Hildesheim Doors: Class Discussion
Reading: PDF: Harvey Stahl, “Eve’s Reach: A Note on Dramatic Elements in the
Hildesheim Doors,” in Reading Medieval Images: The Art Historian and
the Object, eds. Elizabeth Sears and Thelma K. Thomas (University of
Michigan Press, 2002), 163-175.
PDF and JSTOR: Adam S. Cohen and Anne Derbes, “Bernward
and Eve at Hildesheim,” Gesta XL/1 (2001): 19-38.
Due in class: Summary and critique (Stahl vs. Cohen/and Derbes).
WEEK 17:
Final Exam Week (M, May 19 – Friday, May 23)
Exam 3 (covers Early Medieval Art; Snyder, Chs. 7, 8, and 9)
(date and time to be announced)
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