Choose a topic from the list of works of art in the Metropolitan Museum of Art.

Term Paper Instructions

The paper is intended to offer you an opportunity to study an original work of art from a period covered by the course.  Your paper should include both firsthand observations from the work of art itself and evidence of library research.  Use the interactive map on the Metropolitan Museum of Art website to locate the works of art on the list below.  It is important that you study an original work of art directly, and not rely solely on book illustrations or online images.  The evaluation of your paper will be based both on the content and substance of the paper as well as your ability to convey information and ideas in writing.  Your ability to follow these term paper instructions is also important.  I expect a well-written and organized paper in which your sources are adequately and properly documented.   Before you hand in your paper, please reread these term paper instructions carefully to make sure that you have followed all of the directions.

Choose a topic from the list of works of art in the Metropolitan Museum of Art. You may choose another work of art currently on display at the Met so long as it was not discussed in class and you send me your choice. Each work of art will have a different subject, history, and literature.  When choosing a topic, try to focus on one that interests you visually as well as thematically, historically, and intellectually. To understand the requirements of the assignment and how it will be evaluated, please read carefully the section below entitled “Criteria for the Evaluation of the Term Paper.”  In addition, you may find the book by Suzanne Hudson and Nancy Noonan-Morrissey, The Art of Writing About Art, helpful in formulating your ideas and organizing your paper.  This book is on reserve in the Henry Birnbaum Library.

Format:  Carefully organize the important information and main ideas of your paper.  In the first paragraph, introduce and fully identify your subject, the main themes of your paper, and methods of analysis (optional).  Then, in a logical sequence of well-structured paragraphs that make up the body of the paper, develop each of the themes you introduced in the first paragraph.  Begin with the most important theme, which may be to explain what is known about the original setting (placement), function, and patronage of the work of art, that is, the specific historical context for which the work of art was made.  After an analysis of the historical facts surrounding the work, include a straight-forward identification of the work’s subject matter (you may include information about the work’s textual or iconographic source, tradition, and the artist’s particular interpretation of the subject matter).  Describe the composition of the work of art and its style (for example, how it has characteristics of an artistic period style, a regional style, or an artist’s personal style).  In analyzing its form, you may also consider such issues as scale, materials, techniques, and condition, if appropriate.  To illustrate specific points and support your arguments, you are welcome to discuss other works of art and include illustrations, but do not pad your paper with information that is not directly related to the work of art you have chosen to write about.  The main themes of your paper should always address an issue and make a point that is directly related to the work of art that is the main subject of your paper.  End with a summation of and conclusion to your research in the final paragraph of your paper.  At the end of your paper, you must include a bibliography section, which should be a list of all significant works consulted.

The papers should run around five to ten pages of text without images and bibliography.  Papers should be typed and double-spaced. For the bibliography, use the same font size as the text in the body of your paper.   For titles of works of art, book titles, and foreign words (for example, in situ), put them in italics.  Illustrations in the form of sketches, diagrams, postcards, or photocopies, are welcome but place them in an appendix at the end of your paper. These images do not count in the pages of text but are very important to developing your argument.  Please number the pages of your paper.  If you use a Bible, please use the Holy Bible, Douay Rheims Version, which is on reserve for this course in the library.  This version of the Bible can also be found online at: http://www.drbo.org.

Each topic will suggest its own emphasis, but in most cases you will want to devote special attention to the analysis of style and to placing the work into its original cultural and historical context.  How is it expressive of the time in which it was created?  To what tradition, school, or movement does it belong?  Where does it fit in the career of its author (if known)?  To what extent was it influenced by specific works of preceding or contemporary artists?  To answer some of these questions you will need to do some additional reading.   As starting points, use the bibliographies in Gardner’s Art Through the Ages (pp. 448-457) and in the books listed in the syllabus section entitled “Additional Bibliography.”  For more bibliography, look under subjects relevant to your topic in the Grove Dictionary of Art (Grove Art Online), which is now part of the Oxford Art Online.  For many topics, the Metropolitan Museum of Art website has useful lists of references.  Students are encouraged to use the resources listed on the pages entitled “Art History Research Tools” and “Art History Indexes and Databases,” which will be posted on the Blackboard site.

Online sources in Art History are mainly used for searching for and finding bibliographical references to information in print.  Most Art History sites on the internet are generally not scholarly or reliable and you are discouraged from using them (unless they are online versions of scholarly material found in print).  The website for the Metropolitan Museum of Art (http://www.metmuseum.org) and the online version of the Grove Dictionary of Art are acceptable and very useful online sources for this assignment.  If you use information from the internet for this paper, you must do the following three things:  in a footnote, you must give a correct citation of the internet source as well as an accurate and complete URL address for the information you are citing, you must cite the source in your bibliography.

 

It is recommended that each student use the Henry Birnbaum Library and the New York Public Library at 42nd Street to obtain historical and art historical information about the works of art listed below.  The Nolen Library and the Thomas J. Watson Library at the Metropolitan Museum of Art are also very good and the librarians are helpful.

Sources for all particular facts and interpretations must be cited in footnotes or endnotes.  One of the main purposes of writing a research paper is to learn how to put information and ideas into your own words and to document your sources correctly.  To learn this skill, students completing this term paper assignment are not allowed to quote from secondary sources unless it is absolutely necessary (for example, if it is necessary for the reader to see an author’s exact wording).  For this assignment, you may use quotation marks to quote from primary sources such as a Biblical text or a 16^th-century altarpiece contract.  Put all information and ideas into your own words and then use footnotes to let your reader know exactly where to locate the material.  Please take note of the following sentence in the MLA (Modern Language Association) Handbook for Writers of Research Papers, sixth edition, page 70:  “Presenting an author’s exact wording without marking it as a quotation is plagiarism, even if you cite the source.”  For this paper, I have asked that you do not quote from secondary sources, you must always use your own words (unless you are quoting from a primary source).  Please be very careful and do not plagiarize or paraphrase too closely from your sources.  For this assignment, if you include ten or more words verbatim from a text – even if you cite your source in a footnote – this constitutes plagiarism.  You must always use a footnote as soon as you introduce information or an idea that is not your own.  If you quote from a primary source, you must also use a footnote. Students who commit plagiarism in the first version of the paper will fail the assignment and will not have an opportunity to submit a second version.

For footnote and bibliography forms, please use the Chicago Manual of Style, 16^th edition (the 16^th edition has been used for these instructions).  A copy of this book is on reserve and copies are also available in the bookstore.   A handout with examples of Chicago Manual of Style footnote and bibliography forms will be distributed in class and posted on the Blackboard site.  For footnotes, use the system called the “notes and bibliography system.”  Do not use parenthetical references in the text or the body of the paper (also described as the “author-date system”).  The first time you cite a source, use the form for a “first note citation in a work without full bibliography,” which is described in section 14.14 on pp. 660-666.  You can either put the footnotes at the bottom of the page (footnotes) or at the end of the paper (endnotes), which are placed before the bibliography – it’s up to you.  Footnote (or endnote) and bibliography forms are discussed in chapter 1 of the Chicago Manual of Style.  Additional examples of types of sources and how to cite them are included in chapter 14.  For footnotes (or endnotes) use sections 14.14 to 14.55 on pp. 660-684.  Please take special note of how to cite subsequent references, that is, “shortened citations,” which is described in section 14.14 and 14.18 on pp. 660-665.  A complete bibliography or section entitled “Bibliography,” “Selected Bibliography,” or “Works Consulted” (written in proper bibliography form) must be included at the end of the paper.  In your bibliography, put all of your sources in one list and use alphabetical order (by the first author’s last name).  Do not separate your bibliography into different sections for books, articles, and online sources.  To write a proper bibliography, use sections 14.56 to 14.280 on pages 684-769 of the Chicago Manual of Style.  To cite Biblical, Classical Greek, or Latin references, use sections 14.252-14.266 on pages 757-762.

 

A summary of the Chicago Manual of Style forms with examples of footnotes and bibliography forms can be found here:

http://www.chicagomanualofstyle.org/tools_citationguide.html

Students who commit plagiarism will fail the assignment and will not be granted an opportunity to rewrite the paper.  Papers submitted without proper footnotes, bibliography, and documentation of online sources may be considered unacceptable and may be returned to students.  In fairness to students who hand their work in on time, students submitting late papers will be penalized.  Papers may not be submitted via email.  Late papers may be handed in during class or placed in Dr. Farber’s mailbox, which is located on the same wall as her office door in the Art Department, 41 Park Row, Office 1205.  Do not slide your paper under a locked door.  Before placing your paper in Dr. Farber’s mailbox, please have someone in the Art Department office sign and date the paper (or, if there is no one on the 12^th floor, please ask a security guard to sign and date the paper).  After obtaining a signature and date on your paper, you may wish to make a photocopy of it for your own records.

^^^Deadline for submitting your topic choice and thesis statement with two sources (articles and books): Monday, November 18

^^^ Deadline for the term paper: Monday, December 2.
^^^ Monday, December 9, is the last day on which late term papers will be accepted.

 

Criteria for the Evaluation of the Term Paper
Introductory paragraph
         Identification of subject
Statement of the main themes of the paper:  thesis statements
(content and quality of these statements)
Statement of the methods of analysis used to support the thesis (optional)

 

Body of the paper
         Organization of ideas and development; Logical sequence of paragraphs

Organization of ideas within each paragraph

Analysis of the historical facts concerning the work (original setting, function,
and patronage, if known).  This material usually belongs in the second paragraph
Analysis of the work’s content and subject matter (iconographic and literary
source, tradition and the artist’s particular concept of the subject matter)

Placement of the work of art in its proper art historical context and analysis of
style (period, regional, and personal style)
General description of the work of art:  formal analysis (analysis of its form,
composition, scale, materials, techniques, and condition, if appropriate)
Comparison to other works of art, if appropriate; comparative discussion of the
significance and special qualities of the work within the historical and art
historical context for which it was made

 

Conclusion
         Appropriate connection to the ideas in the introductory paragraph (not just
a rehash of the material from the first paragraph)
Summary of main points of the paper
Statement about the significance of the work(s) of art studied for the history of art

Quality of firsthand observations from the work of art

Research effort
         Ability to find appropriate material (reliable and scholarly sources)
Effective use of library sources:  reading comprehension, accuracy, clear description and

effective analysis of information gained from library sources
Ability to synthesize information and put it into your own words

Documentation:
Adequate documentation of sources in footnotes; correct footnote form

Adequate documentation of sources in the bibliography; correct bibliography
form
Attachment of printouts of all internet pages used for this paper

Punctuality:  please hand in your papers on time

Ability to follow the instructions of the term paper assignment printed in the syllabus

Other criteria:
Word choice and word use                 Grammar
Spelling                                               Clarity of expression and style
Punctuation                                          Adequate proofreading
Organized and neat presentation of visual material

 

Writing Center Support  
The Pace University Writing Center offers tutorial services in writing as well as handouts and reference materials on writing for student use in person or via the web at http://www.pace.edu/dyson/centers/writing-center/nyc . The faculty and student tutors can assist students in understanding writing assignments and criteria and can help students with any stage of the writing process, from brainstorming topics to revision of rough drafts. Students may be referred to the Writing Center as part of this course, or students may seek assistance with course writing on their own via web-based tutoring or by visiting the Writing Center in person (NY-Birnbaum Library, 2nd Floor, 346-1085; PLV-Mortola Library, 3rd Floor, 773-3942). Please refer to the Writing Center’s website for information about polices and hours of operation.

Potential Term Paper Topics  Metropolitan Museum of Art

All works may be seen at the Metropolitan Museum of Art, the specific Gallery (room) locations are provided for each work of art, and they can also be found using the interactive map on the Museum website:

http://www.metmuseum.org/visit/museum-map/galleries/european-paintings/602

 

Egyptian Wing:

1. Merti and his Wife. Probably late Dynasty 5 (c. 2380 – 2323 B.C.).  Acacia wood.
   Excavated at Saqqara, tomb of Merti.  Rogers Fund, 1926.  26.2. 2, 3.  Gallery 103.

 

2. Seated Statue of Hatshepsut. Dynasty 18, joint reign of Hatshepsut and Thutmose III (c. 1473-
   1458 B.C.).  Indurated limestone.  Rogers Fund, 1929.  29.3.2.  Gallery 115.

   3.  Haremhab as a Scribe of the King.  Egyptian sculpture.  Dynasty 18, reign of Tutankhamun
   or Ay, c. 1336 – 1323 B.C.  Gray granite.  Probably from Memphis.  Gift of Mr. and Mrs.
   V. Everit Macy, 1923.  23.10.1.  Gallery 121.

 

4. Kneeling Statue of Yuny. Dynasty 19 (c. 1294 – 1269 B.C.).  From Assiut.  Limestone.
   Rogers Fund, 1993.  33.2.1.  Gallery 130.

   5.  Coffins of Tabakenkhonsu.  Thebes, Dynasty 25.  96.4.1a, b.  Gallery 126.

 

Greek and Roman Art – First and Second Floors:
6.  Marble statue of a wounded Amazon.  Roman, Imperial period, 1rst – 2nd century A.D. Copy of a Greek bronze statue of c. 450 – 425 B.C.  Gift of John D. Rockefeller, Jr., 1932. 32.11.4. (One would study this work mainly as an example of Greek Classical sculpture, and
in addition, one could discuss the copying of Greek sculptures in the Roman period.)  Gallery 153.

7. Marble statue of a wounded warrior. Roman, Antonine period, c. 138 – 181 A.D.  Copy of Greek Bronze statue of c. 460 – 450 B.C.  Hewitt Fund, 1925.  25.116.  (One would study this work mainly as an example of Greek Classical sculpture, and in addition, one could discuss the copying of Greek sculptures in the Roman period.)  Gallery 153.

 

8. Marble relief with a dancing maenad. Roman, Augustan period c. 27 B.C. – 14 A.D.  Copy of Greek relief of c. 425 – 400 B.C. attributed to Kallimachos.  Fletcher Fund, 1935.  35.11.3. Gallery 153.

 

9. Marble statue of a woman. Greek, Attic, late 4^th century B.C.  Roger’s Fund, 1910.  10.210.21.
   Gallery 153.

   10.  Compare the following statues of male figures:

10. a) Limestone Priest.  Cypriot, Archaic, end of the 6^th century B.C.  Said to be from Golgoi.
    Cesnola Collection 1874-76.  51.2466.  Gallery 174.
    b)  Fragments of a marble statue of the Diadoumenos (youth tying a filet around his
    head).  Roman, Flavian period c. 69 – 96 A.D.  Copy of a Greek bronze statue of c.
    430 B.C. by Polykleitos.  (One would study this work mainly as an example of Greek
    Classical sculpture, and in addition, one could discuss the copying of Greek
    sculptures in the Roman period.)  Fletcher Fund, 1925.  25.78.56.  Gallery 153.

 

11. Compare the following three ancient grave markers:
    a)  Marble funerary lekythos of Aristomache (in the form of a lekythos or jug).  Greek,

Attic, 375 – 350 B.C.  Pulitzer Bequest, 1949.  49.11.4.  Gallery 158.
b)  Marble stele (grave marker) of Lysistrate.  Greek, Attic, c. 350 – 325 B.C.  Rogers Fund,
1906.  06.287.  Gallery 158.
c)  Marble cinerary chest with lid.  Funerary chest of M. Domitius Primigenius.  Roman, c.
90 – 110 A.D.  Fletcher Fund, 1927.  27, 122, 2a,b.  (In your paper, you may discuss these
three grave markers chronologically or in any order that makes sense to you.)  Gallery 162.

12. Terracotta hydria (water jar). Greek, Attic, black-figure, c. 510 B.C.  Attributed to the Leagros  Group.  On the body, Achilles and Ajax playing board game at Troy.  On the shoulder, chariot departing.  Fletcher Fund, 1956.  56.171.29.  Gallery 155.

 

13. Terracotta Kylix (drinking cup). Greek Attic, red-figure, c. 480 B.C.  Attributed to the Briseis Painter.  Theseus in Poseidon’s undersea palace and his arrival in Athens.  Purchase Joseph Pulitzer Bequest, 1953.  53.11.4.   Gift of E.D. Blake Vermeule, 1970.  1970.46. Gallery 157.
14. Terracotta volute-krater (bowl for mixing wine and water). Greek, Attic, red-figure, c. 450 B.C.  Attributed to the Painter of the Woolly Satyrs.  Battle of the centaurs and Lapiths, Amazonomachy (Battle between Greeks and Amazons).  Rogers Fund, 1907.  07.286.84.
    Gallery 153.

 

15. Marble statue of an old woman. Roman, Julio-Claudian period, 14-68 A.D.  Copy of a Greek work of the second century B.C.  (In your paper, you would analyze this work mainly as an example of Hellenistic Greek sculpture and address the issue of Roman copies and the popularity of reviving earlier Greek works in the Roman period as a secondary issue.)  Rogers Fund, 1909.  09.39.  Gallery 162.

 

16. Compare the following three Roman portrait busts:
17. a) The work on the left in the following pair, which is labeled:  Two marble portrait heads.
    Roman, c. 50 B.C. – 90 A.D.  Late Republican. Rogers Fund, 1917.  230.133.  Gallery
    162.
    b)  Portrait Bust of the Emperor Gaius, known as Caligula.  Marble.  Roman, Julio-Claudian
    period, A.D.  37-41. Rogers Fund, 1914.  14.37.  Gallery 162.
18. c) Marble portrait head of the emperor Constantine I.  Roman, Constantinian period, c. 325-
    370 A.D.  Bequest of Betsy Clark Thompson, 1923.  229.  Gallery 169.

    17.  Portrait statue of an aristocratic boy.  Bronze.  Roman, Augustan period, 27 B.C. – 14 A.D.  Rogers Fund, 1914.  14.130.1.  Gallery 162.

    18.  Marble sarcophagus.  Roman, about 220-230 A.D.  Dionysos on a panther with his attendants, the four seasons as winged youths, Tellus (the Earth) and Oceanus (a river) reclining.  Probably found in Rome.  Pulitzer Bequest Fund, 1955.  55.11.5.  Gallery 162.

    19.  Marble sarcophagus with garlands and the myth of Theseus and Ariadne.  Roman, Hadrianic or early Antonine period, c. 130–150 A.D.   Purchase by subscription, 1890.  90.12a,b. Gallery 162.

19. Marble sarcophagus with the myth of Endymion. Roman, Antonine period, mid 2^nd century
    A.D.  Fletcher Fund, 1924.  24.97.13.  Gallery 169.

    Objects in the Medieval Art collection:

20. Fragment of a Marble Tomb relief with the Christ Giving the Law (also known as the Traditio Legis). Byzantine, from Rome.  Carved late 300’s in Rome.  48.76.2.  Gallery 300.

    22.  Sarcophagus with Scenes from the Lives of Saint Peter and Christ.  Marble, missing lid. Carved early 300’s in Rome, Italy; upper portion of the scenes of the life of Christ restored about 1910.  Gift of Josef and Marsy Mittlemann, 1991.  1991.366.  Gallery 300.

21. Silver plate with the Battle of David and Goliath. The largest plate in the following:
    Six Silver Plates with Scenes from the Early Life of David.  Cast, hammered, engraved, punched, and chased.  Byzantine; found in 1902, at Karavas Cyprus.  Made 629-630, in Constantinople.  Gift of J. Pierpont Morgan, 1917.  17.190.396.  Gallery 301.

 

24. Ivory Icon with the Koimesis of the Virgin (the Death of the Virgin). Byzantine, carved late 900’s probably in Constantinople. Gift of J.P. Morgan, 1917.  17.190.132.  Gallery 303.

 

25. Virgin and Child in Majesty. Walnut with paint, tin relief on a lead white ground, and linen.  French, Auvergne.  Carved about 1175 – 1200.  Gift of J. Pierpont Morgan, 1916. 16.32.194a,b.  on view at Met Cloisters, Gallery 01

    26.  Stained glass window.  Tree of Jesse window:  the Reclining Jesse, King David, and Scenes from the Life of Jesus.  German, Swabia  c. 1280-1300.  22.25a-f.  (The museum label says “Swabia” but the window could have been made in the general areas of France or Germany. Gallery 304.

26. Tabernacle of Cherves. Champlevé enamel on gilded copper.  French, Limoges, excavated at Château-Chesnel, near Cognac.  Made about 1220-30.  Gift of J. P. Morgan, 1917. 17.190.735.  Gallery 304.
    
    28.  Reliquary bust of St. Yrieix (in two parts).  Silver and gilded silver with rock crystal, gems and glass.  French, Limoges, from the church of Saint-Yrieix-la-Peche.  Made about 1220 – 40, with later grill.  Gift of J. P. Morgan, 1917.  17.190.352.  Gallery 304.

 

29. Processional cross. Silver, gilded silver, and neillo repoussé…  Spanish, from the Church of San Salvador de Fuentes, Asturias.  Made about 1150 – 75.  Gift of J. P. Morgan, 1917. 17.190.1406.  Gallery 304.

    30.  Master of the Magdalen.  (Italian, Florentine, active 1265 -95).  Triptych.  Tempera on wood, gold ground.  Gift of George Blumenthal, 1941.  41.100.8.  Gallery 304.

    31.  Ivory polyptych with scenes of the Passion, Carved in France, about 1350.  17.190.205. (This sculpture has four ivory panels hinged together.) Gallery 306.

    32.  Ivory diptych with Scenes from Christ’s Passion.  Carved in France, about 1350.  Gift of J. Pierpont Morgan,1917.  17.190. 208.  (This sculpture has two panels with the following four scenes:  the Entry into Jerusalem, Last Supper, Betrayal, and Crucifixion.)  Gallery 306.

30. Ivory tabernacle with Scenes from the Infancy of Christ. Carved in France, about 1340 – 50. Bequest of Theodore M. Davies, 1915.  30.95.115.  (The sculpture in the center  represents the Virgin and Child, the scenes on the wings represent the Annunciation, the Birth of Christ, the

Adoration of the Magi, and the Presentation of Christ in the Temple.)  Gallery 306.

 

34. Casket with Romance Scenes. Carved in France (Paris), about 1320 – 40. Gift of J. Pierpont Morgan, 1917.  17.190.180.  (The casket is an ivory box and shows scenes from different Medieval legends and romances.)  Gallery 306.

    35. Casket with the Parable of the Prodigal Son.  Made in France (Paris), about 1330 – 50.  The lid is from another casket.  Gift of George Blumenthal, 1941.   41.100.159.  (This is a smaller ivory box with different scenes on it carved in relief.)  Gallery 306.

    Objects in the Islamic Arts Collection:

35. Tombstone in the Form of an Architectural Niche, Made in Yazd, Iran, 1352 A.D. This tombstone has an architectural motif. Rogers Fund, 1935, 35.120. Gallery 455

 

37. Mihrab (or prayer niche), from Isfahan, Iran, 1354-55 A.D., mosaic of polychrome glazed cut tiles in stonepaste, Harris Brisbane Dick Fund, 1939. 39.20, Gallery 455

 

38. Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, made by Ja’far ibn Muhannad ibn ‘Ali, 1181-82 A.D. Found in Taybad, Iran, Bronze caste engraved chased and pierced. Rogers Fund, 1951, 51.56. Gallery 453

 

39. Bird-shaped incense burner, attributed to Central Asia or Easter Iran, 12-13^th century, Purchase, Avna Cassinelli Gift, in memory of Patti Cadby Birch, and Friends of Islamic Art Gifts, 2008, 2008.460 Gallery 453

 

40. The Morgan Casket, From Southern Italy, 11^th-12 century, a carved ivory box with scenes of animal combat and turbaned figures, Gift og J. Pierpont Morgan, 1917, 17.190.241. Gallery 457

 

 

Additional Bibliography

See also the bibliography in Gardner’s Art Through the Ages, pp. 448-457.

 

Barnet, Peter, ed.  Images in Ivory.  Precious Objects of the Gothic Age.  Princeton:
Princeton Univ. Press, 1997.

Barnet, Sylvan.  A Short Guide to Writing About Art.  Boston and Toronto:   Little,
Brown, and Co., 1981.

 

Beckwith, John.  Early Medieval Art.  New York and Washington:  F. A. Praeger, 1964.

Benton, Janetta Rebold.  Art of the Middle Ages.  London:  Thames and Hudson, 2002.

 

Biers, William.  The Archaeology of Greece:  an Introduction.  Revised ed., Ithaca:  Cornell
Univ. Press, 1987.

 

Brilliant, Richard.  Roman Art, from the Republic to Constantine.  New York:  Praeger,
1974.

 

Camille, Michael.  The Gothic Idol:  Ideology and Image-making in Medieval Art.  New York:            Cambridge Univ. Press, 1989.

 

Crosby, Sumner McK.  L’Abbaye Royale de Saint-Denis.  Paris:  Paul Hartmann, 1953.

 

Davis-Weyer, Cäcilia.  Early Medieval Art  300-1150.  Sources and Documents.
Englewood Cliffs, New Jersey:  Prentice-Hall, 1971.

 

Demus, Otto.  Byzantine Art and the West.  New York:  New York Univ. Press, 1970.

 

Fleming, John, Hugh Honour, and Nikolaus Pevsner.  The Penguin Dictionary of Architecture.            New York:  Penguin, 1966.

 

Frankl, Paul.  Gothic Architecture.  Baltimore:  Penguin, 1963.

 

__________.  The Gothic Literary Sources and Interpretations.  Princeton:  Princeton Univ.
Press, 1960.

 

Grove Dictionary of Art.  Ed. Jane Shoaf Turner.  34 vols.  London:  Macmillan, 1996.
(This set of books is located in the Reference section of the Birnbaum Library and all
students are encouraged to use it!)   The on-line version of the Grove Dictionary of Art
can be accessed through the Pace University Library Website.  Search under Library,
Find Resources, Databases, Oxford Art Online.

Holt, Elizabeth G., ed.  Literary Sources of Art History.  An Anthology of Texts from          Theophilus to Goethe.  2d ed.,  2 vols., Garden City:  Doubleday, 1981.

 

The Holy Bible.  Douay Rheims Version.  Translated from the Latin Vulgate.  Baltimore,
1899, reprint, Rockford, Illinois:  Tan Books and Publishers, 1971.

Hudson, Suzanne, and Nancy Noonan-Morrissey.  The Art of Writing about Art.
Fort Worth:  Harcourt College, 2002.

Husband, Timothy, and Jane Hayward, eds.  The Secular Spirit:  Life and Art at the End of the
          Middle Ages.  New York:  E. P. Dutton, 1975.

 

Janson, H. W.  History of Art.  5d ed., New York:  Abrams, 1995.

 

Kitzinger, Ernst. Early Medieval Art with Illustrations from the British Museum Collection.           Bloomington:  Indiana Univ. Press, 1940.

 

Künstler, Gustav.  Romanesque Art in Europe.  Greenwich, Conn.:  New York Graphic Society,        1968.

 

Little, Charles, and Timothy B. Husband, intro.  The Metropolitan Museum of Art.
         Europe in the Middle Ages.  New York:  Metropolitan Museum of Art, 1987.

L’Orange, Hans P.  Art Forms and Civic Life in the Late Roman Empire.  Princeton:  Princeton
Univ. Press, 1965.

 

Male, Émile. Religious Art in France, the Twelfth Century.  Originally published in Paris
in 1922; Trans. by Marthiel Mathews.  Princeton:  Princeton Univ. Press, 1978.

 

Panofsky, Erwin. Abbot Suger on the Abbey Church of St. Denis and Its Art Treasures.

Princeton:  Princeton Univ. Press., 1946; 2d ed., 1979.

 

Pollitt, J.J.  Art and Experience in Classical Greece.  Cambridge:  Cambridge University
Press, 1972.

Ramage, Nancy H. and Adrew Ramage.  Roman Art:  Romulus to Constantine.  2^nd ed.
Englewood Cliffs:  Prientice Hall, 1996.

 

Sauerländer, Willibald.  Gothic Sculpture in France 1140-1270.  New York, 1972.

 

Schiller, Gertrud.  Iconography of Christian Art.  Trans. by Janet Seligman, 2 vols.,          Greenwich, Conn.:  New York Graphic Society, 1971.

 

Simson, Otto von.  The Gothic Cathedral.  The Origins of Gothic Architecture and the Medieval
         Concept of Order.  London and New York, 1956 and 1962.

 

Snyder, James.  Medieval Art:  Painting-Sculpture-Architecture, 4th-14th Century.
New York:  Harry N. Abrams, 1989.

 

Stoddard, Whitney.  Art and Architecture in Medieval France.  New York:  Harper and Row,            1972.

 

Stokstad, Marilyn.  Medieval Art.  New York:  Harper and Row, 1988.

 

Strong, Donald.  Roman Art.  2d ed., New York:  Penguin, 1988.

 

Swaam, Wim.  The Late Middle Ages.  Art and Architecture from 1350 to the Advent of the          Renaissance.  London:  Paul Elek, 1977.

 

Swarzenski, Hanns.  Monuments of Romanesque Art.  The Art of Chruch Treasures in North–         Western Europe.  First published in 1954; 2d ed., Chicago:  Univ. of Chicago Press, 1967.

 

Trachtenberg, Marvin, and Isabelle Hyman.  Architecture.  From Prehistory to Post–Modernism.
         The Western Tradition.  Englewood Cliffs, New Jersey:  Prentice-Hall; New York:  Abrams,
1986.

 

Voragine, Jacobus de (also listed under Jacobus de Voragine).  The Golden Legend.
Readings on  the  Saints.  Trans. William Granger Ryan, 2  vols.  Princeton:
Princeton Univ. Press, 1993.

 

Waal, Henri van de.  Iconclass:  an Iconographic Classification System.  17 vols.  Completed and         edited by L. D. Courprie with Rudolf Herman Fuchs and E. Tholen.  (Koninklijke             Nederlandse
Akademie van Wetenschappen) Amsterdam:  North-Holland Pub. Co.,
1973-1985.

Weitzmann, Kurt, ed.  The Age of Spirituality:  Late Antique and Early Christian Art.
         Third to Seventh Centuries.  Exhibition catalog, the Metropolitan Museum of Art, New
York, 1979.  (This is a large and significant publication which may be helpful because it
contains catalog entries on many of the Medieval works of art in the Metropolitan
Museum of Art.  Unfortunately, Pace University does not own a copy, but it may be
found in the Uris Library and the New York Public Library.  The two books in the
Henry Birnbaum Library with similar titles are not the same as this much thicker
exhibition catalog.  I have some photocopies of pages from this book, if you are
interested, ask me if there is material on your specific paper topic, and I’ll make you
a copy.)

 

Zarnecki, George.  Art of the Medieval World.  Englewood Cliffs:  Prentice-Hall; New York:            Abrams, 1975.