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 |