Studio for Art, Faith & History regularly publishes essays by the artists and writers and scholars who have participated in the programs of Gordon College in Orvieto, and which reflect the themes of the Studio for Art, Faith & History. A growing collection of these essays can be found on the website devoted to the creative and scholarly work of participants in Studio projects: www.artfaithhistory.org
John Skillen: The Four Parties to Making the Art Work
In all of its activities, the Studio seeks to model trusted relationships among the four parties which, in earlier cultural epochs, were agents in the production and use of art. These were the artists who make art, of course, but also the communities who use artwork to give shape and purpose to the activities that embody who they are, the patrons who commission and fund it, and the scholarly-types who interpret it.
Agnes R. Howard: Notes on Two Monasteries in Orvieto
Italy is dotted with monasteries of obscure identity, old purposes being forsaken, antiquity and cultural value arguing for their preservation. Of course there are religious houses still functioning as such and inhabited by consecrated men and women. But others have disappeared altogether, bulldozed to make room for new roads or apartments. And still others have been left behind when no monks or nuns were left inside. What should be done with an old hulk of a building, often vast and sturdily built, graced with art or good views or fine acoustics?
The programs of Gordon College in Orvieto have been housed in two of such monasteries. For Agnes Howard's essay on Monastero San Paolo, click here. For her essay on the Convento dei Servi, click here.
Damon DiMauro: Vittoria Colonna in Orvieto
Damon DiMauro's fascinating essay on Vittoria Colonna and her sojourn in Orvieto--in the very monastery where the programs of Gordon College were housed for several years--is now divided into three parts. Part 1, an historical account of her life and her time in Orvieto, can be found here. Part 2, an account of her involvement with a Reformist group of influential Roman Catholics sympathetic with Protestant emphasis on grace alone, can be found here. Part 3, an account of her friendship and correspondence with Michelangelo and the French noblewoman Marguerite de Navarre, Queen of Navarre--with whom Colonna shared her poetry--can be found here.
A complete bibliography of the sources for all three essays, including a note on the nineteenth-century Orvietano scholar, Domenico Tordi, to whom all scholarship about Orvieto and Vittoria Colonna is indebted, can be found here.
Susanna Tamaro: The Dictatorship of Happiness
Even though everyone talks of happiness and self-actualization, the wind which blows through our age is one of confusion and desperation, a wind that makes us grab onto anything only to disappear into the black hole that we carry within ourselves. ... As a writer of books – and books widely read – I have had the opportunity in recent years to come to know a number of people who are active, capable, passionate, and working to change things for the better.
Karin Coonrod: Strangers and Other Angels
Orvieto, Italy, a warm spring evening, near midnight:
Tables covered with flying white cloths and laden with food appear out of nowhere for a crowd of several hundred in a piazza at the edge of the cliff, in the oldest part of this old city.
Mark Sargent: The Body of Christ: A Visit to Orvieto
Orvieto, Italy, 2005
This spring, once again, Orvieto's residents will gather to watch the mystery cycle. It is as if the English literary genre—molded anew by American hands—has come home, returning to the very site from which the Corpus Christi tradition took wings.
Bruce Herman: The Body Broken / Il Corpo Spezzato
Orvieto, May 2005
The sacred-art tradition of Italy has been a source of both inspiration and frustration for me: inspiration, because of the perennial human themes and the profound understanding of form that the Italian school forwarded in its art and architecture; frustration, because of the inevitable sense of historical dislocation that one experiences when trying to address sacred themes in an era that suffers cultural amnesia or seems frankly uninterested in this realm of artistic endeavor.