Art History 218: Gothic Art
Fall Semester, 2003 Tuesday, 10-11:40 a.m., Thursday, 10-11:50 a.m. Anne F. Harris aharris@depauw.edu	Goal Classroom Readings	Writings Tests Grades	Office : 4345 Office Hours: M,W: 3-4 p.m., T, R: 2-4 p.m. and by arrangement
	Day by Day calendar

The Goal (or, the Method behind the Madness): There are so many ways to study this wondrous period in the human endeavor now known as the Gothic.  After much contemplation and brooding, I have decided to categorize and thus conceptualize Gothic Art not according to its media (architecture, stained glass, manuscripts, etc.) or its chronology (early, middle, late) but rather, according to its viewers and users. Enter, the medieval world order according to those who pray, those who fight and those who labor.  This idea will constitute our first exploration into the medieval mind and be our structure for that pursuit for the first half of the class.  After the break, we will examine various themes in Gothic art and experience that intersect all three orders around a particular set of masterpieces.  As you will quickly see, the three orders are not mutually exclusive categories of human experience: they are, rather, one of many medieval attempts to render structure and rationality to the prospect and project of existing as a conscious being (attempts that we are still trying out today).  I thus invite you to think of these works of art as they interacted with and transformed their viewers and users: as I hope to show you throughout the semester, art can be extraordinarily useful in making sense of life. back to top

The Classroom: Just as I look forward to showing you monuments of Gothic art, I am also very eager to hear your comments on our subjects. Discussion and participation are thus crucial (20% of your grade).  This grade is just as challenging to attain as those for tests and writings, i.e. attendance alone does not entail class participation: you must truly participate to do well. Because I do conceive of this classroom as a group, attendance is a must: after the third unexcused absence, your final grade goes a third of a letter grade down.  Attendance at Punch-card Events (to be explained) is also considered towards your classroom participation grade: each punch card event less than the required 4 counts as an absence. back to top

The Readings: While there is only one book for this class, Michael Camille's wonderful Gothic Art: Glorious Visions (waiting for you at Fine Print Bookstore - on Washington off of the square), there is an abundance of article reading to be done.  Unless otherwise noted, these articles will be available for you for free in folders within our class's page on Blackboard http://blackboard.depauw.edu  - you may download them and read them on your computer, or print them from one of the school's network printers (first 400 pages are free, after that, 10 cents a page), or print them from your own printer (may take longer, but it's free).   Please always come to class prepared to discuss the readings in detail - it will help a great deal to be equipped with the articles themselves, or with your careful notes of said articles.back to top

The Writings: The "W" aspect of this class will be more elaborately detailed in a separate section available on the course's web site (http://fits.depauw.edu/aharris/Courses/Gothic/GothicHome.html) - suffice it to say for now that my goal will be to engage with you in expository writing, simply put: how to write about what you don't know.  You'll be presented with an array of Gothic works of art and their particular issues and circumstances; after choosing the work of art which most piques your curiosity, the fun commences! We'll begin with writing prompts and short essays (writings to loosen us up), then move into more formal assignments which take on research, interpretation, and analysis.  The breakdown of writings (and their component of the "W" grade) is as follows:

• 3 writing prompts (no grade)

• a letter addressing your work of art and its audiences (5%)

• an annotated bibliography of 3 sources (10%)

• a discursive outline (15%)

• 1^st, 2^nd, and 3^rd section drafts (10% each)

• complete draft (15%)

• final handing in of the paper (20%)

• 10 minute oral presentation (5%)

The end result will be a 7-10 page paper which will strive to meet the following criteria:

• constructing an engaging and viable argument in writing

• handling your research so that it supports said argument

• presenting your argument, research and ideas with conviction

Succinctly put, in this class you will get to experiment with your writing as it takes on new knowledge, bold ideas, and powerful persuasion - that's exciting and I can hardly wait to see where you'll take the project.  You must obtain a C- of better to gain your "W" for the course - the "W" aspect of the course and its multiple writings will add up to 50% of your final grade.  All writings will be handed in to the "Digital Drop Box" on Blackboard.back to top

The Tests: There will be two (2) of them, a midterm and a final, neither of them cumulative, each worth 15% of your final grade.  The midterm will ask you to engage works of art with their respective audiences, and will also ask you to compare and contrast the different art experiences of the three audiences.  The final will take on the many themes we will be exploring after the midterm, and may include works you present.  Both tests are image-driven essays, meaning that I will put slides up and ask you to respond to a particular question about them.  If we're feeling adventurous, I may also include unknown works of art for you to decipher.  The basic goal of these tests is to see how well and how directly you write within time constraints (an important skill!), and to hear out your ideas and interpretations of these works of art in their socio-historical contexts. back to top

Field Trip: Mark your calendars now for the evening of Thursday, October 30^th: the Indianapolis Museum of Art stays open late on Thursday evenings, affording us a marvelous opportunity to see one of the works of art that we'll be studying: a stunning altarpiece dedicated to Saint James of Compostela.  Seeing actual works of art is an all-too-rare occurrence in medieval art history courses in America, so this visit will be crucial to your understanding of the materials - and it should be quite a bit of fun as well!

Grade breakdown: back to top

class participation: 20%         2 tests: 30%                "W" writings: 50%

Let's Jump Into the Fray!. back to top

Thursday, August 28: Introduction: Social Structures

Tuesday, September 2: Visual Structures of Gothic Art

Camille, Michael.  "New Ways of Seeing Gothic Art," in GAGV: 9-25.

Camille, Michael.  "Seeing and Reading: Some Visual Implications of Medieval Literacy and Illiteracy" Art History 8 (1985): 26-49. Readings folder

Camille, Michael.  "Before the Gaze: The Internal Senses and Late Medieval Practices of Seeing," in Visuality Before and Beyond the Renaissance. Ed. Robert Nelson.  Cambridge University Press, 2000: 197-223. Readings folder

Thursday, September 4: Those Who Pray: The Life of the Monk and Nun

Saint Benedict.  "Rules for Monks," [c. 530].  in The Medieval Reader.  ed. Norman Cantor. New York: Harper Collins, 1994: 34-41.

Caesarius of Arles. "Rules for Nuns,"[c. 512-534] in Women's Lives in Medieval Europe; A Sourcebook.  Ed. Emilie Amt.  New York: Routledge, 1993: 221-231.

Duby, Georges.  "The Monastery: Model of Private Life," in A History of Private Life: Revelations of the Medieval World.  trans. Arthur Goldhammer.  Cambridge, MA: Harvard University Press, 1988: 38-56.

Meyvaert, Paul. "The Medieval Monastic Claustrum," Gesta 12 (1973): 53-59.

Tuesday, September 9: Those Who Fight: King to Knight's Rook and, and Check!
DESCRIPTION PROMPT DUE

Camille, Michael. "Earthly Vistas," in GAGV: 57-68.

Geoffroi de Charny. Excerpts from The Book of Chivalry of Geoffroi de Charny; Text, Context, and Translation. Richard W. Kaeuper and Elspeth Kennedy.  Philadelphia: University of Pennsylvania Press, 1996: 85-91, 121-135, 141-145, 167-171, 181-195.

Gombrich, E.H. "Images as Luxury Objects: Supply and Demand in the Evolution of the International Gothic Style," in The Uses of Images; Studies in the Social Function of Art and Visual Communication.  London: Phaidon, 1999: 80-107.

Camille, Michael.  "The King's New Bodies: An Illustrated Mirror for Princes in the Morgan Library," in Kunstlerisches Austauch; Artistic Exchange. Vol. 2. Berlin: Akademie, 1992: 393-405.

Thursday, September 11: Those Who Labor: I'm Just a Peasant

Camille, Michael.  " 'When Adam Delved': Laboring on the Land in English Medieval Art," in Agriculture in the Middle Ages; Technology, Practice, and Representation.  ed. Del Sweeney.  Philadelphia: University of Pennsylvania Press, 1995: 247-276.

Henisch, Bridget Ann.  "In Due Season: Farm Work in the Medieval Calendar Tradition," in Agriculture in the Middle Ages; Technology, Practice, and Representation.  ed. Del Sweeney.  Philadelphia: University of Pennsylvania Press, 1995: 309-336.

Tuesday, September 16: Praying and Seeing, I: Nuns and Mysticism: the Next Level
INTERPRETATION PROMPT DUE

Camille, Michael.  "Private Visions," and "Mystic Visions," in GAGV: 115-130.

Bynum, Caroline Walker.  "Food in the Writings of Women Mystics," in Holy Feast and Holy Fast; the Religious Significance of Food to Medieval Women.  Berkeley: University of California Press, 1987: 150-165.

Hamburger, Jeffrey F. "The Song of Songs Miniatures," in The Rothschild Canticles: art and mysticism in Flanders and the Rhineland circa 1300.  New Haven, CT: Yale University Press, 1990: 70-87.

Hamburger, Jeffrey F.  "The House of the Heart," in Nuns as Artists; the Visual Culture of a Medieval Convent.  Berkeley: University of California Press, 1997: 137-175.

Thursday, September 18: Praying and Seeing, II: Suger and St.-Denis: Religious Politics, Political Religion

Camille, Michael.  "Time Past," in GAGV: 71-88.

Abbot Suger of Saint-Denis.  "De Administratione" [1144-1148-49] from Abbot Suger on the Abbey Church of St.-Denis and Its Art Treasures.  ed., trans. and annotated by Erwin Panofsky.  Princeton, NJ: Princeton University Press, 1979: 41-81.

Maines, Clark.  "Good Works, Social Ties, and the Hope for Salvation: Abbot Suger and Saint-Denis," in Abbot Suger and Saint-Denis. ed. Paula Lieber Gerson.  New York: The Metropolitan Museum of Art, 1986: 76-94.

Frank, Jacqueline and William Clark.  "Abbot Suger and the Temple in Jerusalem: a new interpretation of the sacred environment in the royal abbey of Saint-Denis," in Architecture and the Pictorial Arts from Antiquity to the Enlightenment.  Ed. Christy Anderson.  Burlington, VT: Ashgate Press, 2002: 109-218.

Tuesday, September 23: Praying and Seeing, III: St. Francis: Taking Religion to the Streets
ANALYSIS PROMPT DUE

Thomas de Celano.  "The Conversion of Saint Francis of Assisi and the Founding of His Order," [c. 1250] from Medieval Saints; A Reader.Ed. Mary-Ann Stouck.  London: Broadview Press, 1999: 470-487.

Saint Bonaventure.  "The Official Life of St. Francsi: The Stigmata," in Medieval Saints; A Reader.Ed. Mary-Ann Stouck.  London: Broadview Press, 1999: 497-503.

Saint Francis of Assisi.  "The Rule of Saint Francis of Assisi," [1223] in Readings in Medieval History. Ed. Patrick Geary.  London: Broadview Press, 1998: 445-450.

Anonymous. "Little Flowers of Saint Francis," [c. 1290] in The Medieval Reader.  ed. Norma Cantor. New York: Harper Collins, 1994: 61-67.

Goffen, Rona.  "The Friars and Santa Croce," and "Franciscus Alter Christus: The Character of Saint Francis," Spirituality in Conflict.  University Park, PA:The Pennsylvania State University Press, 1988: 1-11, 13-22.

Thursday, September 25: Fighting and Seeing, I: The Courtly Life and Books of Hours

Lane, Barbara.  "The Symbolic Crucifixion in the Hours of Catherine of Cleves," Oud Holland 87:1 (1973): 4-26. Readings folder

Holladay, Joan.  "The Education of Jeanne d'Evreux: Personal Piety and Dynastic Salvation in her Book of Hours at the Cloister," Art History 17:4 (Decenber 1994): 585-611.

Colenbradner, Herman Th.  "The Limbourg Brothers, the 'Joyaux' of Constatine and Heraclius, the Très Riches Heures and the Visit of the Byzantine Emperor Manuel II Palaeologus to Paris in 1400-1402," in Flanders in a European Persepctive; Manuscript Illumination around 1400 in Flanders and Abroad.  Ed. Maurits Smeyers and Bert Cardon.  Leuven: Uitgeverij Peeters, 1995: 171-83.

Tuesday, September 30: Fighting and Seeing, II: The Wilton Diptych: It's Good to Be the King

Camille, Michael.  "Portraits and Performers," in GAGV: 163-173.

Sullivan, Ruth Wilkins.  "The Wilton Diptych: Mysteries, Majesty, and a Complex Exchange of Faith and Power," Gazette des Beaux-Arts 129: 1536 (1997): 1-18.

Gordon, Dillian. " The Wilton Diptych as an Icon of Kingship," in Making and Meaning: The Wilton Diptych.  London: National Gallery, 1993: 21-58.

Sandler, Lucy Freeman.  "The Wilton Diptych and Images of Devotion in Illuminated Manuscripts," in The Regal Image of Richard II and the Wilton Diptych. Ed. Dillian Gordon, Lisa Monnas and Caroline Elam.  London: Harvey Miller, 1997: 137-155.

Thursday, October 2: Fighting and Seeing, III: St. Louis: The Crusader King
LETTER DUE

Jean de Joinville.  "Preparations for a Crusade," "Negotiations with the Saracens, April-May 1250," "A Fatal Crusade," "Canonization of Saint Louis," from The Life of Saint    Louis. [c.1280] trans. M.R.B. Shaw. New York: Penguin Books, 1963: 191-194, 249-264, 345-353.

Weiss, D.  "The Formation of a Crusader King," and "A New Holy Land," from Art and Crusade in the Age of Saint Louis.  Cambridge, 1998: 1-7, 11-32.

Brenk, Beat.  "The Sainte-Chapelle as a Capetian Political Program," in Artistic Integration in Gothic Buildings.  Ed. Virginia Chieffo-Raguin et al.  University of Toronto Press, 1995: 195-213, 341-348.

Hedeman, Anne D.  "Saint Louis: the Model Roi Très Chrétien," from The Royal Image; Illustrations of the Grandes Chroniques de France, 1274-1422.  Berkeley: University of California Press, 1991: 63-73.

Tuesday, October 7: Laboring and Seeing, I: Chartres Cathedral: Where Saints and Peasants Meet

Camille, Michael.  "The Heavenly Jerusalem," and "Celestial Light," in GAGV: 27-57.

William Durandus.  "The Symbolism of Churches and Church Ornaments," [1286]  in Medieval Popular Religion, 1000-1500, a Reader. Ed. John Shinners, London: Broadview Press, 1997:21-28.

Williams, Jane Welch.  "Historical Circumstances," from Bread, Wine, and Money; the Windows of the Trades at Chartres Cathedral.  Chicago: University of Chicago Press, 1993: 19-36.

DeCosse, Carol.  "The Wine Merchants' Window of Chartres Cathedral," American Wine Society Journal 18:4 (1986): 107-109.

Williams, Jane Welch.  "The Offering of Wine," from Bread, Wine, and Money; the Windows of the Trade at Chartres Cathedral.  Chicago: University of Chicago Press, 1993: 73-94.

Thursday, October 9: Laboring and Seeing, II: Peasants in Manuscripts
ANNOTATED BIBLIOGRAPHY DUE

Alexander, Jonathan.  "Labeur and Paresse: Ideological Representations of Medieval Peasant Labor," Art Bulletin 72:3 (September 1990): 436-452.

Camille, Michael. "The Lord's Folk: Masks, Mummers and Monsters," in  Mirror in Parchment: the Luttrell Psalter and the Making of Medieval England.  Chicago: University of Chicago Press, 1998: 232-262.

Tuesday, October 14: Laboring and Seeing, III: The Representation of Everyday Life (Or Is It?)

O'Callaghan, Joseph F.  "The Threat of Islam," in Alfonso X and the Cantigas de Santa Maria; A Poetic Biography.  Leiden: Brill, 1998: 84-109.

Bagby, Albert I.  "The Moslems in the Cantigas of Alfonso X, el Sabio," Kentucky Romance Quarterly 20 (1973): 173-207. Readings folder

Jung, Jacqueline.  "Peasant Meal or Lord's Feast? The Social Iconography of the Naumburg Last Supper," Gesta 42:1 (2003): 39-61.

Thursday, October 16: MIDTERM

Tuesday, October 28: Objects of Devotion: Rosaries and Reliquaries

Camille, Michael.  "Public Visions," in GAGV: 103-115.

Winston-Allen, Anne. "The Picture Text and Its 'Readers'." from Stories of the Rose; the Making of the Rosary in the Middle Ages. University Park, PA: The Pennsylvania State University Press, 1997: 31-64.

Anonymous.  "St. Ursula and the Eleven Thousand Virgins," [c. 1100] in Medieval Saints; A Reader.Ed. Mary-Ann Stouck.  London: Broadview Press, 1999: 518-533.

Holladay, Joan.  "Relics, Reliquaries and Religious Women: Visualizing the Holy Virgins of the Cologne," Studies in Iconography 18 (1997): 67-118. Reading folder

Zwierlein-Diehl, Erika.  " 'Interpretatio Christiana': gems on the Shrine of the Three Kings in Cologne," Studies in the History of Art 54 (1997): 62-83. Readings folder

Thursday, October 30: Salvation How-To for One and All: Altarpieces

Caesarius of Heisterbach. "Miracles of the Eucharist," [c. 1220-1235] in Medieval Popular Religion,  1000-1500, a Reader. Ed. John Shinners, London: Broadview Press, 1997: 89-95.

Holladay, Joan.  "The Iconography of the High Altar in Cologne Cathedral," Zeitschrfit für Kunstgeschichte 52 (1989): 472-498. Readings folder

Gitlitz, David M.  "The Iconography of St. James in the Indianapolis Museum's Fifteenth-Century Altarpiece," in The Pilgrimage to Compostela in the Middle Ages. ed. Mary Jane Dunn and Linda Kay Davidson. Garland Publishing, 1996: 113-130.

Tuesday, November 4: St. Thomas Becket: Murder and Miracles
1^ST SECTION DUE

Edward Grim.  "The Murder of Thomas Becket," [c. 1190]  in The Medieval Reader. ed. Norman Cantor.  New York: Harper Collins, 1994: 184-189.

Benedict of Canterbury, "Miracles of Thomas Becket," in Medieval Popular Religion, 1000-1500. ed. John Shinners. Toronto: Broadview Press, 1997: 159-174.

Ward, Benedicta.  "The Miracles of St Thomas of Canterbury" from Miracles and the Medieval Mind.  Philadelphia: University of Pennsylvania Press, 1987: 89-109.

Thursday, November 6: There's Something About Mary

Dailey, Brian E.  "The 'Closed Garden' and the 'Sealed Fountain': Song of Songs 4:12 in the Late Medieval Iconography of Mary," in Medieval Gardens.  Ed. Elizabeth MacDougall. Washington, D.C.: Dumbarton Oaks, 1983:

Winston-Allen, Anne. "Secular Love Gardens, Marian iconography, and the Names of the Rose," from Stories of the Rose; the Making of the Rosary in the Middle Ages. University Park, PA: The Pennsylvania State University Press, 1997: 81-110.

Song of Songs

Tuesday, November 11: Devotio Moderna: Christ Like You've Never Seen (or Felt) Him Before
2^ND SECTION DUE

Huizinga, J.  "Religious Sensibility and Religious Imagination," from The Waning of the Middle Ages.  New York: Doubleday, 1924: 190-200.

Aronberg-Lavin, M.  "The Mystic Winepress in the Merode Altarpiece," in Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. New York: New York University Press, 1977: 297-301.

Belting, Hans.  "The 'Holy Face:' Legends and Images in Competition," from Likeness and Presence; A History of the Image Before the Era of Art.  trans. Edmund Jephcott. Chicago: University of Chicago Press, 1994: 208-224.

Lewis, Flora.  "The Veronica: Image, Legend, Viewer," in England in the Thirteenth Century: Proceedings of the 1984 Harlaxton Symposium.  ed. W.M. Ormrod. London: The Boydell Press: 100-106.

Thursday, November 13: Be Like Christ: Imitatio Christi and Christ as the Man of Sorrows

Saint Bonaventure. "The Passion Cycle," in Meditations on the Life of Christ.   trans. Isa Ragusa .Princeton, NJ:Princeton University Apress, 1961: 320-340

Camille, Michael.  "Mimetic Identification and Passion Devotion in the Later Middle Ages: A Double-Sided Panel by Meister Francke,"  in The Broken Body; Passion Devotion in Late-Medieval Culture.  eds. MacDonald and Ridderbos.  Groningen: Egbert Forsten, 1998: 183-210.

Ridderbos, Berhard.  "The Man of Sorrows; Pictorial Images and Metaphorical Statements," in The Broken Body; Passion Devotion in Late-Medieval Culture. eds. MacDonald and Ridderbos.  Groningen: Egbert Forsten, 1998: 145-181.

Tuesday, November 18: Ars Moriendi: The Art of Dying Well
3^RD SECTION DUE

Camille, Michael.  "Time Future," and "Time Present," in GAGV: 88-99.

Anonymous.  "The Art of Dying Well," [c. 1430-35] in Medieval Popular Religion, 1000-1500, a Reader. Ed. John Shinners, London: Broadview Press, 1997: 525-535.

Binski, Paul.  "Ways of Dying and Rituals of Death: The Good Death, The Bad Death," in Medieval Death; Ritual and Representation.  Ithaca, NY: Cornell University Press, 1996: 29-50.

Blacksberg, Leslie A.  "Death and the Contract of Salvation: the Rohan Master's illumination for the Office of the Dead," in Flanders in a European perspective: manuscript illumination around 1400 in Flanders and abroad.  Ed. Smeyers, Maurits and Bert Cardon.  Leuven: Peeters, 1995: 487-498.

Thursday, November 20: The AfterLife: Heaven and Hell

Camille, Michael.  "Bodies and Borders." In GAGV: 151-161.

Binski, Paul.  "Death and the Afterlife," in Medieval Death; Ritual and Representation.  Ithaca, NY: Cornell University Press, 1996: 164-214.

Bynum, Caroline Walker.  "Material Continuity, Personal Survival, and the Resurrection of the Body: A Scholastic Discussion in Its  Medieval and Modern Contexts,"History of Religions 30:1 (August 1990): 51-85.

Stahl, Harvey. "Heaven in View: the Place of the Elect in an Illuminated Book of Hours," in Last Things; Death and the Apocalypse in the Middle Ages. ed. Caroline Walkerr Bynum and Paul Freedman.  Philadelphia: University of Pennsylvania Press, 2000: 205-232.

Tuesday, November 25: Mapping Medieval Time with Space
COMPLETE DRAFT DUE

Connolly, Daniel K.  "Imagined Pilgrimage in the Itinerary Maps of Matthew Paris," Art Bulletin 81 (1999): 598-622.

Gaudio, Michael.  "Matthew Paris and the cartography of the margins," Gesta 39:1 (2000): 50-57.

Levy-Rubin, Milka and Rehav Rubin.  "The Image of the Holy City in Maps and Mapping," in City of the Great King; Jerusalem from David to the Present ed. Nitza Rosousky. Cambridge, MA: Harvard University Press, 1996: 352-362.

Thursday, November 27: THANKSGIVING

Tuesday, December 1: Neo-Gothic, I: Caspar David Friedrich and the Romance of the Ruin

Readings to be announced.

Thursday, December 3: Neo-Gothic, II: The Pre-Raphaelites and the Authentic Middle Ages

Readings to be announced.

Tuesday, December 9: Presentations, I
PRESENTATION AND FINAL PAPER DUE (first group)

Thursday, December 11: Presentations, II

PRESENTATION AND FINAL PAPER DUE (second group)

DATE OF EXAM: Friday, December 19 - 9:30 a.m. - 11:30 a.m.