a. the establishment of strong nation-states under powerful kings
b. the lingering effects of the Roman Empire’s collapse
c. the expansion of Germanic tribes across Europe
d. the spread of Muslims and Islamic influence into Europe
a. depictions of Muhammad dictating the Koran
b. abstract geometric and floral patterns
c. landscapes and still lives
d. images of Allah seated in heaven
a. qibla and hadj
b. hadj and mihrab
c. sahn and qibla
d. mihrab and muezzin
a. a small niche indicating the direction toward Mecca
b. an enclosed courtyard inside a mosque
c. a prayer wall
d. a tower from which a crier calls Muslims to prayer
a. a small niche indicating the direction toward Mecca
b. a prayer wall
c. an enclosed courtyard inside a mosque
d. a tower from which a crier calls Muslims to prayer
a. a fire set by a radical priest
b. an occupying army
c. the construction of a Christian cathedral inside it
d. an earthquake
a. Hellenistic
b. Germanic
c. Roman
d. Muslim
a. Ireland
b. Germany
c. England
d. Denmark
a. Book of Kells
b. Book of Aachen
c. Book of Alcuin
d Book of Tunc
a. scriptorium
b. vellum
c. crucifexerant
d. clerestory
a. interlacing patterns
b. optical illusions
c. surface depth
d. religious symbolism
a. he established a unified code of laws for his empire
b. he instituted a program to improve education in his realm
c. he established a political organization based on that of ancient Rome
d. He replaced Latin with German as the language of scholarship
a. gods of Roman mythology
b. Germanic kings who overran the Roman empire
c. early apostles of Jesus Christ
d. emperors of Rome
a. Odo
b. Alcuin
c. Columba
d. Charles Martel
a. a cruciform layout
b. central planning
c. elaborate, Byzantine frescoes
d. a vast number of columns
a. Venice
b. Paris
c. Aachen
d. Rome
a. mineral spring baths
b. military outposts in the Holy Land during the Crusades
c. houses for the physical remains of saints
d. monasteries where devout monks could be asked to pray for divine intercession
a. Leon
b. Burgos
c. Rocesvalles
d. Compostela
a. France
b. Germany
c. Italy
d. Spain
a. Celts
b. Vikings
c. Magyars
d. French
a. wars and civil unrest
b. economic decline
c. urban renewal
d. strong imperial rule
a. Arles
b. Conques
c. Limoges
d. Bordeaux
a. an abutment
b. a chevet
c. a nave
d. an ambulatory
a. the replacement of wooden roofs with stone barrel vaults
b. the introduction of ionic columns to support higher walls
c. the addition of a central dome atop the church
d. the addition of a transept to create a cruciform plan
a. rib vaulting
b. groin vaulting
c. barrel vaulting
d. radiating vaulting
a. the choice of vaulting for the church
b. the rules that governed the clergy who occupied the church
c. a figurative set of Gregorian chants sung before each service
d. a series of images creating a religious narrative
a. trumeau
b. mandorla
c. tympanum
d. lintel
a. to the left of Christ
b. to the right of Christ
c. immediately below Christ
d. immediately above Christ
a. a circle of light encompassing the whole body of a divine figure
b. an artistic motif that depicts a baby as a little adult
c. an arch made from a series of small stones
d. a musical instrument played to accompany Gregorian chants
a. an altarpiece with three sections
b. a three-sided decorated column
c. the long hall into which a Romanesque portal opens
d. a Romanesque motif showing all three incarnations of the Christian God: Father, Son, and Holy Spirit
a. the animated quality of letters
b. lively, naturalistic depictions of saints
c. intertwining human, animal, and floral forms
d. the use of flattened space
a. the Norman invasion of England in 1066
b. the legendary conversion of Constantine in the fourth century
c. the coronation of Charlemagne in 800
d. the fall of Rome in 476
a. a frieze
b. a capital decoration
c. an illuminated manuscript
d. an embroidery
a. flat space
b. naturalism
c. inorganic figures
d. lively, decorative stylization
a. secular character
b. use of decorative borders
c. static and stylized figures
d. combination of human and animal imagery
a. the New Testament
b. the Old Testament
c. French history
d. Classical mythology
a. Chartres
b. Cologne
c. Reims
d. Salisbury
a. High Gothic statues were more stylized
b. High Gothic statues were more naturalistic
c. High Gothic statues were fully frontal
d. High Gothic statues were less individualistic
a. By definition, they served as the seats of bishops
b. they were owned by towns or cities
c. they were built primarily in rural areas
d. they developed their own schools and universities
a. the Virgin Mary
b. Jesus
c. Saint Peter
d. a local saint important to the Cathedral was built
a. red and gold
b. blue and red
c. gold and green
d. blue and gold
a. web
b. tracery
c. armature
d. colonette
a. buttress
b. wall
c. pier
d. rib
a. luminosity and length
b. height and spaciousness
c. luminosity and height
d. spaciousness and length
a. twelve
b. three
c. ten
d. fourteen
a. the Seven Liberal Arts
b. the lineage of the French kings
c. Old Testament Kings and Queens
d. McLaren has a smelly butt
a. rib vaults
b. compound piers
c. rounded arches
d. flying buttresses
a. web
b. rib
c. facade
d. jamb
a. France
b. Germany
c. Spain
d. Italy
a. clergy and laypeople positioned to the left of saints
b. clergy and laypeople positioned below the saints
c. laypeople positioned below saints and clergy
d. clergy and laypeople positioned to the right of saints
a. Gabriel
b. William
c. Denis
d. Sugar
a. Germany
b. Spain
c. France
d. Italy
a. it was based partly on musical and mathematic ratios
b. it was so named because of its German origins and distinctly Germanic traits
c. It was designed to reflect both spirituality and the divine rights of kings
d. it exploited a belief in the miraculous and mystical effects of light
a. figures’ faces turned away from the picture plane
b. long, curvilinear planes
c. exterior choreographed quality to the various figures in the scene
d. a cluttered landscape to accentuate the sparse numbers of figures
a. Giotto
b. Lorenzetti
c. Pisanco
d. Duccio
a. gave figures and objects a sense of weightlessness
b. exhibited block-like sculptural forms instead of elegant ones
c. was more cluttered and richly drawn
d. used gold lines rather than shading to define form
a. Jesus
b. John the Baptist
c. St. Peter
d. Mary
a. bodily proportions of the infant Jesus
b. depiction of hell
c. theatrical composition
d. use of gazes to focus the viewer’s attention on certain elements of the scene
a. shows Mary staring straight forward, drawing the viewer into the scene
b. clutters the scene with more persons and more narrative
c. uses fewer figures in order to enhance the dramatic essence of the scene
d. evidences the strong influence of classical Roman poses
a. an arriccio
b. a sinopia
c. an intonaco
d. a gironata
a. included flat, round halos that do not turn with the heads of the figures
b. depicted the infant Jesus with the proportions of an infant
c. use draperies to suggest organic weight and form
d. provide a naturalistic rather than a stylized depiction of human form
a. predella
b. tempera
c. gesso
d. giornata
a. Venice
b. Florence
c. Naples
d. Padua
a. Giotto
b. Pisaro
c. Duccio
d. Cimabue
a. the rise of humanism
b. an indifference to nature
c. the celebration of individual artists
d. the artistic illusion of three-dimensional space
a. the middle class
b. the peasantry
c. the aristocracy
d. the ranks of wealthy commoners
a. the Christ Child depicted in the form of an adult
b. long, thin human fingers
c. the use of gold in a manner reminiscent of Byzantine art
d. poses and draperies that show a clear Classical Roman influence
a. skeptical form of rationalism that rejected most aspects of Christianity
b. revival of interest in Greek and Roman arts and letters
c. self-conscious attempt to throw off the shackles of tradition and create and entirely new artistic style
a. Italy
b. Germany
c. Spain
d. France
a. implicit homosexual imagery
b. a revival of antique forms
c. complex religious and political allegories
d. a bulky, masculine figure in David
a. the development of illusionism
b. the increased popularity of the equestrian portrait
c. the invention of one-point perspective
d. the increased use of stained glass windows
a. a languid, placid style
b. rich, deep colors
c. ordinary objects imbued with Christian meaning
d. patrons depicted as larger than saints
a. Donatello
b. Botticelli
c. Alberti
d. Ghirlandaio
a. exquisite details created by oil pain applied with tiny brushes
b. the figure of God whose importance is indicated by both position and size
c. mathematically superior perspective compared to contemporary Italian works
d. the use of elongated, individualized figures instead of idealized ones
a. Ghirlandaio
b. Hugo
c. Masaccio
d. Piero
a. van Eyck
b. Rogier
c. Masaccio
d. Donatello
a. Rogier
b. Botticelli
c. van Eyck
d. Mantegna
a. van Eyck
b. Campin
c. Rogier
d. Chirlandaio
a. early abandonment of Gothic traditions
b. fascination with Classical mythological subject matter
c. experimentation with tempera paintings techniques
d. interest in meticulous and naturalistic detail
a. the illusion of three-dimensional space
b. a single viewpoint uniting all three panels of the triptych
c. sharp, precise details
d. a bourgeois setting containing everyday secular objects
a. is more erotic
b. shows David having triumphed over Goliath
c. is more angular and gawky
d. is a nude
a. Campin
b. Piero
c. Alberti
d. Mantegna
a. pointed window arches
b. Tuscan, Ionic, and Corinthian pilasters
c. a vertical progression similar to that of the Roman Colosseum
d. a symmetrical faqade
a. canvas
b. a shield
c. a banner
d. a wall
a. references to antique forms
b. orthogonal floor patterns to establish perspective
c. a rejection of spirituality in favor of monumentality
d. delicate, curvilinear draperies
a. It as painted on the wall of a cathedral
b. it adopts a double perspective system in its depiction of pedestal and horse and rider
c. it condenses two narrative moments within one frame
d. it commemorates a secular soldier of fortune
a. the Roman statue of Marcus Aurelius
b. the Augustus of Prima Porta
c. Roman portrait busts on ancient coins
d. the Doryphoros
a. Brunelleschi
b. Alberti
c. Ghiberti
d. Uccello
a. the expulsion of Adam and Eve from the Garden of Eden
b. Jesus’ conquest over death
c. the portal to Hell
d. Saint Mary’s virginity
a. Florence
b. Naples
c. Venice
d. Rome
a. the fifteenth century
b. a famous Florentine school for artists
c. a type of painting
d. the use of linear perspective to create the illusion of depth
a. the Florentine government
b. the Medicis
c. the Catholic Church
d. the wool refiners’ guild
a. Ghiberti
b. Brunelleschi
c. Vasari
d. Masaccio
a. Ghiberti
b. Mantegna
c. Campin
d. Vasari
a. the use of complex mathematical ratios based on musical harmonies
b. the use of circles and squares in building plans
c. the use of Classical rather than Gothic piers
d. the use of round arches rather than pointed ones
a. Masaccio
b. Gentile
c. Brunelleschi
d. Donatello
a. a Byzantine fondness for complex and exotic imagery
b. the creation of illusionistic space via orthogonals
c. representations of two of the donors who commissioned the piece
d. a symbolic reminder of death’s inevitability
a. through the use of orthogonals
b. through gradations in light and shade
c. through the position of objects in relation to each other
d. through the size of objects in relation to each other
a. Masaccio
b. Donatello
c. Brunelleschi
d. Gentile
a. as David in the sculpture of that name
b. as Jesus in his Pieta
c. as Adam in the Creation of Adam
d. on a flayed skin in his Last Judgement
a. His depiction of hell is markedly more chaotic than his depiction of heaven and earth
b. his depiction draws more on Classical imagery than medieval CHristian imagery
c. His depiction shows hell across the entire bottom of the frame instead of just on the left
d. his depiction of hell is filled only with monstrous and demonic forms, not human ones
a. Raphael
b. Andrea Mantegna
c. Giorgione
d. Giovanni Bellini
a. it enjoyed a remarkable stretch of political stability and continuity when compared to other Italian states
b. Its artistic style showed the influence of Gothic, Byzantine, and International styles
c. Its location atop a body of water affected its artists’ use of light
d. it abandoned the tradition of the family-run artists’ workshop much more quickly than Rome or Florence
a. daring compositional arrangements
b. the psychological insight they show into their characters
c. their warm colors, deepened by layers of glaze
d. their limited range of subject matter
a. rich, textured fabrics
b. sweeping natural landscapes
c. exact symmetry
d. darkened settings
a. Titian
b. Raphael
c. Gentile Bellini
d. Giorgione
a. contorted
b. anxious
c. ambiguous and mysterious
d. calm and restrained
a. Michelangelo
b. Leonardo
c. Titian
d. Botticelli
a. “the unknowable one”
b. ” the private joke”
c. “the smiling one”
d. “the wife of Francesco del Giocondo”
a. poised tensely for battle against Goliath
b. in the midst of slinging a stone at Goliath
c. in a moment of private triumph after winning his battle against Goliath
d. receiving accolades for his victory over Goliath
a. Byzantine
b. Classical
c. Archaic
d. Hellenistic
a. Titian
b. Raphael
c. Gentile Bellini
d. Giorgione
a. bringing figures into sharp relief through stark contrasts in color
b. defining figures through delicate gradations of light and shade
c. incorporating symbolic elements of geometry and numerology into the composition and subject matter of the painting
d. interrelating figures into their architectural or natural surroundings
a. Jesus portrayed with adult proportions
b. a triangular composition
c. the interrelation of the figures and the landscape between them
d. the use of chiaroscuro and sfumato
a. depictions of each apostles’ psychological reaction to Jesus’ news
b. a figure of Judas indicated by his isolated location
c. the symbolic use of light
d. the symbolic use of geometry and numerology
a. investigative
b. experimental
c. practical
d. preliminary
a. Bramante
b. Michelangelo
c. Raphael
d. Leonardo
a. Romanesque
b. central plan
c. basilica
d. Gothic
a. Titian
b. Leonardo
c. Bramante
d. Raphael
a. Florence
b. Naples
c. Rome
d. Venice
a. Christ’s role as a merciful redeemer
b. divine punishment for sin
c. the essential good of humankind
d. the benevolent qualities of nature
a. juxtaposition of fixed and agitated poses, and of gloomy and pastel colors
b. accentuation of the fleshiness of the human figures
c. rejection of the sculptural, carved appearance of drapery made popular by Michelangelo
d. creation of a well-definied space in which all of the human figures appear distant from each other
a. symmetrical arrangements that create an overall aura of stability
b. open spaces with human figures overwhelmed by natural landscapes
c. elongated, exaggerated human bodies in complex poses
d. the close study, imitation , and idealization of nature
a. Giambologna
b. Pontormo
c. Bronzino
d. Tintoretto
a. figura pieta
b. figura rossi
c. figura putto
d. figura serpentinata
a. Giambologna
b. El Greco
c. Pontormo
d. Parmigianino
a. Pontormo
b. Giambologna
c. Parmigianino
d. Anguissola
a. landscapes
b. portraits
c. obscure religious allegories
d. rural scenes
a. Tintoretto
b. Cellini
c. Bronzino
d. Parmigianino
a. erotic imagery
b. Christian allegory
c. natural landscapes
d. somber colors an dsubjects
a. Ionic
b. Corinthian
c. Doric
d. Composite
a. England
b. Norway
c. Spain
d. Switzerland
a. Tintoretto
b. Vasari
c. Berlioz
d. Cellini
a. Cellini
b. Vasari
c. Bronzino
d. Fidolfi
a. It differs little from one viewpoint to another
b. it presents smooth, fleshy surfaces
c. it presents a more rigid pose
d. it makes greater use of open space
a. Cellini
b. El Greco
c. Parmigianio
d. Giambologna
a. art should emphasize the parallels between Old and New Testaments
b. art should appeal to reason rather than the emotions
c. art should be didactic and ethically correct
d. art should portray religious subjects accurately and ignore Classical events
a. he burned the work and begged for mercy
b. he painted over the offending material
c. he changed the painting’s title
d. he endured torture and imprisonment rather than repent
a. Tintoretto’s work was more inclined toward mystical melodrama
b. Tintoretto’s work demonstrated a greater interest in the psychology of the subjects
c. Tintoretto’s work reveal a closer operation of nature
d. Tintoretto placed the table at which Jesus sat parallel to the picture plane
a. a close proximity between the material world on earth and the spiritual world of Heaven
b. the punishment inevitably doled out to sinners who pursue worldly wealth
c. a fondness for playful eroticism even in seemingly dour occasions
d. an implicit argument that the material world is the only reality and no soul lives on after death
a. Tintoretto
b. El Greco
c. Parmigianino
d Bronzino
a. Italy
b. France
c. Greece
d. Spain
a. a domed central chamber
b. strict symmetry
c. stained-glass windows
d. porticoes enclosed by walls pierced by an arch
a. cross
b. circle
c. pentagon
d. square
a. Vitruvius
b. Tintoretto
c. Cellini
d. Palladio
a. by elevating the side aisles to match the nave
b. by superimposing a tall facade on a shorter, wider one
c. by lowering the nave to match the side aisles
d. by removing the facade completely
a. the broken pediment
b. the flying buttress
c. the vaulted arch
d. the cruciform layout
a. Palladio
b. Ruiz
c. Tintoretto
d. Veronese