Each year the NEH’s Division of Education Programs offers college and university teachers opportunities to study a variety of humanities topics in Summer Seminars and Institutes in the United States and around the globe. The American Academy in Rome is pleased to once again be the host of a five week seminar, starting 27 June and concluding 29 July. The application deadline for this program is 01 March, 2011.
Each summer seminar includes sixteen participants working in collaboration with one or two leading scholars. The AAR seminar, titled “From Sack to Republic: Art, History, and Culture in Rome, 1527-1798” will be directed by Vernon Hyde Minor, FAAR’00, a specialist in Italian art of the 17th and 18th centuries and a Research Professor at the University of Illinois, Urbana-Champaign. Guest lecturer and AAR Trustee John Pinto, FAAR’75, RAAR’06, Professor of Art and Archaeology at Princeton University, will provide an on-site presentation on the Trevi Fountain. Participants will have time to pursue individual projects and access the AAR research collections.
The NEH Summer Seminar is one of several programs offered by the American Academy in Rome next summer. The Academy also offers the Classical Summer School, The Howard Comfort Summer Program in Roman Pottery, The Summer Program in Archaeology, The Pontifical Institute of Medieval Studies Program in Manuscript Studies and Scuola di Etruscologia e Archeologia dell'Italia Antica. For more information on summer programs, click here.
For more information, visit the NEH website or download the NEH application instructions.
NEH Summer Seminar for College and University Teachers
"Art, History, and Culture in Rome, 1527-1798"
27 June to 29 July, 2011
American Academy in Rome
Rome, Italy
Director: Vernon Hyde Minor
Participant Stipend
Participants will receive a stipend of $3900 for the five-week seminar. Because this is an overseas program, participants will receive the entire amount before the seminar begins. You are reminded that stipends are intended to help cover travel expenses to and from the project location, books and other research expenses, and living expenses for the duration of the period spent in residence. Stipends are taxable.
The Seminar Director
The seminar will be directed by Vernon Hyde Minor, a specialist in Italian art of the 17th and 18th centuries.
He has taught in the Department of Art and Art History at the University of Colorado and the School of Art and Design at the University of Illinois. At Colorado, he also was rostered for several decades in the Department of Humanities and Comparative Literature, an inter-disciplinary program. More recently he has been a Research Professor at the University of Illinois, Urbana-Champaign.
To download Vernon Hyde Minor’s CV, click here.
To download John Pinto’s CV, click here.
A Letter from the Seminar Director
Dear Colleague,
I would like to welcome you and express my appreciation for your interest in “From Sack to Republic: Art, History, and Culture in Rome, 1527-1798.” The seminar is designed for the study of visual arts, history, and culture in Rome from the Sack of 1527 until the city’s capture by Napoleonic troops in 1798, when Rome was declared a Republic and annexed to France.
We will be housed in a perfect location for carrying out our work: The American Academy in Rome is perched on the edge of the Janiculum hill, affording the seminar’s participant a breath-taking veduta—panoramic view—of Rome, both ancient and (early) modern.
Rome from the early sixteenth to the late eighteenth century is a coherent period in Roman art and culture, a subject, place, and period of extraordinary richness. In these three centuries teeming with ideas, politics, religion, art, and literature, highly talented writers, thinkers, and artists from all over Europe found the city and its ecclesiastical leaders to be welcoming and supportive. Popes and cardinals put painters, sculptors, and architects to work in the service of the Church. The European Republic of Letters had an important presence in the Eternal City. Here was born the baroque style and here it was attacked.
The Catholic Reformation stimulated the artistic economy to the tune of nearly 300 new churches within two centuries, and an equal number of noble palaces. Painters flocked to Rome from all parts of Italy and throughout Europe, following the money and filling the myriads of new chapels and palaces with oil paintings and frescoes. Sculptors adorned the new churches as well, and added a dozen or more magisterial papal tombs to St. Peter’s. The concentration of artists was such that rivalries brewed, artists formed associations, patrons competed for the best and often most provocative works to be had. The very notion of what constitutes the visual arts became ever more complex in the sophisticated intellectual ferment of Rome. Post-Tridentine culture was often celebratory, as was the public and sacred oratory taught by the professors of rhetoric at the Collegio Romano and the Sapienza and practiced by priests throughout the city. Rhetoric shaped the Catholic Republic in this period in much the same way it had the Florentine Republic in an earlier age.
By the middle decades of the eighteenth century, the city had become a welcoming and hugely popular tourist destination. Although Rome was turning into a museum of itself, contemporary art continued to flourish as a sea of artists competed in ideas and styles, while popes poured money into the city’s newly-built or reconstructed churches and palaces. The cosmopolitan, relaxed, and epicurean mood of mid-century Rome is captured by the French scholar and jurist Charles de Brosses, who reported that Rome was filled with one-quarter priests, one-quarter statues, one-quarter those who worked a little, and one-quarter those who worked not at all. The priests and the statues he certainly had right; but artists and architects, along with their construction crews, were as busy as ever turning Rome into the “universal capital of the arts” (and trying to raise the number of statues, too). Rome’s vigorous eruditi—her intellectuals—were writing polemical tracts on the philosophy of history, pastoral and ecclesiastical reform, language (rhetoric and poetry), the visual arts and architecture, Cartesianism, and illuminismo.
The seminar will study the visual arts, the thundering polemics of Catholic vs. Protestant, Jansenist vs. Jesuit, and “good” taste vs. “bad” taste (buon gusto vs. cattivo gusto). We will address these and other historical, religious, literary, artistic, and cultural issues through an extensive list of readings and on-site visits to the great monuments, spaces, and museums of early-modern Rome. Understanding the political, religious, literary, and artistic elements of the so-called mannerist and baroque periods (the sixteenth century and most of the seventeenth) is fundamental to determining the full significance of what comes afterward, which is neo-classicism, pastoralism, and enlightenment ideas. This seminar will afford an important research opportunity to scholars of art history, history, religious studies, baroque literature, and rhetoric.
Applicant Profile and Selection
The program is designed to invite a span of disciplinary perspective beyond those of Art History. The program invites those who specialize in European (and especially Italian) art from the 16th-18th centuries, historians of Italy in the early-modern period, as well as historians of Religious Studies who teach and write about the Counter (Catholic) reformation, including the disputes between Jansenists and Jesuits. Other potential participants may include literary theorists, professors of Comparative Literature, and critics who teach and write on early-modern poetry and prose, as well as architectural historians interested in urbanism and baroque architecture.
I am hoping to have a well-balanced group of faculty and graduate students at all ranks, stages of their careers and studies, and from all types of colleges and universities.
All readings will be in English; knowledge of Italian, although helpful, will not be necessary for participation in the seminar.
The Seminar Project
The developing of one’s own research topic is at the core of the seminar’s work. I am available to work with each of the participants before the beginning of the seminar to ensure that one’s project is both doable and has an appropriate fit with the general aims and intellectual contours of the seminar’s broadly defined topic, which centers on culture, history, critical themes, and the visual arts in Rome from the early sixteenth to the later eighteenth century. Participants will have the complete reading list in advance, with copies of the readings provided in digital form upon their arrival in Rome.
Organization of the Seminar
Overview:
The seminar will normally meet Mondays, Wednesdays, and Thursdays, from 9:00 AM until approximately noon. Two of these days will be spent in our regular meeting room in the main Academy building, during which each participant will be responsible for introducing their assigned readings and leading discussion. One day per week will be devoted to walking tours of the city’s monuments and museums.
At the beginning of the seminar, I will meet individually with participants to discuss research projects, and will be available throughout the duration of the seminar (with posted office hours) for consultation and advice. There will be an extra meeting in the final week of the seminar for research reports.
Schedule by Week and Topic:
Week 1: 1527-1590: Michelangelo, Mannerism, the Council of Trent to the Later 16th Century
The first week will focus on Rome from the Pontificate of Paul III (r. 1534-49) to that of Sixtus V (1585-90), a period of reform and renewal. Alessandro Farnese (Paul III) continued work on the new St. Peter’s, commissioned Michelangelo to paint the Last Judgment and supervised the building of Palazzo Farnese.
Paul launched the process for the Council of Trent, while Pius IV (r. 1559-65) ratified its decrees. The seminar will consider the Council’s Proclamation on Images (23rd Session). The Council also promoted “magisterium,” or the teaching authority of the Church: This anti-Protestant principle holds great significance for the visual arts, especially during the pontificates of Urban VIII, Innocent X, and Alexander VII (weeks three and four).
The “week of the cinquecento” (16th century) also considers the papacies of Gregory XIII and Sixtus V. Gregory supported the Jesuits and the Oratorians. We will visit their churches, Il Gesù and the Chiesa Nuova.
Although his papacy lasted a scant five years (1585-90), Sixtus V accomplished a great deal in the city. He modernized the streets of Rome, repaired bridges, restructured the aqueducts coming into Rome, and built fountains. We will tour the Chapel of Sixtus V (the “other” Sistine Chapel) in Sta. Maria Maggiore, comparing it with the slightly later chapel, forming the other arm of the transept, erected under the papacy of Paul V.
Along with on-site discussions of major monuments, we will read about and discuss religious reforms and significant events during this period of intense self scrutiny within the Church. Tridentine sermons, for instance, roused their congregations with reminders of the accomplishments of the Church’s reformation, called the congregation to renewed and constant discipline, reminded them of the horrors of Protestant violence, the threat of the Ottoman Empire, and the need for vigilance.
Week 2: First Stirrings of the Baroque: Art during the Papacies of Clement VIII (1592-1605) and Paul V (1605-21)
Beginning in Clement VIII’s papacy, Rome was growing as an artistic center. While the rest of Europe reeled from warfare and political turmoil, the papacy was pouring money into artistic projects and urban renewal while promoting the city as a pilgrimage destination. Nearly three million visitors came to the city for the Jubilee Year of 1600.
When the painter Michelangelo Merisi da Caravaggio arrived in Rome about 1590, he found a culture and artistic market receptive to his anti-idealist style. Although art historians distinguish between the un-idealized realism of Caravaggio and the classical, almost neo-Raphaelesque, style of Annibale Carracci, the 17th-century connoisseur Vincenzo Giustiniani saw both of these painters as reformers of common purpose, bent on ending the dominance of la maniera—mannerism. Participants will be encouraged to visit the transept of S. Giovanni in Laterano, where Cavaliere d’Arpino, the last and most influential doyen of mannerist painting in Rome, supervised the planning and execution of expansive frescoes depicting early saints and events related to the founding of the basilica. By juxtaposing Roman late mannerism with Caravaggio’s “realism” and Carracci’s “classicism,” we can investigate, along with the readings, the collision between and among fundamental modes of visual expression.
The seminar’s examination of collezionismo (the art of collecting), an important social and cultural practice in the early-modern era, will begin with a visit to the Villa Borghese and an examination of Cardinal Scipione Borghese’s patronage and sometimes notorious commandeering of art works. Here the seminar participants will focus on Scipione’s patronage of Caravaggio and Bernini. We also will follow the “Caravaggio Trail” from the Church of Sant’Agostino (Madonna di Loreto) to San Luigi dei Francesi (Contarelli Chapel with the story of St. Matthew) to Santa Maria del Popolo (Cerasi Chapel, with Caravaggio’s Conversion of St Paul and Martyrdom of St. Peter and Annibale Carracci’s Assumption of the Virgin). With permissions arranged by the American Academy in Rome, we will also schedule a visit to the Palazzo Farnese (now the French Embassy) and Caracci’s frescoes for Card. Odoardo Farnese’s apartments.
Weeks 3 & 4: Age of the “High” Baroque, c. 1620-1680
Here we enter into the heart of the gusto romano—the so-called “Roman taste” or high baroque. The Catholic Reformation by this period was in full swing, the Jesuits at the summit of their power (although already being challenged in France by the Jansenists), while papal patronage of painting, sculpture, and architecture—especially during the reign of Urban VIII (1623-44)—made Rome an arena for the Catholic Reformation. The major concern of the seminar in this week is Baroque visual rhetoric.
We will have readings from the “Poet of the Marvelous,” as James Mirollo characterizes Giambattista Marino (1569-1625), along with Emanuele Tesauro’s Il cannocchiale aristotelico (the Aristotelian Spyglass), first published in 1650. Among other topics, Tesauro writes on arguta—the conceit of wit. Tesauro wrote that no painting, no sculpture, no architecture merits the name of ingegnosa—cleverness, ingeniousness, inventiveness—if it lacks arguta. Of architecture he wrote: “Those who study architecture are called ingegnere because of the wit in the inventions of their work. This appears in all the bizarreness and lovely ornament that plays across the façades of sumptuous edifices: foliated capitals, arabesques in the friezes, triglyphs, metopes, masks, caryatids, terms, mutules: all metaphors of stone, silent symbols that bring grace to the work, and mystery to that very grace.” Tesauro, whether he was aware of it or not, describes the architecture of Francesco Borromini, Bernini, Pietro da Cortona, and Carlo Rainaldi, among others. We will also see that many of Rome’s intellectuals, her eruditi, in the eighteenth century, with their strong Jansenist sympathies (which we will take up in week five), despised the very architecture Tesauro adored. Traditional studies of urbanism tend to focus on coherent plans carried out under papal supervision (such as Sixtus V’s modernization of Rome’s street system, or Alexander VII’s town planning as written about by Richard Krautheimer). However, as Joseph Connors has argued, sometimes town planning grew out of aggression, alliance, and enmity. As we examine Carlo Rainaldi’s church of Santa Maria in Campitelli, with its remarkable combination of central and basilican architectural units, we will also explore the neighborhood around Piazza Sta. Maria in Campitelli for evidence of Connor’s reading of “convent and institutional urbanism.”
On-site visits:
Papal tombs, the Cathedra Petri, and Baldacchino of Bernini in St. Peter’s; the Palazzo Barberini (palace of Urban VIII’s family) with Pietro da Cortona’s grand ceiling fresco of the “Triumph of the Papacy of Urban VIII;” the church of Jesuit novitiates, Bernini’s Sant’Andrea al Quirinale; the church of the Jesuits’ Collegio Romano, Sant’Ignazio and Padre Pozzo’s ceiling fresco of the Triumph of the Jesuits; Francesco Borromini, San Carlo alle Quattro Fontane & Sant’Ivo alla Sapienza.
Week 5: From Arcadianism and Good Taste to Canova and Neoclassicism, 1689-1790
We will read about the Arcadians, denizens of the Bosco Parrasio, and discuss the ways in which they helped to invent the concept of good taste, fight the baroque, champion (in many instances) the Jansenists, who had been condemned by several papal bulls, but whose Augustinianism and demands for pastoral reform continued to draw many adherents from within the Church itself. The Arcadians also raised the pastoral mode to a general cultural and artistic value.
Although there is a large bibliography on eighteenth-century Roman art and architecture, there have been relatively few attempts to attach its artistic foundations, meanings, and styles specifically to an Arcadian and pastoral environment. In the seminar, we will study the ways in which the barocchetto was inextricably associated with larger discussions of reform. Many of Italy’s illuministi—her enlightenment reformers—joined up with the Arcadians and argued as much about poetry and prose as they did about religious and cultural renewal and political organizations, and they saw it all cut from the same cloth. Benedetto Croce wrote that the roots of Italy’s Risorgimento (its unification in the 19th century) can be traced to the founding of the Academy of the Arcadians.
We will visit the Fontana di Trevi to consider the question raised by Sandro Benedetti of an “Arcadian Architecture”. Prof. John Pinto will also give us a presentation on the Trevi and baroque urbanism. What Ludwig von Pastor called a museum of Roman sculpture for the 1730s, the Capella Corsini in St. John Lateran is also a jewel of Alessandro Galilei’s early 18th-century architecture.
Tied in with the Arcadian Academy was Rome’s renewed interest in its own classical past (as opposed to a late baroque/barocchetto present), the beginnings of modern archeology, and the founding of one of Europe’s first modern museums, the Museo Capitolino. Rome’s fascination with antiquity and the consequent prodigious growth of the Grand Tour mirror inversely the city’s and papacy’s political clout, which had declined considerably after the Church’s failure to assert authority at the Treaty of Westphalia in 1648. The papacy was all but shut out in the early eighteenth century from the European-wide settlements of the War of the Spanish Succession. Now that Rome no longer wielded great political or military authority, the eighteenth-century Popes saw to it that the city would remain the universal capital of the arts, while they used their considerable spiritual and cultural authority to sustain the Church’s traditional prestige and Rome’s cultural heritage. Clement XI created new legislation to control trade in antiquities, and the founding of the Capitoline Museum during the reign of Clement XII guaranteed a steady stream of visitors to the Campidoglio to study the carefully displayed artifacts of ancient and imperial Rome. A return trip to the Villa Borghese, this time to study the renovations carried out under Marcantonio and Camillo Borghese, reveals the neo-classical influence in the new decorative programs at the villa, and also allows one to see and study the context of Neo-classicism and Napoleon’s collecting. Here too is the infamous reclining statue of Pauline Borghese (Napoleon’s sister) by Antonio Canova.
On-Site Visits:
Trevi Fountain and Piazza di Trevi, Santa Maria Maddalena, Raguzzini’s Housing Block, Piazza Sant’Ignazio, and the Bosco Parrasio. Participants will be urged to visit during their free time the Museo di Roma (the museum of 18th-century Rome].
Seminar Readings
Week 1: John W. O’Malley, Trent and All that: renaming Catholicism in the Early Modern Era (Cambrdige, MA: Harvard University Press, 2000), Introduction (“What’s in a Name?”) and Chapter 1 (“How it All Began”), pp. 1-45; Patricia Rubin, “The Private Chapel of Cardinal Alessandro Farnese in the Cancelleria, Rome, Journal of the Warburg and Courtauld Institutes, L (1987), pp. 82-112; Frederick J. McGinness, “From Vice to Virtues, Punishment to Glory: Rome, Civitas Sancta,” in Right Thinking and Sacred Oratory in Counter-Reformation Rome (Princeton, NJ: Princeton University Press, 1995), pp. 167-92; Steven F. Ostro, “The Sistine Chapel's Fresco Cycle,” and “The Pauline Chapel's Fresco Cycle,” from Art and Spirituality in Counter-Reformation Rome: the Sistine and Pauline Chapels in S. Maria Maggiore (New York: Cambridge University Press, 1996).
Week 2: Ann Sutherland Harris, “Domenichinio’s Caccia di Diana: Art and Politics in Seicento Rome,” Shop Talk: Studies in Honor of Seymour Slive (Cambridge, MA: Harvard University Art Museums, 1995), pp.92-6; Joy Kenseth, Bernini's Borghese Sculptures: Another View, The Art Bulletin, LXIII/2 (June 1981) pp. 191-210; Michael Hill, “Cardinal Dying: Bernini’s Bust of Scipione Borghese,” Australian Journal of Art; 1998, v. 14, no. 1, p. 9-24; Selections from Irving Lavin, Gianlorenzo Bernini: New Aspects of his Art and Thought; John Shearman, “The Historical Reality” in Mannerism (New York: Penguin Books, 1967), pp. 15-48; Arnold Hauser, “The Concept of Mannerism,” in Mannerism (Cambridge, MA: Harvard University Press, 1986), pp. 3-22; Hessel Miedema, “On Mannerism and maniera,” Simiolus X/1 (1978-79), pp. 19-45; Howard Hibbard, Caravaggio (New York: Harper and row, Publishers, 1983), pp.150-5; Leo Bersani and Ulysse Dutoit, Caravaggio’s Secrets (Cambridge,MA: MIT Press, 1998), pp. 45-9.; Conrad Rudolph and Steven F. Ostrow, “Isaac Laughing: Caravaggio, non-traditional imagery and the traditional identification,” Art History, 2001, v. 24, no. 5, Nov., pp. 646-681; Vernon Hyde Minor, Death of the Baroque and Rhetoric of Good Taste (New York: Cambridge University Press, pp. 14-16); Charles Dempsey, Annibale Carracci: the Farnese Gallery, Rome (New York: George Braziller, 1995).
Weeks 3 and 4: Philip Sohm, “Fighting with Style,” and Irving Lavin, “Bernini’s Conception of the Visual Arts: ‘Un Bel Composto,’” in Italian Baroque Art, ed. Susan M. Dixon, Oxford: Blackwell Publishing, 2008, pp. 34-50; 51-56; James Mirollo, “The Repertoire of Ornament,” and “Similitude and Metaphor,” The Poet of the Marvelous (New York: Columbia University Press, 1963), pp. 132-62; Joseph Connors, “Alliance and Enmity in Roman Baroque Urbanism,” Römisches Jahrbuch der Bibliotheca Hertziana, 1989, v. 25, p. 207-294; René Wellek, “The Baroque in Literature,” Dictionary of the History of Ideas, ed. Philip P. Wiener vol. 1 (New York: Charles Scribner’s Sone, 1973), pp.189-95; Tomaso Montanari, “A Contemporary Reading of Bernini's “maraviglioso composto”,” in Frangenberg, Thomas, ed., Poetry on Art: Renaissance to Romanticism, (Donington, S. Tyas, 2003), pp. 177-198; Giovanni Careri, “The Artist,” Baroque Personae, ed. R. Villari, trans. Lydia G. Cochrane (Chicago: University of Chicago Press, 1995), pp. 290-313; Richard E. Spear, “Guido’s Grace,” and “God’s Grace,” The Divine Guido (New Haven and London: Yale University Press, 1997), pp. 102-27; John Beldon Scott, “Program and Narrative Action of the Scenes,” Images of Nepotism: The Painted Ceilings of Palazzo Barberini (Princeton, NJ: Princeton University Press, 1991), pp. 136-44; Tod Marder, “The Baldacchino,” Bernini and the Art of Architecture (New York: Abbeville Press, 1998), pp. 27-46.
Week 5: Richard Parish, “Port-Royal and Jansenism,” The Cambridge History of Literary Criticism,” Vol. III (New York: Cambridge University Press, 2006), pp. 475-84; Hanns Gross, “Jansenism as a Roman Phenomenon,” Rome in the Age of Enlightenment: The Post-Tridentine Syndrome and the Ancien Regime (New York: Cambridge University Press, 1990), pp. 270-85; Christopher M. S. Johns, “Introduction,” Papal Art and Cultural Politics: Rome in the Age of Clement XI (New York: Cambridge University Press, 1993), pp. 1-21; Vernon Hyde Minor, “Arcadian Architecture,” The Death of the Baroque and Rhetoric of Good Taste (New York: Cambridge University Press, 2006), pp. 97-114; Tod Marder, “The Decision to Build the Spanish Steps: from Project to Monument,” Projects and Monuments in the Period of the Roman Baroque (University Park, PA: Penn State University Press, 1984), pp.83-99.
Institutional Context for the Seminar: Five Weeks on the American Academy in Rome’s Campus
The American Academy in Rome, located on the Janiculum Hill, is a center for the study of the arts and humanities. Those who work at the Academy are recipients of residencies and various fellowships, including the prestigious Rome Prize. The campus of the American Academy in Rome covers 11 acres of land, consisting of the main building, designed by the famed American architectural firm McKim, Mead, and White. In addition, the Academy’s grounds contain the seventeenth-century Villa Aurelia, which was built by Cardinal Gerolamo Farnese in 1650 atop one of the towers of the Aurelian Wall. The Villa Aurelia, beautifully renovated in 2000-2002 offers spaces for formal presentations of music, art, and scholarship as well as for receptions. The Academy’s recently renovated Arthur & Janet C. Ross Library contains 140,000 titles in classical studies and art history. In addition, there is the Photographic Archive of more than 60,000 images.
After an initial orientation session directed by Denise Gavio, the Assistant Librarian, participants in the Summer Seminar will have access to the Library 24 hours a day, 7 days a week. Those who live at the Academy will be able to check out books to their rooms; those who choose to live off campus will be assigned a desk in the library, where they can keep their books. The Library offers a self-service book scanner, microform readers, a photographic copy stand and high-speed computer connections. Users may bring laptops for their research, and when doing so are urged to bring Ethernet cords for connection to the internet. Those who live in the Academy building will have a connection in their rooms, again via Ethernet, to the internet. All readings will be provided to participants on discs or other easily accessible media.
Description of Housing
Participants are free to make their own housing arrangements in Rome; however, for 330 to 500 euros per week, one may stay in the 130-room McKim, Mead & White building, the Academy’s main building. In addition to the residential accommodations and the library, the MMW building contains studios and studies, a darkroom and computer room.
An apartment will be set aside for Seminar Members that has three double rooms and one single room, two bathrooms, a living room and a fully equipped kitchen. The double rooms in the apartment have twin beds that can also be joined to make one matrimonial bed.
The double rooms have work spaces for two, closets and night tables. The single room in the apartment has a bed, closet and desk. All of the Academy spaces have high-speed internet connections.
The cost of the double rooms in the apartment is euros 450 per week whereas the single room in the apartment will go for euros 385 per week.
There are also several single rooms set aside with private bath in the main building; those cost euros 435 per week.
There are a couple of study/bedrooms, which are cozy rooms set up as studies that have a sofa bed. There is a sink in the room but the bathroom is across the hall. The cost of these is euros 330 per week.
Application Procedures and Instructions
The application deadline is March 1, 2011. All successful applicants will be notified by April 1, 2011.
All application materials and the letters of Reference (hard copy only) should be sent to:
American Academy in Rome
NEH Summer Seminar
7 East 60th Street
New York, New York 10022-1001
T: (212) 751-7200 ext. xxx
F: (212) 751-7220
To refer to the general guidelines for application, click here.
The most important part of the application is the essay. This essay should include your reasons for applying to the specific project; your relevant personal and academic information; your qualifications to do the work of the project and make a contribution to it; what you hope to accomplish; and the relation of the study to your teaching.
All applications will be reviewed, evaluated, and ranked by me and two senior faculty (one in Comparative Literature, the other in History) from other universities.
To download an application form, click here.
Please note: Any views, findings, conclusions, or recommendations expressed in this program do not necessarily reflect those of the National Endowment for the Humanities.