1

ARTS 316 MONASTIC ART OF THE MIDDLE AGES AND RENAISSANCE

Spring 2015

MWF 11:00-11:50

Erik Inglis

x58554

einglis@oberlin.edu

Office hours: Monday 1:30-2:30, Tuesday 8:30-10:30.

And by appt. [To make an appt, email me with two or three times that work for you]

COURSE DESCRIPTION:

Monasteries were a major venue for artistic production from the sixth to the fifteenth century. We will

examine how monks, nuns and friars used art and architecture in their religious life. We will study such

works as the book of Kells, made for Irish monks, Cluniac monasteries on the pilgrimage roads, and work

associated with new orders including Cistercian monasteries like Fontenay and the art of the mendicant

orders of Sts. Francis and St. Dominic.

Acknowledgments:

I think Professor Adam Cohen of the University of Toronto for sharing his syllabus for a course on

medieval monastic art, from which I have learned a great deal.

CLASS READINGS:

There is no broad book devoted to this topic, so in class we will be using a broad variety of focused articles

and a lot of primary sources. All the required reading will be on blackboard and/or on the web.

While there is no required textbook for the class, I recommend using a general survey of medieval art as a

companion that can give a broader context for the material we are dealing with. Two good ones are

Marilyn Stokstad’s Medieval Art and James Snyder’s Medieval Art. Both have clear structures that will

enable you to find the relevant material easily.

REGULAR READINGS:

Most monks read a chapter of the Rule of St. Benedict every day, an d the entire Book of Psalms in a week.

These two texts, then, were constantly in their thoughts. If we want to understand medieval monasticism,

familiarity with these texts is essential. Therefore, I would like you to read a chapter of the Rule each day,

and at least two psalms.

ASSIGNMENTS AND GRADING (brief):

Assignments in Brief:

Task Weight % Due Date

Short paper 1 10 March 2

Object/Rule/Psalm Posts 10 (5 + 5) rolling

Short paper 2 15 March 20

Paper Proposal 5 April 13

Article Critique 10 April 17

Short paper 3 15 April 22

Final paper draft cr May 1

Final paper 25 May 14

Participation 10

HONOR CODE:

I take the honor code very seriously, and expect the same of my students. You should all be

familiar with the honor code (details available at http://www.oberlin.edu/studentpolicies/honorcode/), and

expect your professors to describe its application on their syllabi. In particular, it is essential that you write

and sign the honor code on all work you hand in for this class. If it is not, I will return the paper to you

without entering a grade until you sign it and return it to me. The Honor Code reads: “I affirm that I have

adhered to the Honor Code on this assignment.”

2

I value the Honor Code because it is fundamental to education in a liberal arts setting. Unlike some

educational environments, a liberal arts college believes that education is a transforming experience, both

personally and socially. To claim someone else’s work as your own makes that transformation impossible, thus

negating our purpose for being here.

In written work, I encourage you to share your work with other students, seeking their input,

comments and corrections. However, the paper must be substantively your own. Others may suggest how

you might better organize your paper; they may not re-draft it for you. In your paper, you must cite all your

sources in academically formatted footnotes. For guidelines to acceptable practices, see the brief outline

Sylvan Barnet, A Short Guide to Writing about Art, 6th edition, (New York, Longman, 2000), or the

extensive version in the Chicago Manual of Style, 14th edition (Chicago, 1993) or 15th edition (Chicago,

2003), all available in the Art Library and/or Mudd reference section. The Honor Code must be written and

signed on these assignments. If it is not, I will return the paper to you without entering a grade until you

sign it and return it to me.

If you have any confusion about how the honor code applies to any assignments in the course, please

ask me for clarification.

POLICY ON INCOMPLETE WORK, LATE WORK, AND ABSENCES:

Incomplete work: All work must be complete to pass the class. Failure to complete any assignment may

result in a no entry for the class.

Late work: Late work will be accepted only in case of true emergencies or by prior agreement with me. In

other cases, work turned in late will be accepted, with half a grade deducted for every two days between the

due date and the date it's handed in.

Absences: Since attendance and participation are an essential part of learning this material, repeated

absences will be penalized, and may result in a no-entry for the course--even if all written work has been

completed.

What’s the difference between challenging and stressful? what’s the difference between stressful and too

stressful?

Those questions are hard to answer. I hope that this class is challenging, both in the nature and the quantity of

its material, and I recognize that intellectual and logistical challenges are stressful. However, I never want all

the protocols and details of the class to create an unhealthy level of stress. If you are feeling like there’s too

much, or if the work is unmanageable, or you have circumstances in your life that require priority, please let me

know; things can always be adjusted to make it possible for you to do all the work successfully while living a

balanced life. I will work with you to make this class work for you.

ASSIGNMENTS in detail:

PLEASE STAPLE YOUR PAPERS, please.

NB: I DO NOT ACCEPT ELECTRONIC SUBMISSIONS except by prior arrangement.

All papers should be typed and double-spaced, with a font of 10 or 12. All sources should be cited in

correctly formatted footnotes.

NB: Review the honor code, and be sure that you footnote all sources of information and include

photocopies of the major works you discuss.

Work Groups:

I will create five groups in the class. These groups will be used to schedule Object/Rule/Psalm papers,

for study of the Utrecht Psalter, and for paper proposal workshops.

A. Three short papers

The class has three short papers that require you to synthesize a number of the topics and readings

discussed in the preceding section of the class. All readings that precede the paper are probably relevant in

some way. There are two consequences from this:

first, you should study the potential topics today, so that as you encounter the material for the first time you

are already thinking about its contribution to your paper;

second, when you start to write the paper, review the syllabus, your class notes, and your notes for each

reading as you prepare the papers. If you choose not to use a reading, it would probably be helpful to

3

explain in a note why you did not find it relevant for the topic. I am open to other topics for each paper, but

you will need to demonstrate that the topic is sufficiently broad.

Note: The comparative brevity of these papers can be deceptive; to do well on them you will probably need

to overwrite them, and then trim them back.

Short paper 1 (5-6 pages):

Pick one of these two topics:

1) Compare/Contrast Architectural Implications of Rule of St. Benedict and Plan of St. Gall

This topic asks you to expand on the discussions on February 18 and 23, and their associated readings.

There is also useful information in the material we read about Sinai and insular manuscripts.

or

2) Monastic Attention: Icon, Chi-Rho, Utrecht Psalter, Plan of St. Gall, Uta Codex (pick three)

The donor of the plan of St. Gall invited its recipient, Gotzbert, to use it “to exercise his ingenuity.” In this

assignment, you select three works from this list (apse of St. Catherine’s, icon from St. Catherine’s, a Chi-

Rho page, a page from the Utrecht Psalter, Plan of St. Gall, Uta Codex) and think about how they exercise

a monastic viewer’s ingenuity. What kind of attention do they invite and reward? How does their

appearance contribute to their use?

Short paper 2 (5-6 pages):

Build on our discussion from March 13 by writing a paper on the images of Uta and/or the image of

Durandus that compares and contrasts them with the texts we’ve read about abbots and their monks. Be

sure to take into account the placement of the image and the subject’s position in the history of his/her

monastery.

Short paper 3 (5-6 pages)

Pick one of these five topics:

1) Suger/Bernard

2) Suger/Hildegard

3) Monastic Artists

4) Legislation on Art among the Cistercians and Mendicants.

5) a topic of your own design, approved by me after consultation.

B. Object/Rule/Psalm Over the course of the semester, each student will post two objects we did not discuss in class to the blog,

together with a 50 word explanation of the object’s origins and iconography.

Then write two paragraphs explaining:

1) how it relates to particular chapter of the Rule of St. Benedict;

2) how it relates to specific passage from the psalms.

This assignment has two goals:

1) to expand our reach beyond what we cover in class;

2) to deepen and regularize your knowledge of the Rule and the Psalms, the two most important texts for

medieval monks.

Students are encouraged to comment on these posts, which is a form of participation in the class. These

comments can include additional texts that resonate with the objects.

At end of semester, we will have a web that links objects, chapters, and psalms.

C. Final Paper 14-15 pages

Write a research paper on a single topic. Among the types of topic you may wish to consider are:

an individual work of art related to the class (even if the class didn't discuss it);

an iconographic question (St. Denis, or St. James, evangelists, depictions of the Crucifixion, etc.)

a single category of works (monastic Bibles, 12th

c. cloisters, paintings for monastic cells);

a single patron (Bernward of Hildesheim, Hildegard of Bingen, Suger).

You may write about a work featured in one or more of your other papers, which would allow you to build

on your earlier work.

4

In addition to learning a great deal about medieval art, I also want this class to provide a workshop on the

process of researching and writing, in art history specifically and in the humanities more generally.

In approaching a project like this, it helps to recognize that there are important steps along the way. You’ll

do better on the final paper if you recognize and pursue the individuality of these stages. In effect, when

learning to research and write in a new field, it helps to slow down the process, making each stage more

explicit, as you might do to learn a complex musical score or piece of choreography.

With that in mind, there are multiple stages in completing this assignment:

C1) Workshopping potential proposals. You will post two or three potential paper topics to blackboard,

and share them with a pre-assigned group. Each proposal will be about one paragraph long, suggesting

briefly the topic you wish to research and its interest. Each proposal must include three or four

bibliographic items. You must comment on the proposals from the members of your group, and are

encouraged to comment on others as well.

C2) Submit a final proposal of your topic. This proposal should be one page long, and include at least 10

bibliographic items and an image database. At least one of the 10 items must be in a foreign language, and

you must explain (as before) how you will use it. At least two of your sources must be primary sources.

And you must include a one paragraph summary for each of the 2 most important bibliographic items,

briefly summarizing their argument and evidence. Bibliography is a place where quantity equals quality, so

you can run up the score by having a big bibliography.

C3. Article Critique 4-6 pages

Find (with my help), read and critique a significant, thesis-driven article that is central to your final paper.

The essay should present the article’s thesis, the evidence and assumptions on which it rests, possible

problems with or objections to the thesis, and how you think the author would reply to those problems and

objections.

C4) Submit a draft of your whole paper, which I will reply to by May 8, so you have a six days to take

advantage and make revisions and improvements in your paper.

C5) The finished paper (14-15 pages).

The rigorous, step-by-step approach suggests what I will look for in your finished papers. Your paper will

be evaluated on several fronts; these include (but are not limited to):

the completeness and appropriateness of its sources and bibliography;

its engagement with their evidence and arguments;

its ability to fashion from these sources a convincing synthesis;

its awareness and explanation of its shortcomings or lacunae.

I hope that by following this rigorous approach to research, and by working together, you will be able to

write a final research paper that might be:

presented at the senior research day in the spring (see details about last year’s event at

http://new.oberlin.edu/office/dean-of-studies/symposium/ )

and/or nominated for the Oberlin College Friends of the Library Research Award

( http://www.oberlin.edu/library/friends/research.awards/index.html );

and/or serve as the basis of a proposal for the Leah Freed Memorial Prize Award

(http://new.oberlin.edu/arts-and-sciences/departments/gender/prizes/ );

and/or used as a writing sample in applying for graduate school or fellowships.

D. Participation

Default grade for daily attendance and conscientious attention is a B. I will let you know if I am

concerned that you are not meeting this level.

5

SCHEDULE

1 Feb

2

Intro

Bible: Book of Genesis, chs. 1-10 (creation and fall);

Gospel of Luke, ch. 1, ch. 10, verses 38-42, chs. 22-24

Acts of the Apostles, ch. 1-7,

For all Biblical readings this semester, use the Douay-Rheims translation, which is the closest

to the Latin Bible used in the Middle Ages; it is available at www.drbo.org.

Part 1: Heirs to the Desert Fathers

2 Feb

4

Sinai in the 4th

and 6th

century

Read the account of God speaking to Moses on Mt. Horeb and Mt. Sinai, Exodus chs. 3, 19-

20, 24, 31-32 (use drbo.org).

The Pilgrimage of Egeria, eds. M. L. McClure and C. L. Feltoe (London, Society for

Promoting Christian Knowledge), pp. 1-12.

https://archive.org/stream/pilgrimageofethe00mccliala#page/xlviii/mode/2up

Egeria was a Christian European who made a trip to the Holy Land in the 380s; her account of

her travels offers early evidence about Christian monasticism. As you read her account, take

notes on what she says about monks, and ask if you can determine anything about their

material world, natural and human-made.

The monastic church at Sinai houses a monumental apse mosaic depicting Christ’s

Transfiguration; read the Gospels accounts (at drbo.org): Matthew 17, 1-6, Mark 9, 1-8, Luke 9,

28-36

Robert S. Nelson, “Where God Walked and Monks Pray,” in R. S. Nelson and K. M. Collins,

eds., Holy Image, hallowed ground: icons from Sinai (LA: J. Paul Getty Museum, 2006), pp.

1-38

3 Feb

6

British Isles

Venerable Bede, Life of St. Cuthbert, chs. 6-10.

http://legacy.fordham.edu/halsall/basis/bede-cuthbert.asp

UNESCO on Skellig Michael http://whc.unesco.org/en/list/757

https://www.youtube.com/watch?v=2mCq-rTb7-4

Michelle Brown, The Lindisfarne Gospels and the Early Medieval World (London, British

Library, 2011), pp. 48-57, 155-61.

Page through Lindisfarne Gospels here:

http://www.bl.uk/manuscripts/Viewer.aspx?ref=cotton_ms_nero_d_iv_f002r

or here:

http://www.bl.uk/onlinegallery/ttp/lindisfarne/accessible/pages1and2.html#content

Page through Book of Kells here:

http://digitalcollections.tcd.ie/home/index.php?DRIS_ID=MS58_003v

4 Feb

9

Discussion/One page response paper

Ben C. Tilghman, “The Shape of the word: extralinguistic meaning in insular display

lettering,” Word and Image 27 (2011), 293-308.

Feb

11

no class

Object/Rule/Psalm Group 1

Feb

13

no class

Part 2: Foundations of Benedictine Monasticism

5 Feb

16

Discussion: Deriving an architectural program from the Rule of St. Benedict

The Rule of St. Benedict at: http://www.osb.org/rb/text/toc.html#toc

As you read the Rule, list the people and activities it mandates, and think about the kinds and

quantities of spaces/buildings they require? Hand in a list of spaces/buildings. You will use

this list again on February 23.

6

Richard W. Southern, intro to “The Benedictines,” and “The Rule,” in Southern, Western

Society and the Church in the Middle Ages (London, 1970), pp. 217-23.

6 Feb

18

Carolingian Monasteries

Richard W. Southern, “The Benedictines,” in Southern, Western Society and the Church in the

Middle Ages (London, 1970), pp. 217-30.

J. Leclercq, The Love of Learning and the Desire for God: A Study in Monastic Culture (NY:

Fordham University Press, 1982), ch. 3, “Cult and Culture,” pp. 37-50.

—available as an ebook through OBIS.

Object/Rule/Psalm Group 2

7 Feb

20

Utrecht Psalter Discussion

Page through the Utrecht Psalter here

http://objects.library.uu.nl/reader/index.php?obj=1874-

284427&lan=en#page//11/51/45/11514575807329943918974580038627186786.jpg/mode/1u

p

O. Pächt, Book Illumination in the Middle Ages, ch. VI, “Illustration of the Psalter,” pp. 167-

72.

Koert van der Horst, William Noel, Wilhelmina C.M. Wüstefeld, eds., The Utrecht psalter in

Medieval art : picturing the Psalms of David (Tuurdijk, the Netherlands, 1996), pp. 55-72.

To prepare, you need to look at two assigned images from the manuscript; one everyone will

look at, the other will be assigned to you as part of your group. If you can meet with some or

all the members of the group before class to discuss it, that would be great—however, it is not

absolutely necessary.

As you read the psalm and look at its illustration, you need to answer three questions:

1) what is in the psalm and the picture?

2) what is in the psalm and not in the picture?

3) what is in the picture and not the psalm?

The illustration you all need to study is for Psalm 21 (page 31 on website), which Christians

read as a prophecy of Christ’s crucifixion. http://objects.library.uu.nl/reader/index.php?obj=1874-284427&lan=en#page//14/10/00/141000395579748483904689348022094650138.jpg/mode/1up

Group 1: Psalm 7 (page 15 on website) http://objects.library.uu.nl/reader/index.php?obj=1874-284427&lan=en#page//13/75/40/137540200721572733672686064250725576433.jpg/mode/1up

Group 2:Psalm 43 (bottom of page 57 on website) http://objects.library.uu.nl/reader/index.php?obj=1874-

284427&lan=en#page//34/91/60/34916013781274637105156503165049599661.jpg/mode/1up

Group 3: Psalm 44 (page 59 on website) tongue like the pen of a rapid scribe http://objects.library.uu.nl/reader/index.php?obj=1874-

284427&lan=en#page//16/70/40/167040758242302384976208542573921469544.jpg/mode/1up

Group 4: Psalm 64 [labelled 63 in Utrecht Psalter] (page 79 on website) http://objects.library.uu.nl/reader/index.php?obj=1874-

284427&lan=en#page//76/87/23/76872334296133305524180430892091691870.jpg/mode/1up

Group 5: Psalm 18 (page 28 on website) http://objects.library.uu.nl/reader/index.php?obj=1874-

284427&lan=en#page//96/43/80/96438067392780404057832251903974690307.jpg/mode/1up

8 Feb

23

Plan of St. Gall Discussion/One page response paper

Read the Plan of St. Gall:

http://www.stgallplan.org/en/index_plan.html

http://www.stgallplan.org/en/plan.html

http://www.stgallplan.org/en/makingtheplan.html

http://www.stgallplan.org/StGallDB/plan_components/public_list_berschin_english

http://www.stgallplan.org/stgall_flash/stgall.html

You can also use Sullivan’s Plan and Key, posted on blackboard, though it does not offer a

direct translation of the inscriptions on the plan.

How does the Plan of St. Gall relate to the architectural program you derived from reading the

Benedictine rule? What do you recognize? What is novel?

As a strategy for attending to the plan in its entirety, answer these three questions:

how many spaces for beds are there, and where are they?

7

how many warming rooms are there, and where are they?

how many latrines are there, and where are they?

Richard E. Sullivan, “What was Carolingian Monasticism,” in After Rome’s Fall: Sources of

Early Medieval History, A. C. Murray, ed., (Toronto: University of Toronto Press, 1998), pp.

251-87.

Note: you do not need to read Sullivan for our discussion today; however, you will need to

read this article for the first short paper.

9 Feb

25

Ottonian monasteries

Object/Rule/Psalm Group 3

10 Feb

27

Uta Codex Discussion/One page response paper

Adam Cohen, The Uta Codex, ch. 3, “Virgin of Virgins: The Dedication,” ch. 8, “The

Historical Moment: Making and Using the Uta Codex,” pp. 39-53, 183-96.

Part 3: Golden Age of European Monasticism, 1050-1200

11 Mar

2

Church reform: Cluny, Farfa and Montecassino

Leo of Ostia, Chronicle of Monte Cassino, in C. Davis-Weyer, Early Medieval Art 300-1150,

pp. 135-41.

J. Leclercq, The Love of Learning and the Desire for God: A Study in Monastic Culture (NY:

Fordham University Press, 1982), ch. 10, “The Poem of the Liturgy,” pp. 236-54.—available

as an ebook through OBIS.

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp. 47-

58.

Due: Short Paper 1: St. Gall/Benedictine Rule or Compare/Contrast Monastic Imagery

12 Mar

4

Cluny III

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp. 58-

63.

Carolyn M. Carty, “The role of Gunzo's dream in the building of Cluny III,” Gesta 1988, pp.

113-23.

M. F. Hearn, Romanesque Sculpture: The Revival of Monumental Sculpture in the Eleventh

and Twelfth Centuries (Oxford, 1981), pp. 102-18, 132-39.

J. Leclercq, “Prayer at Cluny,” Journal of the American Academy of Religion, 51, No. 4 (Dec.,

1983), pp. 651-665.

13 Mar

6

Cluny on pilgrimage roads

O. K. Werckmeister, “Cluny III and the pilgrimage to Santiago de Compostela,” Gesta

XXVII/1-2 (1988), pp. 103-12.

M. F. Hearn, Romanesque Sculpture: The Revival of Monumental Sculpture in the Eleventh

and Twelfth Centuries (Oxford, 1981), pp. 119-29, 163-81.

14 Mar

9

Spaces of Monastery

Walter Daniel, Life of Aelred of Rievaulx, trans. F. M. Powicke, ed. Marsha Dutton

(Kalamazoo: Cistercian Publications, 1994), chs. 5-16,36, 42-46, pp. 96-108, 123, 128-30.

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

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp. 63-

66, 98-110.

I. Forsyth, "The Ganymede Capital at Vézelay," Gesta 15 (1976), 241-46.

Scott G. Bruce, “Monastic Sign Language in the Cluniac Customaries,” in From Dead of

Night to End of Day: The Medieval Customs of Cluny, ed. Susan Boynton (Turnhout: Brepols,

2005), pp. 273-86.

J. Leclercq, The Love of Learning and the Desire for God: A Study in Monastic Culture (NY:

Fordham University Press, 1982), ch. 5, “Sacred Learning,” pp. 71-88.

—available as an ebook through OBIS.

Object/Rule/Psalm Group 4

15 Mar

11 discussion, one page response paper

Walter Daniel, Life of Aelred of Rievaulx, trans. F. M. Powicke, ed. Marsha Dutton

(Kalamazoo: Cistercian Publications, 1994); read about Aelred’s last illness and death, chs.

47-60, pp. 130-40.

Aelred of Rievaulx, On Spiritual Friendship, Aelred wrote this text as a dialogue between

8

himself and three monks, Ivo, Walter and Gratian.

Prologue, Book 1, Book 2, sections 1-20, 28-50, 54-72 Book 3, sections, 1-26, 31-46, 54-60, 67, 74-91, 100-103, 114-27, 131-34 (pay particular

attention to section 82, among the most vivid evocations of a cloister that I know). We are reading these texts for three reasons: for insight into the spaces of a monastery (where do these events and discussions take place?

What other spaces are mentioned?); for insight into interactions between monks (note who participates in the discussions and

events, how they participate, and what other monks they mention); for insight into how monks, in the midst of their uniform life, acknowledged and even prized

individuality (Why are friends beneficial? What are the qualities of a good friend? How

do Aelred, Ivo, Gratian and Walter differ from each other?). Keep these issues in mind as you do the reading.

16 Mar

13 Visual and Verbal Representations of Abbots and Abbesses

Discussion

1 page response paper

Portrait of Uta from the Rule Book of Niedermunster

Portrait of Uta, from the Uta Codex

Portrait of Desiderius, from Sant Angelo in Formis

Portrait of Abbot Durandus, in the Cloister of Moissac

The Rule of Saint Benedict, prologue, chapters 1-7, 23-30, 55-56, 63-65.

(available on-line at http://www.osb.org/rb/text/toc.html)

Leo of Ostia, Chronicle of Monte Cassino, in C. Davis-Weyer, Early Medieval Art 300-1150,

pp. 135-41.

Jocelin of Brakelond, Chronicle of the Abbey of Bury St. Edmunds, pp. 3-41.

think about how Jocelin’s account of monastic interactions, discussions and ambitions

relates to that in Ailred’s On Spiritual Friendship.

Aelred of Rievaulx, “Pastoral Prayer...apt for those who are set over others, Abbots

especially,” in Aelred of Rievaulx: Treatises and Pastoral Prayer (Kalamazoo: Cistercian

Publications, 1971), pp. 106-18.

17 Mar

16

Cistercians and Carthusians

Guibert de Nogent, Monodies, Book 1, ch. 11, on the foundation of the Carthusians and their

first monastery, pp. 26-30.

Saint Bernard, "A Justification to Abbot William" in C. Rudolph, The Things of Greater

Importance, pp. 232-87.

Christopher Holdsworth, “The chronology and character of early Cistercian legislation on art

and architecture,” Cistercian art and architecture in the British Isles (Cambridge, Cambridge

University Press, 1986), pp. 40-55.

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp. 67-

89.

Object/Rule/Psalm Group 5

18 Mar

18

Cistercians in Italy and England

Walter Daniel, Life of Aelred of Rievaulx, chs. 5, 20, pp. 96-99, 110-11.

Walter Map, Courtier's Trifles, Distich 1, ch. 25.

Note the contrasting evaluations of skillful Cisterian administration and its consequences.

19 Mar

20

Images of Benedict in 11th

/12th century

Due: Short Paper #2

3/21

-29

break

20 Mar

30

Suger’s Saint Denis

Abbot Suger, On What was done under his administration and The Other little book on the

consecration of the church of St-Denis, in E. Panofsky, Abbot Suger, pp. 41-121 (odd numbers

only).

21 Apr Discussion: Suger’s windows

9

1 1 page response paper

Conrad Rudolph, “Inventing the Exegetical Stained-Glass Window: Suger, Hugh, and a New

Elite Art,” Art Bulletin, 93, No. 4 (December 2011), pp. 399-422

22 Apr

3

Discussion of Bernard and Suger

1 page response paper

Saint Bernard, "A Justification to Abbot William" in C. Rudolph, The Things of Greater

Importance, pp. 232-87.

Abbot Suger, On What was done under his administration and The Other little book on the

consecration of the church of St-Denis, in E. Panofsky, Abbot Suger, pp. 41-121 (odd numbers

only).

Object/Rule/Psalm Group 1

23 Apr

6

Monastic Books of the Twelfth Century

C. de Hamel, A History of Illuminated Manuscripts, ch. 3, “Books for Monks,” pp. 74-107.

T.A. Heslop, “Brief in Words, but Heavy in the Weight of Its Mysteries,” Art History 9

(1986): 1–11

Workshop two or three ideas for a final research paper

24 Apr

8

Representing monastic artists

1 page response paper

Rule of Saint Benedict, chs 32, 33, 34, 48, 57

(available on-line at http://www.osb.org/rb/text/toc.html)

Theophilus, On Divers Arts, Prologues to Books 1, 2 and 3, pp. 11-13, 47-48, 77-80

John Van Engen, "Theophilus Presbyter and Rupert of Deutz: The Manual Arts and

Benedictine Theology in the Early Twelfth Century," Viator 11 (1980): 147-63.

J. Alexander, Medieval Illuminators and their methods of work, chap. 4, pp. 89-95.

25 Apr

10

Christina of Markyate and her psalter

Please look through the manuscript before class, at this website:

http://www.abdn.ac.uk/stalbanspsalter/

The life of Christina of Markyate : a twelfth century recluse, edited and translated by C.H.

Talbot (Oxford, 2005), pp. pp. 3-20, 56-62, 77-83.

Object/Rule/Psalm Group 2

TBD “Into Great Silence” screening

26 Apr

13

Hildegard of Bingen

Hildegard of Bingen, Scivias, Excerpts: “Declaration,” Book I, visions 1-3, Book II, vision II,

Book III, visions 1 and 5.

Barbara Newman (OC grad), “Hildegard of Bingen Visions and Validation,” Church History,

June 1985, pp. 163-75

M. Caviness, "To See, Hear, and Know All at Once," Voice of the Living Light, ed. Barbara

Newman (Berkeley, Calif.: University of California Press, 1998), 110-24. Available as an

EBOOK on OBIS.

Richard K. Emmerson, “The Representation of Antichrist in Hildegard of Bingen's Scivias:

Image, Word, Commentary, and Visionary Experience,” Gesta, 41, No. 2 (2002), pp. 95-110

Paper Proposal Due

27 Apr

15

Hildegard of Bingen: Discussion

Hildegard of Bingen, Scivias, Excerpts: “Declaration,” Book I, visions 1-3, Book II, vision II,

Book III, visions 1 and 5.

We will consider these images along the lines that Emmerson does in his article.

Part 4: Mendicants and Traditional Orders in the 13th

to 15th

centuries

28 Apr

17

The Mendicant Orders: Franciscans and Dominicans

Caroline A. Bruzelius, “Hearing Is Believing: Clarissan Architecture, ca. 1213-1340,” Gesta,

31, No. 2, Monastic Architecture for Women (1992), pp. 83-91

R. A. Sundt, “’Mediocres domos et humiles habeant fratres nostri:’ Dominican Legislation on

Architecture and Architectural Decoration in the 13th Century,” Journal of the Society of

Architectural Historians, 46, No. 4 (Dec., 1987), pp. 394- 407

Donal Cooper and Janet Robson, “'A Great Sumptuousness of Paintings': Frescos and

Franciscan Poverty at Assisi in 1288 and 1312,” Burlington Magazine, 151, No. 1279, (Oct.,

10

2009), pp. 656-662.

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp.

125-52.

Article Critique Due

29 Apr

20

Lay Burial in monasteries and mendicant chuches

Caroline Bruzelius, "The Dead Come to Town: Preaching, Burying, and Building in the

Mendicant Orders," in A. Gajewski, and Z. Opacic, eds., The year 1300 and the creation of a

new European architecture (Turnhout, 2007), pp. 203-24.

30 Apr

22

Monks, Nuns and art in the 14th

c. Discussion

Jeffrey F. Hamburger, “The Visual and the Visionary: The Image in Late Medieval Monastic

Devotions,” Viator 20 (1989), pp. 161-82.

Object/Rule/Psalm Group 3

31 Apr

24

Lay imitation of monastic life

Aden Kumler, Translating Truth: ambitious images and religious knowledge in late medieval

France and England (New Haven: Yale University Press, 2011), pp. 161-69, 196-237.

Due: Short paper #3

32 Apr

27

Chartreuse de Champmol

Wolfgang Braunfels, Monasteries of Western Europe The Architecture of the Orders, pp.

111-124.

Sherry C. M. Lindquist, “Women at the Charterhouse: the Liminality of Cloistered Spaces at

the Chartreuse de Champmol in Dijon,” in Architecture and the Politics of Gender in early

modern Europe (Aldershot: Ashgate, 2003), pp. 177-92.

Jeffrey Chipps Smith, 'The Chartreuse de Champmol in 1486: the earliest visitor's

account', Gazette des Beaux-Arts 99 (1985), pp. 1-6.

Object/Rule/Psalm Group 4

33 Apr

29

San Marco in Florence

William Hood, “Fra Angelico at San Marco: Art and the Liturgy of Cloistered Life,” in

Christianity and the Renaissance, eds. T. Verdon and J. Henderson (Syracuse: Syracuse

University Press, 1984), pp. 291-311.

34 May

1

St. Walburg at Eichstätt

Jeffrey Hamburger, Nuns as artists, ch. 4, “The House of the Heart,” “Conclusion: Vision

versus Supervision,” pp. 137-75, 213-22.

Draft of Final Paper

35 May

4

Nuns as artists: discussion

Jeffrey Hamburger, Nuns as artists, ch. 4, “The House of the Heart,” “Conclusion: Vision

versus Supervision,” pp. 137-75, 213-22.

Pia F. Cuneo, Review of Hamburger, Nuns as Artists, Woman's Art Journal, 20, No. 1 (Spring

- Summer, 1999), pp. 43-46.

Object/Rule/Psalm Group 5

36 May

6

Discussion: Comparing the Chartreuse to San Marco to St. Walburga

37 May

8

Conclusion

May

14

Final paper due at 9:00 PM in the box outside my office

Art and Monasticism Bibliography by Theme, Unit and/or Lecture

Basic, Broad, Foundational Bibliography:

Joseph Dyer, “The Singing of Psalms in the Early-Medieval Office,” Speculum 64 (1989): 535–78

Early Medieval Monasticism:

11

Francesca dell’Acqua, “Craft Production in Early Western Monasticism: Rules, Spaces, Products,” In H.

Dey, E. Fentress (eds.), Western Monasticism Ante Litteram: The Spaces of Monastic Observance in Late

Antiquity and the Early Middle Ages (Turnhout, Brepols, 2011), pp. 297-322.

Sinai:

Thomas F. Mathews, “Early Icons of the Holy Monastery of Saint Catherine’s at Sinai,” in R. S. Nelson

and K. M. Collins, eds., Holy Image, hallowed ground: icons from Sinai (LA: J. Paul Getty Museum, 2006,

pp. 39-55.

Bissera Pentcheva, “The Aesthetics of Landscape and Icon at Sinai” Res. Anthropology and Aesthetics

65/66 (2015): 192–209.

Jas Elsner and Gerhard Wolf, “The Transfigured Mountain: Icons and Transformations of Pilgrimage at

the Monastery of St Catherine at Mount Sinai,” in Sharon Gerstel and Robert S. Nelson, eds., Approaching

the Holy Mountain: art and liturgy at St Catherine’s Monastery in the Sinai (Turnhout: Brepols, 2010), pp.

37-72

Robert F. Taft, “Worship on Sinai in the First Christian Millenium: Glimpses of a Lost World,” in Sharon

Gerstel and Robert S. Nelson, eds., Approaching the Holy Mountain: art and liturgy at St Catherine’s

Monastery in the Sinai (Turnhout: Brepols, 2010), pp. 143-77.

Early Insular Monasticism

Primary Source:

The Rule of Saint Columba (post-humously attributed to the Saint, but not actually written by him)

http://stcolumbamonastery.org/the-monastery/the-monastic-rule-of-st-columba/

Insular Monastic Spaces:

Anthony Smart, “Bede, Wearmouth-Jarrow and Sacred Space,” International Journal for the Study of the

Christian Church, (April, 2014), pp. 22-40

Françoise Henry, "Early Monasteries, Beehive Huts, and Dry-stone Houses." Proceedings of the Royal

Irish Academy 58 (1957): 127–79.

Insular Monastic Manuscripts:

J. J. G. Alexander, Insular Manuscripts, 6th-9th

centuries (London, 1978).

M. Brown, The book and the transformation of Britain, c.550-1050 : a study in written and visual literacy

and orality (London, 2011).

P. Brown, The Book of Kells

J. Guilmain, “An Analysis of some ornamental patterns in Hiberno-Saxon manuscript illumination in

relation to their Mediterranean origins,” in Age of migrating ideas : early medieval art in northern Britain

and Ireland, ed. R. M. Spearman, et al., 1993.

J. Guilmain, “The Geometry of the cross-carpet pages in the Lindisfarne Gospels,” Speculum 1987, pp. 21-

52.

G. Henderson, From Durrow to Kells

Malgorzata Krasnodebska-d’Aughton, “Decoration of the In principio initials in early Insular manuscripts:

Christ as a visible image of the invisible God” Word & Image 18, no 2 (2002), 105-122

C. Lewine, “Vulpes fossa habent, or the Miracle of the Bent Woman in the Gospels of St. Augustine,” Art

Bulletin, 1974, pp. 488-504.

Suzanne Lewis, “Sacred Calligraphy: the chi rho page in the Book of Kells” Traditio 36 (1980): 139-159,

R. D. Stevick, “The 4 x 3 crosses in the Lindisfarne and Lichfield Gospels,” Gesta 1986, pp. 171-84.

R. D. Stevick, The Earliest Irish and English bookarts: visual and poetic forms before AD 1000, 1994.

D. Wilson, Anglo-Saxon Art.

F. Wormald, The Miniatures in the Gospels of St. Augustine

Lindisfarne Gospels:

Paul Meyvaert, “Bede, Cassiodorus, and the Codex Amiatinus,” Speculum 71 (1996), 827–883

Paul Meyvaert, “The date of Bede’s In Ezram and his image of Ezra in the Codex Amiatinus,”

Speculum 80 (2005), pp. 1087–1133

Lawrence Nees, “Reading Aldred’s Colophon for the Lindisfarne Gospels,” Speculum 78 (Apr., 2003):

333-377

12

Carolingian Monasticism

David Ganz, “Mass production of Early Medieval manuscripts: the Carolingian Bibles from Tours,” in R.

Gameson, ed., The Early Medieval Bible Its production, Decoration and Use (Cambridge, 2009).

P. Dutton, H. Kessler, The Poetry and Paintings of the First Bible of Charles the Bald.

H. Kessler, "A Lay Abbot as Patron: Count Vivian and the First Bible of Charles the Bald," in Settimane di

studio del centro italiano di studi sull'alto medioevo, XXXIX (1992), Committenti e produzione artistico-

letteraria nell'alto medioevo occidentale, vol. II, 647-79.

R. McKitterick, “Charles the Bald and His Library: the patronage of learning,” English Historical Review 95

(1980): 28-47.

Rosamond McKitterick, “Carolingian Bible production: the Tours anomaly,” in R. Gameson, ed., The Early

Medieval Bible Its production, Decoration and Use (Cambridge, 2009).

E. Sears, "Louis the Pious as Miles Christi: The Dedicatory Image in Hrabanus Maurus's De laudibus

sanctae crucis," in P. Godman, R. Collins, eds., Charlemagne's Heir: New Perspectives on the Reign of

Louis the Pious (814-840), pp. 605-628.

Elizabeth Sears, “Word and Image in Carolingian Carmina Figurata” in World Art. Themes of Unity and

Diversity, II. 341-345.

Utrecht Psalter:

Celia Chazelle, “Archbishops Ebo and Hincmar of Reims and the Utrecht Psalter,” Speculum 72 (1997):

1055–77

Celia Chazelle, “Violence and the Virtuous Ruler in the Utrecht Psalter,” in The Illuminated Psalter:

Studies in the Content, Purpose and Placement of its Images, ed. F. O. Büttner (Turnhout: Brepols, 2005),

337–48

Carol Gibson-Wood, “The Utrecht Psalter and the Art of Memory,” Revue d’art canadienne / Canadian Art

Review 14 (1987): 9–15

Plan of St. Gall

Giles Constable, “Carolingian monasticism as seen in the plan of St Gall,” in Le monde carolingien: bilan,

perspectives, champs de recherches. Actes du colloque international de Poitiers, Centre d’Etudes

supérieures de Civilisation médiévale 18–20 novembre 2004, eds. Wojciech Fałkowski and Yves Sassier

(Turnhout: Brepols, 2009), 199–217

Walter Horn and Ernest Born, The Plan of St. Gall : a study of the architecture & economy of & life in a

paradigmatic Carolingian monastery (Berkeley, 1979).

Lorna Price, The Plan of St. Gall in Brief (Berkeley, 1982)

Lawrence Nees, “The Plan of St. Gall and the Theory of the Program of Carolingian Art,” Gesta, 25,

(1986), pp. 1-8.

Ottonian Monasticism

A. S. Cohen and Ann Derbes, "Bernward and Eve at Hildesheim." Gesta 40 (2001): 19-38.

A. S. Cohen, “The Art of Reform Around the Year 1000,” Speculum 74.4 (October, 1999): 992–1020

Jennifer Kingsley, “Picturing the Treasury: The Power of Objects and the Art of Memory in the Bernward

Gospels,” Gesta 50 (2011),

R. Mckitterick, "Women in the Ottonian Church: an iconographic perspective," in Women in the church,

pp. 79-100.

Friederich Ohly, “Problems of Medieval Significs and Hugh of Folieto's ‘Dove Miniature,’” in Ohly,

‘Sensus Spiritualis,’ Studies in medieval significs and the Philology of Culture, trans. by Kenneth J.

Northcott (Chicago, 2004), pp. 68-129;--interesting remarks on an Annunciation like that in the Hitda

Codex.

General Studies of 11th

and 12th

century monasticism:

John van Engen, “The ‘Crisis of Cenobitism’ Reconsidered: Benedictine Monasticism in the Years 1050-

1150,” Speculum, 61, No. 2 (Apr., 1986), pp. 269-304

Monte Cassino

Monastery’s blog: http://abbaziamontecassino.org/abbey/index.php/en/blog-home-eng

13

H. Bloch: Monte Cassino in the Middle Ages (Cambridge, MA, 1986),

Francis Newton, The Scriptorium and Library at Monte Cassino, 1058-1105 (Cambridge, 1999).

Thomas Forrest Kelly, The Exultet in Southern Italy (Oxford: Oxford University Press, 1996)

Monte Cassino Exultet roll visible here:

http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_30337

Farfa

Susan Boynton, “A monastic death ritual from the imperial abbey of Farfa,” Traditio, 64 (2009), pp. 57-84

Susan Boynton, Shaping a monastic identity: liturgy & history at the Imperial Abbey of Farfa, 1000-1125

(Ithaca: 2006).

Charles B. McClendon, “An Early Funerary Portrait from the Medieval Abbey at Farfa,” Gesta, 22 (1983),

pp. 13-26

Charles B. McClendon, The Imperial abbey of Farfa: architectural currents of the early Middle Ages

(New Haven: 1987).

Cluny: Institutional History

Kirk Ambrose (OC ’90), “A Medieval Food List from the Monastery of Cluny,” Gastronomica 6 (2006),

pp. 14-20.

Susan Boynton & Isabelle Cochelin, eds., From dead of night to end of day : the medieval customs of Cluny

(Turnhout, 2005).

Giles Constable, “The Monastic Policy of Peter the Venerable,” in Pierre Abélard--Pierre le

Vénérable. Les courants philosophiques, littéraires et artistiques en Occident au milieu du XIIe siècle.

Abbaye de Cluny, 2-9 juillet 1972 (Colloques internationaux du Centre national de la recherche

scientifique, 546; Paris) 119-38 (V. 2)

Barbara Rosenwein, Rhinoceros bound: Cluny in the tenth century (Philadelphia, 1982).

Barbara Rosenwein, To be the neighbor of Saint Peter: the social meaning of Cluny’s property, 909-1049

(Ithaca, 1989).

Cluny: Art History

Kirk Ambrose, OC ’90, “Visual Poetics of the Cluny Hemicycle Capital Inscriptions,” Word & Image 20/2

(2004): 155-64

C. Edson Armi: Masons and Sculptors in Romanesque Burgundy: The New Aesthetic of Cluny

III (University Park, PA, 1983)

N. Stratford, “A Cluny Capital in Hartford (CT),” Gesta 1988, pp. 9-21.

O. K. Werckmeister, “Cluny III and the pilgrimage to Santiago de Compostela,” Gesta XXVII/1-2 (1988),

pp. 103-12.

Cluny’s dependencies, allies and rivals:

Debra Hassig, “’He Will Make Alive Your Mortal Bodies’: Cluniac Spirituality and the Tomb of Alfonso

Ansúrez,” Gesta, 30, No. 2 (1991), pp. 140-153.

Thomas W. Lyman, “The Politics of Selective Eclecticism: Monastic Architecture, Pilgrimage Churches,

and ‘Resistance to Cluny,’” Gesta, 27, (1988), pp. 83-92.

Vézelay:

Kirk Ambrose The nave sculpture of Vézelay : the art of monastic viewing (Toronto, 2008).

Peter Low, "’You Who Once Were Far Off’: Enlivening Scripture in the Main Portal at Vézelay,” Art

Bulletin 85 (2003), pp. 469-489

Michael D. Taylor, “The Pentecost at Vézelay,” Gesta, Vol. 19, No. 1 (1980), pp. 9-15

Adolf Katzenellenbogen, “The Central Tympanum at Vézelay: Its Encyclopedic Meaning and Its Relation

to the First Crusade,” Art Bulletin, 26, No. 3 (Sep., 1944), pp. 141-151

Conques:

http://www.art-roman.net/conques/conques.htm

Kirk Ambrose, “Attunement to the Damned of the Conques Tympanum,” Gesta, Vol. 50, No. 1 (2011), pp.

1-17

14

Don Denny, “The Last Judgment Tympanum at Autun: Its Sources and Meaning,” Speculum, 57, No. 3

(Jul., 1982), pp. 532-547

Amy Remensnyder, "Legendary Treasure at Conques: Reliquaries and Imaginative Memory," Speculum 71

(1996): 884-906.

Amy Remensnyder, Remembering Kings Past (Ithaca, NY: Cornell University Press, 1995).

Silos:

Elizabeth Valdez del Àlamo, Palace of the Mind: The Cloister of Silos and Spanish Sculpture of the

Twelfth Century (Turnhout: Brepols, 2012).

M. Schapiro, "From Mozarabic to Romanesque in Silos," reprinted in Schapiro's Romanesque Art, pp. 28-101.

---one of the great art historical works of all time, superbly describing the style of works created at

Silos and then skillfully linking these styles with larger cultural concerns. If you're tempted to read it, don't be

intimidated by its length; half of it is footnotes, and you can skip these and still learn a huge amount.

John Williams, “Meyer Schapiro in Silos: Pursuing an Iconography of Style,” Art Bulletin, 85 (2003), pp.

442-468.

Rose Walker, Views of Transition Liturgy and Illumination in Medieval Spain (London: 1998).

---see the very thorough review of Walker’s book by John Williams, The Medieval Review, April 1999.

https://scholarworks.iu.edu/dspace/bitstream/handle/2022/4676/99.04.10.html?sequence=1&isAllowed=y

Spaces of Monasticism:

Roland W. Morant, The monastic gatehouse and other types of portal of medieval religious houses (Sussex,

1995).

Thomas E. A. Dale, “Monsters, Corporeal Deformities, and Phantasms in the Cloister of St-Michel-de-

Cuxa,” Art Bulletin, 83 (2001), pp. 402-436

Water, Monasteries and Monks:

Ellen F. Arnold, “Engineering Miracles: Water Control, Conversion and the Creation of a Religious

Landscape in the Medieval Ardennes,” Environment and History, 13, No. 4 (November 2007), pp. 477-502.

Julie Kerr, “The Waterworks plan of Christ Church, Canterbury,” in J. Kerr, Monastic Hospitality: The

Benedictines in England, c. 1070-c. 1250 (London, 2007), pp. 205-8.

Meredith Parsons Lillich, “Cleanliness with godliness: a discussion of medieval monastic plumbing,” in

Mélanges Anselm Dimier, part 3 (1982), pp. 123-49.

Francis Woodman, “The Waterworks Drawings of the Eadwine Psalter,” in Margaret Gibson, T. A. Heslop,

and Richard W. Pfaff, eds., The Eadwine Psalter: Text, Image and Monastic Culture in 12th-Century

Canterbury (London, 1992), 168-78.

Cistercians

T. N. Kinder, "Blanche of Castile and the Cistercians. An architectural re-evaluation of Maubuisson

Abbey," Cîteaux. Commentarii cistercienses XXVII/3-4 (1976) 161-188.

C. Rudolph, Violence and Daily Life: reading, art, and polemics in the Cîteaux Moralia in Job, Princeton,

1997.

General:

T. N. Kinder, ed., Perspectives for an architecture of solitude: essays on Cistercians, art and architecture

in honour of Peter Fergusson (Turnhout, 2004).

Tre Fontane:

K. Aavitsland, Imagining the Human Condition in Medieval Rome: the Cistercian fresco cycle at Abbazia

delle tre fontane (Aldershot: Ashgate, 2012),

J. B. Lloyd, Ss. Vincenzo e Anastasio at Tre Fontane near Rome : history and architecture of a medieval

Cistercian abbey (Kalamazoo, 2006).

England:

Excellent website with links to English Cistercian sites: http://cistercians.shef.ac.uk/

P. Fergusson, Architecture of Solitude: Cistercian Abbeys in Twelfth-century England (Princeton, 1984).

M. Cassidy-Welch, Monastic Spaces and their meanings: Thirteenth-century English Cistercian

15

Monasteries (Turnhout, 2001).

Rievaulx:

P. Fergusson and S. Harrison, Rievaulx Abbey: community, memory, architecture (New Haven, 2000).

Fountains:

G. Coppack, Fountains Abbey: The Cistercians in Northern England (Stroud, 2004).

Cistercian/Benedictine Polemic:

André Wilmart, “Une riposte de l’ancien monachisme au manifeste de saint Bernard,” Revue Bénedictine

46 (1934), 296-334.

J. Leclercq, “Nouvelle réponse de l’ancien monachisme aux critiques des Cisterciens,” Revue Bénedictine

67 (1957), 77-94 (reprinted in Leclercq’s collected studies on Bernard of Clairvaux).

C. H. Talbot, “The Date and Authorship of the ‘Riposte,’” Studia Anselmiana 40 (1956), 72-80.

Images of St. Benedict:

Gregory the Great’s Life of St. Benedict is available here: http://www.osb.org/gen/greg/tocalt.html

Kirk Ambrose The nave sculpture of Vézelay : the art of monastic viewing, discusses images of Benedict at

Vézelay

Mettener Rule: page through it here: http://www.wdl.org/en/item/8945/

Mojmír S. Frinta, “The Master of the Gerona Martyrology and Bohemian Illumination,” Art Bulletin, 46,

No. 3 (Sep., 1964), pp. 283-306

Robert Suckale, Klosterreform und Buchkunst: die Handschriften des Mettener Abtes Peter I. : München,

Bayerische Staatsbibliothek, Clm 8201 und Clm 8201d (Imhof, 2012).

Suger of Saint-Denis:

George T. Beech, “The Eleanor of Aquitaine Vase: Its Origins and History to the Early Twelfth Century,”

Ars Orientalis, 22 (1992), pp. 69-79

George T. Beech, “The Eleanor of Aquitaine Vase, William IX of Aquitaine, and Muslim Spain,” Gesta, 32

(1993), pp. 3-10

Philippe Buc, "Conversion of Objects: Suger of Saint-Denis and Meinwerk of Paderborn," Viator 28

(1997): 99-143

W. Clark, "'The Recollection of the Past is the Promise of the Future.' Continuity and Contextuality: Saint-

Denis, Merovingians, Capetians, and Paris," in V. Raguin et al., eds., Artistic Integration in Gothic

Buildings (Toronto, 1995), 92-110.

P. Gerson, ed., Abbot Suger and Saint-Denis A Symposium, NY: MMA, 1986. ---a score of papers on every

aspect of Saint-Denis: architecture, sculpture, stained glass, metalwork, monasticism, etc.

L. Grant, Abbot Suger of Saint Denis (London, 1998).

Le Tresor de Saint Denis, catalogue to an exhibition at the Louvre, 1991.

Monastic Books of the 12th

century

Giant Bibles:

Anne-Marie Bouché, “The Spirit in the World: The Virtues of the Floreffe Bible Frontispiece: British

Library, Add. Ms. 17738, ff. 3v-4r,” in Colum Hourihane, ed., Virtue & vice : the personifications in the

Index of Christian art (Princeton, 2000), 42-65.

Walter Cahn, Romanesque Bible Illustration (Ithaca, NY: 1982).

Diane Reilly, The Art of Reform in Eleventh-Century Flanders: Gerard of Cambrai, Richard of Saint-

Vanne and the Saint-Vaast Bible (Leiden, 2006).

Lila Yawn, “The Italian Giant Bible, lay patronage and professional workmanship (11th-12th centuries),”

in Les usages sociaux de la Bible, XIe -XVe siècles, CEHTL, 3, 2010, Paris, LAMOP (1re

éd. en ligne 2011).

Lila Yawn, “The Italian Giant Bibles,” in Susan Boynton and Diane J. Reilly, eds., The Practice of the

Bible in the Middle Ages: Production, Reception, and Performance in Western Christianity (2011).

Life of Saint Edmund:

16

Barbara Abou-el-Haj, ”Bury St Edmunds Abbey between 1070 and 1124: a History of Property, Privilege

and Monastic Art Production," Art History 6 (1983), pp. 1-29.

Anthony Bale, St. Edmund, king and martyr: changing images of a medieval saint (Woodbridge, UK, 2009).

Cynthia Hahn, “Peregrinatio et Natio: The Illustrated Life Edmund, King and Martyr,” Gesta 30 (1991): 161-

80.

Other Illustrated Lives of the Saints:

Barbara Abou-El-Haj, “Consecration and Investiture in the Life of St. Amand, Valenciennes, Bibl. Mun. MS.

502,” Art Bulletin, 61/3 (Sept. 1979): 342-358.

__________, The Medieval Cult of the Saints: Formations and Transformations (Cambridge, 1994).

---has an excellent bibliography.

__________, “Saint Cuthbert: The Post-Conquest Appropriation of an Anglo-Saxon Cult,” in P. Szarmach,

ed., Holy Men and Holy Women: Old English prose saints’ lives and their contexts, (Albany, 1996): 177-206.

Malcolm Baker, “Medieval Illustrations of Bede’s Life of St. Cuthbert,” Journal of the Warburg and Courtauld

Institutes 41 (1978): 16-49.

Magdalena Elizabeth Carrasco, “An Early Illustrated Manuscript of the Passion of St. Agatha (Paris, Bibl. Nat.,

MS lat 5594),” Gesta, 24/1 (1985): 19-32.

__________, “Notes on the Iconography of the Romanesque Illustrated Manuscript of the Life of St. Albinus of

Angers,” Zeitschrift für Kunstgeschichte (1984): 333-348.

__________, “Spirituality and Historicity in Pictorial Hagiography: Two Miracles by Saint Albinus of

Angers,” Art History 12/1 (March, 1989): 1-21.

__________, “Spirituality in Context: The Romanesque Illustrated Life of St. Radegund of Poitiers (Poitiers,

Bibl. Mun., MS 250),” Art Bulletin, 72/3 (Sept. 1990): 414-435.

Cynthia Hahn, “Picturing the Text: Narrative in the Life of the Saints,” Art History 13 (1990): 1-32.

Cynthia Hahn, Portrayed on the heart: narrative effect in pictorial lives of saints from the tenth through the

thirteenth century (Berkeley, 2001).

Kimberly Kelly, "Forgery, Invention and Propaganda: Factors behind the Production of the Guthlac Roll

(British Museum Harley Roll Y. 6)," Athanor, vol. VIII, 1-14.

Francis Wormald, “Some Illustrated Manuscripts of the Lives of the Saints,” in Wormald, Collected Studies,

(London, 1984-88) vol. II: 43-56.

Monastic Prayer books

J. Hamburger, “A Liber Precum in Sélestat and the Development of the Illustrated Prayerbook in

Germany,” Art Bulletin June 1991, pp. 209ff.

O. Pächt, “Illustrations of St. Anselm’s Prayers and Meditations,” Journal of the Warburg and Courtauld

Institutes 1956, pp. 68-83. available on JSTOR.

Prayers and Meditations of St. Anselm (see

http://bodley30.bodley.ox.ac.uk:8180/luna/servlet/view/search;jsessionid=0C9EC7BFD4B184916CCAE7E

1C90ED119?q=Shelfmark=%22MS.%20Auct.%20D.%202.%206%22 )

St. Albans Psalter

website, http://www.abdn.ac.uk/stalbanspsalter/

Kristen Collins, Peter Kidd, Nancy K. Turner, The St. Albans psalter: painting and prayer in medieval

England (LA: 2013);

With lots of good bibliography

Jane Geddes, The Saint Albans Psalter: A book for Christina of Markyate.

Monastic Artisans

T. A. Heslop, "Eadwine and his Portrait," in The Eadwine Psalter Text, Image and Monastic Culture in

12th-century Canterbury (Publications of the Modern Humanities Research Association, 41) ed. Margaret

Gibson, T. A. Heslop, Richard W. Pfaff (London, 1992).

George Zarnecki , "The Eadwine Portrait," in Études d'art médiéval offertes à Louis Grodecki, ed. Sumner

McK Crosby, André Chastel, Anne Prache, Albert Chatelet (Paris, 1981), 94-98.

J. Williams, Early Spanish Manuscript Illumination.

Metropolitan Museum of Art, The Art of Medieval Spain, a.d. 500-1200.

17

On both Herrad and Hildegard:

Therese McGuire, “Two Twelfth-Century Women and Their Books,” in Women and the book : assessing

the visual evidence, Toronto, 1997, pp. 96-105.

_____, “Monastic Artists and Educators of the Middle Ages,” Woman’s Art Journal, vol. 9, no. 2, pp. 2-9.

Related:

J. Hamburger, “A Liber Precum in Sélestat and the Development of the Illustrated Prayerbook in

Germany,” Art Bulletin June 1991, pp. 209ff.

On Herrad of Landsberg:

Nathaniel Campbell, “’Lest He should come unforesen’: The Antichrist cycle in the Hortus Deliciarum,”

Gesta 54 (2015), 85-118.

R. Green et al., The ‘Hortus deliciarum’ of Herrad of Hohenbourg, (London, 1979)

Fiona J. Griffiths. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.

Philadelphia: University of Pennsylvania Press, 2006.

A. Kruger, “Lifting the Veil: two typological diagrams in the ‘Hortus deliciarum,’” Journal of the

Warburg and Courtauld Institutes 1997, pp. 1-22.

By Hildegard:

Scivias, trans. into English by Columba Hart and Jane Bishop, NY, 1990.

Hildegardis Scivias , ed. A. Führkötter, Turnholt, 1978. Latin edition of text with reproductions of the

images.

M. Fox, Illuminations of Hildegard of Bingen; a useful set of reproductions of the lost manuscript, with a

contemporary, non-historical response to them.

On Hildegard:

M. Caviness, “Hildegard of Bingen: Some Recent Books”, book review, Speculum 77, 2002, p. 113-120;

note: when you’re trying to get a handle on a big topic, reading good book reviews is an excellent place to

start.

M. Caviness, “Hildegard as the Designer of the Illustrations to her Works,” in C. Burnett and P. Dronke,

ed., Hildegard of Bingen The Context of her Thought and Art (London, ), 1998.

M. Caviness, "To See, Hear, and Know All at Once," Voice of the Living Light, ed. Barbara Newman

(Berkeley, Calif.: University of California Press, 1998), 110-24.

Sabine Flanagan, Hildegard of Bingen: A Visionary Life.

_____, Sister of Wisdom: St. Hildegard’s Theology of the Feminine (Berkeley, 1987).

Art and the Mendicants:

C. A. Bruzelius, Preaching, Building and Burying: Friars in the Medieval City (New Haven, 2014).

Joanna Cannon, Religious Poverty, Visual Riches: Art in the Dominican Churches of Central Italy in the

13th

and 14th

centuries (New Haven, 2014).

Donal Cooper, Janet Robson, The Making of Assisi: The Pope, the Franciscans, and the Painting of the

Basilica (New Haven, 2013).

Joan E. Barclay Lloyd, ‘Paintings for Dominican nuns: a new look at the images of saints, scenes from the

New Testament and Apocrypha, and episodes from the life of Saint Catherine of Siena in the medieval apse

of San Sisto Vecchio in Rome’, Papers of the British School at Rome 80 (2012) 189-232.

Trinita Kennedy, ed., Sanctity pictured : the art of the Dominican and Franciscan orders in Renaissance

Italy (Nashville, 2014).

Images of Mendicant Saints:

A. Davidson, "Miracles of Bodily Transformation, or How St. Francis Received the Stigmata," in C. Jones,

P. Galison, eds., Picturing Science, Producing Art, (NY, 1998).

David Ganz, “The dilemma of a saint's portrait: Catherine's stigmata between invisible body trace and

visible pictorial sign,” in Jeffrey Hamburger, Gabriele Signori, eds., Catherine of Siena : the creation of a

cult (Turnhout: 2013).

Lay Burial in Monasteries:

Caroline Astrid Bruzelius, The Thirteenth-Century Church at St-Denis (New Haven: Yale University Press,

1985).

18

William Chester Jordan, A Tale of Two Monasteries: Westminster and Saint-Denis in the Thirteenth

Century (Princeton: Princeton University Press, 2009).

Alain Erlande-Brandenburg, Le roi est mort: étude sur les funérailles, les sépultures et les tombeaux des

rois de France jusqu’à la fin du XIIIe siècle (Geneva: Droz, 1975).

Georgia Sommers Wright, “A Royal Tomb Program in the Reign of St. Louis,” Art Bulletin 56, no. 2

(1974): 224–43.

Georgia Sommers Wright, “The Tomb of Saint Louis,” Journal of the Warburg and Courtauld Institutes,

34 (1971): 65-82.

Nuns and Images in the 14th

century:

Jeffrey Hamburger, The Rothschild canticles : art and mysticism in Flanders and the Rhineland circa 1300

(New Haven, 1990).

Jeffrey Hamburger “Art, Enclosure and the Cura Monialium: Prolegomena in the Guise of a Postscript,”

Gesta 31 (1992): 108–34

Jeffrey Hamburger, The Visual and the Visionary: art and female spirituality in late medieval Germany

(NY: 1998).

Eugène Honée, "Image and Imagination in the Medieval Culture of Prayer: A Historical Perspective," in

H. van Os, The Art of Devotion in the Late Middle Ages in Europe, pp. 157-74.

S. Ringbom, "Devotional Images and Imaginative Devotions: Notes on the Place of Art in late medieval

private piety," Gazette des Beaux-Arts 73 (March 1969), 159-70.

Corine Schleif, “St Hedwig's Personal Ivory Madonna: Women's Agency and the Powers of Possessing

Portable Figures,” in: The Four Modes of Seeing. Approaches to Medieval Imagery in Honor of Madeline

Harrison Caviness, ed. Evelyn Staudinger Lane, Elizabeth Carson Pastan, and Ellen M. Shortell (Farnham

2009).

Philip the Bold of Burgundy and The Chartreuse de Champmol

Chartreuse de Champmol and Claus Sluter

S. Fliegel and S. Jugie., eds., Art from the court of Burgundy : the patronage of Philip the Bold and John the

Fearless 1364-1419 (Cleveland: 2004).

S. Lindquist, Agency, visuality and society at the Chartreuse de Champmol (Aldershot: 2008).

K. Morand, Claus Sluter, artist of the court of Burgundy (London, 1991).

S. Nash, “Claus Sluter’s ‘Well of Moses’ for the Chartreuse de Champmol Reconsidered,” in 3 parts,

Burlington Magazine 147 (Dec 2005), 148 (July 2006), 150 (Nov 2008).

Collections and Library of Philip the Bold and Margaret of Flanders

Muriel J. Hughes, ‘The Library of Philip the Bold and Margaret of Flanders, first Valois duke and duchess

of Burgundy’, Journal of Medieval History, 4 (1978), 145-88

Christina Normore, “On the archival rhetoric of inventories Some records of the Valois Burgundian court,”

Journal of the Histor of Collections 23 (2011), 215-27

Patrick de Winter, La bibliothèque de Philippe le Hardi, duc de Bourgogne (1364-1404) : étude sur les

manuscrits à peintures d'une collection princière à l'époque du "style gothique international" (Paris: 1985).

Patrick M. de Winter, “The Grandes Heures of Philip the Bold, Duke of Burgundy: The Copyist Jean

L'Avenant and His Patrons at the French Court,” Speculum, 57, (1982), 786-842.

Florence’s Dominican church of San Marco:

William Hood, “Saint Dominic's Manners of Praying: Gestures in Fra Angelico's Cell Frescoes at S.

Marco,” Art Bulletin, 68 (1986), 195-206.

William Hood, Fra Angelico at San Marco (New Haven: 1993).

Alexander Nagel, review of Fra Angelico: Dissemblance and Figuration by Georges Didi-Huberman; Fra

Angelico at San Marco by William Hood, Art Bulletin, 78 (1996), pp. 559-565.

St. Walburg in Eichstätt and art for nuns in the 15th

and 16th

century:

Carolyn Walker Bynum, Holy Feast and Holy Fast: The Religious Significance of Food to Medieval

Women (Berkeley: 1987).

Jeffrey Hamburger and Susan Marti, eds., Crown and veil: female monasticism from the fifth to the fifteenth

centuries (NY: 2008).

19

Corine Schleif, Volker Schier, Katerina’s windows: donation and devotion, art and music, as heard and

seen through the writings of a Birgittine nun (University Park: 2008).