Judson J . Emerick
Judson Emerick (Ph.D., University of Pennsylvania) has taught at Pomona College near Los Angeles from 1973 to 2015. He began at the Tempietto del Clitunno near Spoleto, an early medieval, extra-urban, roadside church in Umbria, training as an archaeologist of standing walls; see the resulting two-volume monograph (Penn State Press, 1998). In the late 1970s he helped discover the early sixth-century frescoes that deccorated a Roman titulus beneath the Carolingian church of San Martino ai Monti in Rome; see his study (with Caecilia Davis-weyer) in the Bibliotheca Hertziana’s __Römisches Jahrbuch für Kunstgeschichte__ (1984). Lately he has turned to art and liturgy in early Christian and early medieval Rome; see, inter alia, “Altars Personified: The Cult of the Saints and the Chapel System in Pope Paschal I’s S. Prassede (817-819),” __Archaeology in Architecture, Studies in Honor of Cecil L. Striker__ (Mainz, Philipp von Zabern, 2005) or his “Building more romano in Francia during the third quarter of the eighth century: The abbey church of Saint-Denis and its model,” a chapter in __Rome Across Time and Space__, ed. C. Bolgia, R. D. McKitterick, and J. Osborne (Cambridge, 2011). Historiography now beckons: see his chapter treating “Roman Corinthian” columnar displays in ancient and medieval times in __Tributes to Pierre du Prey__ (London and Turnhout, Harvey Miller/Brepols, 2014) or his "Charlemagne, A New Constantine?" in __The Life and Legacy of Constantine__, ed M. Shane Bjornlie (London, Routledge, 2017). Emerick even tried recently to provide a history of Quaker architecture in "Three Quaker Meeting Houses in Pasadena, California," for __Quaker History__, vol. 110 (2021).
Supervisors: Professor Cecil Lee Striker (University of Pennsylvania)
Phone: 6268318022
Address: 154 North Mountain Avenue
Monrovia, CA 91016
Supervisors: Professor Cecil Lee Striker (University of Pennsylvania)
Phone: 6268318022
Address: 154 North Mountain Avenue
Monrovia, CA 91016
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Papers by Judson J . Emerick
In this essay I argue that Pippin III may well have played with such ideas, but that his son, Charlemagne, certainly did not. Rather than present himself as an “emperor,” Charlemagne sought instead during the 770s, 780s, and 790s to model his rule upon that of the Old Testament kings, especially David and Josiah, with an emphasis upon his (I would say even para-episcopal) pastoral role. His crowning as emperor in 800 ***interrupted*** a much developed pastoral-political Frankish rhetoric of rule, opening a new chapter altogether.
In this essay I report on my long study of San Salvatore which I began with yearly campaigns on site between 1978 and 1984 to measure and survey the building. I argue that the basilica had **one great historic phase** and that that must be the church that the C-14 evidence applies to. This building with its elaborate east end---with a domed presbytery on giant columns---was damaged by fire and repaired, then damaged by fire or earthquake and again repaired, then reduced to an Augustinian monastery in modern times. San Salvatore does not appear to be the product of any Umbrian early Christian culture, but instead, fruit of an early medieval civilization in the Longobard Duchy of Spoleto. Its scenic columnar displays, presented in 2012 as a pastiche (as the result of an awkward phase-two repair), now emerge as the product of careful planning. I argue that the design forms part of a long Hellenistic and ancient Roman tradition that only now do we begin to understand.
Book by Judson J . Emerick
In this essay I argue that Pippin III may well have played with such ideas, but that his son, Charlemagne, certainly did not. Rather than present himself as an “emperor,” Charlemagne sought instead during the 770s, 780s, and 790s to model his rule upon that of the Old Testament kings, especially David and Josiah, with an emphasis upon his (I would say even para-episcopal) pastoral role. His crowning as emperor in 800 ***interrupted*** a much developed pastoral-political Frankish rhetoric of rule, opening a new chapter altogether.
In this essay I report on my long study of San Salvatore which I began with yearly campaigns on site between 1978 and 1984 to measure and survey the building. I argue that the basilica had **one great historic phase** and that that must be the church that the C-14 evidence applies to. This building with its elaborate east end---with a domed presbytery on giant columns---was damaged by fire and repaired, then damaged by fire or earthquake and again repaired, then reduced to an Augustinian monastery in modern times. San Salvatore does not appear to be the product of any Umbrian early Christian culture, but instead, fruit of an early medieval civilization in the Longobard Duchy of Spoleto. Its scenic columnar displays, presented in 2012 as a pastiche (as the result of an awkward phase-two repair), now emerge as the product of careful planning. I argue that the design forms part of a long Hellenistic and ancient Roman tradition that only now do we begin to understand.