❖Early Italian Renaissance Art to 1470❖ ❖Cathedrals, Courts, and Classicism❖ ❖ARH 331K/CTI 375/EUS 347 (Fall 2019)❖

Professor: Dr. Ann Johns Meeting place and time: MWF 1-1:50, DFA 2.204 Unique Numbers: 19585 (ARH 331K), 35535 (EUS 347), 28980 (CTI 375) Contact Information: [email protected], office 471-1936 (but I don’t check voice mail) Office Hours: DFA 2.520, MWF 11:30-1 and by appointment, mailbox DFA 2.526

❖ Course Objectives: “I know two new/outstanding painters (novi pictores) ...Giotto, a Florentine citizen whose reputation is very great among the moderns (modernos), and Simone [Martini] of Siena.” --Francesco Petrarca, Rerum familiarium libri I-VIII, c. 1350

“[Donatello] showed such excellent qualities of grace and design that it was considered nearer what was done by the ancient Greeks and Romans than that of any other artist...” --Giorgio Vasari, Lives of the Artists, 1568

In this course, we’ll trace the beginnings of the “rebirth” (Renaissance) of the visual arts in Italy c. 1300 (the era of Dante and the independent Italian city-states) to the heyday of Florence under the Medici and the renewed vibrancy of papal Rome in the later 15th century. We’ll begin with the seminal works of Nicola Pisano, Duccio, Arnolfo di Cambio, Cavallini, and Giotto, in the key cities of Pisa, Assisi, Siena, Florence, and Rome at the end of the 13th century. We’ll discuss the twin disasters of 14th century Italy: the devastating plague of 1348 and the retreat of the popes to Avignon, France (also known as the “Babylonian Captivity of the Papacy”).

We’ll continue by exploring the work of Ghiberti, Brunelleschi, Masaccio, Fra Angelico, and other 15th century artists in the urban centers of central Italy. We’ll end c. 1470, with the Medici consolidation of power in Florence, the thriving, post-Avignon papacies of Nicholas V and Pius II, and the rise of the condottieri-led court cities of northern Italy. Throughout, we’ll analyze architecture and works of art both in formal terms and in relation to contemporary society, religion, philosophy, economics, and statecraft. We’ll examine the emerging status of the Renaissance artist, exemplified by the theorist, artist, architect, and courtier Leon Battista Alberti.

Although this is an upper division course, there is no prerequisite. Nevertheless, you will be able to make more sense out of the material if you’ve had some art history, architectural history, Italian history, and/or European history. If you have concerns, please talk to me early in the course. It is my hope that this class will be a collaborative effort. I hope and expect to hear your impressions, insights, and questions about these extraordinary objects and structures. This means you should come to class having done the readings and prepared to talk!

Ultimately, I hope to inspire you to see this extraordinary art in person. For more information on opportunities for study abroad, be sure to visit UT’s Study Abroad Office. Also, consider participating in the Department of Art and Art History’s Learning Tuscany Program.

❖ Visual and Performing Arts Credit (VAPA): This course may be used to fulfill the visual and performing arts component of the university core curriculum and addresses the following four core objectives established by the Texas Higher Education Coordinating Board: communication skills, critical thinking skills, teamwork, and social responsibility.

❖ Global Cultures flag (GC): This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come

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from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present. ❖ Required Readings: In order to receive a high grade, each student must read all the readings posted on the Course Canvas site; I HIGHLY recommend that you purchase the course packet of these readings, so that you can mark them up for class discussion and exam preparation. You can purchase these packets the first couple days of class. This is a much less expensive option than printing them yourselves.

Students should also consider purchasing Stephen Campbell and Michael Cole’s Italian Renaissance Art (1st edition or volume I of the 2nd edition, available at the UT Coop). I will assign sections of this book, but it’s also a very well written and recent reassessment of the art of the period, and it will give you invaluable background information.

❖ Studying Strategies: I will provide you with study guides, useful websites, and other information throughout the semester. The study guides will list the specific images for which you will be responsible on the exams and quizzes. I will post all documents on Canvas. I strongly suggest that you begin organizing your notes (class and reading) and begin learning the images we cover throughout the semester. You WILL fail the exams and quizzes if you wait until the day before each exam and/or quiz. There is no way that you will be able to remember all this material unless you study the images as we learn about them.

In this class, it is CRITICAL that you do the reading. The reading is not always “thrilling”, but it’s necessary for a fuller understanding of both the artistic background and the pertinent cultural forces. I will expect you to have digested the main points of reading for both class discussions and exams. Remember to read for the main points; don’t get bogged down by the myriad of small details that constitute a scholarly article or book, and do remember that older accounts may be harder to read. If you’re not sure about what constitutes a “small detail”, I highly encourage you post on the Discussion portion of Canvas. Of course, you can also email me, but the advantage to Canvas is that everyone in the class can see and/or join in on the conversation.

I will post some suggestions on how to read critically, or how to improve your critical reading (and thinking!) skills. Here is something else: recently, studies have shown that students learn much better if they hand-write notes ( http://www.npr.org/2016/04/17/474525392/attention-students-put-your-laptops-away; http://www.scientificamerican.com/article/a-learning-secret-don-t-take-notes-with-a-laptop/ ). I do allow laptops for note-taking, if that is all you are doing, but do consider hand-writing notes.

Your image reserves will be located on DASe, UT’s digital image data base (more below). Look at these images often; experience has proven that you CANNOT absorb these images in one (or 2 or 3) nights. Most of us need some time to accumulate our “image banks”, so start early. Make flash cards, or make your own powerpoint. Look at your book. Consult your notes. Look at the images on DASe (see below). Form study groups—this has proven to be very effective. Learning to look at art and architecture is a skill, just like learning a language or mastering calculus. We’ll discuss studying techniques in class throughout the semester.

HOWEVER, if you use Quizlet, do NOT just copy each other’s notes! If someone wants to create the bare-bones Quizlet flashcards, that’s fine, but use your own notes. One, it is plagiarism to use someone else’s notes, and you will fail the test/quiz if we determine that you’ve copied notes. But two, how do you know if someone else’s notes are correct??!! I see the strangest things on exams because students are copying others and not thinking for themselves!

For some of you, this material will all come easily; for others, it will be a struggle. Start your studies early on. There is a very high correlation between following these study strategies and receiving a good grade. Just fyi, this is not an easy class for freshmen who have never had art history. If you fall into that category, consider taking one of our excellent introductory classes.

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Attendance is critical for this class, because we do not have a single textbook. Please review the attendance policies, below.

❖ Image Data Base (DASe) and Canvas: The images for which you will be responsible can be found on UT’s DASe data base: https://dase.laits.utexas.edu/. The images are divided into 2 collections, JOHNS Early Renaissance Parts I and II and JOHNS Early Renaissance Parts III and IV. There are corresponding study guides for each exam/quiz. Detailed instructions on how to access DASe are posted on the course Canvas site. You can download these images and use them for studying. You can also take notes directly onto the DASe data base. We will review the DASe site in class.

I will also post lecture powerpoints on Canvas, shortly before class, and this has also proven to be a useful way to take notes. I guarantee that glancing at the powerpoint is no substitute for coming to class, as I include very little information on each image, other than title, artist, and date. Students have found these posted powerpoints useful for reviewing the information covered in each day’s class.

❖ Grading: Essay tests: You have 2 essay exams, each worth 15% of your grade (although you may substitute a research paper for the 2nd exam). In these exams, you will write about the some of the larger issues covered in class and in the reading. I will give you a list of possible essays the week before each test, to help you focus your studies and only the images on your STUDY GUIDES will be covered on the tests. You will be allowed to bring one 3” x 5” index card (or a piece of paper that size) to each exam. You can write on both sides and your notes need to be handwritten unless you wish to have 10 points deducted from your exam or quiz! Students have used this card in the past for essay outlines, short quotations from readings, etc. Please put your name on your card; we will collect them at the end of each exam. You will have the full class time for these exams (50 minutes). Quizzes: In addition, you will have 4 Quizzes: these quizzes will consist principally of image identification and short answers. For both the exams and the quizzes, only the images on your STUDY GUIDES will be covered on the tests. Additionally, I will only use images in the DASe data base for the 2 essay exams and the 4 quizzes. These will be short, 15-minute quizzes. Again, your notecards will be collected with your quiz, so please include your name. I allow you the card to reduce exam anxiety, but I also want you to focus on the larger issues and not sweat the spelling of long Italian names. THERE WILL BE NO MAKE-UP QUIZZES or EXAMS. Reading Responses: I have placed an asterisk (*) next to 30 readings; you need to pick 15 of these 30 readings and write a short (1-2 pages (max) reading response, due the day we discuss the reading. Please use double-spaced, Times New Roman 12-point font with 1” margins and black ink. Remember that this is not really a summary, although you may need to sum up some aspects of the essay or readings. Instead, in a reading response, the writer needs to explain, briefly, the point and/or position of the reading. In addition, the writer needs to argue whether the article is sufficiently convincing. Each response is worth 2% of your grade, for a total of 30%. Group reports: Team/group work is a key element of a VAPA-certified class. Students must participate in one group (2-3 people): 1. A group presentation of an artist/object/site. This presentation should be a powerpoint (sent to Dr. Johns by noon the day before the class) of about 10-15 minutes. All group members will present the material. 2. A group that leads a classroom discussion of an asterisked (*) reading. Students will lead the discussion, prepare questions for the class, and bring in pertinent images, if necessary. 3. I will distribute a separate list of sample topics and presentation dates Class participation: I have high expectations for full participation, so I have assigned 10% to this portion. I created the reading response assignments and the group presentation assignment to assist with class participation.

LATE ASSIGNMENTS WILL BE MARKED DOWN **ONE** GRADE A DAY, AND THERE IS NO FINAL EXAM. (By one grade, I mean from an A to an A-, for example)

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We will use the +/- system of grading, which is as follows: A (4.00) = 94-100; A- (3.67) = 90-93; B+ (3.33) = 87- 89; B (3.00) = 84-86; B- (2.67) = 80-83; C+ (2.33) = 77-79; C (2.00) = 74-76; C- (1.67) = 70-73; D+ (1.33) = 67- 69; D (1.00) = 64-66; D- (0.67) = 60-63; F (0.00) = 0-59

❖ Optional Research Paper: I will have separate instructions available to those who wish to write the optional research paper (in lieu of exam II). This 8-10-page paper is STRONGLY recommended for all art history majors and anyone else who has an interest in the subject. You MUST visit me in office hours no later than Friday, September 27. Your thesis statement and preliminary bibliography is due Friday, October 18.

❖ Class rules: 1. Talk to the ENTIRE class. I would much prefer that you make your comments to the class as a whole rather than to the person next to you. Let’s be good listeners as well as good contributors. I will ask you to repeat your conversation to the whole class if you are chattering with a neighbor. 2. Arrive on time, as I will let you out on time. Also, please get a drink of water/go to the bathroom before or after class, not during class. 3. Feel free to bring coffee, sodas, or whatever else will keep you awake and participating! 4. Please silence your phones and save your text messages until another time. Oh, and if you’re looking at your lap, I’ll assume that you’re texting and I will point it out and perhaps ask you to leave the classroom. 5. Use your laptops only for note taking. The misuse of these electronic gizmos is inconsiderate to your fellow students and it makes your professor(s) want to place you in a lower circle of Hell. I reserve the right to ask you to leave class if I find you using these devices inappropriately; this includes texting (phones) and checking Facebook, playing solitaire, etc., on your computer. For the most part, you should NOT even need your computer open. 6. At all times, you should be considerate and respectful towards your classmates and their opinions, which may differ from yours. This doesn’t mean that you must agree with everyone—discussions are much more fun if people disagree! But each person is entitled to her/his informed opinion. 7. When you send me an email, please remember that this is NOT a text and therefore you should use a salutation (Dear Dr. Johns or Hi Prof. Johns, for example) and a closing with your name. This is probably the most important thing you’ll learn in this class! For more information, see: http://www.inc.com/guides/2010/06/email-etiquette.html. 8. Please check your email/Canvas regularly for notifications and updates. 9. Attendance is essentially mandatory (see below for specifics).

❖ Attendance: It is virtually impossible to get an “A” or “B” in this class unless you attend faithfully, as we do not use a single textbook, and I do take roll every class. On the other hand, if you attend, participate, do the readings and assignments, and study for the exams, you should quite easily earn an “A” or “B”. Important religious holidays, serious illnesses, or true family crises are, of course, perfectly valid reasons for missing class. You are allowed THREE unexcused absences. More absences will result in a dramatic lowering of your grade.

❖ Academic Honesty: Any type of cheating, plagiarism, collusion (except studying together), is grounds for an immediate “F” in the course, and often expulsion from the University. Besides being, ultimately, harmful to the student who cheats, it is extremely unfair to fellow students, and time-consuming and disheartening for the professor. It is absurdly easy to determine whether a student has plagiarized all or some of a paper, thanks to Google. I attempt to create courses in which students neither want to nor can cheat.

Please note that if I do find evidence of plagiarism, I will immediately report it to the Office of the Dean of Students. This is a very disheartening exercise for me, so do your own work.

❖ Learning Differences and Disabilities:

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The University of Texas at Austin provides, upon request, appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-6441 TTY. Please inform me privately, well in advance of any exam or quiz, if you have the official University paperwork, and I will accommodate your special needs.

❖ Copyright issues: The materials used in this class, including, but not limited to, exams, quizzes, and homework assignments are copyright protected works. Any unauthorized copying of the class materials is a violation of federal law and may result in disciplinary actions being taken against the student. Additionally, the sharing of class materials without the specific, express approval of the instructor may be a violation of the University's Student Honor Code and an act of academic dishonesty, which could result in further disciplinary action. This includes, among other things, uploading class materials to websites for sharing those materials with other current or future students.

LATE ASSIGNMENTS WILL BE MARKED DOWN **ONE** GRADE A DAY (for example: An A paper would become an A- paper)

THERE WILL BE NO MAKE-UP EXAMS AND THERE IS NO FINAL EXAM!!!!!!

❖ RECAP ❖

Essay Exam I: 15%; Essay Exam II (or individual paper): 15%; Quizzes 1, 2, 3, and 4: 5% each (20% total) 15 Short Reading Responses at 2% each (30%) Group Presentation (10%) Participation and Attendance (10%)

❖ ❖ CALENDAR OF READINGS, ASSIGNMENTS, AND EXAMS

(➔NOTE: The readings should be completed by the date under which they are listed) *=a reading that can be used for a Reading Response

Aug. 28 (W): Class: Syllabus Review and Class Objectives Reading: The syllabus

Aug. 30 (F): Class: Popes vs. Emperors: A brief history of art and architecture in medieval Italy Reading: Paoletti, John T., and Gary M. Radke. Art in Renaissance Italy. Upper Saddle River, NJ: Prentice Hall, 2012 (4th ed.), 12-45.

Sep. 4 (W): PART I: The Early Trecento: “new art” in the age of Dante and Giotto Class: Early centers of artistic innovation: Pisa and Assisi Reading: Paoletti and Radke, 48-55, 67-72.

Sep. 6 (F): Class: Roman rebirth: Cavallini and Torriti Reading: Paoletti and Radke, 56-64; *Hetherington, Paul. "Pietro Cavallini, Artistic Style and Patronage in Late Medieval Rome." The Burlington Magazine 114 (1972): 4-10.

Sep. 9 (M): Class: Roman rebirth: Arnolfo di Cambio

Sep. 11 (W): Class: Giotto in Padua: The Arena Chapel Reading: Paoletti and Radke, 72-77; *Jacobus de Voragine, The Golden Legend, v. 1, transl. William Granger Ryan, Princeton Press, 1993, 1-8.

Sep. 13 (F): Class: Giotto in Florence: painter and architect 5

Reading: *Maginnis, Hayden B.J. “In Search of an Artist.” In The Cambridge Companion to Giotto, edited by Anne Derbes and Mark Sedona, 10-31. Cambridge: Cambridge University Press, 2004.

Sep. 16 (M): Class: Florence: sculpture at the new Duomo complex Reading: Campbell, Stephen J, and Michael W. Cole. Italian Renaissance Art, v. 1. New York: Thames & Hudson, 2017 (2nd ed.), 65-70; Moskowitz, Anita Fiderer. Italian Gothic Sculpture. Cambridge: Cambridge University Press, 2001, 63-66.

Sep. 18 (W): Class: Florence’s great altarpieces and crucifixes, c. 1300 Reading: *Cole, Bruce. "Old in New in the Early Trecento." Mitteilungen Des Kunsthistorischen Institutes in Florenz 17, no. 2/3 (1973): 229-48.

Sep. 20 (F): Class: Siena: Duccio and Marian narratives in the new Duomo complex Reading: Paoletti and Radke, 99-109; *Norman, Diana. “‘A noble panel’: Duccio’s Maestà.” In Siena, Florence and Padua: art, society, and religion, 1280-1400, II, edited by Diana Norman, 54-80. New Haven and London: Yale University Press, 1995.

Sep. 23 (M): Class: Innovation in Sienese art: Simone Martini and Ambrogio Lorenzetti Reading: Paoletti and Radke, 114-118; *Gardner, Julian. "Saint Louis of Toulouse, Robert of Anjou and Simone Martini." Zeitschrift Für Kunstgeschichte 39, no. 1 (1976): 12-33.

Sep. 25 (W): QUIZ 1 Class: Women as patrons: Pietro Lorenzetti and the Beata Umiltà altarpiece and Taddeo Gaddi’s Last Supper

Sep. 27 (F): PART II: Plague, Schism, and Crisis in the Arts: the “Calamitous 14th Century” Class: Rome: Boniface VIII and the Avignon years Reading: *Tuchman, Barbara. A Distant Mirror: The Calamitous 14th Century. New York: Ballantine Books, 1978, 92-125.

Sep. 30 (M): Class: Before the Black Death: Siena and Orvieto Reading: Hartt, Frederick and David G. Wilkins. History of Italian Renaissance Art. Upper Saddle River, NJ: Prentice-Hall, 2011 (7th ed.), 128-133; *Benton, Tim. “The design of Siena and Florence Duomos.” In Siena, Florence and Padua: art, society, and religion, 1280-1400, II, edited by Diana Norman, 128-143 (read the relevant sections on new construction at Siena’s Duomo). New Haven and London: Yale University Press, 1995.

Oct. 2 (W): Class: After the Black Death: Andrea Orcagna and Florence’s Orsanmichele Reading: Campbell and Cole, 50-53; *Fabbri, Nancy Rash, and Rutenburg Nina. "The Tabernacle of Orsanmichele in Context." The Art Bulletin 63, no. 3 (1981): 385-405.

Oct. 4 (F): Class: After the Black Death: Pisa’s Camposanto Reading: Paoletti and Radke, 153-156; *Ahl, Diane Cole. "Camposanto, Terra Santa: Picturing the Holy Land in Pisa." Artibus Et Historiae 24, no. 48 (2003): 95-122.

Oct. 7 (M): Class: After the Black Death: Siena’s Ospedale di Santa Maria della Scala Reading: *Norman, Diana, Siena and the Virgin. New Haven and New York: Yale University Press, 1999, 86-103.

Oct. 9 (W): Class: The Black Death and the arts in central Italy Reading: *Meiss, Millard. Painting in Florence and Siena After the Black Death: The Arts, Religion and Society in the Mid-Fourteenth Century. New York: Harper & Row, 1951, 59- 6

73; and *Steinhoff, Judith. Sienese Painting After the Black Death. Cambridge: Cambridge University Press, 2007, 9-26.

Oct. 11 (F): Class: QUIZ 2 Catch-up and review

Oct. 14 (M): ESSAY EXAM I

Oct. 16 (W): PART III: Florence and the “early” Renaissance: Guilds, Competition, Collaboration Class: Ghiberti and Brunelleschi: The Competition Reliefs of Florence’s Baptistery Reading: Campbell and Cole, 70-77; *Krautheimer, Richard. Lorenzo Ghiberti. Princeton: Princeton University Press, 1982, 44-49.

Oct. 18 (F): Class: Ghiberti and the “Gates of Paradise” of Florence’s Baptistery Reading: *Krautheimer, Richard. Lorenzo Ghiberti, 189-202.

Oct. 21 (M): Class: Brunelleschi: Competition and Classicism in architecture Reading: Campbell and Cole, 105-106; *Jones, Barry, Andrea Sereni, and Massimo Ricci. "Building Brunelleschi's Dome: A Practical Methodology Verified by Experiment." Journal of the Society of Architectural Historians 69, no. 1 (2010): 39-61.

Oct. 23 (W): Class: Brunelleschi: Competition and Classicism in architecture Reading: Campbell and Cole, 98-99; *Kent, Dale, “The Old Sacristy.” In Cosimo de’ Medici and the Florentine Renaissance. New Haven and London: Yale University Press, 2000, 186-197.

Oct. 25 (F): Class: Donatello and sculptural competitions at Florence’s Orsanmichele Reading: Campbell and Cole, 84-94; *Turner, Richard. “Speaking Statues.” In Renaissance Florence: the invention of a new art. Upper Saddle River, NJ: Prentice Hall, 1997, 50-67.

Oct. 28 (M): Class: Donatello and sculptural competitions at Florence’s Duomo Reading: *Verdon, Timothy. "The New Museo Dell’Opera Del Duomo." I Tatti Studies in the Italian Renaissance 18, no. 2 (2015): 265-86. . Oct. 30 (W): Class: Masaccio and Masolino, Florence: artistic collaboration Reading: Campbell and Cole, 112-116; *Roberts, Perri Lee, “Collaboration in Early Renaissance Art: The Case of Masaccio and Masolino.” In The Cambridge Companion to Masaccio, edited by Diane Cole Ahl, 87-104. Cambridge: Cambridge University Press, 2002.

Nov. 1 (F): Class: Masaccio and Masolino, Rome: artistic collaboration Reading: *Gordon, Dillian, “The Altarpieces of Masaccio.” In The Cambridge Companion to Masaccio, 123-137.

Nov. 4 (M): Class: Artistic Collaboration: Fra Angelico and the Dominicans Reading: Campbell and Cole, 146-152; *Ahl, Diane Cole. Fra Angelico. New York and London: Phaidon, 2008, 70-93.

Nov. 6 (W): Class: Artistic Collaboration: Fra Filippo Lippi and the Comune of Prato Reading: *Vasari, Giorgio. The Lives of the Artists. Oxford: Oxford University Press USA - OSO, 1998. Accessed August 8, 2019. ProQuest Ebook Central. Part II, 191-200 (Lippi).

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https://ebookcentral-proquest- com.ezproxy.lib.utexas.edu/lib/utxa/reader.action?docID=684535.

Nov. 8 (F): Class: Uccello, Castagno, and Domenico Veneziano, according to Vasari Reading: *Vasari, https://ebookcentral-proquest- com.ezproxy.lib.utexas.edu/lib/utxa/reader.action?docID=684535 , 74-83 (Uccello), 201-209 (Castagno and Domenico Veneziano)

Nov. 11 (M): QUIZ 3 Class: Continue Uccello, Castagno, and Domenico Veneziano

Nov. 13 (W): PART IV: Classicism and the Courtly Patron, c. 1440-70 Class: Classicism in sculpture in Florence: Donatello and the Pollaiuolo brothers Reading: Campbell and Cole, 160-164; Hartt and Wilkins, 239-241; *McHam, Sarah Blake. "Donatello's Bronze "David" and "Judith" as Metaphors of Medici Rule in Florence." The Art Bulletin 83, no. 1 (2001): 32-47.

Nov. 15 (F): Class: Classicism in sculpture in Florence: Alberti and Rossellino brothers Reading: *Woods-Marsden, Joanna, “Alberti.” In Renaissance Self-Portraiture. New Haven and London: Yale University press, 1998, 70-77.

Nov. 18 (M): Class: The Equestrian Portrait in the Early Renaissance: sculpture and fresco Reading: Campbell and Cole, 132-135, 207-208; *Bergstein, Mary. "Donatello's "Gattamelata" and Its Humanist Audience." Renaissance Quarterly 55, no. 3 (2002): 833- 68.

Nov. 20 (W): Class: Alberti in Florence: Theorist and architect Reading: Campbell and Cole, 128-130, 213-215; peruse Alberti’s Ten Books on Architecture (De Re Aedificatoria/On the Art of Building) (pdf on Canvas).

Nov. 22 (F): Class: Alberti the Court artist: Rimini and Mantua Reading: Campbell and Cole, 201-204, 236-237; peruse Alberti’s Ten Books on Architecture (De Re Aedificatoria/On the Art of Building) (pdf on Canvas).

Nov. 25 (M): Class: The Court and the Jews in Federico da Montefeltro’s Urbino Reading: *Katz, Dana E., “The Contours of Tolerance and the Corpus Domini Altarpiece in Urbino,” The Art Bulletin 85, no. 4 (2003): 646-661.

Dec. 2 (M): Class: Pius II and the papal court in Pienza Reading: *Mack, Charles R. Pienza: The Creation of a Renaissance City. Ithaca and London: Cornell University Press, 1987, 17-42.

Dec. 4 (W): Class: Piero della Francesca and Andrea Mantegna, court painters Reading: Campbell and Cole, 233-236, 252-253; *Woods-Marsden, Joanna, “Piero della Francesca’s Ruler Portraits.” In the Cambridge Companion to Piero della Francesca, edited by Jeryldene M. Wood, 91-114. Cambridge: Cambridge University Press, 2002. *Cole, Alison. Art of the Italian Renaissance Courts. Upper Saddle River, NJ: Prentice Hall, 1995, 142-59.

Dec. 6 (F): Class: QUIZ 4 Catch up, review, evaluations.

Dec. 9 (M): ESSAY EXAM II (or paper due) 8

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