Monday, August 22, 2016

Introductory Materials

The History of Art, Part I: the First 100,000 years
Art History 1101 section 1: TTH 8:30-10:50
Dr. Betsy Towns, Workplace West III, 109; you can also find me at the CDI- just text ahead!
cell 919-428-1717   townsb@uncsa.edu
Teaching Assistant: Andja Budincich, budincich.am@artist.uncsa.edu
class blog http://artisanhistory.blogspot.com/

Office hours: by arrangement. Please contact me with any questions
Betsy Towns, Saddleback Hobbyhorse, in progress, 2011

Homework due Thursday:
·    -Read: Stoksdad, xxvi-xxix, 1-9 15-19 Supplemental reading on elements and principles of art here and
-  Go to class blog and CANVAS and familiarize yourself (Hopefully you're enrolled in the course in canvas!)
-    Read and understand the syllabus: send me and Andja an email from your preferred email that says you've read it, and include any questions you may have. We'll address them in class or via email, as appropriate! 

To introduce me
In my work as an artist, I tend to focus on:
storytelling, animals, childhood, play, nonsense, and meaning.






In my work as a historian and writer, I tend to focus on:
storytelling, animals, childhood, play, nonsense, and meaning.
Alexandre-Isidore Leroy de Barde, Reunion of Foreign Birds in different Cases, late 1800, gouache on paper, possibly a copy

Martin Johnson Heade, Roman Newsboys, ~1848
 my work as a teacher, I tend to focus on, you guessed it:
storytelling, (animals-not always literally), childhood (because I believe that children and artists have many of the same ways of working), play, nonsense, and meaning.



Lear caricature self-portrait
Add caption
We will work together to develop abilities in seeing, understanding, imagining, and making art, and articulating what it is that we see and do.
picasso, 1907
picasso, 1896
Michelangelo ~1510
and a bunch by Edward Lear,  mid to late 1800's
Add caption
Edward Lear
Add caption
Add caption
Add caption
Now, to introduce you. Please include your name, school, year, preferred email and phone #. Then give us a sketch of yourself-- your appearance, your superhero self, your heart, your symbol, the way your mom sees you.....   

Lynda Barry, ~2010


Syllabus, very briefly

Finally, on to some ideas.

Commonplace books

Art History Map Assignment: worldmapper
Your Art History Map is due NEXT TUESDAY, Aug 30

the history of art imagined as a field of stars





 John Ogilby's 1675 map of the Road from London to Land's End
John Ogilby's, Road from London to the Lands End 1675 (Wikimedia).

the first, superficially simple, served as the sign for an 18th century art gallery, and showed people what they might experience inside that gallery.

Antoine Watteau, Gersaint's Signboard, 1720

lorenmunk

Loren Munk, Art History Timeline, 2004-2006, oil on linen. From his own site:


Visual Thinking Strategies

What's going on in this piece ?

What do you see that makes you say that?







LIONESS ATTACKING A NUBIAN, 8TH C. BC.IVORY, LISTED AS MISSING FROM IRAQ NATIONAL MUSEUM 2012
What More can we see? 
Visual Thinking Strategies
What's going on in this piece ?

What do you see that makes you say that? 



What More can you see?
Dying Lioness
, detail of an alabaster mural relief from the North Palace of Ashurbanipal, Nineveh, Assyrian period, 
c. 650 bc. In the British Museum.

from Oberlin College Writing Center

KEY QUESTIONS TO ASK WHEN LOOKING AT SCULPTURE 
• Subject 
What subject does this sculpture represent? 
What was its purpose and function? 
What kind of belief does it embody? 
How does it express this? 
• Context 
Is this work now in its original setting? 
If not, how might it have been shown originally? 
Would it have been seen from above, below, or from the same level? 
Was it part of a larger group? 
• Form 
Does this sculpture have a strong frontal presentation? 
How does it look from different sides? Angles? Lighting? 
Is it self-contained or gesturing outward? 
How has the material been used? •
 Style 
Is the work primarily rounded or angular? 
Detailed or Simplified? Smooth or Rough? 
Linear or Volumetric? Individual or Abstracted?
 How is the style related to the original function of the image?
Some reflections on Teaching –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
 A friend and colleague told me once that teachers often fail to state what they believe is obvious, and that this hinders the success of the class. So, you may find some of the materials on the rest of this page obvious, but I didn’t want to miss the obvious

I teach because I love having conversations about art and ideas. I look forward to meeting a new group of students each year, and I love classroom settings. I teach because I like and respect my students, and enjoy hearing new ideas. Please share your ideas, opinions, insights, and observations freely, and listen to, reflect upon, and respond openly to those of others.

The following words express my idea of the ideal student. I believe faking these behaviors and attitudes provides a gateway to achieving them. Curious, Creative, Active, Open, Expressive, Reflective, Interested, Observant, Engaged, Playful.

I believe learn is a verb…. Please come to class ready to think, ask questions, build bridges, make knowledge. So:

 

·       Please Talk. Ask questions. If you are curious, ask a question. If you don’t understand something, ask a question. If you hear a word you don’t know, ask a question. If you would like more info, ask a question. Asking questions provides the fastest way to get information.

 Please feel free to ask me any question about art, art history, writing, childhood, birds, animals, stories or anything not on my lists. I welcome all questions. 

·       Please take good notes… I believe in marginalia, in drawing your own connections between what happens in class and what you are thinking about and working on in your own time, taking a few moments to write down an idea that something in class triggered, making the material your own. Always have notebook and pencil in class, even if your computer is handy.

·       Listen actively and practice the art of conversation. Sharing ideas comprises the course’s most fundamental activity.

·       By talking and listening, we open ourselves to the course and to others, making ourselves vulnerable—to each other and to learning.

·       Learning takes hold through play, experimentation and reflection. Be willing to play with the materials, to take risks, and take time to mull over the ideas in your own ways.


·       Find places where your own passion, wisdom, and knowledge overlaps with the subjects of the course, and bring those resources to share generously each time we meet. Remember: The learner learns what the learner wants to learn, but you can shape the materials of the course to move toward what you want to



What does your map of art history look like? You can see the examples that James Elkins uses in his book Stories of Art here. 

And here's another, together with a personal response to Elkin's book from Tracy Yarkoni on her blog here.



Syllabus Art History 1101-01 Fall 2016



The History of Art, Part I: the First 100,000 years
Art History 1101 section 1: TTH 8:30-9:50
Dr. Betsy Towns, Workplace West III, 109; you can also find me at the CDI- just text ahead!
cell 919-428-1717   townsb@uncsa.edu
Teaching Assistant: Andja Budincich, ambudincich@gmail.com
Office hours: by arrangement. Please contact me with any questions

The course introduces practices in comprehending visual and material culture from the earliest handcrafted objects to the beginnings of ‘art for art’s sake’ in early Renaissance. In the words of novelist David Foster Wallace, this course “aims to show you some ways to read [visual art] more deeply, to come up with more interesting insights on how pieces of [art] work, to have informed intelligent reasons for liking or disliking a piece of [art], and to express yourself “—clearly, persuasively, and above all interestingly—about stuff you’ve [seen].” I’ll introduce a range of methods for looking at and learning from artworks, and ways to analyze art and visual culture critically. This approach establishes a foundation for understanding  today’s notions of art-making.  

Objectives –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
In the area of critical thinking, Students will:
Develop critical appreciation of visual art, or, to paraphrase Wallace again, to have “smart, sophisticated reasons for whatever [art] you like, and … to articulate those reasons.”

Learn to analyze the general characteristics of an art period, and to think critically about relationships between works and periods, developing ability to use visual evidence to analyze and explain human activity in the recent and distant past.

In the area of Historical Thinking, Students will:
Build visual vocabulary to enrich their own work.  Students demonstrate knowledge of a large set of canonical objects and structures through human history and across geographical boundaries, and abilities to recognize those works, their stylistic periods and their art historical significance.

Explain connections between the visual properties of the object and its social, cultural, intellectual and historical contexts and meanings (to contextualize).  Students develop sensitivity to the impact of ideologies of racial, gender, class, and other socially constructed “difference”.

In the area of Communication, Students will:
Students develop their abilities to organize and express their thoughts clearly in writing and orally using articulate, original, correct language

Explore and explain emotional, visual, and critical responses to artworks.
Materials  –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Text: Marilyn Stoksdad, Art: a Brief History, 3rd ed., ISBN-10: 0131955411

Blog: http://artisanhistory.blogspot.com/

Supplies: a journal, sketchbook, or notebook dedicated to this class available every day; also, have available every class some plain white paper and a couple pens, a couple pencils, and if you like a set of colors (either crayons, colored pencils, or magic markers)

Facebook: optional facebook group

Syllabus: You are responsible for the material here. If you lose your syllabus, download one! If dates change due to weather, unexpected field trip opportunities, etcyou must note them on your syllabus!

Time Commitment: to excel in a 3-credit course that meets 3 hours a week expect to spend 6-9 hours working outside of class each week.

Grading Procedure: Grades are based on Content (accuracy and substance), Craft (care and attention to design and detail), and Creativity (inventive solutions to assignments; original, critical thinking).

If you accomplish all that is required on time, clearly, correctly, thoroughly and in a satisfactory manner, you can expect a B.  To earn an A, go above and beyond: execute work in an original, substantive and exemplary fashion. Work that exhibits minimal effort or limited breadth in thought and/or effort will earn a C or lower. Failure to demonstrate understanding of the material and/or to show depth of effort will result in a Failing grade. Late work: 1 letter grade per day. If you have an excused absence, send your work with a friend or deliver it to my mailbox.

September 15  Journal Submission: 10%
September 15  Test One (15%)
October   last withdraw date  
November 3  Test Two (15%)  
Nov 3 Journal II due (15%)
November 17  Journal Object/Research Exhibit and Critique (10%)  
Nov 28  Third Journal Submission (10%)
Monday, November 28, 2016            1:00 – 3:00 PM  Final Exam (Cumulative) (20%)
Note: Quizzes 10%


Class Calendar
If there are changes in the course calendar, I will let you know and will update this syllabus on Canvas!  All readings are specified in the Modules on Canvas!!!
Description: https://lh5.googleusercontent.com/m9qXurWtpJrGl43GwHTQbigSGN0NLyj62J1pT5RlDFQMBVAyl0ImRbQBQSn5k3M75coZLViiIOlu3qHACHnjAYS70P9kLZOjwQQPo1Lqqv5BPIQjyLZ4ROpKUm-ZyXky2nKeq8mbRbc
Paul Gauguin, Where Do We Come From? Who Are We? Where are We Going? Oil on canvas, ~55” x 147” 1898

Week 1: Where Do We Come From? Who Are We? Where Are We Going? Aug 23 & 25
August 23 Tuesday
Introductions, Who Are We, Why are we Here? What is Visual Culture? Why study Art History, and how? Questions to ask a work of art. Syllabus. Course
      
August 25 Thursday Overview of Elements and Principles of Art; Art History Methods
Homework due today:
·       Go to class blog and canvas and familiarize yourself
·       read and understand the syllabus
·       Make sure you’re enrolled in the course in Canvas
-       Read: Stoksdad, xxvi-xxix, 1-9 15-19 Supplemental readings on the blog

August 26th. last day to drop or add a class

Week Two Aug 30 & Sept 1 Paleolithic Art
Aug 30 Tuesday The oldest Women in the World
HW Reading: Stoksdad, 20-24; Alternative: read/view blog The Oldest Woman in the World video password arh101     http://artisanhistory.blogspot.com/2016/08/the-worlds-oldest-woman-supplementary.html

Sept 1 Thursday: Lascaux real and simulated, found and lost
HW Reading: Stoksdad, 24-45 Supplementary: view: Cave of Forgotten Dreams by Werner Herzog in the library or Netflix vvideo

Week Three September 6 & 8 Huge Civilizations Emerge   Power and Propaganda Mesopotamia and Egypt
September 6 Tuesday Mesopotamia and the Wars in Iraq, Ziggurats, Giant Villages in Indus River Valley, Living on Rooftops in Anatolia
HW: Stoksdad, 37-47& read blog entry on mud brick architecture Complete Quiz CANVAS

September 8 Thursday Egyptian Art and Religion    
Homework: Stoksdad, 48-55   Alternative: Khan Academy overviews of Egypt, kingdom traits and articles/videos on key works

Week Four September 13 & 15 Huge Civilizations, cont. China
September 13 Tuesday:  Early Asian Art
HW: Stoksdad, 63-85 (focus your reading around key terms and ideas)  (alternatives & Supplements on Canvas)

September 15 Thursday Test 1: Journal 1 due at end of class

Week Five September 20 & 22: The Figure- Crossing Cultures and Recognizing Styles
September 20 Tuesday The Figure
HW http://www.metmuseum.org/toah/hd/nuan/hd_nuan.htm
CLASS: History: Real and Ideal Practice: Descriptive writing/ekphrasis

September 22 Thursday Building a Bridge Across the Mediterranean Minoan and Mycenean Greece
Black Athena, Black Pharoahs and Asians in Italy: Connecting Greece to her neighbors
HW Stoksdad 55-61, Stoksdad 87-100: (alternatives & Supplements on Canvas)

Week Six Sept 27 & 29 Art and Architecture Archaic and Classical Greece
Sept 27 Tuesday The Gods in Color
HW: Stoksdad, 97-113 Suppl: National GeographicBlack Pharoahs,”“Gods in Color
CLASS History: What did the past look like? Practice:

Sept 29 Thursday Power, Perfection, and Decline? Hellenism in Greece
HW: Stoksdad 115-123  (alternatives & Supplements on Canvas)

October 7th: Last day to withdraw from a course.

Week Seven October 4 & 6 Classical Architecture and its Impact

Oct 4 Thursday: Roman Art and Architecture
HW: Stoksdad, 136-161 COMPLETE QUIZ ON CANVAS (alternatives & Supplements on Canvas)

Oct 6th Tuesday : Field Trip Downtown
Reference: Stoksdad 97-161
Finding examples of Classical architecture in our city: a scavenger hunt.
Key Questions: How does architecture convey meaning? How do you know what a building is before you enter it? I will provide lengthy list of Key Terms for you to find in living color downtown.

Week Eight Oct 13 Art and Magic; China
Oct 11 Fall Break Meditate on Beauty
Oct 13 Thursday:  Realism and Eternal Life Emperor Qin and Etruscan Votive objects
Due Today: scavenger hunt results
HW: Stoksdad 129- 133 Supplemental: on CANVAS

Week 9 Oct. 18 & 20 From Many Gods to One
Oct 18 Tuesday Jewish and Early Christian art
Homework: Stoksdad 162-172 supplements on Canvas

Oct 20 Thursday Sailing to Byzantium/the church as body
Homework: Stoksdad 172- 189 (alternatives & Supplements on Canvas)

Week 10 October 25 & 27 Visual Prayers
October 25 Tuesday: Islamic Art and Architecture  
Homework: Stoksdad 191-213(alternatives & Supplements on Canvas)

October 27 Tuesday Manuscripts and meditation in medieval art
Homework: Stoksdad 241-258 (alternatives & Supplements on Canvas)

Week 11 Nov 1&3 Monks and Meditation Elsewhere/ Test I
Nov 1 Later Asian Art
Homework: Stoksdad 215-239 (Supplements on Canvas)

Nov 3 Thursday: Thursday  Test II Journal II Due  Egyptian, Greek, Roman, Chinese, Byzantine, Medieval, Later Asian

Week Twelve Nov 8 & 10 G is for Gothic
Nov 8 Tuesday Building a Cathedral Medieval Architecture
Homework: Stoksdad: 258-287; video supplement (reading gothic cathedral façade) - canvas

Nov 10 Thursday    Gothic Painting and Sculpture
Homework: Stoksdad  287-297(alternatives & Supplements on Canvas)

Week Thirteen Nov 15 &17 First Hints of Modernism Whats in a Name?
     Nov 15 Tuesday Tales from Vasari/Master and Apprentice: Workshop Model in Italy
Homework: Stoksdad 297- 303, selections from Vasari; Khan Academy links on canvas

Nov 17 Journal Object/Research Exhibit and Critique

Week Fourteen Reflecting on History
Nov 22 Tuesday: Review Session
Nov 24 Thursday Feast

Final EXAM Monday, November 28, 2016   1:00 – 3:00 PM
                                                
POLICY
Attendance: Each student is expected to attend class and keep up with readings and assignments. Unexcused absences beyond two will negatively affect your final grade. Unexcused absences beyond four will forfeit all attendance/participation points. “Excused” absences will only be considered with proper documentation within a week of the absence.

Screen Policy: Phones, laptops and tablets may not be used in class, except on occasions when I will ask you to complete an activity with your laptop, phone, or tablet. If I need to ask you more than once to put your device away, I will take it from you and trample on it. Ok, I will take it from you, ask you to leave, contact your dean, or other strong action.

Academic Integrity Policy: UNCSA is committed to fostering an intellectual, artistic, and ethical environment based on principles of academic integrity as a critical part of educating artists and citizens. Academic integrity is essential to the success of the University’s mission and violations of academic integrity constitute offenses against the entire UNCSA community. Students who violate University rules on academic integrity are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For further information please visit the College Handbook Web site.

Sensitive Material: we discuss wide-ranging objects made by humans over history, many have intense emotional register for us and for their creators. We will look at and discuss some works of art that may affect your sensibilities, works that deal with religion, sexuality, gender, death, violence, race, power, evolution and other sensitive subjects. Please be ready to listen sensitively to different opinions and express your own views.

Learning Assistance
Jorja Waybrant    phone: (336) 726-6963     email: waybrantj@uncsa.edu 
office: Teaching and Learning Center on 2nd floor of Library Annex

Accommodations for Students with Disabilities: In compliance with UNCSA policy and equal access laws, I am available to discuss academic accommodations required for students with disabilities. If you are a student with a disability and anticipate the need for an accommodation to participate in this course, you must submit supporting documentation to Disability Resources. Their office is located in the Teaching & Learning Center – Library Annex, phone is 336-726-6963, and email is waybrantj@uncsa.edu. Once you have been approved for accommodations and provided with an accommodation letter through Disability Resources, please meet with Jorja Waybrant to request your eligible accommodations and she will discuss how each accommodation will be implemented in the classroom

Tests: We have 2 in-class tests this term, which cover material from class discussions and readings. Note dates carefully... I will only offer make-up quizzes in dire situations
Add/Drop and Course Withdrawal: Students may add or drop courses during the first week of classes. Changes during this week don’t appear on the record. Students who have cleared holds may add or drop courses during this period through online registration.
From the second week of classes to the end of the withdrawal period on October 7th, students can officially withdraw from a course. Students may withdraw from a maximum of 16 credit hours over the course of their degree. Once the student has reached that maximum number, no withdrawal requests will be granted. See the Bulletin for the complete policy.
The Writing Center at UNCSA, Library room 2308
Elizabeth Klaimon, Director, Writing Center, (336) 631-1514 klaimone@uncsa.edu
·     Free one-on–one tutoring sessions: between 15 – 45 minutes long.
·     Drop in or make an appointment
·     Assistance in all stages of the writing process and all kinds of writing
·     Our goal is to work with students to help them become better writers

Test Policy: We have 2 in-class tests this term, which cover material from class discussions and readings. Note dates carefully... I will only offer make-up quizzes in dire situations
Early Exam: While Early Departure before the end of the term is discouraged, UNCSA recognizes that, from time to time, extenuating circumstances will necessitate approval of such Early Departure. Students seeking permission to leave school early should meet with the Assistant Dean of Liberal Arts and with their Arts Dean to obtain a permission form and to discuss Early Departure. For approval from undergraduate academic classes, an Early Departure Form must be signed by the appropriate academic and arts instructor(s) and returned to the Assistant Dean of Liberal Arts and the Arts Dean at least three weeks prior to the end of the term. Students who leave campus before the end of the term without having been granted the appropriate permission will be considered to have unexcused absences.
Canvas Information: UNCSA migrated from the Blackboard learning management system to Canvas. To log on to Canvas, navigate to https://uncsa.instructure.com  If you have never logged in to Canvas, or if you lost your password, click the “Activate/Reset Password” link, and follow the instructions to set up your account. You will need access to your official UNCSA email account to complete the process. If you need help accessing your UNCSA email account, contact the help desk or visit this link: http://www.uncsa.edu/mysa/information-technology/students/email-instructions.aspx
After you have activated your Canvas password, when you first log on to Canvas you will be at your “Dashboard.” If you have questions, visit the Canvas Guide for Students.  https://community.canvaslms.com/docs/DOC-4121




Key Works


TEST I
Line
shape,
form,
composition,
hue,
value,
saturation,
style,
post and lintel
naturalism,
representational
non-representational,
abstract,
ideal,
iconography,
formal qualities,
balance,
rhythm,
pattern,
contrast,
texture
variety,
unity,
votive,
low-relief (bas-relief),
high relief,
stele,
texture,
pattern,
hieratic scale,
register
stylization,
mural,
terra cotta,
mausoleum,
reliquary,

Paleolithic,
Prehistoric,
Neolithic
Agricultural Revolution
Indus Valley,
Anatolia Mesopotamia,
Old Kingdom, (Egypt)
New Kingdom, (Egypt)
Upper and Lower Egypt,





TEST II
ekphrasis,
ideal,
real,
period style,
regional style,
representational style,
saturation, 
Composition,
frieze,
ekphrasis,
Doric,
Ionic,
Corinthian
Classical
mosaic,
theatricality
illusionistic,
arch,
vault,
dome,
intuitive perspective,
atmospheric perspective,
Terra Cotta, 
Mausoleum,
Audience
Basilica-plan church,
central-plan church,
workshop model
icon,
iconography,
iconoclasm,
mosaic,
calligraphy,
mihrab,
mecca,
minaret,
atelier,
interlace
Manuscript,
Scriptorium,
reliquary,
interlace
ukiyo-e,
literati painting,
connoisseur



Minoan Greek
Mycenaean
Archaic Greek
Classical Greek
Hellenistic Greek
Byzantine,
Qin Empire





FINAL will be Cumulative
buttress,
arch,
barrel vault,
groin vault,
westwork
tempera,
gilding
art history,
fresco,
apprentice,
atelier,
workshop,
master

Romanesque,
Gothic,
Medieval,
Gothic,






Monuments List
Numbers in parentheses refer to the figure number in the textbook
I will put asterisks *** by works that become KEY WORKS for the exams, but you should read about and make notes about all monuments listed here.



TEST I
Woman from Willendorf, (1-4)
Woman from Hohle Fels,(not in book)
Lion Human from Hohlenstein Stadel, (1-2),
Woman from Brassempouy (1-3),
Woman and Man from Cernavoda (1-11)
Lascaux Cave(1-6 &;7), \
Chauvet Cave (1-1),
Cave of the Hands (not in book),
Mimis and Kangaroo (1-18),
Stonehenge(1-15)
Warka Vase (2-2),
Nanna Ziggurat (2-3& 4),
Tel Asmar Votive Statues (2-5),
Bull Lyre (2-6 & 8),
 Stele of Naramsin (2-9),
Stele of Hammurabi (2-11)
Lamassu (2-12)
Menkaure and his wife Queen Khamerernebty(2-18),
Nefertari making an Offering,(2-31),
Namer Palette,
Stele of Naram-sin,
Akhenaten, Nefertiti and Three of their Daughters,
King Tuthankamun's Painted Box, c. 1325
Hatshepsut Tomb and sculpture
Colossal statue of Akenaten
Bust of Nefertiti
Mask of Tutankhamun
Great Pyramids at Ghiza



TEST II


Pediment of Parthenon (Elgin Marbles) 4-29, 30 7 31),
Temple of Hera (4-15),
Exekias vases (4-21 and online sources),
Warrior from Riace (4-27),
Acropolis (4-28),
Hermes and Dionysius (4-36),
Millenium Center
Laocoön and his sons, (p. 17, fig 27 &; 28),
Nike of Samothrace (5-1),
Alexander the Great Confronts Darius III at the Battle of Issos (5-2),
Aphrodite of Samothrace (5-6),
Dying Gallic Trumpeter (5-8)
Heraklitos, Unswept Floor (6-1),
Temple of Portunus (6-4 and 6-5),
Pont du Gard (6-6),
Augustus of Primaporta (6-7 and 6-8),
Wall painting, Lucretius Fronto (6-15),  
Wall Painting, Villa of Mysteries (6-16),
Colosseum, (6-17, 6-18),
Pantheon (6-22, 6-23),
First Baptist Church, Young Flavian Woman 6-27,
Equestrian Portrait of Marcus Aurelius (6-29),
Equestrian Portrait of Joshua Reynolds
Apollo from Veii (5-16),
Tomb of the Reliefs (5-17),
Sarcophagus from Cerviteri (5-18),
She-Wolf (5-19),
Tomb of Emperor Qin (3-1)
And soldiers!
Cubiculum of Leonis (7-1),
Dura-Europos archeological site,  
house-synagogue at Dura-Europos (7-3),
Christ as Good Shepherd
Mausoleum of Galla Placidia (7-9),  
Good Shepherd  (7-10),
Anthemius of Tralles and Isodorus of Mileutus, Hagia Sophia (7-11 and 12),
San Vitale (7-15),
Justinian and Theodora from San Vitale (7-16 and 17 )




FINAL (will be cumulative)
The Prophet Muhammad and his Companions Traveling to the Fair (p. 193)
Great Mosque at Cordoba (8-7 &;8),
Palace of the Lions, Alhambra (8-13 7 14),
Bahram Gur with the Princess (8-16),
Sinan, Sultan Selim Mosque (8-19)
Skellig Michael,
Sutton Hoo Purse Cover (10-3),
Chi Rho Page from Book of Kells (10-4),
Matthew from Ebbo Gospels, (10-10),
Crucifixion, cover of Lindau Gospels(10-11),
Bayeux Tapestry  (10-18),
Saint Faith (Foy) Reliquary (10-18),
Giselbertus, Last Judgement (10-27),
Virgin and Child in Majesty, 10-34)
The Hour of Cowdust (9-5),
Angkor Wat (9-7),
Seated Guanyin Bodhisattva (9-8),
Xia Gui, Twelve Views from a Thatched Hut (9-10),
Shen Zhou, Poet on a Mountaintop, (9-14),
Jocho, Amida Buddha, (9-18),
Kao Ninga, Monk Sewing (9-21),
Suzuki Harunobu, Geisha as Daruma Crossing the Sea (9-25),
Katsushika Hokusai, The Great Wave off Kanagawa (9-26)
St Etienne (10-19),
Modena Cathedral (10-21),
Durham Cathedral (10-25),
Magi Asleep (10-28),
Chartres Cathedral (11-4 & 5 & 7 &8 & 9)
Sainte Chapelle (11-14)
Virgin and Child, Saint-Denis (11-17),
Windmill Psalter (11-22),
Ambrogio Lorenzetti, Allegory of Good Government series (11-26)
Duccio, Virgin and Child in Majesty (11-28),
Cimabue, Virgin and Child Enthroned  (11-29),
Giotto, Virgin and Child Enthroned (11-30),
Giotto, Arena (Scrovegni) Chapel,  (11-31 & 32)
Giotto, Lamentation



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