Q&A Hero

Q: Which notion was emphasized in The Transfiguration of Christ (Fig. 8-11) in the apse at St. Catherine? A. theophany B. parakklesion C. anastasis D. symbolism

Q: What originated in the third century, when devout Christians retired to the desert? A. iconoclasm B. monasticism C. orthodoxy D. pilgrimage

Q: Justinian provided the monastery at St. Catherine at Mount Sinai with A. vaults. B. minarets. C. fortifications. D. a chapel.

Q: During the Late Byzantine period, the territory of the Byzantine Empire decreased to A. small areas of the Balkans and Greece. B. Constantinople and Russia. C. Greece and eastern Europe. D. Greece and Macedonia.

Q: During the Byzantine era, to separate the congregation from the sanctuary, the celebration of the Mass took place behind a(n) A. ciborium. B. screen. C. ambulatory. D. aisle.

Q: Architects of the Cathedral of St. Mark in Venice relied on a Greek-cross plan, marking each square unit with a separate A. altar. B. apse. C. chapel. D. dome.

Q: In both its subject matter and artistic style, the Paris Psalter (Fig. 8-27) reflects A. the continuation of pagan artistic traditions in the Christian art of Constantinople. B. the Byzantine interest in representing an otherworldly space of the mystical. C. the preference for two-dimensional surface patterns in the Middle Byzantine period. D. the spread of Christianity among the masses through the production of manuscripts .

Q: Which medium, which the poet and philosopher Theodore Metochites was responsible for, cover(s) every inch of the funerary chapel at the church of the monastery of Christ in Chora? A. mosaics B. frescoes C. tapestries D. stonework

Q: The nobility and suffering of the figures of the Crucifixion (Fig. 8-22) were meant to A. provoke fear in travelers and pilgrims. B. move monks and visitors to meditation. C. express knowledge of Greek artistic tradition. D. emphasize the power of the royal patron.

Q: The use of purple vellum in the production of the Vienna Genesis (Fig. 8-13) indicates it was probably made for A. a bishop. B. a woman. C. an imperial patron. D. public display

Q: The extensive use of marble, colored glass, and gold mosaics to decorate the interior of the Church of San Vitale (Fig. 8-6) had what effect on the structure? A. It served to reinforce the underlying supports. B. It made the structure appear to dissolve into shimmering light and color. C. It called attention to the architectural complexity seen throughout the building. D. It disguised structural irregularities that were originally visible inside the church.

Q: The Archangel Michael (Fig. 8-12) is an example of carved ivory diptychs that served what function in Christian worship? A. They were used to send messages to friends and colleagues. B. They were portable objects of veneration, similar to painted icons. C. They were used to record names of people who were to be remembered in prayers. D. They were used as book covers for manuscripts.

Q: Before the iconoclasm of the eighth century, icons were accepted as A. illustrations of key biblical events. B. intermediaries between worshipers and holy figures. C. didactic images that reinforced Christian moral values. D. images to be worshiped in churches and private settings.

Q: What pictorial element indicates an otherworldly space in Empress Theodora and her Attendants in the Church of St. Vitale (Fig. 8-9)? A. the emphasis on illusionistic space B. three-dimensional modeling of the figures C. the silhouetting of the figures against a gold background D. the open doorway to the womens gallery

Q: What religious theme unites the mosaics in the Church of San Vitale (Figs. 8-5, 8-6, 8-7, 8-8, and 8-9)? A. the martyrdom of St. Vitalis B. the marriage sacrament of Justinian and Theodora C. Christs role as King of Heaven D. the celebration of the Eucharist

Q: Near the end of the first century, what replaced the scroll as the primary form of recording texts? A. codex B. manuscript C. miniature D. vellum

Q: Compare and contrast the decorative characteristics of the interiors and exteriors of Early Christian churches, such as the Church of Santa Sabina, Rome, and Galla Placidia, Ravenna.

Q: Describe the form, perspective, and composition of The Good Shepherd (Fig. 7-21).

Q: How do Classical themes and symbols continue to be incorporated into Christian art and architecture?

Q: Trace the development of Early Christian architecture from its origins in pagan structures.

Q: Discuss the iconographic motifs that developed during the Early Christian period for representing events from the Life of Christ.

Q: What scenes are portrayed in the Mosaic Floor of the Beth Alpha Synagogue (Fig. 7-5)?

Q: How does Santa Costanza represent a tholos?

Q: What was the purpose of the Edict of Milan?

Q: What was the purpose of baptism?

Q: What are the different types of Christian art in existence from the time before Constantine?

Q: Geographically and administratively, how was the early church organized?

Q: What are at least two types of synagogue designs?

Q: What is the history of the First and Second Temple in Jerusalem?

Q: What is the origin of the Jewish people?

Q: What are the basic beliefs of the Jews, the Christians, and the Muslims?

Q: What innovative feature of St. Peters provided space for the clergy and pilgrims? A. aisles B. apse C. nave D. transept

Q: The peacocks on the Sarcophagus of Constantina symbolize A. Bacchian ritual. B. religious freedom. C. eternal life in paradise. D. the Eucharist.

Q: The image of Christ in the Cubiculum of Leonis is iconic because A. it is located in a catacomb. B. he appears as the Good Shepherd. C. he performs miracles. D. it symbolizes an idea.

Q: What symbolizes eternal life in the Oratory of Galla Placidia? A. bookcases B. doves flanking a fountain C. floral designs D. geometric patterns

Q: Which daughter of the Roman emperor Theodosius I ruled the western part of the Roman Empire as regent for her son? A. Helena B. Galla Placidia C. Constantia D. Beta Alpha

Q: What features do both the figures and the backdrop of the mosaics in the rotunda of St. George possess? A. tetrarchic B. highly abstract C. classical D. pagan

Q: The mosaics in the rotunda of St. George in Thessaloniki depict A. gods and goddesses. B. Jonah and the Whale. C. Christ as the Good Shepherd. D. standing saints.

Q: What did Jews and Christians use for burials and funerary ceremonies, not as places of worship? A. basilicas B. martyria C. catacombs D. synagogues

Q: The wall between the nave arcade and the clerestory in Early Christian churches was typically decorated with A. mosaics. B. stained glass. C. reliefs. D. stucco.

Q: Which scene from the life of Jesus shows the archangel Gabriel informing the Virgin Mary that God has chosen her to bear his Son? A. Visitation B. Annunciation C. Nativity D. Baptism

Q: Which two words are typically used to describe Christian art? A. symbolic; narrative B. allegorical; metaphorical C. symbolic; iconic D. iconic; narrative

Q: Any large room where Torah scrolls are kept and read publicly can function as a A. synagogue. B. church. C. basilica. D. martyrium.

Q: The Good Shepherd, a Christian symbol that was based on pagan images of Apollo, Hermes, and Orpheus, is considered an example of A. prefiguration. B. symbolism. C. syncretism. D. typological parallel.

Q: Why were central-plan structures used for baptisteries, as well as for martyrs churches and tombs? A. Christians died in baptism and were reborn as believers. B. The rotunda was logistically well suited for the ritual of baptism. C. There was no need for congregational space. D. Early Christians adhered to existing Roman burial practices.

Q: Most examples of Early Christian sculpture created before the fourth century are A. large free-standing figures. B. sarcophagi and small statues. C. found in places of worship. D. portable diptychs used for private devotion.

Q: The Eucharist is an elaborate ceremony in Christian worship involving the ritual consumption of bread and wine, which are identified as Christs A. heart and soul. B. mind and spirit. C. body and blood. D. food and drink.

Q: In the Catacomb of Commodilla, Jesus is depicted as A. King of Heaven. B. a teacher. C. the son of God. D. a judge.

Q: What is the significance of the contrast between the plain exterior of the Oratory of Galla Placidia (Figs. 7-19, 7-20, and 7-21) and its highly decorated interior? A. It reflects the economic needs to limit the decorative programs of churches. B. It symbolizes the transition from the real world into a supernatural realm. C. It is the result of later generations stripping the original decoration from the exterior. D. It symbolizes Christianitys development from humble origins to a great religion.

Q: What did Early Christians often employ as prefigurations of important events in the Christian Bible? A. stories from Greek mythology B. accounts from Roman history C. episodes from the Hebrew Bible D. tales from the Ancient Near East

Q: Discoveries at Dura-Europos in the 1930s contradicted what long-held scholarly belief? A. Early Christians did not decorate their places of worship. B. Jews of this period did not create any sort of figural art. C. Early Christian congregations were never more than 20 to 25 people for fear of discovery D. Jews of this period used purely original iconography.

Q: The small rooms in catacombs that were frequently plastered and painted were called A. cubicula. B. loculi. C. lunettes. D. ceilings.

Q: The first synagogue at Dura Europos was located in a A. temple. B. catacomb. C. basilica. D. house.

Q: What was considered suspect because Jewish law prohibited the worship of idols? A. narrative subjects B. symbolic imagery C. sculpture in the round D. abstract forms

Q: From which period do most of the earliest surviving examples of Jewish art date? A. Neo-Babylonian and Egyptian B. Hellenistic and Roman C. Minoan and Mycenaean D. Persian and Greek

Q: Which term describes the followers of Judaism, Christianity, and Islam that believe that only one god created and rules the universe? A. polytheistic B. monotheistic C. post theistic D. unitheistic

Q: Housing in a Roman city was made up of apartment blocks called A. compartments. B. segments. C. insulae. D. burrows.

Q: How did the Roman state facilitate the empires development and administration? A. He convinced the people that he was a god. B. He implemented martial law and enforced religious tolerance. C. He revived an interest in Greek Classical ideals. D. He initiated massive building projects to improve city life.

Q: How do the relief carvings on the Arch of Constantine (Fig. 6-66) demonstrate a stylistic shift in art of the fourth century? A. more recognizable details with classicizing illusionism B. a two-dimensional, hierarchical approach to representation C. closer adherence to Etruscan artistic traditions D. active, graceful postures influenced by Hellenistic art

Q: The Etruscans often decorated their tombs to resemble A. royal palaces. B. rooms in their homes. C. outdoor environments. D. Greek temples.

Q: Compare and contrast the style, medium, and iconography of Augustus of Primaporta (Fig. 6-18) and Equestrian Statue of Marcus Aurelius (Fig. 6-56).

Q: Track the development of portraits from the Roman Republic, through the Early Empire, and into the Late Empire. Give examples.

Q: Compare and contrast the composition, iconography, and content of Sarcophagus with the Indian Triumph of Dionysus (Fig. 6-58) and Spoils from the Temple in Jerusalem (Fig. 6-36).

Q: Discuss some of the building innovations of the Romans.

Q: What were some of the ways Roman emperors maintained control over their vast territories?

Q: How do The Tetrarchs (Fig. 6-62) show a turn toward symbolic representation?

Q: What purpose did the Baths of Caracalla (Fig. 6-60) serve?

Q: How did the Equestrian Statue of Marcus Aurelius (Fig. 6-56) survive demolition?

Q: What unique architectural elements are present in the Pantheon (Figs. 6-48, 6-49, and Fig. 6-51)?

Q: What scenes are depicted on the Column of Trajan (Figs. 6-46 and 6-47)?

Q: What events took place in the Flavian Amphitheater (Fig. 6-38)?

Q: What does the Arch of Titus (Figs. 6-35 and 6-36) depict?

Q: What do the wall paintings of Pompeii reveal about the lives of the people?

Q: What was the government structure of the Roman republic?

Q: What was the legend of Romulus and Remus?

Q: Which of the following proves that artists working for Christian patrons continued to use pagan themes? A. a large silver platter from the fourth century (Fig. 6-70) B. Denarius with Portrait of Julius Caesar (Fig. 6-14) C. Commodus as Hercules (Fig. 6-57) D. The Unswept Floor (Fig. 6-55)

Q: Which architect described the accomplishments of the Roman builders in his Ten Books of Architecture? A. Pausanias B. Apollodorus C. Pliny D. Vitruvius

Q: What is a slow-drying type of plaster that can be molded and carved? A. pozzolana B. concrete C. stucco D. terra cotta

Q: In approximately 1000 BCE, which group of people occupied the northern and western regions of what was to become known as the Italian peninsula? A. Villanovans B. Pompeians C. Samnites D. Dacians

Q: Which technique was used to make the mosaic The Unswept Floor (Fig. 6-55) look realistic? A. shadow B. foreshortening C. scale D. saturation