a. The Near East ![]() |
||
b. Africa ![]() |
||
c. Spain ![]() |
||
d. The British Isles ![]() |
||
e. France ![]() |
a. a sculpture formed by carved lines ![]() |
||
b. an independent sculpture fully carved on all sides ![]() |
||
c. a sculpture that is carved out from or into an unsculpted background ![]() |
||
d. a sculpture carved into a cave wall ![]() |
||
e. a sculpture that makes you feel better when you view it ![]() |
a. As a form of sympathetic magic (i.e. to bring about what is depicted) ![]() |
||
b. As a part of ritual or initiation ![]() |
||
c. To assist in hunting practice ![]() |
||
d. All of the above ![]() |
||
e. None of the above ![]() |
a. Post and lintel ![]() |
||
b. Arcuated ![]() |
||
c. Hypostyle ![]() |
||
d. Vaulted ![]() |
||
e. Mastaba ![]() |
a. All buildings were underground so that the town could remain hidden. ![]() |
||
b. Buildings were built directly next to one another and there are no streets, allowing for greater defensibility. ![]() |
||
c. Buildings were placed on tall platforms to protect from flooding. ![]() |
||
d. All structures were built into existing natural elements (trees, boulders, etc.) in the environment. ![]() |
||
e. Structures were portable and were routinely deconstructed. ![]() |
a. Agricultural development ![]() |
||
b. Improved hunting techniques ![]() |
||
c. Greater religious stability ![]() |
||
d. The development of written language ![]() |
||
e. The use of metal tools ![]() |
a. The statuette is not truly a representation of a venus figure. ![]() |
||
b. The statuette overemphasizes female sexual elements in order to suggest fertility. ![]() |
||
c. The statuette is not interested in individualistic features. ![]() |
||
d. The statuette is made from stone not native to the place where it was found. ![]() |
||
e. All of the above ![]() |
a. There are not enough surviving artifacts to provide a coherent sense of Prehistoric art. ![]() |
||
b. Prehistoric art was created before the development of writing systems. ![]() |
||
c. Scholars have not yet deciphered the written languages of prehistoric peoples. ![]() |
||
d. The documents left by Prehistoric peoples contradict themselves. ![]() |
||
e. Prehistoric art was altered by subsequent civilizations. ![]() |
a. with uneven proportions ![]() |
||
b. in as little detail as possible, emphasizing an impossible “magical” world ![]() |
||
c. from multiple points of view, partially from the front and partially from the side ![]() |
||
d. as if in a twisting motion ![]() |
||
e. with the most important people on a larger scale than less important people ![]() |
a. Persia ![]() |
||
b. Babylon ![]() |
||
c. Greece ![]() |
||
d. Macedon ![]() |
||
e. Sumer ![]() |
a. It stood in for a patron, usually in a constant posture of prayer. ![]() |
||
b. It served a dual purpose as statue and lamp. ![]() |
||
c. It was a gift for the king. ![]() |
||
d. It was a gift from the king to a priest. ![]() |
||
e. It was a container for written prayers. ![]() |
a. Lagash ![]() |
||
b. Uruk ![]() |
||
c. Babylon ![]() |
||
d. Ur ![]() |
||
e. Akkad ![]() |
a. The use of hieratic scale ![]() |
||
b. The fact that the king wears a prominent crown ![]() |
||
c. The fact king wears bold colors ![]() |
||
d. The presence of a god gesturing toward the king ![]() |
||
e. The king’s obvious power and fearlessness in the hunt ![]() |
a. It is a law-code of the Akkadian king. ![]() |
||
b. It represents the Akkadian king’s defeat of his enemies. ![]() |
||
c. It depicts the Akkadian gods in a ritual ceremony. ![]() |
||
d. It is a diplomatic treaty. ![]() |
||
e. All of the above ![]() |
a. It depicts the Babylonian king receiving the right to rule from his god. ![]() |
||
b. It shows Hammurabi defeating his enemies. ![]() |
||
c. It includes Hammurabi’s written code of laws. ![]() |
||
d. Both A and C ![]() |
||
e. Both A and B ![]() |
a. Cuneiform, one of the earliest forms of written language ![]() |
||
b. The wheel ![]() |
||
c. Arithmetic ![]() |
||
d. All of the above ![]() |
||
e. None of the above ![]() |
a. There is greater emphasis on rounded and elongated forms. ![]() |
||
b. There is a “feminine” quality in male figures. ![]() |
||
c. There is a move towards abstraction. ![]() |
||
d. A and B only ![]() |
||
e. A and C only ![]() |
a. The practice of mummification began. ![]() |
||
b. Egyptians no longer believed in an afterlife. ![]() |
||
c. Only one god, Aton, was recognized, rather than many gods. ![]() |
||
d. Many gods, rather than the one god Aton, were recognized. ![]() |
||
e. None of the above ![]() |
a. Ti is shown in composite view, whereas his servants are more lifelike. ![]() |
||
b. The scene employed hieratic scale, Ti being the largest figure. ![]() |
||
c. Ti is still and looks on, while his servants are actively working. ![]() |
||
d. Both A and B ![]() |
||
e. All of the above ![]() |
a. Sunken relief on the columns ![]() |
||
b. A clerestory ![]() |
||
c. Columns that imitate lotus plants ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. An individual’s spirit, which continues to live after death ![]() |
||
b. An elaborate tomb for a king’s remains ![]() |
||
c. The sculpture of an important person buried with them in their tomb ![]() |
||
d. A measurement tool used to build pyramids ![]() |
||
e. The king’s crown ![]() |
a. Mastaba ![]() |
||
b. Pyramid ![]() |
||
c. Rock-cut ![]() |
||
d. Mortuary chapel ![]() |
||
e. Subterranean ![]() |
a. Death and the afterlife ![]() |
||
b. Wars and political power ![]() |
||
c. Agriculture ![]() |
||
d. Religious enlightenment ![]() |
||
e. Diplomacy ![]() |
a. Osiris, Ra, Aton, and Ramses II ![]() |
||
b. Four identical images of Ramses II ![]() |
||
c. Ramses II’s wives ![]() |
||
d. Ramses II’s ancestors ![]() |
||
e. Ramses II’s children ![]() |
a. She killed all of her rivals. ![]() |
||
b. She took on male attributes, even calling herself king. ![]() |
||
c. She moved her capital to Tel el Amarna. ![]() |
||
d. She called herself god of all Egypt. ![]() |
||
e. She named her son co-regent. ![]() |
a. They were places of worship. ![]() |
||
b. They were tombs for the kings. ![]() |
||
c. They were ceremonial centers for public use. ![]() |
||
d. They housed grain. ![]() |
||
e. All of the above ![]() |
a. They tend to exaggerate the size of the eyes. ![]() |
||
b. They are painted in encaustic. ![]() |
||
c. They are molded from plaster and gilded. ![]() |
||
d. All of the above ![]() |
||
e. A and B only ![]() |
a. The yearly flooding of the Nile River ![]() |
||
b. The death of King Narmer ![]() |
||
c. The coronation of King Narmer ![]() |
||
d. The unification of Upper and Lower Egypt ![]() |
||
e. The emancipation of Egyptians from slavery ![]() |
a. It has more columns across the front than is typical in Doric temples. ![]() |
||
b. It has a continuous frieze. ![]() |
||
c. It has some ionic columns in the interior. ![]() |
||
d. All of the above ![]() |
||
e. None of the above ![]() |
a. Scrolled volutes and palmette designs ![]() |
||
b. Acanthus leaves ![]() |
||
c. Geometric patterns ![]() |
||
d. Female figures ![]() |
||
e. Both B and C ![]() |
a. rigid and formal ![]() |
||
b. abstracted and unnatural ![]() |
||
c. calm and peaceful ![]() |
||
d. dramatic and naturalistic ![]() |
||
e. unconcerned with the human form ![]() |
a. Roman amphitheater ![]() |
||
b. Greek theater ![]() |
||
c. Roman aqueduct ![]() |
||
d. Etruscan temple ![]() |
||
e. Roman basilica ![]() |
a. A ratio was employed throughout the building. ![]() |
||
b. Exact right angles were used, without exception, throughout the building. ![]() |
||
c. The sides of the temple were curved, to make up for optical illusions. ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. Etruscan ![]() |
||
b. Minoan ![]() |
||
c. Cycladic ![]() |
||
d. Mycenaean ![]() |
||
e. Late Egyptian ![]() |
a. Scrolled volutes and palmette designs ![]() |
||
b. Acanthus leaves ![]() |
||
c. Geometric patterns ![]() |
||
d. Female figures ![]() |
||
e. Both B and C ![]() |
a. He looks fierce and imposing. ![]() |
||
b. He is calmly in control of his horse and gestures authoritatively. ![]() |
||
c. He raises a sword to the sky. ![]() |
||
d. All of the above ![]() |
||
e. None of the above ![]() |
a. An arch ![]() |
||
b. A vault ![]() |
||
c. A foundation ![]() |
||
d. A column ![]() |
||
e. A pediment ![]() |
a. A relieving arch ![]() |
||
b. Vaulting ![]() |
||
c. A clerestory ![]() |
||
d. Concrete ![]() |
||
e. All of the above ![]() |
a. Pyramid ![]() |
||
b. Mastaba ![]() |
||
c. Palace ![]() |
||
d. Tholos tomb ![]() |
||
e. Megaron ![]() |
a. Geometric ![]() |
||
b. Archaic ![]() |
||
c. High Classical ![]() |
||
d. Late Classical ![]() |
||
e. Hellenistic ![]() |
a. The Spear Bearer ![]() |
||
b. The Augustus of Prima Porta ![]() |
||
c. The Last Judgment Tympanum ![]() |
||
d. The New York Kouros ![]() |
||
e. Virgin and Child ![]() |
a. The four co-rulers of the Roman Empire ![]() |
||
b. The sons of Philip the Arab ![]() |
||
c. The four leading generals of the late Roman Empire ![]() |
||
d. The founders of Rome ![]() |
||
e. Four identical images of the Emperor Constantine ![]() |
a. A Doric order temple ![]() |
||
b. An Ionic order temple ![]() |
||
c. A domed temple ![]() |
||
d. A Corinthian order temple ![]() |
||
e. An Etruscan temple ![]() |
a. The use of wet fabrics to shape clay models for final sculptures ![]() |
||
b. The depiction of dramatic scenes as if they took place in a marine setting ![]() |
||
c. The method of depicting drapery to reveal the body rather than conceal it, with drapery that appears wet ![]() |
||
d. The method of attaching sculptures to a temple pediment, by way of wet adhesives ![]() |
||
e. None of the above ![]() |
a. Egyptian ![]() |
||
b. Hellenistic ![]() |
||
c. Minoan ![]() |
||
d. Etruscan ![]() |
||
e. Roman ![]() |
a. Structures could be constructed more quickly. ![]() |
||
b. More complicated shapes could be constructed. ![]() |
||
c. Structures could be constructed less expensively. ![]() |
||
d. All of the above ![]() |
||
e. None of the above ![]() |
a. The use of Corinthian columns ![]() |
||
b. The dome ![]() |
||
c. The coffers ![]() |
||
d. The porch ![]() |
||
e. All of the above ![]() |
a. Athena ![]() |
||
b. Zeus ![]() |
||
c. Hera ![]() |
||
d. Medusa ![]() |
||
e. Artemis ![]() |
a. Greek architecture used post and lintel construction. ![]() |
||
b. Greek architecture imposed on and dominated the surrounding landscape. ![]() |
||
c. Greek architecture used rounded arches. ![]() |
||
d. Greek architecture used concrete. ![]() |
||
e. Greek architecture worked with the natural landscape, instead of dominating it. ![]() |
a. It depicted a male youth. ![]() |
||
b. It usually depicted its figure as nude. ![]() |
||
c. It served as a grave-marker. ![]() |
||
d. It was indebted to Egyptian sculpture. ![]() |
||
e. All of the above ![]() |
a. New York Kouros ![]() |
||
b. Anavysos Kouros ![]() |
||
c. The Dying Warrior ![]() |
||
d. The Spear Bearer ![]() |
||
e. Peplos Kore ![]() |
a. It suggests the influence of the Classical Greek Spear Bearer by Polykleitos. ![]() |
||
b. It suggests the influence of the Roman Republican sculpture of Aulus Metellus. ![]() |
||
c. It includes a Cupid, referring to Augustus’s divine ancestry. ![]() |
||
d. It shows Augustus as a military leader. ![]() |
||
e. It depicts Augustus’s face with intense realism, showing age, worry, and experience. ![]() |
a. It was built on land confiscated from an unpopular emperor. ![]() |
||
b. It extensively used both barrel and groin vaults. ![]() |
||
c. Much of the building’s interior was made of concrete. ![]() |
||
d. It was an excellent example of true post and lintel construction. ![]() |
||
e. It used more than one of the classical orders on the exterior. ![]() |
a. Roman art sought to faithfully imitate Greek art. ![]() |
||
b. Roman art borrowed certain details from Greek art, but adapted those details to their own needs. ![]() |
||
c. Rome actively sought to differentiate itself from Greek art, barely using any Greek elements at all. ![]() |
||
d. Roman art only borrowed from Greek architecture. ![]() |
||
e. Roman art only borrowed from Greek sculpture. ![]() |
a. The altar aims to suggest the bounty and peace of Rome under Augustus. ![]() |
||
b. The altar includes portraits of real Roman people. ![]() |
||
c. The altar includes images of children, a reference to Augustus’s family values program. ![]() |
||
d. All of the above ![]() |
||
e. B and C only ![]() |
a. The Apotheosis of Titus ![]() |
||
b. The Spoils from the Temple of Solomon in Jerusalem ![]() |
||
c. The Triumph of Titus ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. An atrium ![]() |
||
b. An impluvium ![]() |
||
c. A peristyle ![]() |
||
d. A thermopolium ![]() |
||
e. A tablinum ![]() |
a. Youth and athleticism ![]() |
||
b. Authority and experience ![]() |
||
c. Bravery and military might ![]() |
||
d. Wealth ![]() |
||
e. Religious faith ![]() |
a. Vespasian ![]() |
||
b. Augustus ![]() |
||
c. Nero ![]() |
||
d. Hadrian ![]() |
||
e. Julius Caesar ![]() |
a. Male figures engaged in battle ![]() |
||
b. Female figures with babies ![]() |
||
c. Female figures with arms folded across the chest ![]() |
||
d. Priests and priestesses dressed in long robes ![]() |
||
e. Male figures holding funerary urns ![]() |
a. a combination of a centrally-planned and basilican building ![]() |
||
b. a careful imitation of a Roman temple ![]() |
||
c. the smallest church built by Justinian ![]() |
||
d. a poor example of Byzantine architecture ![]() |
||
e. more of a palace residence than a place of worship ![]() |
a. English Gothic emphasizes length more than height. ![]() |
||
b. English Gothic façades are low and wide, rather than narrow and tall. ![]() |
||
c. English Gothic uses materials of contrasting colors to articulate the interior space. ![]() |
||
d. All of the above ![]() |
||
e. A and B only ![]() |
a. cities. ![]() |
||
b. monasteries. ![]() |
||
c. an increasingly wealthy middle class. ![]() |
||
d. guilds. ![]() |
||
e. universities. ![]() |
a. The Book of Durow ![]() |
||
b. The Purse Cover from Sutton Hoo ![]() |
||
c. The Virgin of Vladimir ![]() |
||
d. The Book of Kells ![]() |
||
e. The South Cross at Ahenny ![]() |
a. The art of Medieval Sicily ![]() |
||
b. Christian art influenced by the arts of Islamic Spain ![]() |
||
c. Art produced in the Umayyad Dynasty ![]() |
||
d. Christian art produced in Medieval Jerusalem ![]() |
||
e. Objects stolen by the Vikings and made into new works of art ![]() |
a. Be elongated ![]() |
||
b. Focus on linear details, especially in describing hair and drapery folds ![]() |
||
c. Seem removed from any contextual setting, rather seeming to float in space ![]() |
||
d. Twist and contort to fit the shape of the space provided for them ![]() |
||
e. All of the above ![]() |
a. Ornate and decorative ![]() |
||
b. Minimalist and austere ![]() |
||
c. Naturalistic ![]() |
||
d. Inspired by Islamic art ![]() |
||
e. Secular ![]() |
a. It exerted force on the outer walls, requiring buttressing and limiting window size. ![]() |
||
b. It was less attractive than a flat timber roof. ![]() |
||
c. It was tremendously expensive and time-consuming to build. ![]() |
||
d. All of the above ![]() |
||
e. A and B only ![]() |
a. The Norman conquest of England ![]() |
||
b. The death of the English King, Harold ![]() |
||
c. The coronation of King Harold ![]() |
||
d. Halley’s Comet ![]() |
||
e. All of the above ![]() |
a. The use of ribbed, groin vaults in the nave ![]() |
||
b. The use of a clerestory ![]() |
||
c. Flying buttresses ![]() |
||
d. All of the above ![]() |
||
e. B and C only ![]() |
a. In the Coronation Gospels, Mark sits in a library, whereas in the Ebbo Gospels he stands in a desert. ![]() |
||
b. In the Coronation Gospels, Mark is writing, whereas in the Ebbo Gospels he is contemplating a vision. ![]() |
||
c. The Coronation Gospels is a diptych, while the Ebbo Gospels is a book. ![]() |
||
d. The style of the Coronation Gospels is calm and classicizing, whereas the Ebbo Gospels is somewhat abstracted and filled with a sense of energy. ![]() |
||
e. All of the above ![]() |
a. The temple ![]() |
||
b. The bath house ![]() |
||
c. The basilica ![]() |
||
d. The amphitheater ![]() |
||
e. All of the above ![]() |
a. Mozarabic ![]() |
||
b. Gothic ![]() |
||
c. Carolingian ![]() |
||
d. Byzantine ![]() |
||
e. Ottonian ![]() |
a. Small, portable objects, especially metalwork ![]() |
||
b. Large-scale stone statuary ![]() |
||
c. Architecture ![]() |
||
d. Fresco painting ![]() |
||
e. Stained glass ![]() |
a. The emperor and empress as if they are participating in the church ceremony ![]() |
||
b. The emperor and empress as Christ and the Virgin ![]() |
||
c. The emperor and empress as they appear in the afterlife ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. Mozarabic, Classical, and Norman ![]() |
||
b. Mozarabic, Byzantine, and Classical ![]() |
||
c. Classical, Gothic, and Byzantine ![]() |
||
d. Classical and Viking ![]() |
||
e. Mozarabic and Ottonian ![]() |
a. Santiago de Compostela ![]() |
||
b. Cologne Cathedral ![]() |
||
c. Chartres Cathedral ![]() |
||
d. Amiens Cathedral ![]() |
||
e. The Abbey Church of Saint-Denis ![]() |
a. Sainte-Chapelle in Paris ![]() |
||
b. The façade of Amiens Cathedral ![]() |
||
c. The Angel Gabriel from the façade of Reims Cathedral ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. The Winchester Psalter ![]() |
||
b. The Ebbo Gospels ![]() |
||
c. The Worcester Chronicle ![]() |
||
d. The Coronation Gospels ![]() |
||
e. The Book of Kells ![]() |
a. Hypostyle hall ![]() |
||
b. Horseshoe arches ![]() |
||
c. Double arcades ![]() |
||
d. Domed mihrab ![]() |
||
e. All of the above ![]() |
a. A decorative architectural feature in which arcades are embedded into a wall surface and do not open up onto any space ![]() |
||
b. An arcade that is hidden behind an iconostasis, and thus can only be seen by priests ![]() |
||
c. A free-standing arcade, independent of any other architectural structure ![]() |
||
d. A row of arched windows ![]() |
||
e. None of the above ![]() |
a. An important cultural center in the Romanesque period ![]() |
||
b. A capital with images sculpted in relief, rather than the traditional capitals of the Classical orders ![]() |
||
c. A decorative program in which style is deliberately retrospective ![]() |
||
d. Both B and C ![]() |
||
e. None of the above ![]() |
a. Christ ![]() |
||
b. The Virgin Mary ![]() |
||
c. The Twelve Disciples ![]() |
||
d. The Four Evangelists ![]() |
||
e. Heaven ![]() |
a. It was built on the site of the Temple of Solomon. ![]() |
||
b. It is the site from which Muhammad is believed to have ascended to the heavens. ![]() |
||
c. It is the site where the creation of Adam is thought to have taken place. ![]() |
||
d. It is believed to be the site where Abraham prepared to sacrifice his son, Isaac. ![]() |
||
e. All of the above ![]() |
a. It is a purely decorative feature. ![]() |
||
b. It provides added support for the nave vault. ![]() |
||
c. It creates the illusion of height in an otherwise low nave. ![]() |
||
d. It is a form of articulation that divides up a nave bay. ![]() |
||
e. It is a drainage system. ![]() |
a. Pointed arches could be taller than rounded arches. ![]() |
||
b. Pointed arches required less skill to construct. ![]() |
||
c. Pointed arches allowed for arches of different widths, though with keystones at the same level. ![]() |
||
d. Pointed arches were faster to construct. ![]() |
||
e. All of the above ![]() |
a. To intimidate the viewer ![]() |
||
b. To educate the viewer ![]() |
||
c. To confuse the viewer ![]() |
||
d. A and B only ![]() |
||
e. A and C only ![]() |
a. Stained glass ![]() |
||
b. Statues ![]() |
||
c. Relics ![]() |
||
d. Paintings ![]() |
||
e. Prayer candles ![]() |
a. Nave ![]() |
||
b. Atrium ![]() |
||
c. Transept ![]() |
||
d. Impluvium ![]() |
||
e. Apse ![]() |
a. Pointed arches ![]() |
||
b. Rounded arches ![]() |
||
c. Radiating chapels ![]() |
||
d. Stained glass ![]() |
||
e. Both B and C ![]() |
a. It was meant to be worshipped as an idol. ![]() |
||
b. It sought to faithfully imitate the real world. ![]() |
||
c. It was meant to be used as a tool to better access the divine world. ![]() |
||
d. All of the above ![]() |
||
e. A and B only ![]() |
a. It was the largest monastery ever built in the West. ![]() |
||
b. It was one of the most powerful religious centers in the Romanesque period. ![]() |
||
c. It was a Cistercian monastery. ![]() |
||
d. All of the above ![]() |
||
e. A and B only ![]() |
a. Post and lintel construction ![]() |
||
b. The rounded arch ![]() |
||
c. The pointed arch ![]() |
||
d. The narthex ![]() |
||
e. Westwork ![]() |
a. Chartres Cathedral ![]() |
||
b. The Abbey Church of Saint-Denis ![]() |
||
c. Sainte-Chapelle in Paris ![]() |
||
d. Notre Dame in Paris ![]() |
||
e. Reims Cathedral ![]() |
a. Low ceilings ![]() |
||
b. A lack of light ![]() |
||
c. Clumsy stonework ![]() |
||
d. Excessively thick walls ![]() |
||
e. All of the above ![]() |
a. It was likely built by architects from Constantinople. ![]() |
||
b. It has some of the best-preserved examples of Middle Byzantine mosaic decoration. ![]() |
||
c. It is a smaller version of Hagia Sophia. ![]() |
||
d. It is an excellent example of early Gothic architecture. ![]() |
||
e. Both C and D ![]() |
a. It is modeled after the church of San Vitale in Ravenna. ![]() |
||
b. It uses stained glass to bring in an other-worldly light. ![]() |
||
c. It incorporated spolia from Rome and Byzantium. ![]() |
||
d. All of the above ![]() |
||
e. A and C only ![]() |
a. Iktinos ![]() |
||
b. Anthemius of Tralles ![]() |
||
c. Polykleitos ![]() |
||
d. Gislebertus ![]() |
||
e. Agrippa ![]() |
a. Constantine ![]() |
||
b. Justinian ![]() |
||
c. Charlemagne ![]() |
||
d. Maxentius ![]() |
||
e. Saint Peter ![]() |
a. It was kept hidden from the public. ![]() |
||
b. It was fused with older, established artistic traditions. ![]() |
||
c. It was illegal. ![]() |
||
d. It was not part of the repertoire of professional artists. ![]() |
||
e. All of the above ![]() |