School of Athen by Raphael


VIU Liberal Studies Abroad

Italy 2011 -- Course Outline

LBST 290/390; LBST 291/322; LBST 292/323; LBST 391

 These courses will be offered on a cost-recovery basis during Intersession. One preparatory session in both Nanaimo and Toronto (Ryerson) will be followed by a month-long trip to Florence, Italy, for intensive study. On return from Europe, students will complete projects and assignments under faculty supervision. Due dates for assignments are staggered; however, students should be aware that a significant portion of the course activities will need to be completed in Canada upon their return. The last assignment (Architecture Project) is due August 15, 2011.

Students may take the courses at the second- or third-year level. The performance demands for the upper-level courses are greater than those at the lower level.

The content of the program will range over the art, architecture, literature, music, science and history of the Italian Renaissance. The division of topics among the course modules is explained in the chart below. Instruction will be primarily seminar-based, with lectures, art studios and other activities included. In Florence, there will be a number of visits to concerts, museums, galleries and other artistic and cultural sites, and short trips to Siena, Assisi, Venice, and Rome.

Introductory Session

Nanaimo Campus - Building 355 - Rooms 211 & 203
Saturday April 16th, 2011, 9:00 a.m. - 3:30 p.m., Lunch provided.

Professors and Staff

Two faculty members from VIU and one from Ryerson University are responsible for delivering the courses and evaluating students: David Livingstone (VIU, and the teaching-team leader) and Mark Blackell (VIU), both of whom have taught the Italy program before, and John Caruana from Ryerson University, who has taught Ryerson courses in Florence. Peter Porçal, who lives in Florence, is the adjunct lecturer and site-visit guide. Field Manager Libby McGrattan (VIU) will be responsible for logistics, travel and accommodation.

Address of our Classrooms in Florence

Centro Fiorenza, Via Santo Spirito, 14 50125 Firenze (Italy) Tel. +39 055 2398274

Division of Course Material


  Module A

Module B

Module C


Art, Architecture & Politics

Art, Religion & Science

Art, Literature & Humanism

Module-Specific Study Materials

Leon Battista Alberti:
On Painting

Women Mystics:
Selected Readings

Dante Alighieri:
From Inferno, Purgatorio, Paradiso

Spiro Kostof:
from A History of Architecture

Alfred Bennick:
And Yet It Moves!

Pico della Mirandola
"Oration on the Dignity of Man"

Niccolò Machiavelli:
The Prince

Galileo Galilei:
"Letter to the Grand-Duchess Christina"

Giovanni Boccaccio:
from The Decameron

General Study Materials

Margaret Aston: from The Panorama of the Renaissance

William Fleming: from Art and Ideas
Betty Edwards: from Drawing on the Right Side of the Brain
A. Richard Turner: Renaissance Florence: The Invention of a New Art


Architecture Project

Book Review

Final Examination

Essay 1 and Outline

Essay 2 and Outline

Essay 3 and Outline


Participation, including Seminar Questions

Course Texts and Booklets (See Reading Schedule below)

A. Richard Turner: Renaissance Florence: The Invention of a New Art
Dante Alighieri: The Divine Comedy
Leon Battista Alberti: On Painting
Giovanni Boccaccio: The Decameron
Pico della Mirandola: Oration on the Dignity of Man
Niccolò Machiavelli: The Prince

Many of the themes in the writings, politics, and art that we will be studying draw upon, explain, conflict with, or modulate the stories and ideas presented in the Christian Bible (the Old and New Testaments). Most of the Medieval and Renaissance artists we will study assume their audience is familiar with the key stories of the Bible and with the events in the life of Jesus. These are not religious studies courses, and by no means is the Bible a required text for Liberal Studies Abroad. Nevertheless, the Bible has had a tremendous impact on the development of Western culture and art. You will find that you will get much more out of your experience in Florence if you familiarize yourself with, at minimum, the following books/chapters from the Old and New Testament: Genesis chs. 1-22; one of the New Testament gospels (Matthew, Mark, Luke, or John).

Readings Booklet:

Art, Architecture & Politics: Margaret Aston: The Panorama of the Renaissance (extracts); Spiro Kostof: A History of Architecture, Chapters 16 and 17.

Art, Religion & Science: Women Religious and Mystics: Selected Readings; Alfred Bennick: And Yet It Moves! (extract); Galileo Galilei: Letter to the Grand-Duchess Christina.

Art, Literature & Humanism: William Fleming: "Florentine Renaissance Style," from Art and Ideas; Betty Edwards: The New Drawing on the Right Side of the Brain (extracts).

The Medici Family Tree

The Brancacci Chapel Plan

Materials and Supplies

In preparation for each sketching class and for the architecture assignment, please bring to Florence pencils, erasers, a small sketchpad and any other materials you may wish to use for drawing (e.g. charcoal, pastel crayons).  

Assignments and Evaluation

For VIU Students:

Except for those which can be submitted via Moodle, or are too bulky to mail, assignments can be submitted by mail to David Livingstone, Liberal Studies Department, Vancouver Island University, 900 Fifth Street, Nanaimo, BC V9R 5S5. The various due dates are specified below. After returning to Canada, you are encouraged to consult David or Mark on the work you are doing on the assignments; their email addresses are and .

For Ryerson Students:

Except for those which can be submitted via Moodle, or are too bulky to mail, assignments can be submitted by mail to John Caruana. The various due dates are specified below. After returning to Canada, you are encouraged to consult John on the work you are doing on the assignments: .

Upper-Level Students 

The requirements for upper-level students are more demanding than those for lower-level students. For the Essays, lower-level students must write 1000 words, upper-level students 1500. Upper-level students will be expected to display greater depth and quality in all components of evaluation.

Overview of Common Assignment

Journal Assignment

During our visit in Florence, keep a daily journal of your experiences relating to the trip and the study we are engaged in, and hand it in before leaving. This submission will be marked for both content and presentation. The professor will not make comments in the journal itself, so that it may function as a permanent record of your visit and the thoughts and feelings it evoked. 

The focus, however, should be on the intellectual and cultural components of your experiences, not on the personally private or simply touristic aspects . You should avoid mere relation of the activities of the day, without any consideration of the broader cultural issues they raise. Articulate your thoughtful reactions, instead of merely gathering mementos. 

You are welcome to include material of all sorts: free writing, literary and artistic criticism, poetry, drawing, painting, photographs, photo-collage, newspaper and magazine clippings, expository writing - really anything at all which expresses some intellectual or cultural aspect of your experience of the trip. If you use material from sources like magazines, there is no need to attribute it to a source, but it should be used to express or introduce your thoughts and reactions, not just those of its author. Remember that a journal is not an essay (even though it may contain essay-like portions if you wish): while you should be creative and honest in expressing your feelings and thoughts, they do not have to be organized in support of a point of view. 

You should buy a nice book for use as a journal. If you don't come across one in Canada, you should be able to find one in Florence, since this city is famous for its high-quality paper products. This assignment will be worth 15% towards the grade in each of the courses you are taking. It is due on June 13/11.

Participation and Seminar Notes

Participation in seminars and other activities counts for 25% and Seminar Notes for 10% of each of the courses you are taking. In assigning marks, the professors will give most emphasis to the quantity and quality of your participation in seminar discussion, but will also take into account your contributions to other classes and activities, as well as to the educational experience of the group as a whole. For advice on how to participate in seminars, please consult the Moodle site on Seminar Participation.

Seminar Notes:

At the start of each seminar, each student must hand in to the instructor some notes that the student has prepared on the text under discussion for that week. The seminar notes for any particular session will consist of approximately 250 to 500 words (1-2 pages double-spaced). Each note should begin on a fresh page and should feature the student's name and the date at the top of the first page. The main purpose of these seminar notes is to encourage students to engage in critical reflection on the text under discussion and to have at least one thoughtful contribution to offer to the seminar. Therefore, late seminar notes will not be accepted .

Each note will be given a pass or fail grade and handed back to the student. The seminar note must follow a specific format:

(i) Formulate one question about the week's study material that you think would be interesting and fruitful for the seminar participants to discuss. "Interesting" implies that the question is likely to promote serious intellectual discussion - the answer must not be obvious; "fruitful" implies that it must be possible to answer the question given the resources of the seminar - the answer must not be beyond the seminar's reach. Please note that factual questions about the text, the author or their background normally fail to qualify on both counts.

(ii) Once you have formulated the question, explain why you think it is would be interesting and fruitful to discuss it. Draw upon specific evidence in the text to support your answer .

Overview of Course-Specific Assignments

Module A: Essay 1 and Outline: 35%        Architecture Project: 15%

Module B: Essay 2 and Outline: 35%        Book Review: 15%

Module C: Essay 3 and Outline: 35%        Final Examination: 15%

The Final Examination will be written before leaving Florence. Essays are due by July 11, 2011. Book review is due by July 29, 2011. Architecture project is due by August 15, 2011. 

Essays and Essay Outlines

You must write one essay for each module. The essay topics are given below. For students in the second-year courses, each essay should be approximately 1000 words long; for those in the third-year courses each essay should be about 1500 words long. The essays are due by July 11/11, and each is worth 35% of your grade in the relevant course. 

While in Florence (and by May 23/11) you must also prepare and submit tentative outlines of the essays you propose to write. The outline should explain which question you are answering, the proposed thesis of your paper and (briefly) your argument for it. (In writing the paper you may deviate from the outline if you change your mind about these elements.) There is no word-limit, but one page should suffice. Outlines may be submitted on paper or by email.

These essays should be examples of argumentative writing: that is, you must adopt a thesis, provide an answer to the question posed which takes a point of view about the text or about an issue it raises, and defend that point of view with reasoned argument and evidence from the text. This requires you to justify your interpretations and evaluations of the text or material which forms your topic, to argue against alternative interpretations and judgments where these are likely to arise, and to speak with your own voice, not that of other critics. 

They should not be primarily research essays, and definitely not mere summaries of the views of other critics. At the same time, it is legitimate to introduce the views of other writers if doing so would help illuminate your own point of view. When you do make such an appeal, you should always specify the source to which you are referring. Plagiarism (using outside sources without acknowledgment) is prohibited by VIU's Student Academic Code of Conduct, and may result in a mark of zero, a failing grade for the course, or worse. 

For a brief explanation of essay grading standards and policies on plagiarism, please consult the Moodle site Book on Evaluation Guidelines for Essays.

Module A (Art, Architecture & Politics)

Choose one of the following topics: 

AAP1) In your view, does the introduction of linear perspective constitute an objective advance in painting, or merely the selection of a different subjective means of representation? 

AAP2) "Beauty is a form of sympathy and consonance of the parts within a body, according to definite number, outline and position, as dictated by concinnitas, the absolute and fundamental rule of Nature." (On Painting, Introduction, p. 8) To what extent, if any, does On Painting offer practical guidance on how to produce beauty in this particular sense?

AAP3) Explain Alberti's views, as expressed in his dedication to Brunelleschi (On Painting, pp. 34-5), on the relationship of the artist to the past. How do these views reflect on the opinion of some art historians that the Renaissance is nothing but an attempt to reproduce the art of antiquity? With reference to Renaissance art encountered during the program, evaluate Alberti's views on this issue.

AAP4) From the architects whose work you have seen in Florence, select the one whose work, in your opinion, most clearly articulates the spirit of classicism. How, why and to what effect does this architect use classical forms in his or her work? 

AAP5) By reference to buildings encountered during the course, compare the mediaeval and Renaissance periods in terms of how their architecture expresses the social, political or intellectual preoccupations of their time. 

AAP6) "Renaissance Architecture is Politics Written in Stone." Drawing for illustration upon your experiences of architecture and politics during the course, explain whether or not, in your view, this claim captures an important truth. 

AAP7) Discuss the significance of one of the following in Machiavelli's The Prince:
a. the metaphor of the lion and the fox;
b. the concept of fortune;
c. the discussion on promise keeping and promise breaking d. the ruler's attitude to cruelty and mercy.

AAP8) Explain and evaluate the conception and significance, in Machiavelli's The Prince, of "glory."

AAP9) "The quality most admired in Renaissance times was virtù (the word comes closer in the modern sense to 'virtuoso' than 'virtuous') . . . With virtù, Renaissance artists could no longer be satisfied with a single speciality but sought to become universal in ability" (William Fleming: Art and Ideas, p. 215). Select an individual artist or political figure of the Italian Renaissance who, in your opinion, most completely fulfils this desire and show, through an analysis of his/her work or life, how and why he or she does so.

Module B (Art, Religion & Science) 

Choose one of the following topics: 

ARS1) In your view, is a life lived according to The Rule of Saint Clare a life worth living? If so, what especially valuable characteristics would it have? If not, what especially valuable characteristics would it lack? (In answering this question, please confine your attention to the characteristics of the life as it is lived on earth, ignoring any possibility of an afterlife.) 

ARS2) On the basis of the extracts you have read, how would you characterise the nature of the relationship Angela di Foligno believes she has with Christ? 

ARS3) Explain the moral and spiritual implications of Catherine of Siena's image of the bridge.  

ARS4) "The real message of the Christian art of the painters of the Italian Renaissance is not the religious message itself, but the realization that the religious subjects portrayed have meaning in human terms." Discuss and evaluate this claim with reference to works encountered during the program. 

ARS5) Select a work of art (encountered during the program) which depicts a subject (event, scene or figure) from the Bible. Read the passage in the Bible that describes this subject. Explain (i) what particular understanding of the subject is expressed by the work you have selected; and (ii) how the formal characteristics of the work (e.g. the geometry of shapes, use of colour, style of brushwork, mode of representation of space, etc.) succeed in conveying this understanding.

ARS6) Explain and evaluate Galileo's attempt to show that the Copernican System is not inconsistent with the Biblical account described in the Bible (Joshua 10:13).

ARS7) Comment on the plausibility or otherwise of Galileo's position, expressed in the Letter to the Grand-Duchess Christina, on the relation between science and scripture.

ARS8) In what way, if any, and for what reason, if any, is Galileo correctly described as a scientific naturalist?

ARS9) From the artists whose work you have seen in Italy, select the one whose work, in your opinion, most clearly articulates the spirit of scientific naturalism. How, why and to what effect does this artist use scientific naturalism in his or her work?

Module C (Art, Literature & Humanism)  

Choose one of the following topics:  

ALH1) Why does Dante place the Virtuous Pagans where he does?

ALH2) Analyze the description Dante gives of Satan and his imprisonment in the frozen lake. What are we to learn about the nature of sin from this description?

ALH3) What is the meaning and significance of the "dream of the siren" in Purgatory, XIX?

ALH4) Why does Beatrice's beauty increases as she ascends through the heavenly spheres? What is the allegorical significance of this increase for Dante the Pilgrim's journey?

ALH5) Contrast the terrace of the lustful on Mount Purgatory with the circle of the lustful in hell. How is the comparison significant to our understanding of Dante the Pilgrim's journey?

ALH6) Why does Dante the Pilgrim need a third and final guide in St. Bernard? How is this relevant to the allegory of the Divine Comedy?

ALH7) A critic has noted that "Time is part of the general structure of purgatory: the repentant pay in time and, when the hero gets to the Garden of Eden, there are various representations of human history. When we get to the empyrean, however, we are outside of time." What is the Divine Comedy saying about time?

ALH8) The Earthly Paradise at the top of Mount Purgatory is distinctly different than the prelapsarian Garden of Eden. How so and why is this significant for our understanding of the Divine Comedy as an allegory?

ALH9) "How my weak words fall short of my conception," notes the narrator at the very end of the Divine Comedy (Paradiso, Canto XXXIII, l. 121). What if anything is the poem saying here and elsewhere about the limits of poetry?

ALH10) Discuss the significance of lies and trickery in Boccaccio's Decameron .

ALH11) Illustrating your answer with references to a number of the Decameron stories, explain whether you read Boccaccio (i) as promoting a relatively amoral approach to life, or (ii) as satirising the latter approach with serious moral intent.

ALH12) Drawing upon works you have read, seen or heard in Italy, explain and evaluate the claim that the Renaissance constituted in part a revival of interest in classical humanism.

Architecture Project (Module A)


Architecture may be defined as the art of arranging and manipulating space to fulfill a certain sort of function. Space is a relationship among things, not a thing itself; nor can it be reduced to a collection of things, or treated as a container in which things are collected. Because we focus on the things inside a space, we often fail to notice the space itself. Architecture, however, asks us to confront space, to experience it in a way that combines both attention to function and sensitivity to artistic expression.

Buildings, of course, are made to be used: for living, working, learning and many other human activities. The function of a building is part of, and reveals, the building's subject-matter; but it does not exhaust it. Values other than functional values are expressed in architecture: it is inflected by the values of the architect's society and culture. Whether they adopt a critical or a reverential attitude towards their culture, architects must deal in one way or another with the public values of their society. 

In the transition between the Mediaeval and Renaissance periods, architectural taste went through a number of interrelated changes, many of which are exemplified in the buildings still standing in Florence. One change was a shift of emphasis from purely interior decoration, with a forbidding exterior appearance, to the exterior display of wealth and artistic sensibility. Another was the incorporation of Classical Greek stylistic elements into an approach that was primarily derived from late Roman architecture (although this too already had its Greek roots). Of special interest are the similarities and differences between domestic, ecclesiastical and other public buildings, and the ways in which these changed over time.  

This assignment involves selecting one of the buildings you visit in Florence as a focus of study. There is a restriction on the time-period of the building: it should be either Mediaeval or Renaissance, although buildings of that period that have been remodeled more recently may be considered. You will be asked to answer various questions about the building, based upon your interaction with it, and to provide graphic illustrations of some of its features. The illustrations may be in any medium: photography and sketching with pencil or charcoal are probably the easiest, and part of the assignment (B) calls specifically for a sketch. You should make sure you carry the necessary supplies with you on the visit. 

The assignment may be completed after returning to Canada, on the basis of the notes and illustrations you make on-site. It is due by August 13/11, and is worth 15% of the grade for LBST Module C.


A. Carefully observe the building or structure from the outside. Keeping in mind the fact that architecture articulates social values, answer the following: 

1. What is/was the building's function? Is it possible to discern the function from the building's exterior? If so, on the basis of what features?
2. What cultural or social values are projected by the exterior of the building?
3. What are the materials of which the building is made? Why do you think they were chosen? How do they articulate the building's subject-matter?
4. During what historical period was the building constructed? Does it hark back to earlier times?
5. What kind of presence does the building have? How does it relate to the surrounding space: does it dominate, meld in, contrast?
6. How do you respond to the building, and why? 

B. Make a sketch of the building's exterior. Don't worry about getting all of the details, or in getting them perfectly "right". Reduce the exterior view to its geometrical components: rectangles, squares, circles, semicircles, triangles.  

C. Make a sketch or photograph of an interesting detail of the exterior: a door-handle, window-frame, panel, cornerstone, statue or whatever. 

D. Enter the building, and spend some time sitting in it and walking around the interior space. Answer the following: 

1. Do you find the entrance inviting?
2. How is the inner space organized? Is there a single focal point, or many? If so, what is it/are they? How do the focal points relate to the function of the building?
3. Is the inner space unified or disjointed? Does it harmonize or contrast with the exterior?
4. What materials are used inside the building, and to what effect?
5. How does the inner space make you feel? What elements inside are the most striking? 

E. Make a sketch or photograph of an interior element or detail, and explain the purpose it serves in the building as a whole. What, if any, values does it communicate to you? 

F. General questions: 

1. Is the building beautiful? Does it matter?
2. Is the building well designed? Does it matter?
3. What cultural, social and/or religious values are projected by the building?
4. If architecture is a language, what language does this building speak?  

Book Review (Module B)

Write a 5-7 page review of Richard Turner's, Renaissance Florence: The Invention of a New Art. Turner makes several observations about the Renaissance: what it is, what it accomplished, and what it means. Before you leave for Italy, or as you are travelling to Florence, read through Turner's book to familiarize yourself with it. It will serve you well as an initial guide to some of the art and architecture that you will be studying in Florence. During the program, continue to read the book, take notes, and record your observations when we visit sites discussed by Turner. When you return to Canada, review the work one more time and compile the notes you have been keeping for this assignment. Then respond critically to Turner's assertions with evidence (in support or against). Draw upon your own careful study of the art and architecture to which Turner refers. In preparing to write the review, you should keep in mind that the purpose of the assignment "is not to prove that you read the book--although you still need to do that--but to show that you can think critically about what you read. You should write a coherent analysis of the book, illustrating its strengths and weaknesses." You might wish to read the rest of the guidelines for writing book reviews from which this quotation comes, available here.

Final Examination (Module C)

A final examination will be scheduled prior to our departure from Florence. It will consist of a series of short-answer questions based on the art tours which will be led by Dr Peter Porçal in Florence and other cities, and on his lecture "Symbols in Renaissance Art." It is important to pay attention during these activities, and to retain as much as possible of what is discussed. The examination will be worth 15% towards your grade in Module C.

Reading Schedule     (consult the chart below for lecture/seminar times and topics)

Before you arrive in Florence

Richard Turner: Renaissance Florence: The Invention of a New Art 
Dante Alighieri: The Divine Comedy , "Inferno": Cantos 1-5, 11, 13, 23, 32-34; "Purgatorio": Cantos 1, 2, 15, 17-19, 27, 28, 33; "Paradiso": Cantos 1-3, 7, 26, 30-33

For May 3  

Margaret Aston: The Panorama of the Renaissance (Readings)
Spiro Kostof: A History of Architecture, Chapters 16 & 17 - (Readings)
William Fleming: "Florentine Renaissance Style," from Art and Ideas - (Readings) 
Betty Edwards: Drawing on the Right Side of the Brain

For May 6

Extracts from Women Religious and Mystics: Clare of Assisi, Angela di Foligno and Catherine of Siena (Readings)

For May 9

No readings required

For May 11

Giovanni Boccaccio: The Decameron : First Day, Story I; Second Day, Story VI; Third Day, Story I; Fourth Day, Story V; Seventh Day, Story VI; Ninth Day, Story II; Tenth Day, Story X.

For May 13

Alfred Bennick: extract from And Yet It Moves! (Readings)
Galileo Galilei: Letter to the Grand-Duchess Christina (Readings)

For May 16

No readings required: special lecture by Peter Porcal

For May 18

Niccolò Machiavelli: The Prince

For May 25 

Pico Della Mirandola: "Oration on the Dignity of Man" (pp.1-34).

For May 26

Gian Battista Alberti: On Painting


While we naturally expect you all to have lots of fun in Florence, we ask you to note that the standards of evaluation in these courses will be the same as for all Liberal Studies courses. You will be expected to keep up with the reading, participate fully in seminar, produce thoughtful papers and projects, and hand in your work on time. We recommend that you set aside a definite period of time each day for reading, writing in your journal, and making notes for the assignments you will complete on your return. 


If you encounter any problems whatsoever (academic, legal or personal) while in Italy, please contact one of the faculty or staff at their apartments, or by phone:

David Livingstone, Faculty

Via della Mosca, 12
BELL: Barlacchi

David: 335 714-6583

Libby McGrattan,

Via San Niccolo, 87

Libby: 335 714-6509

Mark Blackell
John Caruana, Faculty

Via degli Alfani, 62
BELL: Baronti

Mark: 335 714-6413
John: 335 714-6478

VIU Emergency Contacts: Audrey Hansen (Education Abroad Co-ordinator): (250) 740-6312 or Graham Pike (Dean, International Education): (250) 740-6311. VIU also has a 24hr answering service for calls made outside the working day: (250) 740-6600. For all emergency calls, provide a way by which you can be contacted in return. To call Canada from a landline in Italy, dial 001 before the area code.

Canadian Embassy in Rome : 06-854441 or 06-85444.2911. Canada Emergency Line (Ottawa): (613) 996-8885 (call collect).

Schedule of Activities 

Below is the schedule for our activities in Italy, specifying the topic for each session. All seminars are marked in the schedule by the material or topic to be discussed. Please make sure that you have read the material to be covered in each class and bring it to the class itself. Some material is assigned to be read before a site-visit -- please be sure to complete that reading too, though there is no need to bring it along. There will also be classes in drawing while we are in Florence: bring the drawing supplies with you.








April 25 2011






Leave Canada

May 1

Arrive Florence


14:00-16:00 Orientation

16:00-18:00 Seminars (on Dante - pre-recorded lecture: Mark)

19:00 Group Dinner


9:00-11:00 group a (PETER) &
12:00-14:00 group b (PETER)
Mediaeval Architecture Tour: Dante district, Orsanmichele


9:00-11:00 Lecture (Architecture: David)

13:00-15:00 (PETER)
San Miniato Drawing


9:00-11:00 group b (PETER) &
12:00-14:00 group a (PETER)
Mediaeval Architecture Tour: Baptistery, SS Apostoli


Lecture (Female Mystics: John)

12:00-14:00 Seminar: Dante








Lecture (SM Novella: David)

16:00-18:00 Seminar: Female Mystics


7:00-23:00 (PETER)

Day trip: Assisi, La Verna


9:00-11:00 Lecture (Boccaccio: David)

S M Novella



9:00-12:00 (PETER) (three groups, in stages - times will be announced)
S Maria del Carmine


Lecture (Galileo: John)

12:00-14:00 Seminar: Boccaccio


Depart for Venice (TBA)

Return from Venice (TBA)






9:30 -11:00 group a &
11:15 -12:30 group b
S Spirito

14:00-16:00 Lecture (Symbolism in painting: PETER)

16:00-18:00 Seminar (on Galileo)


9:00-12:00 (PETER) group b&
13:00-16:00 group a (PETER)
Renaissance Architecture Tour: Spedale degli Innocenti,
San Lorenzo


8:30-12:00 group a (PETER)
Uffizi Gallery

14:00-16:00 Lecture: (Machiavelli: Mark)


9:00-19:00 (PETER)
Day trip: Siena


8:30-12:00 group b (PETER)
Uffizi Gallery

14:00-16:00 Seminar (on Machiavelli)










9: 0 0 -11:30 group a &

13:00-15:30 group b (PETER)
S Croce, Pazzi Chapel



9:00 -10:30 (group b)

10:45 - 12:15 (group a) (PETER)



9:00-11:00 Lecture (Pico: John)

12:00-14:00 Seminar: Pico 


Location TBA

14:00-16:00 Lecture (Alberti: Mark)

16:00-18:00 Seminar: Alberti


9:00-12:00 Exam

13:00-15:00 Course Overview





18:00 Group Dinner



Leave Florence, Arrive Rome

Vatican Tour

June 1

Return to Canada