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