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Guide to the Art (Y2Q1 Aeneid)

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Old Western Culture A Christian Approach to the Great Books THE ROMANS The Meeting of Dido and Aeneas Guide to the Art Sir Nathaniel Dance-Holland, AD 1766, oil on canvas, 124 × 174 cm. THETHE AENEIDAENEID The Aeneid is the fi rst unit of The Romans, year two in the Old Western Culture curriculum on the Great Books. This unit unpacks one the Vergil and greatest classics of the West, the Aeneid of Vergil, which profoundly Other Roman Epics infl uenced both Roman society and medieval Christianity. Wesley Callihan guides the student through the plot, poetic devices, back- ground, philosophy, history, and beauty of the poem, as well as its lasting infl uence on Western culture and civilization. The course also 1 briefl y covers the epics of other Roman authors: Ovid, Lucretius, Lucan, and Statius. Wesley Callihan GGuideuide ttoo tthehe AArtrt ((Y2Q1Y2Q1 AAeneid)eneid) ---- DDRAFTRAFT 3.indd3.indd SSpreadpread 1 ooff 1122 - PPages(22,ages(22, 1)1) 112/2/20142/2/2014 11:07:30:07:30 PPMM ABOUT ROMAN ROADS MEDIA The Close of the Silver Age, Lucas Cranach Galtymore (Arlo Hill) from the Black Road, the Elder, c. AD 1530 Joe Bater, AD 2006 Roman Roads Media combines its technical expertise Deucalion and Pyrrha, Peter Paul Rubens, Theseus and Ariadne, Willem Strijcker, AD with the experience of established authorities in the AD 1636 1657 Massacre of the Innocents, Pieter Brueghel A Soul Taken Away by an Angel, Jean-Leon fi eld of classical education to create quality video re- the Elder, AD 1565–67 Gerome, AD 1853 sources tailored to the homeschooler. Just as the fi rst Ovid Among the Scythians, Eugène Delac- The Resurrection, Sebastiano Ricci, AD century roads of the Roman Empire were the physical roix, AD 1862 1715–16 means by which the early church spread the gospel far Ovid, Ettore Ferrari, AD 1887 And the Sea Gave Up the Dead Which Were in and wide, so Roman Roads Media uses today’s technol- Dying Eurydice, Charles-François Lebœuf, It, Frederic Leighton, c. AD 1892 AD 1822 The Finding of Moses, Lawrence Alma-Ta- ogy to bring timeless truth, goodness, and beauty into Persephone Supervising Sisyphus Pushing His dema, AD 1904 your home. By combining clear instruction with visual Rock, “Swing Painter,” c. 540 BC Moses and the Burning Bush, Attributed to aids and examples, we help inspire in your children a The Deluge, Gustave Doré, AD 1866 Dierick Bouts the Elder, AD 1465–70 lifelong love of learning. As homeschool graduates themselves, our producers Portrait of Fyodor Dostoyevsky, Vasily Perov, know the value of excellent educational tools, and strive to ensure that Ro- Lecture 11 AD 1872 Landscape with Pyramus and Thisbe, Jasper Theseus Killing the Minotaur, Giovanni Bat- man Roads’ materials are of the highest caliber. van der Lanen, AD 1607–24 tista Cima da Conegliano, AD 1505 Aeneas and Dido in the Underworld, Wence- slaus Hollar, 17th cent. AD Lecture 12 ABOUT OLD WESTERN CULTURE The Judgment of Midas, Hendrik Goltzius, Adam and Eve in Paradise (The Fall), Lucas AD 1590 Cranach the Elder, AD 1533 Old Western Culture: A Christian Ap- The Judgment of Midas, Domenichino and The Tomb of Publio Vibio Mariano, Giovanni proach to the Great Books is an integrat- his assistants, 17th cent. AD Battista Piranesi, AD 1756 ed humanities course designed to give The School of Athens, Raphael, AD 1511 Scene in Purgatory, Gustave Doré, AD 1861 King Midas with His Daughter, Walter Triumphant Achilles, Franz Matsch, AD 1892 students an overview of Western cul- Crane, AD 1893 Lucretius, Unknown Illustrator, AD 1683 ture by studying the great books from The Last Kiss of Romeo and Juliet, Frances- The Magdalen Reading, Rogier van der a Christian perspective. The video se- co Hayez, AD 1823 Weyden, AD 1435–38 ries consists of four courses, designed Children of Niobe, Jacques-Louis David, Democritus and Heraclitus, Peter Paul to be completed over four years: AD 1772 Rubens, AD 1603 Jason and Medea, John William Water- The Sacrifi ce of Iphigeneia, Charles de La house, AD 1907 Fosse, AD 1680 Year 1: The Greeks Orpheus Leading Eurydice from the Under- Eteocles and Polynices, Giovanni Battista Year 2: The Romans world, Jean-Baptiste-Camille Corot, Tiepolo, AD 1725–30 Year 3: Christendom AD 1861 The Blind Oedipus Commending His Children to Year 4: Early Moderns Orpheus and Eurydice, Peter Paul Rubens, the Gods, Bénigne Gagneraux, AD 1784 AD 1636–38 Relief of the Tauroctony of the Mithra Myster- Orpheus and the Bacchantes, Gregorio Laz- ies, Unknown, AD 3rd cent. zarini, c. AD 1710 Augustus of Prima Porta, Unknown, 1st The Death of Orpheus, Thomas Jones, c. cent. AD AD 1770 Epicurus, Unknown Sculptor, 3rd cent. BC Published by Roman Roads Media The Adolescent Bacchus, Caravaggio, AD Venus de Milo, Unknown Sculptor, c. 130– 739 S. Hayes Street, Moscow, Idaho 83843 1595–97 100 BC 208-596-6936 | www.romanroadsmedia.com Midas Washing at the Source of the Pactolus, Pompey the Great, Unknown, c. 60 BC Bartolomeo Manfredi, AD 1617–19 The Birth of Venus, Sandro Botticelli, AD Copyright 2014 by Roman Roads Media, LLC Elisha Refuses the Gifts of Naaman, Pieter de 1483–85 Guide to the Art: David Foucachon and Valerie Anne Bost Grebber, AD 1637 Cover Design: Rachel Rosales King Midas, Andrea Vaccaro, c. AD 1670 Copy Editing and Interior Layout: Valerie Anne Bost Portrait of Edmund Spenser, Unknown, 16th Printed in the United States of America cent. AD All rights reserved. 21 GGuideuide ttoo tthehe AArtrt ((Y2Q1Y2Q1 AAeneid)eneid) ---- DDRAFTRAFT 3.indd3.indd SSpreadpread 2 ooff 1122 - PPages(2,ages(2, 221)1) 112/2/20142/2/2014 11:07:35:07:35 PPMM Lecture 7 Lecture 9 King Latinus in Council, Wenceslaus Hol- Camillia at War from Virgil’s Aeneid, Giaco- Introduction and Overview lar, 17th cent. AD mo del Po, AD 1708-10 How to Use This Course Amata and Lavinia among the Bacchantes, The Fight Between Aeneas and King Turnus, Wenceslaus Hollar, 17th cent. AD Giacomo del Po, c. AD 1700 Evander and Aeneas at Palentium, Wenceslas The Meeting of Turnus and Camilla, Wence- Old Western Culture is a four-year curriculum covering the Great Books Hollar, AD 17th slaus Hollar, 17th cent. AD of Western Civilization. The four years are divided into The Greeks, The Lavinia Before the Altar, Mirabello Cavalo- The Inferno, Canto 13, Gustave Doré, 19th ri, c. AD 1565 cent. AD Romans, Christendom, and Early Moderns. For centuries, study of the Great Venus and Jupiter, Raphael, AD 1517–18 Aeneas’ Flight from Troy, Federico Barocci, Books lay at the heart of what it meant to be educated. It was the educa- The Combat Between Aeneas and Turnus, Au- AD 1598 tion of the Church Fathers, of the Medieval Church, of the Reformers, reliano Milani, AD 1708 Dido and Aeneas, Pierre-Narcisse Guérin, Wedding of Peleus and Thetis, Abraham c. AD 1815 and the Founding Fathers of the Unites States. It is a classical, Christian, Bloemaert, AD 1638 The Death of Camilla, Landi Gaspare, 18th integrated humanities curriculum created with the purpose of preserving The Rape of Ganymede, Peter Paul Rubens, cent. AD a knowledge of the books and ideas that shaped Western Civilization. Old AD 1611 The Return of Jephthah, Giovanni Antonio Western Culture is a high-school curriculum intended for grades 9–12 (age Orestes Pursued by the Furies, John Singer Pellegrini, AD 1700–25 Sargent, AD 1921 Thetis Bringing Armor to Achilles, Benjamin 14 and up). Adults will also be engaged by and benefi t from the series. Orestes Pursued by the Furies, William-Adol- West, AD 1806 phe Bouguereau, c. AD 1862 Diana of Versailles, Leochares, 1st cent. AD Recommended Schedule Ascanius Shooting the Stag of Sylvia, Claude Camilla and Metabus Escaping into Exile, Old Western Culture is designed to accommodate a traditional nine-week Lorrain, AD 1682 Johannes Zainer, c. AD 1474 Venus Presenting Arms to Aeneas, Nicolas term (for a thirty-six-week school year). A recommended schedule is pro- Poussin, AD 1639 Lecture 10 vided below. We expect the average student to spend one to three hours per Venus Ordering Arms from Vulcan for Aeneas, The Age of Iron, Hendrik Goltzius, AD 1589 day on this course: fi rst completing the assigned readings and answering Jean Restout, AD 1717 Lycaon Turning into a Wolf, Hendrick Golt- the workbook questions under the “Reading” header, and then watching Hera Campana, Unknown, 2nd cent. AD zius, AD 1589 Diluvium (The Flood), Antonio Tempesta, the lectures and answering the video questions under the “Lecture” header. Lecture 8 17th cent. AD Venus Brings Aeneas His Weapons, Wence- Relationship of Heaven and Earth, Robert Materials slaus Hollar, 17th cent. AD Fludd, AD 1617 • DVD Lessons. Instructor Wes Callihan’s deep knowledge of the clas- Nisus Slaying Volscens, Wenceslaus Hollar, Odin, the Wanderer, Georg von Rosen, AD 17th cent. AD 1886 sics and decades of teaching experience are a rich resource for home- Trojan Council, Unknown Illustrator of the Orpheus Surrounded by Animals, Ancient school families. Vatican Vergil, c. AD 400 Roman Mosaic, Unknown Date Aeneas Before Latinus, Ferdinand Bol, AD The Numbering at Bethlehem, Pieter Brueghel • The Great Books. Old Western Culture immerses students in reading 1669 the Elder, AD 1566 the classics themselves rather than just reading about them. Families Meeting of Hector and Andromache, Gaspare The Age of Bronze, Pietro da Cortana, c. Landi, AD 1794 AD 1640 have several options for acquiring the texts: Hector’s Departure from Andromache, Johann Landscape with the Fall of Icarus, Pieter 1. Purchase the recommended translations. Find a list, including Heinrich Wilhelm Tischbein, AD 1812 Brueghel the Elder, c.
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    FICHE L’ECOLE DE LA LUMIERE ET DE L’OMBRE XVème – XVIème Contexte : C’est celui de la Contre-Réforme, et du concile de Trente qui préconise une peinture plus simple et plus lisible que celle des artistes de la Renaissance classique et maniériste. La peinture rend compte de l'ascétisme et du mysticisme du XVIème. Caractéristiques : Le caravagisme est un courant pictural de la première moitié du XVIIe siècle, apparu à la suite du travail de Michelangelo MERISI, dit le Caravage, dont le sens révolutionnaire du sacré modifie les règles de l’art à la fin du XVIe siècle. Le Caravagisme est une peinture naturaliste, réaliste, en opposition au maniérisme intellectuel et artificiel, apparue vers 1599. L’emploi appuyé de la technique du clair-obscur allant jusqu'au ténébrisme touche la sensibilité des mécènes et le peuple. Les canons esthétiques sont rejetés au profit d'un réalisme sans failles, non pas dans l'attachement au détail à la manière flamande mais à celui de la vie quotidienne, avec sa douleur, sa violence et pourquoi pas sa laideur... C’est une nouvelle conception du « Beau ». Parfois assimilé à une forme de « baroque romain » face au classicisme des Carrache mais très proche de « l’école bolonaise ». Ce n’est pas une école, ni un mouvement structuré, mais tout au plus une influence de l’Italien chez des peintres tout autant baroques que classiques, qui s’étend en Italie puis se diffusent largement en Europe au début du XVIIème. Le mouvement s’éteint pratiquement en 1632 mais à Naples il se prolonge jusqu’à la fin du XVIIème.
  • The Case for Giuseppe Vermiglio*

    The Case for Giuseppe Vermiglio*

    The Cain and Abel in the National Museum: The case for Giuseppe Vermiglio* John Gash The imposing picture of Cain and Abel in the National Museum of Fine Arts, Valletta (199 x 163.5 em.) (Plates 1,2) has long eluded secure attribution. 1 The picture hung in the Grand Master's palace at least from the early nineteenth century, and bore traditional designations to both Ribera and Caravaggio.2 Modern interest in the work, however, dates from Roberto Longhi's listing of it in 1943, without comment, as a product of one of Caravaggio 's leading Roman-based disciples of the second decade of the seventeenth century, the Mantuan, Bartolomeo Manfredi (1582-1622), to whom he also gave a similar (though by no means identical) Cain and Abel in the Palazzo Pitti.3 But despite the (partial) logic of this judgement (especially in terms of certain aspects of the Valletta picture's facture), and the reverence with which scholars have approached all pronunziamenti from this great connoisseur, no-one any longer believes it to be by Manfredi. In 1970, Evelina Borea, in her exhibition catalogue, Caravaggio e Caravaggeschi nelle Gallerie di Firenze, proposed that the Pitti painting was more likely to be by the Pisan Caravaggist, Orazio Riminaldi ( 1594- 1631 ), who was active in Rome towards the end of the second decade, and hinted, without claiming, that the Malta picture might also be his- a view strongly endorsed by Mina Gregori in 1972.4 Richard Spear, however, acutely rejected the attribution of * My thanks to Maria Rosa Antognazza, Dominic Cutajar, Don Stefano Tardani, and Pamela Willis for their help during the preparation of this article.