Icon in the Making - Museum of Russian Icons

Transcription

Icon in the Making:
The Artist Making History
Grades 9-12
Elizabeth Wilson
About the Museum
The Museum of Russian Icons was founded in 2006 as a non-profit educational institution by Massachusetts industrialist
Gordon B. Lankton. The collection includes more than 500 Russian icons, the largest collection of its kind in North America,
and one of the largest private collections outside Russia. The collection spans six centuries, and includes important historical
paintings dating from the earliest periods of icon painting to the present.
The Museum is a fascinating place for teachers and students to explore. It offers discussion-based tours that engage students
of all ages. The study of icons and Russian culture yields rich connections to a wide variety of curriculum areas, including
history and social studies, art and art history, and English Language Arts. We can customize your classroom visit to meet
your instructional goals and curriculum needs.
About This Lesson
This lesson is one of a series developed by graduate students in Tufts University’s Museum Studies program as assignments
for the course Curriculum Development for K-12/Museum Collaborations. Special thanks to the students who created them.
These lessons are works in progress intended to show educators the scope of educational opportunities that the Museum can
create for students.
Some lessons are designed to take place at the Museum, while others were created for teachers to use in the classroom.
They can be printed out and used as is, or they can serve as a starting point for other lessons. The Museum looks forward to
working with educators to tailor the experience for their students.
If you have written or developed a lesson plan about icons, the Byzantine Empire, Russian history or culture, or any other
relevant subject and you’d like us to post it on this website as a community resource, please send it to the email address
below and we will be in touch to follow up.
If you have questions or feedback about these lessons, or if you’d like to make arrangements for your students to visit the
Museum, please contact Tara Young at [email protected] or call (978) 598-5000 x13.
Content
I.
II.
III.
Page
Pre-Visit Lesson: The Story Behind an Icon
In-Gallery Lesson: Icon in the Making:
The Artist Making History
Cross-Curricular On-Site Museum Lesson:
Constantine, Religion and Politics: His Life in
Eight Pictures.
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7
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Museum of Russian Icons • 203 Union Street • Clinton, MA 01510 • 978.589.5000 !2012 For Educational Use Only
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I. Pre-Visit Lesson
The Story Behind an Icon
Length of time required 50 minutes (1 class period)
Grade/age level Grades 9 – 12
Subject Area English Language Arts, Visual Art
Lesson Overview
This pre-visit lesson will prepare students who will be visiting the Museum of Russian Icons. The activities and discussions in
this lesson plan are intended to help students become more familiar with Russian icons, and learn skills to look at icons more
critically. They will begin by looking at different types of icons, including icons (or logos) they may already recognize. Icons
of any type have significant meaning to the viewer, and students will play a quick game of Telephone-Pictionary to get them
to start thinking about how content can really help a person understand a picture or story better. Afterwards, the students
will be split into groups of 3 or 4 students, where they will look at two different icons to notice their similarities and
differences. They will then discuss and share their findings with the class.
Materials needed
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Blank white printer paper (one piece of paper for each student in class)
Pens or pencils
Copies of the Saint Nicholas and Saint Anastasia icons (See Appendix 1 and 2, page 15-18)
Large copies or slides of logos (Appendix 3, page 19-21)
Copies of the icon worksheet, one copy for each group (See Appendix 5, page 23)
Visual Language Fact Sheet (See Appendix 6, page 24)
Assessment sheet (See Appendix 7, page 25)
Preparation required
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Make copies of each icon image used in the beginning of the lesson, or make them into slides, project them on a
screen, etc. (Appendices 1 and 2)
Gather white printer paper, and pencils/pens if needed
Make copies of icon worksheet (Appendix 5)
Review Telephone-Pictionary game and review the example given (see Appendix 4) to be able to explain it to the class.
Make copies of the Saint Nicholas and the Saint Anastasia icons. The class will be divided into groups of 3 or 4
students. Half of the groups will be using the Saint Nicholas icons (Appendix 1), and the other half will be using the
Saint Anastasia icons (Appendix 2).
Print out Visual Language Fact sheet (Appendix 6)
Print out Assessment sheet (Appendix 7)
Vocabulary
Icon: a painting of Jesus Christ or another holy figure, typically in a traditional style on wood, venerated and used as an aid
to devotion in the Byzantine Empire and other Eastern Churches; a person or thing regarded as a representative
symbol or something; a symbol or graphic representation on a screen of a program, option, or window.1
Iconography: the visual images and symbols used in a work of art or the study of interpretation of these symbols and
images.2
Iconostasis: a screen bearing icons, separating the sanctuary of many Eastern churches from the nave, or the altar of the
church.3
1
Elizabeth J. Jewell and Frank Abate, New Oxford American Dictionary. 3rd ed., ed. Angus Stevenson and Christine A.
Lindberg (Oxford: Oxford University Press, USA, 2010), 862.
2
Ibid.
3
Ibid.
2
Symbol: something that stands for or suggests something else by reason of relationship, association, convention, or
accidental resemblance.4
Tempera: a method of painting with pigments dispersed in an emulsion miscible with water, typically egg yolk. The method
was used in Europe for fine painting, mainly on wood panels, from the 12 th or early 13th century until the 15th when
it began to give way to oils.5
Vita: biography6
Objectives/assessment criteria
By the end of the lesson students will:
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Be able to identify various kinds of icons.
Understand that each icon means something, or has a story behind it.
Be able to look closely at paintings to notice how certain icons are both similar and different.
Background/Introduction
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Russian icons are both interesting works of art as well as interesting stories told using different symbols, figures, and
styles. Russian icons can also be difficult to understand if one does not know their stories or know how to look at an
icon. By understanding what an icon is and building the skills to look more closely at an icon, students can focus on
icons in a way that makes them more meaningful. The teacher will be leading discussions with the class, and
encouraging students to look at icons with a new perspective so that they can begin to learn the significance behind
paintings of biblical events, important holy figures, and saints.
For the teacher to share with the class:
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What is an icon? What does an icon do? An icon is a sacred artwork in the Russian Orthodox Church that depicts Jesus
Christ, the Mother of God, saints, or stories from the Bible. Icons are used in veneration or worship, and are painted
according to strict conventions. Because of these conventions, the subjects of icons are instantly recognizable to people
who follow the Orthodox faith. Viewers from outside that tradition must learn some specific skills for looking at icons in
order to decode the symbolism used. In this lesson, we will have the chance to hone some skills” that will make it easier
for us to look at Russian icons. We will even be able to start looking critically at different painting styles to compare and
contrast similar icons.
Instructional Steps
1. Show the class a few icons – refer to them right now as paintings – from the Museum’s collection (See Appendices 1
and 2).
• Ask the students to think quietly to themselves as each image is shown. Ask them to think about each image. Do they
know who is in each painting or what is the story of each painting?.
• Next show them a few “popular” images – again do not call them icons. (See Appendices 3, 4, and 5)
• Ask the students if they recognize any of these popular images. What does each one represent? 4 minutes
2. Explain to the class that all of the images they just saw are icons.
In general, an icon is a person or thing that represents a symbol of something. An icon can be a symbol or graphic
representation on a computer screen.
• An icon can be an image of a white bird in front of a light blue background; this icon or logo is a visual symbol
that represents Twitter.
• An icon can be an image of a bin with the recycling icon on it; this represents the recycle icon on a computer
screen.
• An icon can also be a painting, or a religious painting. Explain to the class that an icon can also be a painting of a
holy figure or scene.
• An icon can be painted on wood, or painted on murals or screens. Many icons are painted using egg tempera, but
some icons are made out of mosaic, ivory, silver, gold, enamel, fresco, or even textile. 2 minutes
4
"Massachusetts Art Curriculum Framework." Massachusetts Department of Elementary and Secondary Education.
http://www.doe.mass.edu/frameworks/arts/1099.pdf (accessed April 17, 2012).
5
Elizabeth J. Jewell and Frank Abate, New Oxford American Dictionary. 3rd ed. Edited by Angus Stevenson and Christine
A. Lindberg. Oxford: Oxford University Press, USA, 2010.
6
Ibid, 1934.
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3. Before beginning the next activity, have the students think about why it may have been easier to recognize icons for
Facebook, Twitter, and the recycling bin, and why it may have been harder to recognize the first two icons that they
saw.
• Do they already know about Facebook, what it does, and what symbols represent it?
• That’s the important thing about icons, especially religious icons; the more familiar the viewer is with the story, the
more meaningful the icon will be. 2 minutes
4. Group Activity: Telephone-Pictionary
***Note: If a class size is large (15 students or more), then the teacher should feel free to divide the class into two or
more groups if it makes the activity easier to conduct.
Instructions for the Teacher:
Please see Appendix 4 for an example of what the activity should look like.
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Pass out a piece of blank paper for each student, and make sure each student has a pencil or pen. Tell the students
to write their name at the top of the paper.
Organize the class into one or more groups; each group should be in a circle.
To play Telephone-Pictionary, each person starts out by drawing a picture of their choice on the top of their piece of
paper. Students will only have 30 seconds, and the teacher will keep time. After 30 seconds, the teacher will say
“time” and will tell each student to pass his/her piece of paper to the left. Each student should now have a new
piece of paper with a drawing on top.
Now each student will have 30 seconds to write a sentence below the picture on the piece of paper. The sentence
should describe the picture that they see. After 30 seconds the teacher will call “time.” The teacher will instruct the
students to fold their piece of paper so that the only thing visible is the sentence they just wrote. (The original picture
should be folded over.) Now have each student pass his/her piece of paper to the left.
Tell the class that they now must draw a picture to describe the sentence that is on their piece of paper. After 30
seconds, the teacher will say “time,” and each student will fold his/her piece of paper so that only the only thing
visible is the picture they just drew. (The previous sentence and picture should be covered up.) Have the students
again pass their piece of paper to the left.
Now the students will write a sentence that describes the picture on their piece of paper. After 30 seconds, the
teacher will say “time” and each student will fold the piece of paper so that only their sentence is showing. Have
the students again pass their piece of paper to the left.
Student will have 30 seconds to draw a picture that describes the sentence above. After the teacher calls “time,”
each student will fold their piece of paper so that only the most recent picture is visible. Have the students again
pass their piece of paper to the left.
Last round (each piece of paper should have 6 sections: 3 drawings and 3 sentences). Students will write a
sentence that describes the picture on their piece of paper in 30 seconds.
The teacher will call “time,” and students should now unfold their piece of paper to see how each story evolved
from the first picture to the last sentence. Give time for students to pass back each other’s papers, and look at their
stories. 6 minutes
5. Debrief the last activity
• Ask the students if it was easier to draw a picture based on a sentence or write a sentence based on a picture. Was
it easier to infer meaning from the sentences or the pictures?
• Were there any changes from each picture to sentence?
• Ask how students used visual shorthand – did they use symbols to represent a particular person, place, or concept?
How? 4 minutes
6. Connection to other icons
Explain to the class that looking at icons (religious and everyday) can be difficult if you don’t know the content or story
behind the painting or the symbol. It can even be difficult if you don’t have enough information; maybe you felt that way
when playing Telephone-Pictionary. Or someone who does not know about Facebook, and has never seen its logo or
icon symbol, may not know what to do with that icon if s/he saw it online. A person may not know that the lowercase
“f” connects the user to Facebook.
• In the same way, a person looking at a religious icon for the first time may not understand the significance of the
person or story.
• Once the viewer understands what certain symbols and figures mean, and understands the story behind the icon,
the viewer has the knowledge and power to use the icon. Like the other day-to-day icons, once the viewer knows
what to do with the recycling bin icon, they can use it when they need to, because they know what it looks like, and
what it does. Keep in mind, however, the important distinction between everyday icons or symbols, and religious
icons, which are sacred objects used in religious veneration. 2 minutes
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7. Explain to the class that it is important to first learn how to look at an icon.
• Show the class for a second time the painting of Saint Nicholas. (See Appendix 1a)
• Ask the students if they know anything more about this icon since they first looked at it.
• Now hold up or show the icon “Saint Nicholas, Scenes” next to it. (See Appendix 1b)
• Have them look at the two images. Are they the same person?
• Explain that both icons represent Saint Nicholas.
• The second icon, though, has many pictures or scenes. This type of icon – with a painting of a person in the middle
and smaller pictures surrounding it – is called a vita icon. A vita icon is like a biography; it shows Saint Nicholas’
life in a painting.
• Now show the vita icon of “Saint Anastasia”. See Appendix 2a.
• And show the other “Saint Anastasia” icon with scenes. See Appendix 2b.
4 minutes
8. Divide the class into groups of 3 – 4 students.
• Half of the groups will receive a copy of the “Saint Nicholas” icon and the “Saint Nicholas, scenes” icon. The other
half will receive a copy of the “Saint Anastasia” icon and the vita icon respectively.
• Give each group a worksheet that has a blank chart with three labeled columns (See Appendix 5). 2 minutes
9. Have each group fill out the chart; one column for the vita icon, one column for the individual icon, and the middle
column for both icons. Have the groups study their two icons. Have one person in the group write down what everyone
sees in the two icons.
Ask these questions to the class:
• What are the similarities, differences, or variations between the two icons?
• Compare the saint’s clothes, face, body, etc. between the two paintings.
• What else does the vita icon show? 10 minutes
10. Using a whiteboard, or chalkboard, draw the same chart with three columns. After the students have gathered and
written down enough information, ask one person from each group to write some of their findings on the board. 4
minutes
11. The teacher can go over the class findings to see if people noticed the same things. The teacher can then explain what
some of the general findings mean using the Visual Language Fact Sheet (See Appendix 6). 10 minutes
Lesson Extensions
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Have the students visit the Museum of Russian Icon’s website, and look at its online collection. Use the “random images”
search to get a broad sense of the collection. Ask the students to pick the icon they think is the most interesting.
http://www.museumofrussianicons.org/research/index.php/resesarch-tools/collection/
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Using the icon they have chosen, students will research other symbols that are used in icons to convey meaning. For
example, look at color symbolism in the paintings. Students can look and research the colors used in their icons. Linette
Martin’s Sacred Doorways: A Beginner’s Guide to Icons has an excellent section on visual language, especially on
color meanings, that the class can use.
Then, as a class, sort out the icons by one or more colors, i.e. icons with vivid reds in them.
For each color category, is there some kind of large theme or idea that is conveyed in those paintings? Do they tell a
similar type of story? Have the students figure out and tell that story.
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Massachusetts Curriculum Frameworks
MA English Language Arts & Literacy
Language Standards, Conventions of Standard English
1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
a. Use parallel structure.
b. Use various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses
(independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or
presentations.
College and Career Readiness
Anchor Standards for Speaking and Listening,
1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on
others’ ideas and expressing their own clearly and persuasively.
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Visual Arts
Strand 5.8: Students will demonstrate the ability to compare and contrast two or more works of art, orally and in writing,
using appropriate vocabulary.
Connections Strand to English Language Arts
23. Students will use self-generated questions, note-taking, summarizing, précis writing, and outlining to enhance learning
when reading or writing.
Assessment
Please refer to Appendix 7, page 25 for the Assessment form. There are three areas of assessment for this lesson plan. The
assessment is on a 1 – 3 point scale: 1 meaning the student did not complete the objective, 2 meaning the student partially
completed the objective, and 3 meaning the student completed the objective effectively.
Bibiliography/Resources
For the Teacher
1. Center for Icon Studies. “Research Tools.” Museum of Russian Icons.
http://www.museumofrussianicons.org/research/index.php/resesarch-tools/collection (Accessed April 10, 2012).
2. Jewell, Elizabeth J., and Frank Abate. New Oxford American Dictionary. 3rd ed. Edited by Angus Stevenson and
Christine A. Lindberg. Oxford: Oxford University Press, USA, 2010.
3. Martin, Linette. Sacred Doorways: A Beginner’s Guide to Icons. Brewster: MA, 1997.
For the Lesson Plan
http://www.museumofrussianicons.org/research/index.php/resesarch-tools/collection/. (Accessed April 10, 2012).
3. Martin, Linette. Sacred Doorways: A Beginner’s Guide to Icons. Brewster: MA: Paraclete Press(MA), 2006.
4. Massachusetts Department of Elementary and Secondary Education. Massachusetts Arts
Curriculum Framework. http://www.doe.mass.edu/frameworks/arts/1099.pdf (accessed April 17, 2012).
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II. In-Gallery Lesson
ICON IN THE MAKING: THE ARTIST MAKING HISTORY
Length of Lesson Plan 50-minute lesson
Grade/Age Level Grades 9-12
Subject Area History/Social Studies, Visual Art, Art History, English Language Arts
Short Description/Overview
Andrei Rublev is considered the most influential Russian icon artist, and his most famous works have been argued to define
Russian iconography. Students will have the opportunity to explore the life and works of Rublev. They will view an icon
depicting the life of Rublev and view a replica of Rublev’s most influential icon. To better understand how one person can
influence such a broad subject, such as art, the students will create a timeline documenting Rublev’s life using secondary
sources. Piecing together facts and details, the students will produce a timeline in the form of a Facebook “profile” that
reflects the most important information about Rublev’s life. As a follow-up, students will share their “profile” to other students
to discuss the most important events in his life, and what really made him stand out as an individual.
Materials Needed
Each student will need one copy of the:
• Andrei Rublev fact sheet (Appendix 8, page 26-27)
• Facebook template (Appendix 9, page 28-29)
• “Andrei Rublev with Scenes” icon and “Old Testament Trinity” icon (Appendix 10, page 30-31)
• Facebook Timeline Tip Sheet (Appendix 11, page 32)
• Evaluation Sheet (Appendix 12, page 33)
• Blue or black pens/markers or colored pencils
• Tape or glue
• Clipboards
• 1 copy of the Student Assessment Rubric (Appendix 13, page 34)
Preparation Required
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Make sure each image is sized so that the image is no larger than a quarter of a 8.5” x 11” paper.
**If you are copying multiple prints on one page, make sure to cut out each image so that they are separate from each
other.
Print out all 6 documents so that each student has a separate copy:
“Andrei Rublev with Scenes” icon
“Old Testament Trinity” icon
Facebook template
Facebook timeline tip sheet
Andrei Rublev fact sheet
Evaluation sheet
Print out the Student Assessment Rubric (Appendix 13)
Collect the pencils/markers/pens and the scotch tape.
Assemble and/or collect clipboards
Vocabulary
Canonization: The act of the Christian church to declare a person, who is no longer living, a saint. The person is then listed
in the canon, or the list of recognized saints. Ex: Saint Mary, the Mother of Jesus Christ.
Fresco: painting one or more murals on a wet surface, typically plaster
Holy Trinity: the doctrine of the Christian Church that defines God as the Father, the Son (Jesus), and the Spirit.
Icon: typically a portable wooden panel, painted either with encaustic wax or with egg tempera. It can also refer to frescoes
or mosaics on church walls, on sacerdotal vestments, altar vessels, Gospel and liturgical book covers, crosses and
other media. Icons can be decorative or devotional objects. All icons share one important characteristic: they offer a
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window into eternal meaning and are thus worthy of honor and devotion. This honor is not offered to the icon itself,
but to what the icon represents.
Iconography: The symbolic representation of an image; the visual language of an icon.
Iconoclasm: the act of destroying religious icons, symbols, or monuments.
Iconostasis: In Eastern Christianity, iconostasis is the wall of icons that separates the nave (the high altar) from the sanctuary
in a church. Physically, it is a portable icon stand. Symbolically, it represents the uniting of heaven and earth
through the Incarnation.
Objectives
By the end of this lesson, students will
• Understand the historical significance of Andrei Rublev’s work as a Russian icon painter
• Formulate a timeline using secondary sources to document Andrei Rublev’s life
• Understand how one individual can influence the history of art
For the teacher:
Andrei Rublev is one of the most highly regarded Russian artists; his creation of the Holy Trinity is considered his most
significant work. In a culture where the artist’s name is considered less important than the style or icon itself, Rublev was
widely recognized as artists emulated his specific style. In this lesson plan, students will be learning about Rublev’s style and
his life to show what a difference one individual can make in the world of art. To build upon this concept, students will be
creating a unique timeline about Rublev to determine the key events in his life, which ultimately changed the world around
him.
For the teacher to share with the class:
There are many things to think about when studying or looking at Russian icons. You may ask, “Who painted this icon?”
However, Russian icons are typically unsigned. However, there is one famous exception. Andrei Rublev was a Russian artist
who became well-known during the 14th to15th century, and is still considered the greatest icon painter to have lived.
Although there is only a limited amount of text on Rublev, we still know more about him than many other icon artists. His life
and his artistic style are both remembered, but the question remains: what did Rublev do that made him so popular, and
how did he become so influential? Students will have a chance to answer these questions as they create their own timeline
documenting Rublev’s life in the form of a Facebook “profile page.” There are lots of details that make a “profile page”
interesting; students will decide which facts about Rublev are the most relevant and important.
Instructional Steps
1. The gallery lesson will begin on the first floor near the main entrance.
The museum educator should introduce him or herself to the group, as well as welcome the group to the Museum. The
museum educator will briefly explain the schedule and purpose of the visit to the group before beginning the lesson. I.e.,
students will learn about Andrei Rublev’s work and significance in Russian art by examining an icon dedicated to him,
and then creating a timeline of his life, status, and achievements. (1 minutes)
2. The lesson begins at the “Andrei Rublev with Scenes” icon on the 1st floor.
a. Explain that this icon is a biographical icon documenting Andrei Rublev’s life and significance
b. Explain that in addition to being an icon painter, Rublev was later made a saint. (5 minutes)
3. Next, bring students to the replica of the “Old Testament Trinity” icon
a. Introduce the icon by explaining that it is not the actual work created by Rublev himself; the original of this icon is
located at the Tretyakov Gallery in Moscow.
b. Explain that the subject of the Trinity icon was painted by many other icon artists, but Rublev’s style was so unique
and meaningful, that it was designated by the Orthodox Church as the official depiction of the Trinity
c. Explain to the group that Rublev had a unique style when painting icons such as the Old Testament Trinity. Show
and discuss how the three holy angels are sitting around the table, with their heads toward each other. There are no
utensils on the table except for a chalice (the goblet).
d. Also, show the gentle curve of the silhouette of the holy angels, the threefold color of the robes, and how the robes
are nearly transparent (light can be seen through them). (5 minutes)
4. Activity
a. Have the students sit down, and explain to them that they are going to create a timeline of Andrei Rublev’s life and
historical relevance. Each student will document significant events and moments during Rublev’s life, as well as
include any event that relates back to Rublev.
b. Explain to the students that the students will be creating a “profile page” as seen on Facebook.
c. Pass out the Facebook templates, the fact sheets, the icon images, and the timeline tips sheet.
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d. Explain to the group that they will be using excerpts from secondary sources on Andrei Rublev to create a timeline
of his life. Using these excerpts, students will write “status updates” and “wall posts” that document significant
moments before, during and after Rublev’s life.
e. Students may choose to use the information as they wish, but should consider creating a factual interpretation of
Rublev’s life.
f. Explain to the group that they have also been given a guideline to help them create an interesting profile page for
Rublev. The museum educator can provide examples using the Facebook tip guidelines. (See Appendix 11, page
32) (25 minutes)
5. Divide the class into small groups for a brief discussion/presentation (preferably 3-4 students).
Discussion questions:
a. In each group, the students should briefly present their timeline. What did they find interesting about Rublev’s life?
How did they present this information?
b. What were some similarities in everyone’s timeline?
c. What was Rublev’s most significant event/decision in his life? Did he have more than one?
d. Students should discuss if they think their profile page is detailed enough that a stranger could read it and
understand who Andrei Rublev is. If not, then how could you improve the profile page to make it even more
detailed and informative? (12 minutes)
6. Good-bye and evaluation.
a. Ask each student to fill out an evaluation for this museum visit and activity.
b. Pass out the evaluation forms. (Appendix 12, page 33) (2 minutes)
Lesson Extensions
• What other artists that have significantly changed the world of art? Research a well-known artist to discover why his/her
art is important.
• Create your own fact sheet (using primary or secondary sources) about your artist of choice. What are the key events
that should definitely be included?
• Can you tell what art historians and other researchers consider the most important facts about your artist by reading
different texts?
Language Standards, Conventions of Standard English, Grades 9 – 12
2. Demonstrate command of the conventions of Standard English capitalization, punctuation, and spelling when writing.
Language Progressive Skills, Grades 9 – 10
L.7.3a Choose language that expresses ideas precisely and concisely, recognizing and eliminating wordiness and
redundancy.
History/Social Sciences
Concepts and Skills, History and Geography, Grades 8 – 12
7. Show connections, causal and otherwise, between particular historical events and ideas and larger social, economic,
and political trends and developments. (H, G, C, E).
Visual Arts
Critical Response, Standard 5
Use published sources, either traditional or electronic, to research a body of work or an artist, and present findings in
written or oral form.
Assessment
See Appendix 13. There is a rubric that the museum educator can use to assess whether students have fulfilled the learning
objectives or not. The rubric is based on a 1-3 point system; there are three areas or objectives that students can fulfill
points.
Bibliography and Resources
For the Museum and Museum Educator
1.
2.
3.
4.
Binns, John. An Introduction to the Christian Orthodox Churches. New York: Cambridge University Press, 2002.
Bird, Alan. A History of Russian Painting. Boston, Mass.: G K Hall, 1987.
Bird, Robert. Andrei Rublev (BFI Film Classics). London: British Film Institute, 2004.
Galavaris, George. The Icon in the Life of the Church: Doctrine, Liturgy, Devotion. Leiden: Brill Academic Pub, 1981.
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5. Gibbons, H. P. Gerhard [translated from the German by Irene R. The World of Icons. London: John Murray Publishers
Ltd, 1971.
6. Onasch, Konrad, and Annemarie Schnieper. Icons: the Fascination and the Reality. New York: Riverside Book Co,
1997.
7. Theokritoff, Elizabeth. The Cambridge Companion to Orthodox Christian Theology. Edited by Mary B. Cunningham.
Cambridge: Cambridge University Press, 2009.
8. Voloshinov, Alexander V. “The Old Testament Trinity.” LEONARDO 32, no. 2 (1999): 103-12.
For the Classroom Educator
1. Binns, John. An Introduction to the Christian Orthodox Churches. New York: Cambridge University Press, 2002.
2. Bird, Alan. A History of Russian Painting. Boston, Mass.: G K Hall, 1987.
3. Gibbons, H. P. Gerhard [translated from the German by Irene R. The World of Icons. London: John Murray Publishers
Ltd, 1971.
4. Onasch, Konrad, and Annemarie Schnieper. Icons: the Fascination and the Reality. New York: Riverside Book Co,
1997.
Additional Resources for the Classroom Educator
Go to the Museum’s online catalogue to view the two icons used in the lesson.
1. http://russianicons.pastperfect-online.com/36567cgi/mweb.exe?request=record;id=F3DC08EE-575F-4225-8D36999129761741;type=101
2. http://russianicons.pastperfect-online.com/36567cgi/mweb.exe?request=image&hex=379.JPG
10
III. Cross-Curricular On-Site Museum Lesson Plan
Constantine, Religion, and Politics: His Life in 8 Pictures
Length of time required 50 minutes
Grade/age level Grades 9 – 12
Subject area History and Social Science, English Language Arts
Overview
Emperor Constantine is known for his rise to power and his influence on the Byzantine Empire. Historically, Constantine is
also known for influencing the spread of Christianity throughout the Byzantine Empire. Moreover, the development of the
Orthodox Church traces back to the Byzantine Empire. This lesson plan will focus on who influenced the spread of
Christianity, and how Christianity became the state religion of the Byzantine Empire. Since icons are a vital part of
Orthodox Christianity, this lesson plan will use vita icons, which represent the life and work of patron saints, to help better
understand how the decisions and events in Constantine’s life affected the rise and spread of Orthodox Christianity
throughout the state. Students will look at two different vita icons in the galleries, and will look at them closely to understand
why they are considered saints and why they are so well-known. After looking at and discussing a few vita icons, the
students will then create their own ‘live’ scenes reminiscent of the scenes on a vita icon. These staged scenes will represents
events from Constantine’s life. Students will decide what events in his life should be presented, and what those events say
about his influence on religion and political history.
Materials needed
1 copy per student of the Saint Nicholas, Scenes label and Saint Anastasia, Scenes label (Appendix 14, page 35-36)
1 copy per student of the Constantine Fact sheet (see Appendix 15, page 37)
Pencils
Blank white paper
1 copy of the Student Assessment Worksheet (See Appendix 16, page 39)
•
•
•
•
•
Preparation required
Make copies of the Saint Nicholas, Scenes label and the Saint Anastasia, Scenes label (see Appendix 14)
Make copies of the Constantine Fact sheet (see Appendix 15)
Make 1 copy of the Student Assessment Worksheet (see Appendix 16)
Gather blank paper
Gather pencils
•
•
•
•
•
Vocabulary
Icon: a painting of Jesus Christ or another holy figure, typically in a traditional style on wood, venerated and used as an aid
to devotion in the Byzantine Empire and other Eastern Churches; a person or thing regarded as a representative
symbol or something; a symbol or graphic representation on a screen of a program, option, or window.7
Iconography: the visual images and symbols used in a work of art or the study of interpretation of these symbols and
images.8
Iconostasis: a screen bearing icons, separating the sanctuary of many Eastern churches from the nave, or the altar of the
church.9
Pagan: a person holding religious beliefs other than those of the main world religions.10
Symbol: something that stands for or suggests something else by reason of relationship, association, convention, or
accidental resemblance.11
7
Elizabeth J. Jewell and Frank Abate, New Oxford American Dictionary. 3rd ed., ed. Angus Stevenson and Christine A.
Lindberg (Oxford: Oxford University Press, USA, 2010), 862.
8
Ibid.
9
Ibid.
10
Ibid, 1258.
11
Tempera: a method of painting with pigments dispersed in an emulsion miscible with water, typically egg yolk. The method
was used in Europe for fine painting, mainly on wood panels, from the 12th or early 13th century until the 15th
until it began to give way to oils.12
Vita: biography13
Objectives/Assessment Criteria
By the end of the lesson students will:
•
•
•
Know what a vita icon symbolizes.
Know how Constantine influenced the spread of Christianity in the Byzantine Empire.
Be able to identify the important decisions and events in Constantine’s life.
For the Teacher
Constantine is known to have influenced the spread of Christianity throughout the Byzantine Empire. As a young man and
rising leader in the Roman Empire he was accustomed to paganism, and during his lifetime Christians were persecuted for
the practice of their religion. Eventually he did convert to Christianity, and in time, his ruling empire made Christianity the
state religion. What events or decisions in his life made him convert? Using primary and secondary sources, students will
look at some key points in his life, and learn about what may have influenced him to convert to Christianity. They will use
the structure and significance of vita icons to determine the key moments in Constantine’s life, and understand how these
moments affected many people in and around his Empire.
For the Teacher to Share with the Class
Constantine is a historically well-known emperor. He rose to power in the Roman Empire, and eventually developed the
Byzantine Empire, which he ruled over in the city renamed after him, Constantinople. Constantine is also known for his
influence of spreading Christianity across the Byzantine Empire. Why did Constantine convert to Christianity when
Christians were still being persecuted? What happened in his lifetime that influenced this change? We will have the chance
to figure out how this happened, and determine what the key moments in his life were. We will look at biography icons (vita
icons) to figure out how one person can influence history, and then we will make a biography icon for Constantine’s life.
Instructional steps
1. Explain to the class that the Orthodox Church was historically the church of the Eastern Roman Empire. Christianity
became the state’s religion after Emperor Constantine converted.
• Orthodox Christianity spread at a time when paganism was still influential.14
• Icons are associated with Orthodox Christianity.
• An icon is more than a picture or painting, it is a symbol that is meant to connect the viewer to God and the
Christian faith.
• Icons can depict images of Jesus Christ, Mary, the Mother of God, Saints, or biblical scenes.
• Icons are typically painted with egg tempera on a wooden panel. These may be covered with metal and gems.
Icons can also be murals or frescoes meant to be displayed on church walls.15 2 minutes
2. When did icons start to develop as a part of Orthodox Christianity?
• Some argue 330 A.D. when Emperor Constantine moved his court to Byzantium, which was renamed
Constantinople.
• Icons were being made as early as the 4th century.
• Tell the class that now they are going to step away from this icon and take a look at two icons that portray the life
of two different saints. 2 minutes
11
"Massachusetts Art Curriculum Framework." Massachusetts Department of Elementary and Secondary Education.
http://www.doe.mass.edu/frameworks/arts/1099.pdf (accessed April 17, 2012).
12
Elizabeth J. Jewell and Frank Abate, New Oxford American Dictionary. 3rd ed. Edited by Angus Stevenson and
13
Ibid, 1934.
14
Elizabeth Theokritoff, The Cambridge Companion to Orthodox Christian Theology, ed. Mary B. Cunningham
(Cambridge: Cambridge University Press, 2009), 136 - 139.
15
Linette Martin, Sacred Doorways: a Beginner's Guide to Icons (Brewster, Mass.: Paraclete Press (MA), 2006), 3.
12
3. Walk to the “Saint Nicholas, Scenes” icon.
• Pass out the two sheets (See Appendix 1) 2 minutes
4. Ask the class to look at the first square on the painting, the top left scene.
• What do you see? What is going on? (birth, baby, family)
• Tell the class to look at their sheet to confirm. What does the sentence next to the number one say?
• It says when Saint Nicholas was born.
• Ask the class to look at the 11th scene (point to it).
• What is going on? (Allow for students to answer first, and then confirm.) (death)
• Saint Nicholas died in 343 A.D.
• This type of icon is called a vita icon. Vita means biography. A vita icon is like a visual biography of one’s life.
Typically, vita icons represent patron Saints of the Orthodox Church. A painting of the saint is in the middle with
scenes around it depicting his or her life.
• Ask the class to take a look at some of the other scenes.
• How would you describe the events in Saint Nicholas’ life?
• Vita icons usually commemorate the work of a particular saint.
• Saint Nicholas is considered the patron saint of the Byzantine world and Russia; he is considered the protector of
the poor and the weak.
• What scenes show that Saint Nicholas is the protector of the poor and the weak?
• Allow for students to share their thoughts. 5 minutes
5. Now walk over to the “Saint Anastasia with scenes” icon. 1 minute
6. Ask the class to look at the last scene on the bottom right.
• What is going on?
• Death, fire, set on fire, burned alive
• Anastasia was a martyr, and was open about her Christian faith despite being married to a noble pagan man.
Later, she was sent to the island of Palmora to be burned to death.
• What else can you see in these scenes that makes her life different from Saint Nicholas?
• How was she protected from people who tried to kill her?
• What makes her similar to Saint Nicholas? 5 minutes
7. Now lead the students to the South Gallery.
• Divide the class into 3 or 4 groups (depending on the size of the class) so that each group has 6 to 7 students.
• Pass out the Constantine Fact Sheet. (See Appendix 15)
• Pass out one sheet of paper to each group.
• Pass out pencils to each group. 2 minutes
8. Explain to the class that they are going to create scenes in the style of a vita icon for Constantine. He is not a saint, but
is still historically influential and significant.
• Students will be working together to create a ‘live’ vita icon representing Constantine’s life.
• Tell the class to think of each painted scene as a posed photo. Everybody in the picture is doing something specific,
and together they create a scene showing what is taking place.
• Imagine that these “scenes” are going up on the walls for everyone to see, and the viewer needs some help with
understanding what is going on in this biography icon. For each scene, come up with a sentence that summarizes
that scene (just like the handouts for Saint Nicholas and Saint Anastasia).
• As a group, come up with 8 sentences that represent Constantine’s life.
• Explain that one person should narrate.
• The rest of the group will act out and pose for each scene. Remember each scene should hold still for a short length
of time, enough for a photographer to “take” your picture.
• For example, if the group was posing for one of Saint Nicholas’ scenes “Going to school with his uncle, the Abbot,”
there might be one person posed as the Uncle “teaching” and one person posed as Saint Nicholas the student.
• Everyone should participate in some way. 16 minutes
9. After the groups have prepared their scenes, each group will present them to the class. Remind the students about
volume control, and try to keep the volume at a low level. No talking during each presentation; you should be able to
only hear the narrator. 14 minutes
10. Thank the group for visiting the Museum.
Lesson Extensions
Distribute blank white paper to the class.
•
•
Have the students write something that they learned or found interesting about Constantine.
Ask them if they know any other individuals in history who have done the same thing, acted in a similar way, or
achieved a similar type of accomplishment as what they just wrote. Allow time for sharing and discussion.
13
•
•
What about the opposite? Is there a famous historical figure that has done the opposite of what you drew on your
paper?
Why do we usually learn about certain people in history who have done significant things (good or bad)?
Allow for students to discuss this question in small groups.
History and Social Science
WHI.
6. Describe the rise and achievements of the Byzantine Empire. A. The influence of Constantine, including the establishment
of Christianity as an officially sanctioned religion.
Concepts and Skills, History and Geography
7. Show connections, casual and otherwise, between particular historical events and ideas and larger social, economic and
political trends and developments.
Reading Standards for Informational Text
2. Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and
is shaped and refined by specific details; provide an objective summary of the text.
College and Career Readiness Anchor Standards for Writing
3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and
well-structured event sequences.
College and Career Readiness Anchor Standards for Writing
9. Draw evidence from literary or informational texts to support analysis, reflection, and research.
College and Career Readiness Anchor Standards for Speaking and Listening Presentation of Knowledge and Ideas
4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the
organization, development, and style are appropriate to task, purpose, and audience.
Assessment
Please refer to Appendix 16 for the Assessment Worksheet. There are three areas of assessment for this lesson plan. The
assessment is on a 1 to 3 point scale. 1 meaning the student did not complete the objective, 2 meaning the student partially
completed the objective, and 3 meaning the student completed the objective effectively.
Bibliography/Resources
For the lesson plan
2. Eusebius. Life of Constantine (Clarendon Ancient History). Oxford: Oxford University Press, USA, 1999.
4. Martin, Linette. Sacred Doorways: a Beginner's Guide to Icons. Brewster, Mass.: Paraclete Press (MA), 2006.
5. Pohlsander, Hans A. The Emperor Constantine. London: Routledge, 1996. Theokritoff, Elizabeth. The Cambridge
Companion to Orthodox Christian Theology. Edited by Mary B. Cunningham. Cambridge: Cambridge University Press,
2009.
For the Teacher/Educator
2. Martin, Linette. Sacred Doorways: a Beginner's Guide to Icons. Brewster, Mass.: Paraclete Press (MA), 2006.
3. Pohlsander, Hans A. The Emperor Constantine. London: Routledge, 1996. Theokritoff, Elizabeth. The Cambridge
Companion to Orthodox Christian Theology. Edited by Mary B. Cunningham. Cambridge: Cambridge University Press,
2009.
14
Appendix 1a. Pre-Visit Lesson. The Story Behind an Icon. Saint Nicholas.
15
Appendix 1b: Pre-Visit Lesson. The Story Behind an Icon. Saint Nicholas with Scenes.
16
Appendix 2a: Pre-Visit Lesson. The Story Behind an Icon. Saint Anastasia
17
Appendix 2b: Pre-Visit Lesson. The Story Behind an Icon. Saint Anastasia with Scenes.
18
Appendix 3a: Pre-Visit Lesson. The Story Behind an Icon.
19
Appendix 3b: Pre-Visit Lesson. The Story Behind an Icon.
20
Appendix 3c. Pre-Visit Lesson. The Story Behind an Icon.
21
Appendix 4: Pre-Visit Lesson. The Story Behind an Icon.
22
Appendix 5: Pre-Visit Lesson. The Story Behind an Icon. Icon Worksheet.
Unique characteristics of the individual
icon:
Similarities between the individual icon
and the vita icon:
Unique characteristics of the vita icon:
23
Appendix 6. Pre-Visit Lesson. The Story Behind an Icon. Visual Language Facts.
•
In visual language, symbols or images are used consistently so we can recognize two different icons
to be the same scene or person even if styles of painting have changed.
•
An excerpt from Linette Martin’s Sacred Doorways: A Beginner’s Guide to Icons states that “icons
teach facts of revelation or unchangeable Christian doctrine or portray a unique sacred individual
that they cannot change their fundamental iconography…. Think of the iconography as like the
structures of a written language, and think of the different styles as like language written in different
typefaces…. When you can read a language, the difference of typeface or emphasis does not
confuse you.” 16
•
Clothes on Saints
Female saints were shown to wear long tunics with a wide scarf with gold or jewels on it.
Female virgin saints and martyrs wear white robes to show the spiritual importance of their death.
Haloes: A halo is a circle of light around the head of Christ, an angel, saint or a Prophet.
Symbolically, the halo was another detail that identified the person in the painting as a Saint
•
•
Hand positions:
A single finger signifies command or power
Hands held to the face signify gesture or grief
Someone who is praying has their hands held up near their head
The index finger touching the thumb symbolizes teaching, or that someone with authority is
speaking.17
Please refer to Linette Martin’s book Sacred Doorways: A Beginner’s Guide to Icons for more information about visual
language symbols and meanings.
16
Linette Martin, Sacred Doorways: A Beginner's Guide to Icons (Brewster, Mass.: Paraclete Press (MA), 2006),
81.
17
Linette Martin, Sacred Doorways: A Beginner’s Guide to Icons (Brewster, Mass: Paraclete Press, 1997), 91 - 119.
24
Appendix 7. Pre-Visit Lesson. The Story Behind an Icon. Assessment Form.
Student Name
The student was able
to identify various
kinds of icons.
The student
understands that each
icon has meaning or a
story behind it.
Looked closely at
different paintings,
and noticed how
certain icons are both
similar and different.
Total Points
25
Appendix . In-Gallery Lesson. Andrei Rublev Fact Sheet.
***Excerpts have been taken from secondary sources that relate to Russian icons or Andrei Rublev. Each excerpt has been
cited from its original text.
1. Martin, Linette. Sacred Doorways: A Beginner's Guide to Icons. Brewster, Massachusetts:Paraclete Press, 2002.
“Though signed icons became more common in the fifteenth century, we know several names from before that. … There
was Theophan the Greek, painter in Novgorod in the fourteenth century, a craftsman a long way from Constantinople,
where he had previously worked, and probably bearing his nickname with pride as a guarantee of excellence. There
was his colleague, St. Andrei Rublev, whose Trinity icon is the standard by which all other Russian Trinity icons have
since been measured.” p. 34.
2. Bird, Robert. Andrei Rublev (BFI Film Classics). London: British Film Institute, 2004.
“Rublev’s Trinity is deceptively simple and transparent. The three figures bow to each other in graceful acknowledgment
of their shared majesty. Theologians tell us that the angels (based on Genesis 18) prefigure the revelation of the triune
God in the New Testament, united in love because their shared nature is love… Historians treasure Rublev’s image as
the jewel which glistened amidst the embers of Russia’s historical bonfire and expressed the nation’s silent spiritual
vision.” p. 8-9.
“ …the story of Russia’s most renowned icon painter, who died in 1430 and is conjectured to have been born 1360 –
1370. Only a single icon, The Old Testament Trinity, can be attributed to Rublev with certainty; its distinctive style has in
turn served as the basis for numerous other attributions of icons, frescoes, and miniatures.” p. 12-13.
“However, it was Rublev’s name alone which became the standard for traditional Moscow-school icon painting. In
1551, in the face of growing Western influence, the Russian church mandated that icons be painted ‘from the ancient
standards, as Greek icon painters and as Andrei Rublev painted along with other famous icon painters’. Rublev’s
exclusive reputation was confirmed in 1988, when he was canonized as a saint on the occasion of the millennium of
Christianity in Russia.” p. 17.
3. Binns, John. An Introduction to the Christian Orthodox Churches. New York: Cambridge University Press, 2002
[Rublev] was a pupil of Theophan the Greek and worked with him. It was forbidden to depict God himself, since he is
unknowable. So the three angels who visited Abraham were seen as a proper depiction that indicated the godhead
(Genesis 18: 1-8). Andrei Rublev’s version was painted around 1425 for the iconostasis of the church of the Holy Trinity
at St Sergius’ Monastery, and retains the traditional content but uses a simplicity and movement lacking in earlier
examples. Each angel represents the Trinity, although there has been some debate about which angel corresponds to
which person of the Trinity, and the circular forms of the arrangement and meeting of the direction of the eyes shows
both the unity of the trinity and the relationships of the persons.” p. 105.
4. Bird, Alan. A History of Russian Painting. Boston, Mass.: G K Hall, 1987.
“Andrei Rublev (c. 1370 – 1430) is the first Russian artist of whose identity we have records. Rublev, a monk, began his
career in the important St Sergius and Trinity monastery (now the Rublev museum) on the outskirts of Moscow. Here he
was exposed to the influence of the many Greek and Serbian painters who had arrived in the principality. About 1400
he may have completed the frescoes in the Cathedral of the Dormition in Zvenigorod and, in 1408, together with an
older painter named Daniil Chorniy, he worked on the decorations of the Cathedral of the Dormition in Vladimir.
Remarkable as were the frescoes he created throughout his life, it was as an icon painter that he excelled; and his
masterpiece – perhaps the noblest of Russian icons – is his Old Testament Trinity painted about 1411 for the iconostasis
of the St Sergius and Trinity monastery. Depictions of the visit of the three angels to Abraham and Sarah were popular
in Byzantine art as foreshadowings of the Holy Trinity, but Rublev invested the scene with a dreamy grace and serene
spirituality which are far removed from previous anonymous versions.” p. 22.
“At some unknown date between 1427 and 1430 he died in the Spas Andronikov monastery. In tribute to his life and
work he was accorded the rare distinction of beatification by the Orthodox church. Rublev’s career has been justly
appraised in these words: “A monk of the Monastery of the Holy Trinity, he nurtured all his life the precepts of the
founder of the monastery, St Sergius of Radonezh, who had worked for peace and understanding among men. The
images of Theophanes, tragic and full of inner conflict, probably had little appeal for him; his own strivings were
towards an art which would be straightforward and lucid. Coming into contact during his lengthy career with those
sections of Russian society which were most active in the struggle for total freedom from Tatar domination, Rublev no
doubt felt a keen awareness of the absolute need to break with alien traditions. He must have come to realize that this
new era of national fervor also required a new art, which could express the thoughts and feelings of its time in forms not
only entirely original but also aesthetically perfect. Setting out along this road, Andrei Rublev was to become the
26
greatest Russian master of the fifteenth century.” p. 24.
5. Gerhard, H. P. [translated from the German by Irene R. Gibbons. The World of Icons. London: John Murray Publishers
Ltd, 1971.
“Rublev was well known and respected as a fine painter in Moscow during his lifetime, but his fame did not spread to
the whole of Russia until after his death. His icons were held in high esteem.” p. 170.
“Andrei Rublev was better than anyone else at producing consummate works of art which were based on Greek
models, but unmistakably Russian in character. Generations of icon painters modeled themselves on his style, but never
managed to equal him.” p. 170.
“In the iconostasis at Zvenigorod, created around the turn of the century, Rublev already showed himself to be a master
who had evolved an individual style by his own effects. Characteristic features of this are his bright, gay colors, clear
drawing and faces heavily charged with emotion.” p. 171.
6. Onasch, Konrad, and Annemarie Schnieper. Icons: the Fascination and the Reality. New York: Riverside Book Co.,
1997.
“Andrei Rublev…lived in the Andronikov Monastery in Moscow, which he left only to do commissioned work elsewhere.
The model for the life of the monks in this monastery was the much venerated Sergei of Radonezh (d.1392). In the
deepest Russian primeval forest, sixty miles from Moscow, Sergei at first established a hermitage and then a monastery
and a church, both of which he dedicated to the Holy Trinity.” p. 84
27
Appendix 9a . In-Gallery Lesson. Facebook Template.
Profile Picture
Andrei Rublev’s Basic Information
Andrei Rublev’s “Likes”
Andrei Rublev’s TIMELINE
28
Appendix 9b . In-Gallery Lesson. Facebook Template.
Andrei Rublev’s TIMELINE (continued)
29
Appendix 10a. In-Gallery Lesson. “Andrei Rublev with Scenes” icon.
30
Appendix 10b. In-Gallery Lesson. “Old Testament Trinity” icon.
31
Appendix 11. In-Gallery Lesson. Facebook Timeline Tip Sheet.
Things to consider when creating a Facebook timeline for Andrei Rublev:
• Have fun with the activity! Stay with the facts, but be creative using the design
of Facebook.
• What are some of the key elements of a “profile page”? What would be Andrei
Rublev’s basic information? What would be his profile picture? Would he have
photo albums? What would he “like”? What would be his status updates?
Who would be his friends? Try to consider every consistent aspect of any
Facebook page.
• What would Rublev say in his status updates? Would it be in 1st person or 3rd
person? I.e. “Andrei Rublev is painting the Holy Trinity today, and is trying out a
new style.” Or, “I trained with Theophan the Greek. I am learning a lot about icon
painting.”
• Often Facebook users post important notices about themselves. What would be
Rublev’s posts?
• What would Rublev “like”? (People, places, events)
• Imagine that Rublev’s Facebook profile page stayed public after his death. Would
people still post things on his wall? What might these posts say?
Ex: “#1Russianiconfan” says that he/she loves Rublev’s work.
• What would be Rublev’s profile picture? Would it be an icon of himself or his most
famous work?
• Think of the order on any Facebook page. The most recent activity is located at the
top of the page, and the older posts are ordered chronologically.
32
Appendix 12. In-Gallery Lesson. Icon in the Making: The Artist Making History. Evaluation Sheet.
In the spirit of Facebook, please “like” and/or comment on this status update to show if you enjoyed the museum visit and
activity. Please “like” today’s activity by circling the word “like” as well as leave a comment about what you enjoyed seeing
or doing at the Museum.
Your name:
Today my class visited the Museum of Russian Icons and we made a profile page for the
influential Russian icon painter, Andrei Rublev.
Like
What do you think?
33
Appendix 13. In Gallery Lesson. Student Assessment. Assessment is defined on a point scale of 1-3.
1 = The student has little understanding of information presented or very little participation in the written and oral activity.
2= The student has a moderate understanding of the information, or sufficiently participates in the written and oral activity.
3= The student grasps the information, or successfully participates in the written and oral activity.
Name of Student
The student
understands the
historical significance
of Andrei Rublev’s
work in Russian
iconography.
The student created a
timeline on Andrei
Rublev using
secondary sources to
document his life.
The student shows an
understanding
(through written and
oral activities) that
one individual, such
as Rublev, can
influence art history.
Total
Points
34
Appendix 14a. Cross-Curricular On-Site Museum Lesson Plan. Saint Nicholas Label Text.
SAINT NICHOLAS
Saint Nicholas, a fourth century Bishop in what is now Turkey, was the most popular
saint in the Byzantine world and Russia. He continues to be the Patron Saint of Russia.
He is particularly renowned as Protector of the weak and poor.
In many icons, he holds a gospel of Matthew opened to the great
discourse known as the Beatitudes. In other icons, Nicholas is
shown holding a sword in one hand and a "town" in the other hand. The sword
represents his defense of Christianity and the town represents his love for the city of
Myra (where he became a bishop).
1
2
3
5
4
6
Saint
Nicholas
7
9
8
10
11
12
1.
Birth of Nicholas in 270 A.D.
2.
Baptism of Nicholas
3.
Healing the shriveled hand of
a woman
4.
Going to school with his uncle,
the Abbot
5.
Ordination as a deacon
6.
Ordination as a bishop
7.
Appears to Emperor Constantine
in a dream
8.
Rescuing three generals from
prison
9.
The Carpet miracle
10. Returns a kidnapped boy to
his parents
11. Death of Saint Nicholas in
343 A.D.
12. Transfer of his bones to Bari
35
Appendix 14b. Cross-Curricular On-Site Museum Lesson Plan. Saint Anastasia Label Text.
SAINT ANASTASIA
Anastasia was born in the third century during the Christian persecutions by the Roman Emperor Diocletian. Her father was
a noble pagan but her mother was a Christian of noble descent who secretly baptized her and raised her as a Christian.
She was married to Publius, a pagan nobleman. When she found out she was a Christian, he became a tyrant and treated
her like a slave. Anastasia rejoiced that she could suffer for her love of Jesus Christ. When Publius was appointed
ambassador to Persian, he told the servants in the house to treat Anastasia badly and in his absence not be surprised if
they found her dead. But instead Publius met an untimely death while traveling.
Anastasia, then inflamed with the love of God, consoled Christian prisoners. She heard of the arrest and imprisonment
of Saint Chrysoganus. She spent a year defending the saint but ultimately he was beheaded by the order of Diocletan
on November 24, 303.
When the Roman pagans continued to imprison and butcher Christians she was found in the court weeping for them.
She was sent to Emperor Diocletian who was unsuccessful in getting her to abandon her religion. Diocletian sent her before
the Prelate Upian. Prelate Upian told her she had three days to give up Christianity. Anastasia replied, “three days are
not necessary, I am a Christian and I am anxious to die for Jesus Christ, from me you will never get another answer.”
Upian then attacked her and was struck blind on the spot. He died within an hour.
Anastasia was then imprisoned with no food in an attempt to starve her to death but she continued to live. She was then
put on a ship with 120 prisoners. The hull of the ship was purposely filled with holes. The ship soon began to fill with water
but floated ashore where all of the prisoners converted to Christianity.
Anastasia was then sent to the island of Palmora where she was finally burnt to death. She was buried in Dalmatia
by a Christian lady and in the year 460 Emperor Leo was transferred her relics to the Anastasia Church of the
Resurrection in Constantinople.
1
2
3
5
4
6
7
8
Saint Anastasia
9
1.
Her mother instructs her in the Christian faith.
2.
She and her mother go to Saint Chrysogonus.
3.
Anastasia is learning from Saint Chrysogonus.
4.
She is married to the pagan Publius.
5.
Anastasia tells Publius that she is a Christian.
6.
Anastasia visits Saint Chrysogonus.
7.
Anastasia is helping and healing.
8.
She visits Christian prisoners.
9.
Publius drowns while sailing to Persia.
10. She does works of Charity for Christians.
10
11. Anastasia comforts a persecuted woman.
12. Anastasia in front of the Emperor Diocletian.
13. Prelate Upian attacks her and is struck blind.
11
12
14. Anastasia cannot be starved or drowned.
15. Anastasia cannot be beheaded.
13
14
15
16
16. Finally Anastasia is burnt to death.
36
Appendix 15. Cross-Curricular On-Site Museum Lesson. Constantine Fact Sheet.
Constantine
•
•
•
•
•
•
•
•
•
Born between 271-272 A.D.
Parents: Helena and Constantius
249 A.D. Persecution of the Christians
284-305 A.D. Diocletian ruled as Roman emperor
305 A.D. Diocletian and Maximian retire; Constantius becomes Augustus.
306 A.D. Constantius dies at York fighting against the Picts in modern-day Scotland; Constantine is
declared Augustus by the soldiers.
307 A.D. Constantine marries Fausta, daughter of Maximian.
310 A.D. Maximian dies.
October 18, 312 A.D. Battle at Milvian Bridge
Maxentius (Maximian’s brother) feels threatened by Constantine’s power. Maxentius invited
Constantine to battle outside of Rome, at the Milvian Bridge. Maxentius’ army suffered defeat, and
Maxentius and many other soldiers drowned in the river. The next day Constantine entered the city with
Maxentius’ head attached to a stake, and carried it through the streets to show that he was now the
leader and Emperor of the West.
•
•
•
•
•
•
313 A.D. Constantine met with Licinius (emperor of the East) in Milan to agree upon a common
religious policy. The Edict of Milan stated in a letter that persecuting Christians must stop. The edict
ordered those who had stolen property from Christians to give their property back, and allowed
Christians and others to practice whatever religion they choose.
325 A.D. Council of Nicaea. Council of Nicaea was an assembly of Christian Church officials,
where they met and agreed upon consensus on issues. Constantine led the Council, and was
involved in both Church and political issues.
330 A.D. Constantine made the city of Byzantium the new Roman capital. It was renamed
Constantinople to commemorate Emperor Constantine. Constantinople is the crossroads between
Europe and Asia, and for Constantine it was a sign of power to have his empire’s capital here.
335 A.D. Church of the Holy Sepulchre in Jerusalem is dedicated to Constantine.
337 A.D. Constantine is baptized in the Christian Church by Bishop Eusebius of Nicomedia
May 22, 337 A.D. Constantine dies in Nicomedia, and his body is transported to
Constantinople.18
Life of Constantine by Eusebius
Eusebius was a bishop of Caesarea in Palestine during the time Constantine was alive. Present day
scholars have studied this text to understand if it is entirely factual or partly biased. The excerpts focus
on Constantine’s conversion to Christianity, but other sources tell us that there are different versions of
how Constantine converted.
Book I.
Ch. 27 “Knowing well that he would need more powerful aid than an army could supply because of
the mischievous magical devices practiced by the tyrant, he sought a god to aid him.”
18
Hans A. Pohlsander, The Emperor Constantine, (London: Routledge, 1996), 1 – 77.
37
Ch. 28 “As he made these prayers and earnest supplications there appeared to the Emperor a most
remarkable divine sign…. About the time of the midday sun, when day was just turning, he said he
saw with his own eyes, up in the sky and resting over the sun, a cross-shaped trophy formed from light,
and a text attached to it which, said ‘By this conquer.’”
Ch. 29 “There upon, as he slept, the Christ of God appeared to him with the sign which had appeared
in the sky, and urged him to make himself a copy of the sign which had appeared in the sky, and to
use this as protection against the attacks of the enemy.”
Ch. 32 “He enquired who this god was, and what was the explanation of the vision. They said that the
god was the Only begotten Son of the one and only God, and that the sign which appeared was a
token of immortality…he now decided personally to apply himself to the divinely inspired writings.”19
Was Constantine’s vision, described by Eusebius, actually true? Scholars say that Eusebius heard
Constantine say “more than twenty-five years later, an elaborate story which, he claims, he had heard
from the Emperor personally, ‘a long time after.’”
Another account by Lactantius says that Constantine converted to Christianity after he was commanded
in a dream to place a symbol of Christ on his troops’ shields (his soldiers were primarily pagans).
Constantine won the battle at the Milvian Bridge, and then he converted and became much more
tolerant to Christians after 312 A.D.20
19
Eusebius, Life of Constantine (Clarendon Ancient History), (Oxford: Oxford University Press, USA, 1999), 77 –
88.
20
Ibid, 204.
38
Appendix 16. Cross-Curricular On-Site Museum Lesson Plan. Student Assessment Worksheet.
Student Name
The student knows
what a vita icon
symbolizes.
The student knows
how Constantine
influenced the spread
of Christianity in the
Byzantine Empire.
The student is able to
identify the important
decisions and events
in Constantine’s life.
Total Points
39

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