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a. A church built onto a family home. |
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b. A large church built to look like a house. |
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c. A house that has been renovated and reused as a church. |
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d. A church that has been renovated and reused as a house. |
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a. The Eucharist. |
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b. The resurrection. |
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c. Original sin. |
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d. The fertility of the Virgin. |
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a. The site of Saint Peter’s martyrdom and burial. |
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b. The site of Christ’s resurrection. |
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c. The site of Christ’s birth. |
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d. The site of King David’s palace. |
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a. A man of sorrows. |
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b. Young and beardless, like Apollo. |
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c. Old and bearded, like Zeus. |
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d. Both B and C |
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a. Temples. |
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b. Baths. |
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c. Law courts. |
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d. Granaries. |
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a. Original sin. |
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b. Human sexuality. |
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c. Marital love. |
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d. The continuation of the human race. |
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a. Saint John in Lateran. |
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b. Old Saint Peter's Basilica. |
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c. The Church at Dura Europos. |
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d. The Basilica of Constantine and Maxentius. |
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a. It was commissioned by and for a member of elite Roman society. |
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b. It is made of marble. |
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c. Christ is depicted in the relief sculpture. |
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d. All of the above. |
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a. The founding of Constantinople. |
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b. The martyrdom of Saint Peter. |
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c. The persecution of Christians. |
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d. Constantine’s conversion to Christianity. |
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a. A priest saying mass. |
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b. An angel in flight. |
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c. A praying figure, with palms facing out. |
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d. A figure from the Old Testament. |
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a. Christian imagery before Constantine was more vague and symbolic than it was after Constantine. |
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b. Christian imagery after Constantine began to incorporate the emperor into religious narrative scenes. |
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c. Christian imagery after Constantine was more vague and symbolic than it was before Constantine. |
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d. After Constantine, Christian imagery was created on a much larger scale than it was before. |
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a. Adherents of Christianity believed in miracles. |
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b. Christianity was monotheistic. |
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c. Adherents of Christianity believed in an afterlife. |
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d. All of the above. |
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a. The apse end and altar. |
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b. The nave. |
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c. The vault. |
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d. The rose window. |
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a. Public forums. |
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b. Bath houses. |
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c. Law courts. |
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d. Catacombs. |
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a. Santa Sabina. |
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b. Santa Costanza. |
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c. Santa Maria Maggiore. |
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d. Sant’Apollinare in Classe. |
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a. The Good Shepherd. |
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b. Christ’s Entry into Jerusalem. |
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c. Christ among His Disciples. |
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d. All of the subjects above have some precedent in ancient art. |
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a. Jonah swallowed by the whale. |
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b. Daniel in the lion’s den. |
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c. Abraham’s sacrifice of his son Isaac. |
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d. All of the above. |
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a. Pagan religious imagery adapted for Christian use. |
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b. Images of Christian religious figures. |
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c. Images of the Nativity of Christ. |
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d. Images of the Good Shepherd. |
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a. A clerestory. |
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b. A cruciform plan. |
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c. A barrel vaulted ceiling. |
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d. Double side aisles. |
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a. Diocletian. |
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b. Constantine. |
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c. Justinian. |
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d. Theodora. |
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a. An icon depicting the Virgin and Child. |
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b. An icon depicting the Virgin as intermediary between the viewer and Christ. |
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c. A divinely created icon. |
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d. An icon of Christ as judge of humanity. |
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a. Building the Hagia Sophia. |
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b. Reclaiming lands on the Italian peninsula. |
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c. His mosaics in Ravenna. |
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d. All of the above. |
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a. Do not use linear or atmospheric perspective. |
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b. Portray figures frontally, with an emphasis on flatness. |
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c. Seek to suggest the unreality and otherworldliness of the holy subjects depicted. |
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d. All of the above. |
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a. Longitudinal and centralized. |
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b. Centralized and circular. |
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c. Cruciform and circular. |
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d. Centralized and pilgrimage. |
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a. Holy Emperor. |
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b. Holy Wisdom. |
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c. The Father, Son, and Holy Ghost. |
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d. The light of God. |
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a. Byzantine mosaics were more colorful than Roman mosaics. |
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b. Romans almost never created mosaics, unlike the Byzantines. |
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c. Byzantine mosaics included figural images, whereas Roman mosaics only included non-figural decoration. |
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d. Byzantine mosaics often decorated wall surfaces, whereas Romans usually only used mosaics for floors. |
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a. Flying buttresses. |
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b. A colonnade. |
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c. A series of semi-domes, arches, and vaults. |
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d. Hidden scaffolding. |
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a. The domed church. |
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b. The apsidal church. |
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c. The groin-vaulted church. |
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d. The pilgrimage church. |
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a. Old Saint Peter’s Basilica. |
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b. The Virgin and Child Enthroned with Saints. |
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c. The Justinian Mosaic. |
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d. Hagia Sophia. |
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a. Icon paintings. |
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b. Mosaics. |
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c. Windows and doorways. |
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d. Metalwork. |
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a. Well-preserved collection of early icons. |
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b. Early Byzantine library. |
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c. Well-preserved Early Byzantine mosaics. |
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d. All of the above. |
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a. Byzantine wealth |
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b. Byzantine cruelty |
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c. Byzantine trade with Italy |
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d. Byzantine trade with Africa |
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a. It was geographically removed from Byzantium, sparing its art the destruction of the iconoclastic period. |
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b. It was the main center for iconodules during the iconoclastic controversy. |
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c. It was the main center for iconoclasts during the iconoclastic controversy. |
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d. It was a center for restoration of icons that had been damaged during iconoclasm. |
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a. Mosaics. |
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b. Architecture. |
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c. Sculpture in the round. |
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d. Painting. |
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a. The conversion of the Latin Church to the Byzantine Church. |
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b. The defeat of enemies through the miraculous assistance of saints in an icon painting. |
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c. The carrying of an icon in a procession. |
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d. The end of the iconoclastic period and the return of images of religious figures in Byzantine art. |
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a. Anthemius of Tralles and Isidorus of Miletus. |
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b. Hagesandros and Athanadoros. |
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c. Iktinos and Kallikrates. |
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d. Justinian and Theodoroa. |
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a. Old Saint Peter’s Basilica. |
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b. Hosios Loukas. |
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c. The Church at Dura Europos. |
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d. Hagia Sophia. |
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a. A reliquary. |
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b. A mosaic with images of plants and animals. |
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c. A mosaic depicting the Virgin and Child. |
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d. A luxurious palace. |
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a. It was not planned at all; it was rather designed day by day, on the spot. |
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b. It was planned ahead in written sketches. |
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c. The architects were untrained; they put together the plan based on observations of other famous buildings. |
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d. The architects flagrantly ignored the emperor’s orders. |
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a. To show the wealth and status of the patron. |
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b. To help bring the worshipper closer to the spiritual world. |
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c. To tell the story of Christ. |
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d. All of the above. |
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a. The eighth century. |
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b. The third century. |
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c. The fourteenth century. |
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d. The twelfth century. |
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a. Mosaics. |
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b. Metalwork. |
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c. Icon painting. |
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d. Architectural relief sculpture. |
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a. The Holy Trinity by Andrei Rublev. |
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b. The Barberini Ivory. |
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c. The Good Shepherd from the Mausoleum of Galla Placidia. |
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d. All of the above. |
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a. A gold background. |
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b. A white background. |
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c. A parable. |
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d. An image of Christ. |
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a. The Good Shepherd Lunette in the Mausoleum of Galla Placidia, Ravenna. |
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b. The Justinian and Theodora mosaics in San Vitale, Ravenna. |
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c. The apse mosaic from Sant’Apollinare in Classe, Ravenna. |
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d. The Virgin & Child mosaic in Hagia Sophia, Constantinople. |
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a. The Vatican library. |
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b. The Monastery of Saint Catherine at Sinai. |
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c. San Vitale in Ravenna. |
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d. The Hippodrome in Constantinople. |
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a. It was the highest domed space in the world until the 16th century. |
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b. Its dome collapsed in an earthquake and had to be rebuilt. |
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c. It replaced an earlier structure that was burned in a fire. |
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d. It was commissioned to commemorate the Edict of Milan. |
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a. Icon paintings refer only to paintings on wood panels. |
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b. When a worshipper prayed to an icon painting, it was thought that his or her prayer would be communicated directly to the saint depicted in the icon. |
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c. Some icons were very small and portable. |
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d. Some icons were thought to have been divinely created. |
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a. Prokopius. |
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b. Justinian. |
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c. Isidorus. |
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d. Theodora. |
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a. Constantius Chlorus. |
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b. Costanza. |
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c. Constantine. |
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d. Justinian. |
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a. Depth. |
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b. Color. |
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c. Realism. |
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d. Surfaces. |
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a. Mirrors. |
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b. Strategically placed lights. |
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c. Reflective gold mosaics. |
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d. Modified glass in the windows. |
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a. Greco-Roman. |
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b. Islamic. |
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c. Barbarian. |
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d. Egyptian. |
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a. The Byzantine Emperors quickly regained control of the city |
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|
b. The Eastern and Western (Orthodox and Latin) Churches were unified |
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|
c. The Venetians occupied Constantinople |
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|
d. The Byzantine Empire ceased to exist |
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a. Greece. |
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b. Constantinople. |
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c. Syria. |
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d. Kiev. |
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a. It was an imperially commissioned building. |
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|
b. It contains no images of holy figures. |
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|
c. It has a massive central space that accommodates large numbers of people. |
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|
d. It is a choppy, many-roomed building, not ideal for large numbers of people. |
|
a. A societal shift towards privacy. |
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|
b. Regional building traditions. |
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|
c. Changes in Orthodox liturgy. |
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|
d. All of the above. |
|
a. A hodegetria image |
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|
b. A pantokrator image |
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|
c. A theotokos image |
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|
d. An ecce homo image |
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a. It is of inferior quality, proving its peripheral role in Byzantine society. |
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b. It is highly realistic, foreshadowing the interest in classical revival of the later Italian Renaissance. |
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c. It copies (no longer extant) icons that once existed in Armenia. |
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|
d. All of the above. |
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a. The third century. |
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|
b. 1453. |
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c. The tenth century. |
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|
d. 1204. |
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a. The Middle Byzantine Period. |
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|
b. After the 1453 fall of Byzantium. |
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|
c. The Early Byzantine Period. |
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|
d. The Late Byzantine Period. |
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a. The Basilica of San Marco. |
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|
b. Santa Costanza. |
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|
c. Hosios Loukas. |
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|
d. Old St. Peter’s Basilica. |
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a. Syria. |
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|
b. Rus’ (Russia). |
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|
c. Byzantium. |
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|
d. Venice. |
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a. Their mutual excommunication of one another in 1054. |
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|
b. The Twelfth Crusade of 1204. |
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|
c. The First Crusade in the eleventh century. |
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|
d. All of the above. |
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a. Ravenna. |
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|
b. Amiens. |
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|
c. Damascus. |
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|
d. Venice. |
|
a. A rise in monasticism. |
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|
b. The Sack of Constantinople by the Turks. |
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|
c. The conversion of the Slavs to Orthodox Christianity. |
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|
d. The Twelfth Crusade. |
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a. Cimabue. |
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|
b. Theofanes the Greek. |
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|
c. Andrei Rubev. |
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|
d. Dionisy. |
|
a. The Black George. |
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|
b. Bishop Gunther’s Shroud. |
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|
c. The Good Shepherd from the Mausoleum of Galla Placidia in Ravenna. |
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|
d. The Lebanese “Two-Sided Icon.” |
|
a. The Latin West. |
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|
b. Kievan Rus’. |
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|
c. Celtic. |
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|
d. Islamic. |
|
a. A central dome. |
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|
b. Side aisles. |
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|
c. A narthex. |
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|
d. Open, massive space. |
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a. Moscow. |
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|
b. Rome. |
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|
c. Jerusalem. |
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|
d. Venice. |
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a. Was destroyed |
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|
b. Became a palace |
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|
c. Was extensively remodeled |
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|
d. Became a mosque |
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a. Architect |
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|
b. Monk |
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c. Prince |
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|
d. Scholar |
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a. Was more restrained than it was in earlier Byzantine architecture |
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|
b. Typically only realized the possibilities of surface details, such as pattern and color |
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|
c. Was ornate, taking advantage of the possibilities of both texture and surface details |
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|
d. Typically only took advantage of the possibilities of three-dimensional, textural details |
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|
e. Was more restrained than it was in earlier Byzantine architecture |
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|
f. Was notable for its pronounced patterns and colors. |
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|
g. Was notable for its “unrestrained” quality; it featured both texture and surface detail. |
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|
h. Was notable for its texture only. |
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a. Byzantium and Russia. |
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|
b. Byzantium and Egypt. |
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|
c. Byzantium and Italy. |
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|
d. Byzantium and Syria. |
|
a. Some Christians remained in areas conquered by Muslims. |
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|
b. There was a healthy trade relationship between Islamic and Christian culture. |
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|
c. Military conflict brought the two cultures into contact with one another. |
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|
d. All of the above. |
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a. The clothing of Byzantium’s neighbors were influenced by Byzantium |
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|
b. Artists could not depict individual features |
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|
c. Byzantium’s neighbors suffered tremendous violence at the hands of the Byzantines |
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|
d. The Byzantine Empire enslaved many of its neighboring cultures |
|
a. Idolatry |
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|
b. The end of iconoclasm |
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|
c. The Emperor |
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|
d. The Fall of Constantinople |
|
a. Western and Slavic. |
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|
b. Byzantine and Ottoman. |
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|
c. Western and Byzantine. |
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|
d. Islamic and Western. |
|
a. Complex |
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|
b. Unified |
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|
c. Symmetrical |
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|
d. All of the above |
|
a. Russia |
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|
b. Italy |
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|
c. Crete |
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|
d. Syria |
|
a. The language barrier |
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|
b. Political rivalry |
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|
c. Conflicting views of Christianity |
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|
d. All of the above |
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a. Middle Byzantine architecture |
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|
b. Late Byzantine architecture |
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|
c. Early Christian architecture |
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|
d. Early Byzantine architecture |
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a. Was never completed |
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|
b. Was not part of the original plan |
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|
c. Was taken into consideration as the church was designed |
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|
d. None of the above |
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a. Classicizing |
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|
b. Slavic |
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|
c. Mannered |
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|
d. All of the above |
|
a. The Virgin of the Don. |
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|
b. The Theotokos from Hagia Sophia. |
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|
c. The Holy Trinity. |
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|
d. The Saint Francis Altarpiece. |
|
a. Relief sculpture. |
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|
b. Mosaic imagery. |
||
|
c. Panel painting. |
||
|
d. All of the above. |
|
a. The fall of Constantinople to the Ottoman Turks. |
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|
b. The Great Schism. |
||
|
c. The Fourth Crusade. |
||
|
d. The conversion of the Rus’ to Orthodox Christianity. |
|
a. Mosaic. |
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|
b. Painting. |
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|
c. Manuscript Illumination. |
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|
d. Architecture. |
|
a. The Council of Nicea. |
||
|
b. The building of the Basilica of San Marco. |
||
|
c. The sack of Constantinople in 1204. |
||
|
d. The end of iconoclasm. |
|
a. A portrait of Mehmet II. |
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|
b. A scene from the Prophet Mohammed’s life. |
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|
c. Faux Arabic script. |
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|
d. All of the above. |
|
a. Genoa. |
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|
b. Siena. |
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|
c. Kiev. |
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|
d. Paris. |
|
a. The Late Byzantine period. |
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|
b. The Middle Byzantine period. |
||
|
c. The Early Byzantine period. |
||
|
d. The Komnenian Dynasty. |
|
a. Mosaic icons in church domes. |
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|
b. Icons on wood panels set against a gold background. |
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|
c. Icons embroidered into textiles. |
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|
d. Miniature mosaics. |
|
a. Portraits. |
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|
b. History painting. |
||
|
c. Relics. |
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|
d. All of the above. |
|
a. Simon Ushakov |
||
|
b. Andrei Rublev |
||
|
c. Dionisii |
||
|
d. Wassily Kandinsky |
|
a. Theophanes the Greek. |
||
|
b. Berlinghieri. |
||
|
c. Duccio. |
||
|
d. El Greco. |
|
a. The Catholic Church. |
||
|
b. Islam. |
||
|
c. The Normans. |
||
|
d. The Visigoths. |
|
a. Rublev. |
||
|
b. Theophanes the Greek. |
||
|
c. Berlinghieri. |
||
|
d. Raphael. |
|
a. Decreased population. |
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|
b. Political Instability. |
||
|
c. Devalued currency. |
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|
d. All of the above. |