George Sawyer Kellogg: lectures on Roman life and art and the art of the Italian Renaissance

              LECTURES
ON
Roman Life and Art
AND THE
Art of the Italian Renaissance
>ALSO
The Art of the Ancient Egyptians Greek Architecture and Sculpture
BY
GEORGE SAWYER KELLOGG
LECTURER IN THE HISTORY AND APPRECIATION OF ART, SUMMER SESSION, COLUMBIA UNIVERSITY, 1901–1903

LECTURER, EXTENSION DEPARTMENT, TEACHERS COLLEGE, 1903

NEW YORK 1911



ANNOUNCEMENT
George Sawyer Kellogg, formerly Lecturer in the History and Appreciation of Art in the Summer Session of Columbia University, 1901–1903, has returned from seven years' residence in Italy.  These years have been devoted to research work, study and teaching in Roman Archaeology and the Art of the Italian Renaissance.

In 1899 Mr. Kellogg organized a course of lectures in the entire history of Art, including its complete illustration, in Teachers College of Columbia University, giving all the lectures of this course for two years.  In 1901 he was called by Dr. Nicholas Murray Butler to organize and give the course in the History and Appreciation of Art in the Summer Session of the University, which he gave for three successive years before leaving for Italy.

The opportunities for study in Italy are inexhaustible.  Almost every form of the Arts was developed in Italy from the time of the Etruscans and Greeks down to that epoch-making revival of literature and Art—the Italian Renaissance.  Eight of the historical periods in Architecture, including the Etruscan, are represented by structures on her soil today.  Arthur Symonds has said in his Cities of Italy, in describing Florence: Florence, the city of all the Arts, the corridor through which all the Arts have passed and in which they still linger.

All the great Art of the world is a concrete expression of the highest thought and aspiration of the human mind.  To appreciate it fully, to receive from it all that it can give us, we must study it not only from the standpoint of technique but from a sympathetic understanding of the life and conditions—religious, social, and political, of the time in which it was created.

After having lived and studied in Italy for several years one has a far more vivid conception of the ancient Romans in their daily life and the complex conditions of the Italian Renaissance.  The sense of distance in time gradually becomes lessened by such closeness to the scenes of earlier times.  The periods of the Republic, the Empire, or the later time of the Renaissance, become so near and vivid that the life of the past, in all its varied phases, often becomes almost as real as the life of the present.

All lectures are completely illustrated with lantern slides.

For terms and additional information, address
GEORGE SAWYER KELLOGG,
416 West 122nd Street,
New York City.

Telephone 4475 Morningside.




ROMAN LIFE AND ART.

LECTURES ON ROMAN LIFE AND ART
In the lectures on the Roman Forum, Pompeii and the Classical Regions near Naples the point of view is not the Archaeological, unless especially requested, but more the historical and the illustration of Roman social and daily life.

In the lectures on Pompeii, the daily life of the people in their homes, temples, theatres and public baths is very completely described, while in the lectures on the Roman Forum especial attention is given to the historical events of the Republic and Empire which were commemorated in the Forum, and its various uses as a civic center.



THE ROMAN FORUM.
It had seemed to me for many years that the greatest book of human history, the story of the life of Rome, must still lie buried, page upon page as it was written, within the small half square mile of the Forum, which was the most famous spot of the ancient world.—Giacomo Boni, Director of the Roman Forum.



LECTURE I.
The Origin of the Forum—Its Early Use as a Market Place—The Reconstruction of its Structures and New Orientation by Julius Caesar—Its Condition during the Middle Ages and the Renaissance—The recent Excavations and Discoveries by Commendatore Boni—Tomb of Romulus—The Comitium—The Rostra—The Basilica Julia.



LECTURE II.
The Temple of Divus Julius—The Temple of Castor—The Lacus Juturnae—The Regia which contained the Spears of Mars, a very early Seismorgraph—The Temple of the Divus Augustus and its Library—The Temple and House of the Vestals, their Life and Ceremonies—Temple of Antoninus and Faustina—The Basilica of Constantine—The Arch of Titus.



POMPEII—AS IT ILLUSTRATES THE LIFE OF THE ANCIENT ROMANS.

LECTURE I.
The Early History of the City and Description of how it was destroyed by Vesuvius, based on the latest Scientific Knowledge—History of the Excavation of the City which Commenced in 1748—The First Director, Fiorelli, and what he Accomplished—The Modern Museum—The Basilica and the Forum with its Civic Structures.




LECTURE II.
The Forum Triangulare—The Greek Temple dating from the Sixth Century B. C.—The Palaestra—The Large and Small Theatres—The Seating Arrangements in a Roman Theatre—The Stage and Scenery—The Public Bath Structures—Life in a Public Bath—Seneca's Description—How the Roman Bath Resembled the Modern Club.



LECTURE III.
The Development of the Roman City House from the Early Italic Farm House—The Wedding Ceremonies and the Decorations for the Occasion—The Naming of a Child, and Wearing the Bulla—The Ceremonies at the Shrine of the Household Gods—The Houses of the Different Periods, the Successive Styles of Wall Decoration—The House of the Vettii and its Frescoes—The Frescoes in the New Suburban Villa Discovered during the Winter of 1909-1910.




THE CLASSICAL REGIONS NEAR NAPLES.

LECTURE I.
The Geological History of the Region—The Amphitheatre at Pozzuoli—Appliances Used in a Roman Amphitheatre—Lake Avernus and the Scenes of the Sixth Book of the Aeneid—The Acropolis of Cumae, the Earliest Greek Settlement on the Shores of Italy—The Influence of Cumae on Early Roman Civilization—The Cumaean Sibyl—The Greek Temples at Paestum—(Ancient Poseidonia)—Methods Used by the Greeks in the Construction of their Temples—The Temple of Neptune Contrasted with the Parthenon.




THE HOME, RELIGIOUS AND CIVIC LIFE OF THE ANCIENT ROMANS.*

LECTURE I.
The Life of the Ancient Romans in the Home.†



LECTURE II.
The Religious Life of the Ancient Romans.



LECTURE III.
The Recreations and Amusements of the Ancient Romans.



LECTURE IV.
The Civic Life of the Ancient Romans.




*These lectures are completely illustrated.

†This lecture was given in Havemeyer Hall, Columbia University on July 19, 1911.





ITALIAN PAINTING AND SCULPTURE.

LECTURES ON ITALIAN PAINTING
The Development of Renaissance Painting from Giotto to Michael Angelo, in its four most important advancements.


LECTURE I.
The Immortal Work of Giotto in the Arena Chapel at Padua—Masaccio's Frescoes in the Brancacci Chapel, which represent the Transition from the Middle Ages to the Renaissance—The Frescoes of the Last Judgment on the Walls of the Cathedral at Orvieto, by Signorelli.



LECTURE II.
The Culmination in the Great Drama of the Sistine Ceiling, by Michael Angelo.




ADDITIONAL LECTURES.
A—The Art of the Mosaic Workers in Italy.

The Mosaic Work before the Renaissance, a Form of Painting—The Mosaics of Ravenna—The Illustrated Bible of San Marco—The Mosaic pulpits of Ravello.

B—The Life and Work of Raphael.



THE SCULPTURE OF THE ITALIAN RENAISSANCE.

LECTURE I.
Its Characteristics, how it Differed from the Greek Conception of Sculpture—Its Commencement in the Pulpit at Pisa, by Niccolo Pisano—The Work of his Son, Giovanni—Reliefs on the Doors of the Florence Baptistry, by Andrea Pisano—Sculptured Facade of the Orvieto Cathedral—Orcagna's Tabernacle in Or San Michele.



LECTURE II.
Jacopo Della Quercia, the Forerunner of Michael Angelo—The Immortal Ilaria in the Cathedral at Lucca—The Reliefs of the Portal of San Petronio at Bologna—Ghiberti's Gates of Paradise in Florence—Donatello, the Greatest Florentine Scluptor before Michael Angelo—Luca Della Robbia, who Glorified Terra Cotta—Benedetto da Maiano's Pulpit in Santa Croce, the most beautiful Pulpit in the World—Verrocchio, the Sculptor in Bronze—The Masterpiece of Equestrian Sculpture, his Colleoni in Venice.



LECTURE III.
The Culmination of Renaissance Sculpture in the Work of Michael Angelo—The Sculptor who Revealed the Souls Deepest Experiences and






EGYPTIAN AND GREEK ART.
Emotions—The Pieta in St. Peter's—The David in the Academy—The Moses for the Tomb of Pope Julius II—The Tombs of the Medici in San Lorenzo.

These three lectures can be given in the Metropolitan Museum of Art if desired, using the casts of Renaissance Sculpture for illustration.

This first edition of the Announcement contains only a partial list of the lectures on the Architecture, Sculpture and Painting of the Italian Renaissance.


THE ART OF THE ANCIENT EGYPTIANS

Their Architecture, Sculpture and Painting.
A course of four lectures, completely illustrated, including a lecture on their Religion.




LECTURES ON GREEK ART.

Architecture, Sculpture and Vase Painting.

1.
Prehistoric Art in Greece.
2.
The Archaic Period, Architecture and Sculpture.
3.
The Transitional Period, Architecture and Sculpture.
4.
The Fifth Century.
5.
The Period of Praxiteles, Skopas and Lysippos.
6.
The Hellenistic Period.




ADDITIONAL LECTURES ON GREEK ART.

1.
The Athenian Acropolis and its Temple Structures.
2.
The Parthenon and its Sculptural Decoration.
3.
The Attic Grave-Reliefs of the Fifth and Fourth Centuries.
4.
The Art of the Greek Potter as it illustrates the Life and Social Customs of the Ancient Greeks.



Informal Talks to Classes in the Metropolitan Museum of Art.
Mr. Kellogg will resume his informal talks in the Metropolitan Museum of Art on the Art of the Historical Periods, using especially the collection of Egyptian Antiquities, the Architectural and Sculptural Casts, and the works of the great painters of the various schools.

The History of Industrial Arts is richly illustrated in the Museum.  In the very large Egyptian collection are many examples of the varied industries of the Ancient Egyptians, while the collections of pottery include the work of Egyptian, Cypriote, Etruscan, Greek and Roman potters.

The Museum's collection of ancient glass is considered by Dr. Robinson, the Director, to be the richest in the world and includes Egyptian, Phoenician, Cypriote, Greek, Roman and Venetian.

For information regarding terms for classes, address
GEORGE SAWYER KELLOGG,
416 West 122nd Street,
New York City.

Telephone 4475 Morningside.




Extract from Springfield Republican of February 24, 1911, commenting on a lecture on Pompeii, given before The School Arts League in the Technical High School, Springfield, Mass.:

In his lecture work he possesses a wonderful faculty for making a dead subject appear to live and assume a reality, that is seldom achieved in similar lectures.

Smith College, Northampton, Mass., February, 1911.

* * * No one who hears Mr. Kellogg can fail to be impressed with his boundless enthusiasm.  He has felt, since early youth, the irresistable attraction of the Arts of Classical Antiquity and the Italian Renaissance.  He has acquired through many years of study, a broad knowledge of his subject, and through long residence abroad, a rare and intimate familiarity with many of its phases.

ALFRED VANCE CHURCHILL, Professor of the History and Interpretation of Art.

New York School of Fine and Applied Art, January 12, 1911.

Mr. George Sawyer Kellogg was associated with me in work at Teachers College, Columbia University, for some years.  His work as a lecturer on the History of Art, particularly as it related to Egypt and Greece, was a source of pleasure and profit personally, and had the merit of convincing truth in the presentation.

For the past seven years he has resided in Italy, making an exhaustive study of the Art of the Roman and Renaissance Periods and has also been lecturing and teaching Art History there.

It was my pleasure to see and study Pompeii under Mr. Kellogg's direction.  I regard this privilege as one of the most vital and valuable of my European experiences.  He not only knows facts as to past and present conditions but senses the spirit or causes of things, which lends to all his work the inspiration that comes from the human conception of Art as man's natural expression of his life activities.

I strongly commend his work to your attention.

FRANK ALVAH PARSONS, Director New York School of Fine and Applied Art.

Ethical Culture School, Central Park West and 63d Street, New York City, January 21, 1911.

I first met Mr. George Sawyer Kellogg something over twelve years ago, when he was developing a most important type of Educational work in connection with the collections of the Metropolitan Museum of Art.  I believe he was one of the very first to recognize the need of the interpretation of a museum's treasures to students and to serious visitors.

Mr. Kellogg had had rare opportunities to become thoroughly familiar with the Museum, and I was much impressed by the energy, enthusiasm and wonderful devotion, as well as knowledge, which he brought to his new work.

I was fortunate in having his services when I took classes from the Teachers College Summer School (where I was then teaching) to the Metropolitan Museum, and his lectures to the students in the presence of the Art objects, showed marked ability.

Since those early days of my acquaintance, I have known of Mr. Kellogg's work in lecturing on the History of Art at Teachers College and of his work there in developing the Educational Museum.  The wonderful opportunity which he has enjoyed during the last few years by his long residence in the different parts of Italy to become thoroughly familiar with Italian Art and with the Italian galleries, must have given Mr. Kellogg a wide grasp of the subject.

JAMES HALL, Director, Department of Art Ethical Culture School.


Teachers' College, Columbia University, New York, May 4, 1911.

Mr. George Sawyer Kellogg is prepared to give very interesting illustrated lectures on all periods of Ancient Roman Art and life in Southern Italy.  Mr. Kellogg has been a student and teacher of Art for many years, was lecturer on the history of Art for three years at the summer session of Columbia University.  For the past seven years he has been residing in Southern Italy where he has made a careful study of ancient life.

He gave an interesting lecture at the Horace Mann School a few weeks ago, taking Pompeii as his theme.  His views were excellent and the lecture was very interesting and instructive.

His lectures are especially appropriate for high schools where there are classical or art courses.

SAMUEL T. DUTTON, Superintendent of Teachers College Schools.

Metropolitan Museum of Art, New York City, April, 1904.

* * * From the moment of his connection with this Institution to his present position as curator of the Museum at the Teachers College, Columbia University in this city, he has seen our collection of more than two thousand casts enter our doors and slowly take their places in our halls and on our walls, its division into historical groups and ethnic schools, and its arrangement and description in our official hand-book.

For years he has been bringing in large classes of students to study these masterpieces in the light of his prelections.  Many a time I have, unobserved by him, joined these groups and listened to his lucid, correct and impressive explanations, and in so doing I could not wonder at the interest and enthusiasm, as well as evident instruction, of his hearers.

In all my acquaintance I am able to think of no one who has enjoyed such exceptional advantages and has improved them so well, for assuming the management and charge of a large assemblage of the facsimiles of the world's treasures in glyptic work, and successfully making it the means of education in Art principles and elevation in true taste, to any community fortunate enough to be within the sphere of his influence.

JOHN A. PAINE, Formerly Curator, Department of Casts.