| 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 |