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 |