a.
During the 8th century B.C.
![]() |
||
b.
During the 7th century B.C.
![]() |
||
c.
During the 6th century B.C.
![]() |
||
d.
During the 5th century B.C.
![]() |
||
e.
During the 4th century B.C.
![]() |
a.
The king of all the Olympian
gods ![]() |
||
b.
The deity who controls the sky
![]() |
||
c.
The deity who controls the sea
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Artistic conventions started
breaking away from Near Eastern
and Egyptian influence.
![]() |
||
b.
A more naturalistic style
started emerging. ![]() |
||
c.
Animal hunts and composite
beasts were some of the
preferred subjects of pottery
painting. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Ionic order ![]() |
||
b.
The Corinthian order
![]() |
||
c.
The Doric order ![]() |
||
d.
The Composite order
![]() |
||
e.
The Tuscan order ![]() |
a.
Monumental sculpture emerged.
![]() |
||
b.
Architectural styles were
established in temple
architecture. ![]() |
||
c.
The Corinthian order replaced
the Doric order as a preferred
style of architecture.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both A and C ![]() |
a.
As trade with other
Mediterranean locations
increased and city-states
developed, artistic activity
was revived in the form of
painted pottery and bronze
statuettes. ![]() |
||
b.
The Geometric period witnessed
the development of writing and
Homer's epic poems.
![]() |
||
c.
During the Geometric period in
Greece, colonies were
established. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
The Kouros is always a male
figure, while the Korai is
always a female figure.
![]() |
||
b.
The Kouros is always nude,
while the Korai is always
clothed. ![]() |
||
c.
The Kouros is always the
representation of a God, while
the Korai is always the
representation of a mortal.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The beginning of the "Dark Age"
of prehistoric Greece coincides
with the waning of the
Mycenaean civilization.
![]() |
||
b.
Following the "Dark Age" of
Greece, city-states started to
emerge in the Peloponnese and
in Attica. ![]() |
||
c.
Following the "Dark Age" of
Greece, the Mycenaean
civilization emerged stronger
than it had been previously.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Geometric artifacts can take
the form of bronze votive
offerings. ![]() |
||
b.
Large-scale stone sculpture was
developed. ![]() |
||
c.
Geometric painting tends to
emphasize the roundness of the
human body. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Red-figure techniques were used
as early as the geometric
period while black-figure
techniques only started to be
used in the archaic period.
![]() |
||
b.
In the black-figure technique,
the background of the
represented scene is left the
color of the clay, while the
figures are applied with a slip
that turns black during firing.
![]() |
||
c.
In the black-figure technique,
details of the figures are
applied with a slip.
![]() |
||
d.
In the red-figure technique,
details of the figures are
achieved through incision.
![]() |
||
e.
All of the above ![]() |
a.
Orientalizing pottery painting
tended to show less detail in
the representation of human and
animal figures than Geometric
pottery painting did.
![]() |
||
b.
Orientalizing pottery showed
the increased eastern influence
in the 7th century B.C.
![]() |
||
c.
Orientalizing pottery painting
displayed many floral motifs
such as lotuses, palmettes, or
rosettes. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Under Alexander the Great,
Greek independent city-states
thrived. ![]() |
||
b.
Alexander the Great's rule
inaugurated an era of peace and
unification in the
Mediterranean basin.
![]() |
||
c.
The spread of Hellenism under
Alexander resulted in a hybrid
and cosmopolitan culture.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Kouros is a type of
monumental sculpture produced
during the archaic period of
ancient Greece. ![]() |
||
b.
The stylistic elements of the
Kouros are in large part
inherited from Egyptian
statuary. ![]() |
||
c.
The Kouros is a representation
of an ideal male figure in a
contrapposto position.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
It is commonly referred to as
the "Euphronios Calyx-Krater."
![]() |
||
b.
It displays an increasing
interest for narration.
![]() |
||
c.
The details of its represented
figures were applied with slip.
![]() |
||
d.
Based on its monochromatic
quality, it can be recognized
as a Corinthian vessel.
![]() |
||
e.
Based on the color of the
background, it can be
recognized as a Corinthian
vessel. ![]() |
a.
Temples and their sculptures
were decorated in brightly
colored paints. ![]() |
||
b.
Ancient Greek temples and their
sculptures were often decorated
with gold and silver objects.
![]() |
||
c.
Sculptures could fill friezes
and pediments. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Classical Athens can be seen as
the birthplace of democracy.
![]() |
||
b.
Greece's failure to help defeat
the Persians during the Persian
wars put democracy on hold.
![]() |
||
c.
Athens became the head of the
Delian League in a defensive
effort against the Persians.
![]() |
||
d.
The Peloponnesian war put an
end to Athens' classical age.
![]() |
||
e.
None of the above ![]() |
a.
Greek temples were often built
on high ground. ![]() |
||
b.
A Greek temple usually stood on
its own, at a large distance
from any other building.
![]() |
||
c.
Greek temples were oblong in
shape and had a peristyle
running around them.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Amphoras were used to mix wine
with water. ![]() |
||
b.
Kraters can often be linked to
funerary traditions.
![]() |
||
c.
The panathanaic prize amphora
contained oil for the victors
of the Panathenaic games.
![]() |
||
d.
The Oinochoe was a pouring
vessel. ![]() |
||
e.
Painted plates were often
suspended and displayed.
![]() |
a.
A deity of war ![]() |
||
b.
Zeus's daughter ![]() |
||
c.
A personification of wisdom and
ingenuity ![]() |
||
d.
The patron goddess of Athens
![]() |
||
e.
All of the above ![]() |
a.
Classical Antiquity generally
refers to ancient Greece and
Rome. ![]() |
||
b.
Ancient Romans adopted many
ancient Greek traditions.
![]() |
||
c.
Ancient Romans frequently made
marble copies of Greek
sculptures. ![]() |
||
d.
Classical Antiquity proved to
be foundational to Western art
and culture. ![]() |
||
e.
All of the above ![]() |
a.
The female nude ![]() |
||
b.
Slender proportions
![]() |
||
c.
"Contrapposto" ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Temple of Zeus ![]() |
||
b.
The Erechtheum ![]() |
||
c.
The Temple of Athena Nike
![]() |
||
d.
The Parthenon ![]() |
||
e.
The Propylaia ![]() |
a.
Bronze ![]() |
||
b.
Ivory ![]() |
||
c.
Gold ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Maintaining its grip over the
Aegean ![]() |
||
b.
Organizing the defensive Delian
League ![]() |
||
c.
Entering into war with Persia
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
The columns of the peristyle
tilted outwardly. ![]() |
||
b.
The column shafts swelled.
![]() |
||
c.
The floor of the temple was
curved convexly. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
The statue of Athena Parthenos
was probably nearly 40 feet
tall. ![]() |
||
b.
Its large pediments presented
larger-than-life sculpted
figures expressing Athena's
power. ![]() |
||
c.
It was larger than any previous
temple on the Greek mainland
had been. ![]() |
||
d.
It was built completely out of
marble. ![]() |
||
e.
All of the above ![]() |
a.
It is a marble sculpture.
![]() |
||
b.
The represented figure
exuberantly communicates
emotion tied to his victory.
![]() |
||
c.
It was created in the style of
Phidias. ![]() |
||
d.
His hair and beard are
represented in a very schematic
fashion. ![]() |
||
e.
None of the above ![]() |
a.
The temple design combines the
Doric and Ionic styles.
![]() |
||
b.
The temple is made of marble.
![]() |
||
c.
In the "cella", visitors could
walk all around the statue of
Athena. ![]() |
||
d.
The temple had more columns in
its colonnade than previous
temples. ![]() |
||
e.
All of the above ![]() |
a.
It was created under the
direction of the sculptor
Phidias. ![]() |
||
b.
The frieze and pediments were
decorated with gold statues.
![]() |
||
c.
The pediment sculptures
depicted the Panathenaic
processions. ![]() |
||
d.
The metope reliefs recounted
the story of the struggle of
Athena against Poseidon over
Athens. ![]() |
||
e.
The sculptures on the pediments
are examples of relief
sculptures. ![]() |
a.
Euphronios was one of the first
painters to use this technique.
![]() |
||
b.
With the red-figure technique,
painters always incised details
such as facial features.
![]() |
||
c.
With the red-figure technique,
it is harder to represent
anatomy than with the
black-figure technique.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Generally speaking, there began
to be less emphasis on
individual features.
![]() |
||
b.
Generally speaking, there began
to be more of an interest in
the sensual rendering of the
female nude. ![]() |
||
c.
Generally speaking, there began
to be less emphasis on the
rendering of emotion.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
During the classical period,
the human figure began to be
represented more realistically.
![]() |
||
b.
During the classical period,
artists began to apply
principles of complementarity
in the representation of the
human body by rendering
contrasts between rigid,
working limbs and relaxed, at
rest limbs. ![]() |
||
c.
The "sever style" can be seen
as an early stage in the
development of classical
sculpture. ![]() |
||
d.
The new style of carving
exemplified by Phidias was made
possible by using clay models.
![]() |
||
e.
All of the above ![]() |
a.
He lived and worked in the 4th
century B.C. ![]() |
||
b.
He was a pupil of Plato.
![]() |
||
c.
His pioneering work and thought
profited from a corpus of
knowledge made accessible
through Alexander's conquests.
![]() |
||
d.
He was a pioneer in embryology,
biology, and physiology.
![]() |
||
e.
He is most famous for his
thoughts on metaphysics and the
"world of essences."
![]() |
a.
Ancient Greeks realized that
bronze had greater tensile
strength than copper.
![]() |
||
b.
The technique of "sphyrelaton"
was the preferred technique
during the classical period of
Greek art. ![]() |
||
c.
The lost-wax technique became
the preferred technique of
producing bronze statuary
during the classical period of
Greek art. ![]() |
||
d.
The lost-wax technique is a
casting technique in which
bronze replaces molten wax.
![]() |
||
e.
"Sphyrelaton" is a method that
involves hammering sheets of
metal. ![]() |
a.
It is part of the complex on
the Acropolis of Athens.
![]() |
||
b.
The Panathenic Procession ended
in one of its "cellas."
![]() |
||
c.
The Porch of the Caryatids
features reclining nudes.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Parthenon is an example of
Classical Greek architecture.
![]() |
||
b.
The red-figure technique of
vase painting was developed
during the era of classical
Greek art. ![]() |
||
c.
Bronze became the preferred
medium for freestanding
sculptures. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Freestanding statuary was
frequently made of bronze.
![]() |
||
b.
There was usually a stong
emphasis on individual features
in freestanding statuary.
![]() |
||
c.
Sculptors, such as Phidias,
suggested a new kind of
vitality through the
representation of the human
figure. ![]() |
||
d.
Many sculptures expressed ideal
proportions and harmony.
![]() |
||
e.
None of the above ![]() |
a.
Athens ![]() |
||
b.
Messene ![]() |
||
c.
Sparta ![]() |
||
d.
Corinth ![]() |
||
e.
Knossos ![]() |
a.
A statesman who launched a
building program for the
Acropolis of Athens
![]() |
||
b.
The Architect of the Parthenon
![]() |
||
c.
The sculptor who created the
statue of Athena for the
Parthenon ![]() |
||
d.
A philosopher ![]() |
||
e.
None of the above ![]() |
a.
A pottery painter who abandoned
the use of superposed registers
so that the vases themselves
framed his figures ![]() |
||
b.
A black-figure vase painter
![]() |
||
c.
A vase painter who worked in
the 6th century B.C.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Trojan War ![]() |
||
b.
The Peloponnesian War
![]() |
||
c.
The Persian Wars ![]() |
||
d.
The Punic Wars ![]() |
||
e.
None of the above ![]() |
a.
At Ai Khanoum, there was
flexibility in religious
practice in Hellenistic times.
![]() |
||
b.
Some artifacts from the Temple
of the Indented Niches at Ai
Khanoum display recognizably
Persian traits. ![]() |
||
c.
A contemporary local observer
might not have recognized an
indented niche as a
Mesopotamian trait.
![]() |
||
d.
Asserting Greek identity in Ai
Khanoum was only important in
certain contexts. ![]() |
||
e.
All of the above ![]() |
a.
The example of Delos shows how
Hellenistic houses conformed to
a standard arrangement.
![]() |
||
b.
The Hellenistic city broke with
the geometry that had been
experimented with during
previous centuries.
![]() |
||
c.
The contrast in between complex
civic architectural programs
and modest domestic
architectural programs reflects
the fact that Ancient Greeks'
world revolved around public
life. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Contact with the open air was
important. ![]() |
||
b.
The preparation of a meal and
its serving and enjoyment were
not to be experienced as
separate. ![]() |
||
c.
Though there was a focus on
privacy, it was relaxed as
compared with previous eras.
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Economic prosperity resulted in
a bigger demand for luxurious
gold jewelry. ![]() |
||
b.
The desire for ostentation
resulted in the creation of
very intricately and complexly
designed jewelry. ![]() |
||
c.
A lot of gold was circulated
due to Alexander having seized
Babylonian objects.
![]() |
||
d.
In the Persian fashion,
bracelets were frequently worn
in pairs. ![]() |
||
e.
All of the above ![]() |
a.
Portraiture, used in the
representation of members of
royalty, became the most
prominent type of stone
sculpture. ![]() |
||
b.
Stylistically, there was as
strong Egyptian influence.
![]() |
||
c.
The rule of the Ptolemies was
expressed through great
uniformity in artistic style,
with the Alexandrian style as
its model. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
It was built to commemorate
foreign mercenaries who fought
for the Ptolemaic kingdom.
![]() |
||
b.
It mostly displays
representations of gods.
![]() |
||
c.
It reverts back to more
"archaic" techniques of
painting. ![]() |
||
d.
It displays a restricted
palette due to the use of
strictly local pigments.
![]() |
||
e.
None of the above ![]() |
a.
The red-figure technique
![]() |
||
b.
The white-ground technique
![]() |
||
c.
Mould-made relief ![]() |
||
d.
Both A and B ![]() |
||
e.
Both A and C ![]() |
a.
Starting in the second century
B.C., mosaics were a widespread
medium in the interior
decoration of wealthy homes in
every part of the Hellenistic
empire. ![]() |
||
b.
The increase in mosaic
production can be seen as a
result of economic prosperity.
![]() |
||
c.
The increase in mosaic
production can be seen as a
result of the desire to live
lavishly and fashionably.
![]() |
||
d.
Starting in the second century
B.C., tessellated mosaics
became an exclusive medium of
interior decoration used only
in royal palaces. ![]() |
||
e.
All of the above ![]() |
a.
It had a typical Greek plan.
![]() |
||
b.
It had a cult statue in its
"cella." ![]() |
||
c.
Its niched decorations recall
the art of Mesopotamia.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Hellenistic pottery seems to
have sometimes emulated other
media, such as metal vessels,
"gold glass" bowls, or the
sculpture and architecture of
the period. ![]() |
||
b.
Generally speaking, the colors
of polychrome pottery were
usually more subdued than those
of the older red-figure style.
![]() |
||
c.
Often, the new trends and
techniques developed during the
Hellenistic era can be said to
have stemmed from the desire to
imitate the opulent objects
that were being created to
decorate royal palaces.
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
With the construction of
palaces and very ambitious
architectural programs,
sculptural decoration was
important. ![]() |
||
b.
Many copies of Classical Greek
masterworks were made during
the Hellenistic period.
![]() |
||
c.
There was an interest in
representing historical
figures, such as philosophers
of the past. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Athens adopted new Hellenistic
trends while retaining its core
and self. ![]() |
||
b.
Modernization of buildings in
the Agora reflected the
Hellenistic interest for
functionality. ![]() |
||
c.
The arch started to be used in
a more obvious and symbolic
way. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
There was a shift from harmony
and balance to "pathos" and
emotion. ![]() |
||
b.
There was a shift toward more
secularism in the
representation of Greek gods.
![]() |
||
c.
There was a shift toward a more
restricted range of
subject-matter. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Wall decoration was formally
organized according to
structural elements of
architecture. ![]() |
||
b.
Interior walls displayed bright
colors. ![]() |
||
c.
Within one room, only analogous
colors were used. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The everyday and ordinary
became worthy of being
represented in art.
![]() |
||
b.
Individuality became a more
prominent feature of figural
representations. ![]() |
||
c.
Overall, Hellenistic art seems
to remain fairly static.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Though many mosaic-related
innovations took place in the
Hellenistic period, it seems as
though mosaics became less
numerous within houses than
they had been during the
classical era. ![]() |
||
b.
Unlike classical mosaics,
Hellenistic mosaics were mostly
enjoyed privately, in spaces
usually only used by their
owner. ![]() |
||
c.
The materials used and the
complexity of design implied
either the mosaics' lesser or
greater significance.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Like most Hellenistic houses,
it has only one floor.
![]() |
||
b.
The main rooms can be entered
from a portico that spans the
whole width of the house.
![]() |
||
c.
Most of the rooms had windows
that faced the street.
![]() |
||
d.
Both A and B ![]() |
||
e.
All of the above ![]() |
a.
Its Hellenistic name is
"Alexandria on Oxus."
![]() |
||
b.
It was founded over a
previously Persian city and is
located in present-day
Afghanistan. ![]() |
||
c.
It was central to the empire.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
While Hellenistic female
figures of deities were much
inspired by those of the
classical era, they seem to
draw less focus on the
sensuality of their bodies than
those of the classical era do.
![]() |
||
b.
While Hellenistic male figures
were much inspired by those of
the classical era, their faces
and unbridled hair express more
intensity. ![]() |
||
c.
In Hellenistic sculpture, large
narrative groups are usually
set in a frieze. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both A and C ![]() |
a.
The Hellenistic period was a
time of turmoil in Greece, when
many traditional structures,
such as the city-state, were
shaken. ![]() |
||
b.
In Greece, there developed a
trend, most famously with
Epicureanism, to avoid politics
and active participation in
public life and to conquer fear
of gods. ![]() |
||
c.
Alexander the Great established
well-structured and stable
administrations in the regions
he conquered. ![]() |
||
d.
Alexandria became a great
center of research, science,
and commerce. ![]() |
||
e.
All of the above. ![]() |
a.
Its exclusively Greek-inspired
style ![]() |
||
b.
Its focus on the depiction of
specific individuals
![]() |
||
c.
Its focus on the depiction of
specific historical events
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Young men ![]() |
||
b.
Elderly men ![]() |
||
c.
Young women ![]() |
||
d.
Elderly women ![]() |
||
e.
Children of both genders
![]() |
a.
Most significantly tried to
emulate marble ![]() |
||
b.
Often divided walls into three
parts ![]() |
||
c.
Was inspired by Hellenisitc
painting ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Athens and Rome ![]() |
||
b.
Carthage and Rome ![]() |
||
c.
Athens and Sparta ![]() |
||
d.
Rome and Vulci ![]() |
||
e.
Rome and Tarquinii ![]() |
a.
Emerged with the Roman
colonization of Pompeii
![]() |
||
b.
Rendered architectural forms
![]() |
||
c.
Lacked the use of shading or
perspective ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Etruscan sculpted figures often
display more implied motion
than Greek sculpted figures.
![]() |
||
b.
Terracotta is one of its common
materials. ![]() |
||
c.
Figures are often depicted
smiling. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
Columns with Ionic capitals
![]() |
||
b.
A raised podium ![]() |
||
c.
Stairs on only one side
![]() |
||
d.
Free-standing columns all
around the temple ![]() |
||
e.
All of the above ![]() |
a.
Southern Italy ![]() |
||
b.
Central Italy ![]() |
||
c.
Eastern Coastal Italy
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
They had wooden columns.
![]() |
||
b.
They usually had two chambers,
each one dedicated to one of
the two main Etruscan Gods.
![]() |
||
c.
They had stairs on all sides.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
There were no slaves.
![]() |
||
b.
The senate became a permanent
part of the government.
![]() |
||
c.
Elected consuls replaced kings.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
They were often very realistic.
![]() |
||
b.
They were often associated with
a funerary context.
![]() |
||
c.
They mostly emphasized the
youth of the sitter.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Statuary decorated Etruscan
temple friezes and pediments,
while Greek temples displayed
statuary on their roofs.
![]() |
||
b.
Unlike Greek temples, Etruscan
temples displayed marble
statuary. ![]() |
||
c.
Archaic Etruscan temples were
made of wood, mud and brick,
while archaic Greek temples
were made of marble.
![]() |
||
d.
Unlike Etruscan temples, Greek
temples sat on a large podium.
![]() |
||
e.
None of the above ![]() |
a.
It was a warehouse in ancient
Rome. ![]() |
||
b.
Its vaulted interior allowed
lateral as well as axial
movement on the inside.
![]() |
||
c.
Its construction was
facilitated by the use of
concrete. ![]() |
||
d.
It had barrel vaults.
![]() |
||
e.
All of the above ![]() |
a.
Most portrait busts emphasized
the youth of the sitter.
![]() |
||
b.
Idealization is usually
associated with the Republican
style of portraits.
![]() |
||
c.
Portraits of the Roman Republic
were usually made for private
use. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
It is a sculpted relief,
probably a statue base.
![]() |
||
b.
It depicts exclusively
mythological scenes.
![]() |
||
c.
The side depicting the wedding
of Neptune is less Greek in
style than the other side.
![]() |
||
d.
The side depicting the wedding
of Neptune is carved in very
low relief. ![]() |
||
e.
None of the above ![]() |
a.
It began to be experimented
with in the 2nd century A.D.
![]() |
||
b.
It is a composite of natural
elements mixed with wax.
![]() |
||
c.
Its composition includes stone
rubble, lime, and sand.
![]() |
||
d.
Concrete is cut and quarried.
![]() |
||
e.
The use of concrete results in
exclusively rectilinear
architecture. ![]() |
a.
Though Etruscans were much
inspired by Greek art, they did
not use bronze as a sculptural
media. ![]() |
||
b.
Sarcophagi often featured a
reclining figure of the
deceased on its lid.
![]() |
||
c.
Sarcophagi and tomb paintings
can show wives and husbands
together. ![]() |
||
d.
The Etruscans developed their
counterpart to the Greek
"Korai." ![]() |
||
e.
Etruscan art, like Greek art,
went through an orientalizing
period in the 7th century B.C.
![]() |
a.
The Plebs ![]() |
||
b.
The Patricians ![]() |
||
c.
The Equites ![]() |
||
d.
The Slaves ![]() |
||
e.
None of the above ![]() |
a.
Augustus ![]() |
||
b.
Julius Caesar ![]() |
||
c.
Plato ![]() |
||
d.
Alexander the Great
![]() |
||
e.
Pompey the Great ![]() |
a.
They were admirers of Greek
painted vessels. ![]() |
||
b.
They had an alphabet adapted
from Greek letters.
![]() |
||
c.
They achieved great engineering
feats. ![]() |
||
d.
Their alphabet served as a
basis for the Latin alphabet.
![]() |
||
e.
None of the above ![]() |
a.
As functioning within Rome's
framework of magistracies
![]() |
||
b.
As a combination of
magistracies ![]() |
||
c.
As a dictatorship ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
As what could be called "strict
bilateral symmetry"
![]() |
||
b.
As what could be called a
"unified and balanced whole"
![]() |
||
c.
As similar to the harmony of
the human body ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Makes a dedication to Augustus
![]() |
||
b.
Describes the good architect as
being learned, among other
things, in history, philosophy,
music, and astronomy
![]() |
||
c.
Makes "order" an indispensable
attribute of good architecture
![]() |
||
d.
Makes "economy" an
indispensable attribute of good
architecture ![]() |
||
e.
All of the above ![]() |
a.
Overall, they are not
symmetrical in the Roman style.
![]() |
||
b.
Their sunken courts with
mosaics can be considered
African in style. ![]() |
||
c.
They were often used to display
status and Greek culture.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
The Trajanic harbor was
hexagonal in shape.
![]() |
||
b.
Luxurious temples were built on
the water front to impress
visitors. ![]() |
||
c.
The cisterns were made with
marble. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
This monument is a triumphal
arch dedicated to Constantine.
![]() |
||
b.
In its relief depicting the
emperor distributing money,
there is a stylistic evolution
that can be considered
transitional in between Roman
and Medieval art. ![]() |
||
c.
Its reliefs of the emperor
distributing money can be seen
as signaling a 4th-century
shift in the way an emperor
represented himself in relation
to his subjects. ![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
A network of roads was
constructed for warfare
purposes. ![]() |
||
b.
City streets featured
sidewalks. ![]() |
||
c.
Water power was used to make
flower. ![]() |
||
d.
Water was transported from hill
tops via aqueducts.
![]() |
||
e.
All of the above ![]() |
a.
It is a Julio-Claudian
amphitheater. ![]() |
||
b.
It has three stories of arches
with Tuscan columns.
![]() |
||
c.
It was made possible by the use
of molded concrete.
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
It was conceived as a temple to
Venus Genitrix. ![]() |
||
b.
It used coffers to lighten its
dome. ![]() |
||
c.
Its walls are 20 feet thick
from top to bottom.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
They are on an important
monument made during a pivotal
moment in Roman history and
commissioned by the first Roman
Emperor. ![]() |
||
b.
They illustrate the importance
of ancestral lineage and how
this lineage can be tied to
mythological figures in Roman
culture. ![]() |
||
c.
They illustrate the way in
which Roman art absorbed
Classical Greek art.
![]() |
||
d.
They illustrate the typical
Roman characteristic that is a
focus on actual events and
people. ![]() |
||
e.
All of the above ![]() |
a.
He wanted to transform Rome on
the model of Athens.
![]() |
||
b.
At the time of his building
projects, marble was available.
![]() |
||
c.
He wanted to transform Rome in
the way Perikles had
transformed Athens.
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
It is a representation of the
emperor Trajan. ![]() |
||
b.
The represented figure holds a
spear, a symbol of imperial
power. ![]() |
||
c.
The pose of the figure is
reminiscent of a sixth century
B.C. Greek Kouros. ![]() |
||
d.
There are no traces of
individualization; the
representation is purely
archetypal. ![]() |
||
e.
This is a realistic depiction
of a specific emperor; it shows
what the emperor looked like at
the time when the statue was
made. ![]() |
a.
In an effort to associate
himself with Julius Caesar,
Augustus had his forum built
right next to Caesar's.
![]() |
||
b.
Its plan follows the plan of
Julius Caesar's forum.
![]() |
||
c.
A temple to Jupiter was made
the focus of the forum and was
symbolic of Augustus' avenge of
Caesar. ![]() |
||
d.
He made specific references to
Greek reliefs and sculptures of
the Acropolis. ![]() |
||
e.
All of the above ![]() |
a.
The Greek Empire ![]() |
||
b.
The Carthaginian Empire
![]() |
||
c.
The Hellenistic Empire
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |
a.
It was built in honor of the
Emperor Trajan. ![]() |
||
b.
It was made of concrete.
![]() |
||
c.
An altar was located in its
center. ![]() |
||
d.
It featured two staircases.
![]() |
||
e.
Its relief sculpture depicts
exclusively depicts the
emperor's family. ![]() |
a.
Before becoming a Roman
province, it was an urban
center of the kingdom of
Numibia. ![]() |
||
b.
Previous to Roman colonization,
Thugga had been exposed to
Hellenistic influence.
![]() |
||
c.
The plans of its temples of
Saturn and Mercury are
typically Roman. ![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Ambitious building programs
were undertaken. ![]() |
||
b.
The gap between Romans and
provincials narrowed, and this
was reflected in sculpture.
![]() |
||
c.
Augustus was the first of the
"Five Good Emperors."
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
It was built to commemorate
Titus and the sack of
Jerusalem. ![]() |
||
b.
One of its reliefs shows the
Roman army taking a menorah
from the temple of Jerusalem.
![]() |
||
c.
Its relief sculptures are very
schematic in style.
![]() |
||
d.
Both A and B ![]() |
||
e.
Both B and C ![]() |
a.
Doric ![]() |
||
b.
Ionic ![]() |
||
c.
Corinthian ![]() |
||
d.
Tuscan ![]() |
||
e.
Composite ![]() |
a.
It is the dome of the Pantheon.
![]() |
||
b.
It is made of cut stone.
![]() |
||
c.
It made use of a mold.
![]() |
||
d.
All of the above ![]() |
||
e.
None of the above ![]() |