1. Common layouts of a Benedictine monastery (See Stokstad p.441 (St. Gall Plan); p. 447 (reconstruction drawing of Cluny; p. 466 ; Plan of Cistercian Abbey of Notre-Dame, Fontenay, p. 469) 2. Know proper vocabulary for the description of a sculpted tympanum in the Romanesque era: See Stokstad, p. 478 and www.myartslab.com 3. Know vocabulary and design of a Romanesque pilgrimage church: See Stokstad, p. 465 (Santiago de Compostela and additional information in www.myartslab.com)
VISUAL MODES: Understand different visual modes: narrative; iconic; allegorical. STUDY ESSAY QUESTIONS
1. Incorporating examples of art and architecture, explain how and why Benedictine Monasticism took on such a prominent and visible/visual role in western medieval society in the Romanesque era (c. 1030-1150).
Explain how and why Benedictine Monasticism took on such a prominent and visible/visual role in western medieval society in the Romanesque era (c. 1030-1150).
Incorporating examples of art and architecture,
2. With the discussion of two or three examples, including art works, discuss how the promotion of the cult of saints can be oriented towards addressing political, social and economic aims not just religious ones. [Abou-el-Haj 1983, 91, 97; Hahn 1991; Sheingorn (Geary, Guibert of Nogent. \
How did the promotion of saints become oriented towards addressing political, social economic aims, not just religious ones?
Two or three examples
3. With regard to “Those who Fight” explain how this concept that usually refers to the warrior class might be taken up differently in ecclesiastical works that promote the Cult of Saints or in a metaphorical manner in relation to spirituality. [See class lectures on Cult of the Saints, Santiago and Allegorical Art; Rudolph, “Violence”; Abou-el-Haj 1983; Sheingorn; also Rosenwein, “Feudal War and Monastic Peace: Cluniac Liturgy as Ritual Aggression (1972)-Online.
How is “those who fight” used differently in ecclesiastical works that promote the cult of saints, or a metaphorical spiritual manner?
4. Comment on the importance of spectacle and the lure of gold and jewels in the practices of the church and in relation to the Cult of the Saints. Include observations about the role of art within such spectacle and display. Noting the ambiguities and potential dangers in this form of display that laid it open for criticism by Bernard of Clairvaux in his Apologia, in your essay imagine yourself a traditional Benedictine or a lay church goer and defend this practice.
Lure of gold, Week 9 Living with the Dead: The Cult of Relics and Saints Oct. 29, 31
Importance of spectacle and lure of gold and jewels (observations about role of art) i. Practices of Church
ii. Cult of Saints
Ambiguities, Potential dangers in this form of display said by Saint Bernard in Apologia
5. Comment on the role of Miracle Stories (and other hagiographical texts) in the cult of relics. Do you think they help us understand the nature of popular pilgrim interest in the cult or more so that of the religious institution promoting the cult? Describe some ways that miracle stories impact upon and/or inform us about works of art. (In your discussion include reference to more than one cult.)
The Early Cult of Sainte Foy at Conques: Catering to multiple desires of pilgrimage
role of Miracle Stories (and other hagiographical texts) in the cult of relics:
It helps us understand the religious institution promoting the cult because
Ways miracle stories impact upon or inform us about works of art
6. Comment on the frequent negative portrayal of sin and vice in Romanesque art considering why this is such a prevalent topic. Analyze the visual techniques that convey these vices and how viewers would be encouraged to see the representations negatively. When considering images like the female figure of Luxuria at Moissac with snakes biting her...
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