What do you see What does it mean How can you tell What did the maker want you to do

1. What do you see?What does it mean?How can you tell?What did the maker want you to do? I intend to use this powerpoint early in the course to open students� eyes to the multivalency of images. Taking what is a very familiar religious symbol, I want them to explore the ways in which it has been used to convey many different messages, not all of which will be familiar to the students. The questions on this slide are the governing questions of this discussion; the individual questions pertaining to each object are versions of the main questions. I have appended �notes� to each slide to convey essential factual information about each object. The slides themselves, however, are meant to provoke discussion and not to be the object of lecture. There are no �right� answers to these questions�.just good critical thinking.I intend to use this powerpoint early in the course to open students� eyes to the multivalency of images. Taking what is a very familiar religious symbol, I want them to explore the ways in which it has been used to convey many different messages, not all of which will be familiar to the students. The questions on this slide are the governing questions of this discussion; the individual questions pertaining to each object are versions of the main questions. I have appended �notes� to each slide to convey essential factual information about each object. The slides themselves, however, are meant to provoke discussion and not to be the object of lecture. There are no �right� answers to these questions�.just good critical thinking.

2. Altar CrossConstantinople6th century This altar cross was made in Constantinople about 550 C.E., and presented to the pope in Rome by the Byzantine Emperor Justin II. It is made of gold with precious stones; the base is from the seventeenth century, to convert it to an altar cross. At the center of the cross is a silver circle, which is cut out in a cross-shape to reveal what was believed to be a piece of the True Cross. This object thus served both as a reminder of the crucifixion of Jesus and as a presentation of that event to the viewer. The pendant jewels on the horizontal arms both increase the cross� light reflectivity and allude to the imperial crown, which had a similar row of pendant jewels. Things you want students to observe as basis for further discussion: The precious materials the cross is made of, showing the importance of what it represents The connection between the cross of Jesus and imperial power The flaring arms of the cross, both suggesting the expanding reach of the center, and drawing the eye back to the center of the object. This centrality of focus is typical of most Christian art. The absence of the figure of Jesus: the cross is a symbol by itself.This altar cross was made in Constantinople about 550 C.E., and presented to the pope in Rome by the Byzantine Emperor Justin II. It is made of gold with precious stones; the base is from the seventeenth century, to convert it to an altar cross. At the center of the cross is a silver circle, which is cut out in a cross-shape to reveal what was believed to be a piece of the True Cross. This object thus served both as a reminder of the crucifixion of Jesus and as a presentation of that event to the viewer. The pendant jewels on the horizontal arms both increase the cross� light reflectivity and allude to the imperial crown, which had a similar row of pendant jewels. Things you want students to observe as basis for further discussion: The precious materials the cross is made of, showing the importance of what it represents The connection between the cross of Jesus and imperial power The flaring arms of the cross, both suggesting the expanding reach of the center, and drawing the eye back to the center of the object. This centrality of focus is typical of most Christian art. The absence of the figure of Jesus: the cross is a symbol by itself.

3. Gero�s crossCologne900 How is this cross different from the preceding one? How does the presence of the figure of Jesus change your reaction to the object? Is Jesus alive or dead? How can you tell? What difference does that make? Is Jesus suffering? How can you tell? What might that mean to the viewer? The cross is clearly meant to be seen from below, so you are looking up at the figure of Jesus. What reaction is that meant to evoke? Who is looking at whom? What message did the sculptor mean for you to get from this image? Does this image say anything about sin? If so, how? If not, what does that tell you? This is the earliest known three-dimensional crucifix (cross with the figure of Jesus) in western Europe. It was brought to Cologne by Archbishop Gero in 900 C.E., and it was probably carved in southern Italy, perhaps around Naples. The figure of Jesus is approximately life-sized; and the cross is still on display in the Cologne Cathedral. Things you want students to observe for themselves, as basis of discussion: The presence of the figure of Jesus on the cross. The lines of the figure show that Jesus is standing on the cross, not hanging from it. He is presented as alive, and not dead. The lines of the figure and Jesus� facial expression do not suggest that he is suffering. Jesus is clearly looking at the viewer, as much as the viewer is looking at him. The artist is not attempting a �realistic� portrayal of Jesus� anatomy. This is the earliest known three-dimensional crucifix (cross with the figure of Jesus) in western Europe. It was brought to Cologne by Archbishop Gero in 900 C.E., and it was probably carved in southern Italy, perhaps around Naples. The figure of Jesus is approximately life-sized; and the cross is still on display in the Cologne Cathedral. Things you want students to observe for themselves, as basis of discussion: The presence of the figure of Jesus on the cross. The lines of the figure show that Jesus is standing on the cross, not hanging from it. He is presented as alive, and not dead. The lines of the figure and Jesus� facial expression do not suggest that he is suffering. Jesus is clearly looking at the viewer, as much as the viewer is looking at him. The artist is not attempting a �realistic� portrayal of Jesus� anatomy.

4. CrucifixSpainc. 1175 This is a Romanesque crucifix, from a church in northern Spain. It is now on display at the Cloisters museum in Manhattan. The carved figure of Jesus is approximately life-sized; it was meant to be seen from below, as in this photograph. Things for students to observe in preparation for discussion: Jesus is standing, not hanging, on the cross He is looking at you He is wearing a royal crown, not a crown of thorns The lines of the figure and the expression on his face do not suggest that he is suffering. This is a Romanesque crucifix, from a church in northern Spain. It is now on display at the Cloisters museum in Manhattan. The carved figure of Jesus is approximately life-sized; it was meant to be seen from below, as in this photograph. Things for students to observe in preparation for discussion: Jesus is standing, not hanging, on the cross He is looking at you He is wearing a royal crown, not a crown of thorns The lines of the figure and the expression on his face do not suggest that he is suffering.

5. Altar cross Mosan region of Belgium c. 1170 This altar cross is made of gilt bronze, with cloisonne enamel on the arms of the cross. The enamel work is done in a stylized vine pattern, suggesting that the cross is a �tree of life,� a common motif in the Middle Ages. The inscription in the box at the top reads: �Jesus of Nazareth, King of the Jews� in Latin. The figure of Jesus is about a foot high; the cross was originally made either as a processional cross, or to stand on an altar. The materials and style of the cross clearly date it to the Mosan valley in what is now Belgium, in the late third quarter of the twelfth century. Things for students to observe: The materials: gilt bronze and enamel The �living� ornament of the cross. Jesus is standing on the cross, not hanging from it. The graceful lines do not suggest that he is suffering.This altar cross is made of gilt bronze, with cloisonne enamel on the arms of the cross. The enamel work is done in a stylized vine pattern, suggesting that the cross is a �tree of life,� a common motif in the Middle Ages. The inscription in the box at the top reads: �Jesus of Nazareth, King of the Jews� in Latin. The figure of Jesus is about a foot high; the cross was originally made either as a processional cross, or to stand on an altar. The materials and style of the cross clearly date it to the Mosan valley in what is now Belgium, in the late third quarter of the twelfth century. Things for students to observe: The materials: gilt bronze and enamel The �living� ornament of the cross. Jesus is standing on the cross, not hanging from it. The graceful lines do not suggest that he is suffering.

6. Crucifix of St. Francis of Assisi12th century This is a crucifix painted on a wooden cross, from northern Italy in the late 12th century. It was in a church in Assisi in St. Francis� time and was well known to him. The story is told that this cross spoke to Francis in one of his visions. Things for students to observe as a basis for discussion: The figures are painted, and not carved They are painted in more or less naturalistic tones. The cross incorporates a number of scenes: Jesus on the cross, the weeping disciples, the weeping angels on the arms of the cross, Jesus� ascension to heaven at the top. The artist is telling several parts of the story in a single image. The figures are drawn to several scales, with the figure of Jesus being the largest. This is a crucifix painted on a wooden cross, from northern Italy in the late 12th century. It was in a church in Assisi in St. Francis� time and was well known to him. The story is told that this cross spoke to Francis in one of his visions. Things for students to observe as a basis for discussion: The figures are painted, and not carved They are painted in more or less naturalistic tones. The cross incorporates a number of scenes: Jesus on the cross, the weeping disciples, the weeping angels on the arms of the cross, Jesus� ascension to heaven at the top. The artist is telling several parts of the story in a single image. The figures are drawn to several scales, with the figure of Jesus being the largest.

7. CrucifixionPaolo Veneziano, c. 1349 This painting was done about 1349 by Paolo Veneziano, a leading Venetian painter of his time. It is a relatively small painting, measuring some 12 x 15 inches, and it was probably intended as one panel of a multipart altarpiece. Stylistically, it combines Byzantine and International Gothic elements, with the beginning of a more �realistic� depiction of three-dimensional reality. The wall behind the figures and the earth they are standing on are depicting a �real� space in which the action takes place. Things for students to note as basis of discussion: The figure of Jesus is the center of the composition. The painter is attempting a realistic depiction of his anatomy. The lines of his figure and the expression on his face make it clear that he is suffering. The expressions of the disciples and of the angels reinforce this message. The disciples of Jesus are on one side of the painting, and his persecutors are on the other side. The painter is clearly intending to show that there are two possible reactions to this event, and suggesting that you must choose. Note also that this painting is dated during or right after the Black Death (1347-49), when an awareness of mortality was suddenly impressed on the European mind. The painter and his audience had just witnessed the deaths of many of their families and friends.This painting was done about 1349 by Paolo Veneziano, a leading Venetian painter of his time. It is a relatively small painting, measuring some 12 x 15 inches, and it was probably intended as one panel of a multipart altarpiece. Stylistically, it combines Byzantine and International Gothic elements, with the beginning of a more �realistic� depiction of three-dimensional reality. The wall behind the figures and the earth they are standing on are depicting a �real� space in which the action takes place. Things for students to note as basis of discussion: The figure of Jesus is the center of the composition. The painter is attempting a realistic depiction of his anatomy. The lines of his figure and the expression on his face make it clear that he is suffering. The expressions of the disciples and of the angels reinforce this message. The disciples of Jesus are on one side of the painting, and his persecutors are on the other side. The painter is clearly intending to show that there are two possible reactions to this event, and suggesting that you must choose. Note also that this painting is dated during or right after the Black Death (1347-49), when an awareness of mortality was suddenly impressed on the European mind. The painter and his audience had just witnessed the deaths of many of their families and friends.

8. The Isenheim AltarpieceMatthias Gruenewald, 1515 This altarpiece was painted by Gruenewald in 1515 for the chapel of the hospital in Isenheim, Germany. It is a particularly gruesome depiction of the death of Jesus, perhaps at least in part because of its intended location. It is worth noting that it dates just before the beginning of the Protestant Reformation, and it reflects the widespread cultural pessimism and individualism that marked the fifteenth and early sixteenth centuries. The composition is only partly �realistic�: the figure of Jesus is larger than the other figures. On the left of the painting are Mary, the Beloved Disciple, and the kneeling Mary Magdalene, all figures from the Gospel accounts of Jesus� death. On the right is John the Baptist, who died at the beginning of Jesus� preaching. He is pointing to Jesus: his words are in red, �He must increase and I must decrease.� John the Baptist is clearly a symbolic figure, as is the Lamb of God at his feet. Things for students to observe: The scene is set in a dark realistic landscape, giving the appearance of a specific place. The figure of Jesus is central, and larger than the other figures. All the figures in the painting are focused sympathetically on Jesus. Note that this composition does not give the alternatives laid out in the previous painting; and that this painting suggests that there is only one possible reaction. The painting is gruesomely realistic in depicting the details of Jesus� death. Jesus is dead in this painting.This altarpiece was painted by Gruenewald in 1515 for the chapel of the hospital in Isenheim, Germany. It is a particularly gruesome depiction of the death of Jesus, perhaps at least in part because of its intended location. It is worth noting that it dates just before the beginning of the Protestant Reformation, and it reflects the widespread cultural pessimism and individualism that marked the fifteenth and early sixteenth centuries. The composition is only partly �realistic�: the figure of Jesus is larger than the other figures. On the left of the painting are Mary, the Beloved Disciple, and the kneeling Mary Magdalene, all figures from the Gospel accounts of Jesus� death. On the right is John the Baptist, who died at the beginning of Jesus� preaching. He is pointing to Jesus: his words are in red, �He must increase and I must decrease.� John the Baptist is clearly a symbolic figure, as is the Lamb of God at his feet. Things for students to observe: The scene is set in a dark realistic landscape, giving the appearance of a specific place. The figure of Jesus is central, and larger than the other figures. All the figures in the painting are focused sympathetically on Jesus. Note that this composition does not give the alternatives laid out in the previous painting; and that this painting suggests that there is only one possible reaction. The painting is gruesomely realistic in depicting the details of Jesus� death. Jesus is dead in this painting.

9. Crucifixion groupTilman Riemanschneider1500 How is this mage different from those we have seen already? The figures are clearly three-dimensional and carefully realistic. What were they meant to do for the viewer? Is Jesus alive or dead? What do the poses of Mary and John suggest about the meaning of the group? Why would the patron have commissioned such a group? What would it have meant to him? Does this image speak of sin? How? Where is the action taking place? Why? What did the carver mean for you to experience with this object? How can you tell? Is the death of Jesus a good thing? Is the cross a good thing? This crucifixion was carved between 1500 and 1510 by Tilman Riemenschneider, a south German woodcarving master. The figure of Jesus is about 20 inches high; Mary and John are about 19 inches high. They are carved of limewood; the cross is a modern replacement of the lost original. The group appears to have been commissioned by a private patron, since the figures are much smaller than would be the case in a church setting. The fine attention to detail also suggests that the work was intended to be admired from a close distance. The poses of the three figures and their expressions are clearly intended to evoke strong emotional reactions from the viewer, again demonstrating the increased individualization of religious experience in this period. Things for students to observe: The domestic scale of the object The careful expression of emotion in all three figures This crucifixion was carved between 1500 and 1510 by Tilman Riemenschneider, a south German woodcarving master. The figure of Jesus is about 20 inches high; Mary and John are about 19 inches high. They are carved of limewood; the cross is a modern replacement of the lost original. The group appears to have been commissioned by a private patron, since the figures are much smaller than would be the case in a church setting. The fine attention to detail also suggests that the work was intended to be admired from a close distance. The poses of the three figures and their expressions are clearly intended to evoke strong emotional reactions from the viewer, again demonstrating the increased individualization of religious experience in this period. Things for students to observe: The domestic scale of the object The careful expression of emotion in all three figures

10. CrucifixMichelangelo, 1494 How is this image different from the others we have seen? Jesus is nude: what do you make of that? The figure of Jesus is fully realistic: is he looking at you, or are you looking at him? Is Jesus alive or dead? Do the lines of the figure suggest that Jesus is suffering? Does this image speak to the question of sin? What does this image mean? Is it a call for repentance? How should you react to it? What should you do? Is the cross a good thing? This crucifix was carved early in his career by Michelangelo, in Florence. The figure of Jesus is about 56 inches high; the crucifix is still in the Florentine church of Santo Spirito. It is quite unusual in that it depicts Jesus as fully nude, reflecting the neo-Platonist view in the Florence of that time that the nude human figure is God�s creation as His image and likeness, as is taught in Genesis 1. This crucifix, therefore, is conceived as the perfect revelation of the presence of God. This crucifix was carved early in his career by Michelangelo, in Florence. The figure of Jesus is about 56 inches high; the crucifix is still in the Florentine church of Santo Spirito. It is quite unusual in that it depicts Jesus as fully nude, reflecting the neo-Platonist view in the Florence of that time that the nude human figure is God�s creation as His image and likeness, as is taught in Genesis 1. This crucifix, therefore, is conceived as the perfect revelation of the presence of God.

11. CrucifixionDiego de Velazquez, 1632 Is this painting meant to be realistic? Where does it take place? How can you tell? What does the absence of other figures do to the meaning of the painting? Is Jesus alive or dead? What do the colors in the painting tell you about the artist�s intention? Where does the painter have you focus your attention? Why? What are you meant to think? What should you do? Is the cross a good thing? This painting, done by Velazquez in 1632, depicts Jesus immediately after his death. Jesus is alone against a dark background; the painting is life-sized. It was meant to be hung over the altar of a church. Things for students to observe: The absence of other figures in the painting The dark space of the painting The absence of any defined space The whiteness of the body of Jesus, recalling the whiteness of the eucharistic host, the body of Christ. This painting, done by Velazquez in 1632, depicts Jesus immediately after his death. Jesus is alone against a dark background; the painting is life-sized. It was meant to be hung over the altar of a church. Things for students to observe: The absence of other figures in the painting The dark space of the painting The absence of any defined space The whiteness of the body of Jesus, recalling the whiteness of the eucharistic host, the body of Christ.

12. Altarpiece Tirol, 18th century This is a life-size sculpture of the crucifixion, hanging over a side altar of the cathedral church of Innsbruck, Austria. It appears to date from the early eighteenth century, when the present cathedral was built. The anatomy of the figure is well articulated, and the carved figure is painted. It clearly stands well within the south German and Tirolean tradition of realistic woodcarving. Jesus� eyes are closed, and he appears to be dead. The crucifix is contained within an elaborate baroque frame, consistent with the rest of the building. Jesus� feet are about ten feet above the eyes of the viewer. Things for students to observe: The deliberate realism of the sculpture Its high placement The wound in Jesus� side This is a life-size sculpture of the crucifixion, hanging over a side altar of the cathedral church of Innsbruck, Austria. It appears to date from the early eighteenth century, when the present cathedral was built. The anatomy of the figure is well articulated, and the carved figure is painted. It clearly stands well within the south German and Tirolean tradition of realistic woodcarving. Jesus� eyes are closed, and he appears to be dead. The crucifix is contained within an elaborate baroque frame, consistent with the rest of the building. Jesus� feet are about ten feet above the eyes of the viewer. Things for students to observe: The deliberate realism of the sculpture Its high placement The wound in Jesus� side

13. CrucifixTirol, 19th century This is a life-size crucifixion sculpture, placed at the entrance to the Jesuit church in Innsbruck, Austria. It, too, is a product of the Tirolean woodcarving tradition; it appears to date from the late 19th century. The anatomy is very realistic; the entire figure is gessoed and painted. This is a life-size crucifixion sculpture, placed at the entrance to the Jesuit church in Innsbruck, Austria. It, too, is a product of the Tirolean woodcarving tradition; it appears to date from the late 19th century. The anatomy is very realistic; the entire figure is gessoed and painted.