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WorksheetsAP Art History Unit 8 Review
Total questions: 40
Worksheet time: 25mins
According to the plan, the church's ambulatory allowed access to its
atrium
chapels
sacristy
narthex
The Bayeux Tapestry can be linked to the influence of Roman Imperial works such as the Column of Trajan in its
use of animal scenes in the borders that provide a comment on the main story
detailed retelling of a historical narrative depicted in a scroll-like format
combination of historic individuals with characters from ancient mythology
use of contrapposto and wet-drapery in the portrayal of important leaders
In the lower left side of the tympanum, the church’s namesake, Saint Foy, is depicted kneeling before the outstretched hand of God in order to
inspire visiting pilgrims to similarly adopt humble reverence before the hand of God
inform visiting pilgrims of the tragedy of her death and her resulting sainthood
remind visitors that they should approach the altar on their knees
prepare visitors that they should also expect to die as Christian martyrs
San Vitale is located in
Pisa
Rome
Ravenna
Constantinople
The object functioned as
a salt cellar
a reliquary
an altarpiece
a donor portrait
The medium of the Rottgen Pieta is
multicolored marble
polychromed wood
glazed terracotta
painted gesso
The size and decoration of Romanesque churches represents the widespread reemergence of European monumental stone sculpture not seen since
Classical Greece
the Late Roman Empire
the Carolingian Revival
the Gothic period
Hagia Sophia was constructed in the
sixth century
seventh century
twelfth century
fourteenth century
An important structural innovation of Hagia Sophia is the use of
pendentives
corbelled galleries
groin vaults
concrete construction
Which of the following art historical periods did NOT influence San Vitale?
Roman
Byzantine
Early Christian
Romanesque
Originally Hagia Sophia may have lacked figural imagery either because the builders feared making graven images or because
they desired to focus the attention of visitors on the architecture and surface decoration
they ran out of money to finish their planned program of decoration
Emperor Justinian wanted to outshine all other aspects of the building when he appeared
Christians had not yet developed a tradition of figural imagery for church decoration
Which characteristic typically differentiates a Gothic church from a Romanesque church?
The use of a basilican plan
The inclusion of a clerestory
The use of flying buttresses
The presence of a nave arcade
The cross-carpet page of the Lindisfarne Gospels demonstrates both continuity and change through the use of
indigenous styles to express new religious meaning
religious imagery in a secular manuscript to appeal to a wider audience
classical references to serve a propagandistic purpose
cloisonné enamel in lavish manuscript production to increase its worth
The steady gazes and frontal poses of the foreground figures likely affected the original audience by
encouraging a personal connection with holy figures
modeling appropriate manners at court
monitoring the viewer’s moral conduct
demonstrating reverence for community elders
The church of Sainte-Foy at Conques is similar to other Romanesque pilgrimage churches in that it
contains radiating chapels for the veneration of relics
rejects the use of the axial plan exemplified by the basilica
provides separate spaces allowing dignitaries to view the Mass privately
was constructed in accord with the liturgical requirements of the Council of Trent
Both San Vitale and the Pantheon have which of the following architectural features?
Pendentives
A dome
An oculus
An ambulatory
The Byzantine mosaics of Emperor Justinian and Empress Theodora from the Church of San Vitale in Ravenna differ from classical Roman mosaics in that they
focus on realism, illustrating the concern of Byzantine art for making religious subject matter more relatable
employ diagonal lines and stacked bodies, showing the focus of early Christian art on drama and emotional impact
portray secular leaders, demonstrating the preference of Byzantine art for historic over religious subject matter
favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality
Original viewers of the interior of Hagia Sophia were described as reacting with
fear at its vulnerability to earthquakes
disgust at its lavish display of opulence
awe that its dome seemingly hovered on a cushion of light
pride that all of its spaces were open to the entire populace
The structure is located in
China
India
Russian
Iran
The structure's exterior is decorated with a combination of
inlaid stone and verses from the Quran
zoomorphic and ribbon interlace
cloisonné enamel and filigree
relief sculptures and verses inspired by the Bible
The interior of the building is
illuminated by an oculus
ornamented with marble
furnished with calligraphic panels
covered with low-relief carvings
The carved decoration on the work has been interpreted as symbolic of the political power and legitimacy of the ruler based on
a carved inscription, which lists the succession of caliphs in the Umayyad dynasty
representations of falcon eggs, which were symbolic of the Umayyad Caliphate
a portrait of the owner, which depicts him seated on an ornate throne
scenes of a lion hunt, which expresses the victory of the Umayyads over the Nasrid dynasty
The work shown is an example of
a reliquary that would have contained sacred remains
an ornate fibula, like those found in Lombardic graves
a carved pyxis, which once held containers of fragrant perfume
an enconchado luxury good meant to be used as a diplomatic gift
In the folio page shown, the deliberate geometric layout of the stylized calligraphic text conveys
the innovative and unique approach of the artist
a preference for clarity of content over design
the importance of the spiritual message being communicated
the limitations of carefully planned design methods
The mosque shown is located in
Spain
Syria
Turkey
Egypt
The double-tiered columns allowed for all of the following EXCEPT
barrel-vaulted roofing
decorative rhythm and repetition
a higher roof to make up for the short columns
the entrance of light and air into the hall
In the folio shown, the elaborate border of flowers and birds, rich furniture, and figural composition allows it to be attributed to which of the following cultures?
Mughal India
Safavid Persia
Arab North Africa
Kamakura Japan
Ornamentation on the surfaces of Islamic religious architecture often includes
figures of religious leaders
mythological characters
historical scenes
calligraphic panels
Over the centuries, a wide courtyard was built around the Kaaba in order to
separate the crowds of ordinary worshipers from clerics visiting the shrine
provide space for chapels dedicated to the important saints that line its periphery
provide a large open space for burying the faithful near this sacred site
allow large crowds of pilgrims to perform the prescribed ritual of circumambulation
The great Mosque of Isfahan was built with a large sahn (courtyard) in its center in order to
house an open air food market for the town’s population throughout the working week
provide space for pilgrims to perform the devotional practice of circumambulation
accommodate the entire male population of the town during Friday prayers
provide the Mosque’s clergy with a private space for prayer and contemplation
At the time of the Dome of the Rock’s construction, Muslim practitioners in Jerusalem were meant to recognize the triumph of the new faith of Islam through which external aspect of the structure?
Its symbolic location at a sacred religious site
Its concentric aisles that allow circumambulation
Its Qur’anic frieze that is visible throughout the city
Its integrated position in a bustling city center
The church shown is
Early Christian
Carolingian
Ottonian
Romanesque
At the Great Mosque (Masjid-e Jameh) at Isfahan, Iran, the qibla iwan reminds worshippers to direct themselves toward the city of Mecca as they pray through the presence of
minarets
muqarnas
a minbar
a maqsura
For a person standing outside of the Great Mosque of Isfahan, the dominant visual element of the mosque is
the pathway through a chahar bagh garden that leads to the mosque
a monumental gate that is ornamented with calligraphy from the Qur’an
the pair of cylindrical minarets that indicate the direction of Islamic prayer
an open-air courtyard with a large fountain rising from the middle
Early Christians would probably have recognized the figures with raised arms shown between the lunettes of the fresco as representing
angels guarding the chapel
apostles preaching the Gospel
martyrs who died by crucifixion
believers in the act of prayer
In The Court of Gayumars, Sultan Muhammad’s use of intricacy, fanciful figures, and lavish color had the effect of
communicating the similarities between Persian history and the life of the court
encouraging viewers to take their time in exploring the details of the work
counteracting prevailing opinions that Persian artistic traditions were outmoded
influencing courtiers to respect their ruler as a direct descendant of Gayumars
When designing the Ardabil Carpet, in consideration of the fact that it would be displayed in a sacred space, the artist decided to include a
field of small rectangular shapes that symbolize individuals, events, or places
group of dancing figures playing musical instruments in festive celebration
golden background in order to indicate spirituality and timelessness
large central medallion that supports two lamps shown hanging from each end
The Ardabil Carpet’s rich, decorative patterning reflects the influence of Islam on Persian artistic tradition by
excluding figural representations of animals or humans
incorporating calligraphic passages from the Qur’an
dividing motifs evenly into four horizontal design registers
including embroidery that features gold-wrapped threads
The combination of vegetal and figural forms in the Basin (Baptistère de St. Louis) reflects the distinction drawn in medieval Islamic culture between
oral and written history
luxury and everyday contexts
people of different social classes
religious and secular law
In the work shown, Bahram Gur Fights the Karg, the depiction of the subject matter visually contributes to the story by
drawing the viewer’s eye to details depicted in the background
using scale to convey the Karg’s intimidating cruelty
identifying the hero through his luxurious, kingly garb
directing the gaze of the king toward the viewer
