|
a. The Near East |
||
|
b. Africa |
||
|
c. Spain |
||
|
d. The British Isles |
||
|
e. France |
|
a. a sculpture formed by carved lines |
||
|
b. an independent sculpture fully carved on all sides |
||
|
c. a sculpture that is carved out from or into an unsculpted background |
||
|
d. a sculpture carved into a cave wall |
||
|
e. a sculpture that makes you feel better when you view it |
|
a. As a form of sympathetic magic (i.e. to bring about what is depicted) |
||
|
b. As a part of ritual or initiation |
||
|
c. To assist in hunting practice |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Post and lintel |
||
|
b. Arcuated |
||
|
c. Hypostyle |
||
|
d. Vaulted |
||
|
e. Mastaba |
|
a. All buildings were underground so that the town could remain hidden. |
||
|
b. Buildings were built directly next to one another and there are no streets, allowing for greater defensibility. |
||
|
c. Buildings were placed on tall platforms to protect from flooding. |
||
|
d. All structures were built into existing natural elements (trees, boulders, etc.) in the environment. |
||
|
e. Structures were portable and were routinely deconstructed. |
|
a. Agricultural development |
||
|
b. Improved hunting techniques |
||
|
c. Greater religious stability |
||
|
d. The development of written language |
||
|
e. The use of metal tools |
|
a. The statuette is not truly a representation of a venus figure. |
||
|
b. The statuette overemphasizes female sexual elements in order to suggest fertility. |
||
|
c. The statuette is not interested in individualistic features. |
||
|
d. The statuette is made from stone not native to the place where it was found. |
||
|
e. All of the above |
|
a. There are not enough surviving artifacts to provide a coherent sense of Prehistoric art. |
||
|
b. Prehistoric art was created before the development of writing systems. |
||
|
c. Scholars have not yet deciphered the written languages of prehistoric peoples. |
||
|
d. The documents left by Prehistoric peoples contradict themselves. |
||
|
e. Prehistoric art was altered by subsequent civilizations. |
|
a. with uneven proportions |
||
|
b. in as little detail as possible, emphasizing an impossible “magical” world |
||
|
c. from multiple points of view, partially from the front and partially from the side |
||
|
d. as if in a twisting motion |
||
|
e. with the most important people on a larger scale than less important people |
|
a. Persia |
||
|
b. Babylon |
||
|
c. Greece |
||
|
d. Macedon |
||
|
e. Sumer |
|
a. It stood in for a patron, usually in a constant posture of prayer. |
||
|
b. It served a dual purpose as statue and lamp. |
||
|
c. It was a gift for the king. |
||
|
d. It was a gift from the king to a priest. |
||
|
e. It was a container for written prayers. |
|
a. Lagash |
||
|
b. Uruk |
||
|
c. Babylon |
||
|
d. Ur |
||
|
e. Akkad |
|
a. The use of hieratic scale |
||
|
b. The fact that the king wears a prominent crown |
||
|
c. The fact king wears bold colors |
||
|
d. The presence of a god gesturing toward the king |
||
|
e. The king’s obvious power and fearlessness in the hunt |
|
a. It is a law-code of the Akkadian king. |
||
|
b. It represents the Akkadian king’s defeat of his enemies. |
||
|
c. It depicts the Akkadian gods in a ritual ceremony. |
||
|
d. It is a diplomatic treaty. |
||
|
e. All of the above |
|
a. It depicts the Babylonian king receiving the right to rule from his god. |
||
|
b. It shows Hammurabi defeating his enemies. |
||
|
c. It includes Hammurabi’s written code of laws. |
||
|
d. Both A and C |
||
|
e. Both A and B |
|
a. Cuneiform, one of the earliest forms of written language |
||
|
b. The wheel |
||
|
c. Arithmetic |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. There is greater emphasis on rounded and elongated forms. |
||
|
b. There is a “feminine” quality in male figures. |
||
|
c. There is a move towards abstraction. |
||
|
d. A and B only |
||
|
e. A and C only |
|
a. The practice of mummification began. |
||
|
b. Egyptians no longer believed in an afterlife. |
||
|
c. Only one god, Aton, was recognized, rather than many gods. |
||
|
d. Many gods, rather than the one god Aton, were recognized. |
||
|
e. None of the above |
|
a. Ti is shown in composite view, whereas his servants are more lifelike. |
||
|
b. The scene employed hieratic scale, Ti being the largest figure. |
||
|
c. Ti is still and looks on, while his servants are actively working. |
||
|
d. Both A and B |
||
|
e. All of the above |
|
a. Sunken relief on the columns |
||
|
b. A clerestory |
||
|
c. Columns that imitate lotus plants |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. An individual’s spirit, which continues to live after death |
||
|
b. An elaborate tomb for a king’s remains |
||
|
c. The sculpture of an important person buried with them in their tomb |
||
|
d. A measurement tool used to build pyramids |
||
|
e. The king’s crown |
|
a. Mastaba |
||
|
b. Pyramid |
||
|
c. Rock-cut |
||
|
d. Mortuary chapel |
||
|
e. Subterranean |
|
a. Death and the afterlife |
||
|
b. Wars and political power |
||
|
c. Agriculture |
||
|
d. Religious enlightenment |
||
|
e. Diplomacy |
|
a. Osiris, Ra, Aton, and Ramses II |
||
|
b. Four identical images of Ramses II |
||
|
c. Ramses II’s wives |
||
|
d. Ramses II’s ancestors |
||
|
e. Ramses II’s children |
|
a. She killed all of her rivals. |
||
|
b. She took on male attributes, even calling herself king. |
||
|
c. She moved her capital to Tel el Amarna. |
||
|
d. She called herself god of all Egypt. |
||
|
e. She named her son co-regent. |
|
a. They were places of worship. |
||
|
b. They were tombs for the kings. |
||
|
c. They were ceremonial centers for public use. |
||
|
d. They housed grain. |
||
|
e. All of the above |
|
a. They tend to exaggerate the size of the eyes. |
||
|
b. They are painted in encaustic. |
||
|
c. They are molded from plaster and gilded. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. The yearly flooding of the Nile River |
||
|
b. The death of King Narmer |
||
|
c. The coronation of King Narmer |
||
|
d. The unification of Upper and Lower Egypt |
||
|
e. The emancipation of Egyptians from slavery |
|
a. It has more columns across the front than is typical in Doric temples. |
||
|
b. It has a continuous frieze. |
||
|
c. It has some ionic columns in the interior. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Scrolled volutes and palmette designs |
||
|
b. Acanthus leaves |
||
|
c. Geometric patterns |
||
|
d. Female figures |
||
|
e. Both B and C |
|
a. rigid and formal |
||
|
b. abstracted and unnatural |
||
|
c. calm and peaceful |
||
|
d. dramatic and naturalistic |
||
|
e. unconcerned with the human form |
|
a. Roman amphitheater |
||
|
b. Greek theater |
||
|
c. Roman aqueduct |
||
|
d. Etruscan temple |
||
|
e. Roman basilica |
|
a. A ratio was employed throughout the building. |
||
|
b. Exact right angles were used, without exception, throughout the building. |
||
|
c. The sides of the temple were curved, to make up for optical illusions. |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. Etruscan |
||
|
b. Minoan |
||
|
c. Cycladic |
||
|
d. Mycenaean |
||
|
e. Late Egyptian |
|
a. Scrolled volutes and palmette designs |
||
|
b. Acanthus leaves |
||
|
c. Geometric patterns |
||
|
d. Female figures |
||
|
e. Both B and C |
|
a. He looks fierce and imposing. |
||
|
b. He is calmly in control of his horse and gestures authoritatively. |
||
|
c. He raises a sword to the sky. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. An arch |
||
|
b. A vault |
||
|
c. A foundation |
||
|
d. A column |
||
|
e. A pediment |
|
a. A relieving arch |
||
|
b. Vaulting |
||
|
c. A clerestory |
||
|
d. Concrete |
||
|
e. All of the above |
|
a. Pyramid |
||
|
b. Mastaba |
||
|
c. Palace |
||
|
d. Tholos tomb |
||
|
e. Megaron |
|
a. Geometric |
||
|
b. Archaic |
||
|
c. High Classical |
||
|
d. Late Classical |
||
|
e. Hellenistic |
|
a. The Spear Bearer |
||
|
b. The Augustus of Prima Porta |
||
|
c. The Last Judgment Tympanum |
||
|
d. The New York Kouros |
||
|
e. Virgin and Child |
|
a. The four co-rulers of the Roman Empire |
||
|
b. The sons of Philip the Arab |
||
|
c. The four leading generals of the late Roman Empire |
||
|
d. The founders of Rome |
||
|
e. Four identical images of the Emperor Constantine |
|
a. A Doric order temple |
||
|
b. An Ionic order temple |
||
|
c. A domed temple |
||
|
d. A Corinthian order temple |
||
|
e. An Etruscan temple |
|
a. The use of wet fabrics to shape clay models for final sculptures |
||
|
b. The depiction of dramatic scenes as if they took place in a marine setting |
||
|
c. The method of depicting drapery to reveal the body rather than conceal it, with drapery that appears wet |
||
|
d. The method of attaching sculptures to a temple pediment, by way of wet adhesives |
||
|
e. None of the above |
|
a. Egyptian |
||
|
b. Hellenistic |
||
|
c. Minoan |
||
|
d. Etruscan |
||
|
e. Roman |
|
a. Structures could be constructed more quickly. |
||
|
b. More complicated shapes could be constructed. |
||
|
c. Structures could be constructed less expensively. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. The use of Corinthian columns |
||
|
b. The dome |
||
|
c. The coffers |
||
|
d. The porch |
||
|
e. All of the above |
|
a. Athena |
||
|
b. Zeus |
||
|
c. Hera |
||
|
d. Medusa |
||
|
e. Artemis |
|
a. Greek architecture used post and lintel construction. |
||
|
b. Greek architecture imposed on and dominated the surrounding landscape. |
||
|
c. Greek architecture used rounded arches. |
||
|
d. Greek architecture used concrete. |
||
|
e. Greek architecture worked with the natural landscape, instead of dominating it. |
|
a. It depicted a male youth. |
||
|
b. It usually depicted its figure as nude. |
||
|
c. It served as a grave-marker. |
||
|
d. It was indebted to Egyptian sculpture. |
||
|
e. All of the above |
|
a. New York Kouros |
||
|
b. Anavysos Kouros |
||
|
c. The Dying Warrior |
||
|
d. The Spear Bearer |
||
|
e. Peplos Kore |
|
a. It suggests the influence of the Classical Greek Spear Bearer by Polykleitos. |
||
|
b. It suggests the influence of the Roman Republican sculpture of Aulus Metellus. |
||
|
c. It includes a Cupid, referring to Augustus’s divine ancestry. |
||
|
d. It shows Augustus as a military leader. |
||
|
e. It depicts Augustus’s face with intense realism, showing age, worry, and experience. |
|
a. It was built on land confiscated from an unpopular emperor. |
||
|
b. It extensively used both barrel and groin vaults. |
||
|
c. Much of the building’s interior was made of concrete. |
||
|
d. It was an excellent example of true post and lintel construction. |
||
|
e. It used more than one of the classical orders on the exterior. |
|
a. Roman art sought to faithfully imitate Greek art. |
||
|
b. Roman art borrowed certain details from Greek art, but adapted those details to their own needs. |
||
|
c. Rome actively sought to differentiate itself from Greek art, barely using any Greek elements at all. |
||
|
d. Roman art only borrowed from Greek architecture. |
||
|
e. Roman art only borrowed from Greek sculpture. |
|
a. The altar aims to suggest the bounty and peace of Rome under Augustus. |
||
|
b. The altar includes portraits of real Roman people. |
||
|
c. The altar includes images of children, a reference to Augustus’s family values program. |
||
|
d. All of the above |
||
|
e. B and C only |
|
a. The Apotheosis of Titus |
||
|
b. The Spoils from the Temple of Solomon in Jerusalem |
||
|
c. The Triumph of Titus |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. An atrium |
||
|
b. An impluvium |
||
|
c. A peristyle |
||
|
d. A thermopolium |
||
|
e. A tablinum |
|
a. Youth and athleticism |
||
|
b. Authority and experience |
||
|
c. Bravery and military might |
||
|
d. Wealth |
||
|
e. Religious faith |
|
a. Vespasian |
||
|
b. Augustus |
||
|
c. Nero |
||
|
d. Hadrian |
||
|
e. Julius Caesar |
|
a. Male figures engaged in battle |
||
|
b. Female figures with babies |
||
|
c. Female figures with arms folded across the chest |
||
|
d. Priests and priestesses dressed in long robes |
||
|
e. Male figures holding funerary urns |
|
a. a combination of a centrally-planned and basilican building |
||
|
b. a careful imitation of a Roman temple |
||
|
c. the smallest church built by Justinian |
||
|
d. a poor example of Byzantine architecture |
||
|
e. more of a palace residence than a place of worship |
|
a. English Gothic emphasizes length more than height. |
||
|
b. English Gothic façades are low and wide, rather than narrow and tall. |
||
|
c. English Gothic uses materials of contrasting colors to articulate the interior space. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. cities. |
||
|
b. monasteries. |
||
|
c. an increasingly wealthy middle class. |
||
|
d. guilds. |
||
|
e. universities. |
|
a. The Book of Durow |
||
|
b. The Purse Cover from Sutton Hoo |
||
|
c. The Virgin of Vladimir |
||
|
d. The Book of Kells |
||
|
e. The South Cross at Ahenny |
|
a. The art of Medieval Sicily |
||
|
b. Christian art influenced by the arts of Islamic Spain |
||
|
c. Art produced in the Umayyad Dynasty |
||
|
d. Christian art produced in Medieval Jerusalem |
||
|
e. Objects stolen by the Vikings and made into new works of art |
|
a. Be elongated |
||
|
b. Focus on linear details, especially in describing hair and drapery folds |
||
|
c. Seem removed from any contextual setting, rather seeming to float in space |
||
|
d. Twist and contort to fit the shape of the space provided for them |
||
|
e. All of the above |
|
a. Ornate and decorative |
||
|
b. Minimalist and austere |
||
|
c. Naturalistic |
||
|
d. Inspired by Islamic art |
||
|
e. Secular |
|
a. It exerted force on the outer walls, requiring buttressing and limiting window size. |
||
|
b. It was less attractive than a flat timber roof. |
||
|
c. It was tremendously expensive and time-consuming to build. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. The Norman conquest of England |
||
|
b. The death of the English King, Harold |
||
|
c. The coronation of King Harold |
||
|
d. Halley’s Comet |
||
|
e. All of the above |
|
a. The use of ribbed, groin vaults in the nave |
||
|
b. The use of a clerestory |
||
|
c. Flying buttresses |
||
|
d. All of the above |
||
|
e. B and C only |
|
a. In the Coronation Gospels, Mark sits in a library, whereas in the Ebbo Gospels he stands in a desert. |
||
|
b. In the Coronation Gospels, Mark is writing, whereas in the Ebbo Gospels he is contemplating a vision. |
||
|
c. The Coronation Gospels is a diptych, while the Ebbo Gospels is a book. |
||
|
d. The style of the Coronation Gospels is calm and classicizing, whereas the Ebbo Gospels is somewhat abstracted and filled with a sense of energy. |
||
|
e. All of the above |
|
a. The temple |
||
|
b. The bath house |
||
|
c. The basilica |
||
|
d. The amphitheater |
||
|
e. All of the above |
|
a. Mozarabic |
||
|
b. Gothic |
||
|
c. Carolingian |
||
|
d. Byzantine |
||
|
e. Ottonian |
|
a. Small, portable objects, especially metalwork |
||
|
b. Large-scale stone statuary |
||
|
c. Architecture |
||
|
d. Fresco painting |
||
|
e. Stained glass |
|
a. The emperor and empress as if they are participating in the church ceremony |
||
|
b. The emperor and empress as Christ and the Virgin |
||
|
c. The emperor and empress as they appear in the afterlife |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. Mozarabic, Classical, and Norman |
||
|
b. Mozarabic, Byzantine, and Classical |
||
|
c. Classical, Gothic, and Byzantine |
||
|
d. Classical and Viking |
||
|
e. Mozarabic and Ottonian |
|
a. Santiago de Compostela |
||
|
b. Cologne Cathedral |
||
|
c. Chartres Cathedral |
||
|
d. Amiens Cathedral |
||
|
e. The Abbey Church of Saint-Denis |
|
a. Sainte-Chapelle in Paris |
||
|
b. The façade of Amiens Cathedral |
||
|
c. The Angel Gabriel from the façade of Reims Cathedral |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. The Winchester Psalter |
||
|
b. The Ebbo Gospels |
||
|
c. The Worcester Chronicle |
||
|
d. The Coronation Gospels |
||
|
e. The Book of Kells |
|
a. Hypostyle hall |
||
|
b. Horseshoe arches |
||
|
c. Double arcades |
||
|
d. Domed mihrab |
||
|
e. All of the above |
|
a. A decorative architectural feature in which arcades are embedded into a wall surface and do not open up onto any space |
||
|
b. An arcade that is hidden behind an iconostasis, and thus can only be seen by priests |
||
|
c. A free-standing arcade, independent of any other architectural structure |
||
|
d. A row of arched windows |
||
|
e. None of the above |
|
a. An important cultural center in the Romanesque period |
||
|
b. A capital with images sculpted in relief, rather than the traditional capitals of the Classical orders |
||
|
c. A decorative program in which style is deliberately retrospective |
||
|
d. Both B and C |
||
|
e. None of the above |
|
a. Christ |
||
|
b. The Virgin Mary |
||
|
c. The Twelve Disciples |
||
|
d. The Four Evangelists |
||
|
e. Heaven |
|
a. It was built on the site of the Temple of Solomon. |
||
|
b. It is the site from which Muhammad is believed to have ascended to the heavens. |
||
|
c. It is the site where the creation of Adam is thought to have taken place. |
||
|
d. It is believed to be the site where Abraham prepared to sacrifice his son, Isaac. |
||
|
e. All of the above |
|
a. It is a purely decorative feature. |
||
|
b. It provides added support for the nave vault. |
||
|
c. It creates the illusion of height in an otherwise low nave. |
||
|
d. It is a form of articulation that divides up a nave bay. |
||
|
e. It is a drainage system. |
|
a. Pointed arches could be taller than rounded arches. |
||
|
b. Pointed arches required less skill to construct. |
||
|
c. Pointed arches allowed for arches of different widths, though with keystones at the same level. |
||
|
d. Pointed arches were faster to construct. |
||
|
e. All of the above |
|
a. To intimidate the viewer |
||
|
b. To educate the viewer |
||
|
c. To confuse the viewer |
||
|
d. A and B only |
||
|
e. A and C only |
|
a. Stained glass |
||
|
b. Statues |
||
|
c. Relics |
||
|
d. Paintings |
||
|
e. Prayer candles |
|
a. Nave |
||
|
b. Atrium |
||
|
c. Transept |
||
|
d. Impluvium |
||
|
e. Apse |
|
a. Pointed arches |
||
|
b. Rounded arches |
||
|
c. Radiating chapels |
||
|
d. Stained glass |
||
|
e. Both B and C |
|
a. It was meant to be worshipped as an idol. |
||
|
b. It sought to faithfully imitate the real world. |
||
|
c. It was meant to be used as a tool to better access the divine world. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. It was the largest monastery ever built in the West. |
||
|
b. It was one of the most powerful religious centers in the Romanesque period. |
||
|
c. It was a Cistercian monastery. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. Post and lintel construction |
||
|
b. The rounded arch |
||
|
c. The pointed arch |
||
|
d. The narthex |
||
|
e. Westwork |
|
a. Chartres Cathedral |
||
|
b. The Abbey Church of Saint-Denis |
||
|
c. Sainte-Chapelle in Paris |
||
|
d. Notre Dame in Paris |
||
|
e. Reims Cathedral |
|
a. Low ceilings |
||
|
b. A lack of light |
||
|
c. Clumsy stonework |
||
|
d. Excessively thick walls |
||
|
e. All of the above |
|
a. It was likely built by architects from Constantinople. |
||
|
b. It has some of the best-preserved examples of Middle Byzantine mosaic decoration. |
||
|
c. It is a smaller version of Hagia Sophia. |
||
|
d. It is an excellent example of early Gothic architecture. |
||
|
e. Both C and D |
|
a. It is modeled after the church of San Vitale in Ravenna. |
||
|
b. It uses stained glass to bring in an other-worldly light. |
||
|
c. It incorporated spolia from Rome and Byzantium. |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. Iktinos |
||
|
b. Anthemius of Tralles |
||
|
c. Polykleitos |
||
|
d. Gislebertus |
||
|
e. Agrippa |
|
a. Constantine |
||
|
b. Justinian |
||
|
c. Charlemagne |
||
|
d. Maxentius |
||
|
e. Saint Peter |
|
a. It was kept hidden from the public. |
||
|
b. It was fused with older, established artistic traditions. |
||
|
c. It was illegal. |
||
|
d. It was not part of the repertoire of professional artists. |
||
|
e. All of the above |