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WorksheetsInfluential Architectural Styles and Techniques
Total questions: 75
Worksheet time: 38mins
Name
Class
Date
1.
The structural elements of French Gothic architecture can best be illustrated by the relationship between
a)
flying buttresses and ribbed vaulting
b)
spherical domes and compound piers
c)
tunnel vaults and pier buttresses
d)
stained glass and jamb sculptures
2.
On the basis of style and medium, the work shown can be attributed to which of the following cultures?
a)
Late Antique Europe
b)
Early Byzantine Europe
c)
Hiberno Saxon Europe
d)
Gothic Europe
3.
The decoration of the Pyxis of al-Mughira draws on Islamic artistic traditions in that it
a)
includes only aniconic imagery
b)
incorporates calligraphic inscriptions
c)
was created through the process of repoussé
d)
is accentuated by richly polychromed surfaces
4.
The Bayeux Tapestry can be linked to the influence of Roman Imperial works such as the Column of Trajan in its
a)
use of animal scenes in the borders that provide a comment on the main story
b)
detailed retelling of a historical narrative depicted in a scroll-like format
c)
combination of historic individuals with characters from ancient mythology
d)
use of contrapposto and wet-drapery in the portrayal of important leaders
5.
The image shown demonstrates that the building it refers to includes
a)
an atrium
b)
an ambulatory
c)
a pylon
d)
a peristyle court
6.
Botticelli, the artist of the work on the left, also painted which of the following?
a)
Primavera
b)
Sacred and Profane Love
c)
Hercules and Antaeus
d)
Wedding Portrait (Giovanni Arnolfini and His Bride)
7.
This work was made in the fifth century C.E. in
a)
Rome
b)
Ravenna
c)
Pompeii
d)
Reims
8.
The work is
a)
a mosaic
b)
a fresco
c)
an encaustic
d)
an oil
9.
The work is
a)
a mosaic
b)
a fresco
c)
an encaustic
d)
an oil
10.
Jan van Eyck is known for his early use of
a)
oil paint
b)
egg tempera paint
c)
chiaroscuro
d)
gouache
11.
The repetition of architectural elements in the Great Mosque at Córdoba, evident in the plan shown, indicates how the design could do which of the following as it was expanded over time?
a)
Guide visitors to follow a prescribed route through the chambers
b)
Use sliding temporary walls to create an open and flexible interior
c)
Separate secular from sacred space to promote an atmosphere for worship
d)
Retain the spatial orientation and reinforce the spiritual purpose of the building
12.
Which of the following is an innovative feature of these four figures?
a)
They are part of a decorative program.
b)
They represent biblical characters.
c)
They portray French royalty.
d)
They are nearly freestanding.
13.
The two figures on the left reflect the impact of
a)
the French court style
b)
vase painting
c)
Renaissance naturalism
d)
Mannerism
14.
These sculptures are from which of the following art historical periods?
a)
Early Christian
b)
Romanesque
c)
Gothic
d)
Baroque
15.
They are part of the decoration of a
a)
cathedral
b)
city hall
c)
theater
d)
palace
16.
What is the subject of the two figures on the left?
a)
Lamentation
b)
Flight into Egypt
c)
Annunciation
d)
Adoration
17.
The two figures on the right reflect the influence of which of the following earlier styles?
a)
Archaic Greek
b)
Islamic
c)
Roman
d)
Byzantine
18.
The differences in style between the two pairs of figures confirm the fact that
a)
the works were carved in different centuries
b)
several workshops were involved
c)
different materials were used
d)
works were imported from other countries
19.
The artist of the Madonna and Child shown achieved an effect of elegance and grace primarily through the
a)
arrangement of the cluster of angels on the left side of the painting
b)
elongated bodily proportions and the gesture of the Madonna’s head and neck
c)
alternation of light and dark colors across the middle and bottom of the painting
d)
lines created by gazes, from the front angel, to the Madonna, to the infant Christ
20.
The painting suggests spatial recession by
a)
one-point perspective
b)
the overlapping of forms
c)
consistent modeling of light
d)
aerial perspective
21.
Hiberno-Saxon manuscripts such as the Book of Kells often included
a)
naturalistic landscapes
b)
representations of the Last Judgment
c)
donor portraits
d)
abstract intertwined animal forms
22.
The work has been interpreted as a visual document of all of the following EXCEPT
a)
marriage
b)
betrothal
c)
coronation
d)
legal contract
23.
The artist includes himself in the painting in the form of
a)
animal representation
b)
written text
c)
symbolic representation
d)
narrative elements
24.
The artist who created the painting worked primarily in
a)
Paris
b)
Antwerp
c)
London
d)
Bruges
25.
The work was painted by
a)
Vermeer
b)
Rembrandt
c)
Van Eyck
d)
Memling
26.
The work was painted in which century?
a)
Thirteenth
b)
Fifteenth
c)
Seventeenth
d)
Nineteenth
27.
The painting incorporates
a)
religious symbolism
b)
political propaganda
c)
musical metaphors
d)
Classical mythology
28.
While different theories exist about why no Christian art older than the earliest paintings from catacombs seems to have survived, some scholars theorize that early Christians
a)
avoided making religious images to distinguish themselves from members of other religions
b)
had no time for image making since they were continually persecuted by Roman authorities
c)
created religious art that was almost undistinguishable from other religious art of the time
d)
only started making images once the literacy rate among the population began declining
29.
The Catacomb of Priscilla was designed by its original founders to provide a
a)
burial place for members of the early Christian community
b)
refuge for early Christian families at times of religious persecution
c)
secret location to baptize early Christian converts
d)
place of worship for large congregations of early Christians
30.
Early Christians would probably have recognized the figures with raised arms shown between the lunettes of the fresco as representing
a)
angels guarding the chapel
b)
apostles preaching the Gospel
c)
martyrs who died by crucifixion
d)
believers in the act of prayer
31.
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
a)
focus on realism, illustrating the concern of Byzantine art for making religious subject matter more relatable
b)
employ diagonal lines and stacked bodies, showing the focus of early Christian art on drama and emotional impact
c)
portray secular leaders, demonstrating the preference of Byzantine art for historic over religious subject matter
d)
favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality
32.
Which of the following help to articulate the three-dimensional modules of the nave?
a)
Pendentives and squinches
b)
Colonnades and architraves
c)
Posts and lintels
d)
Compound piers and transverse arches
33.
The design of churches such as this was most likely a practical response to the medieval phenomenon of
a)
the Inquisition
b)
pilgrimage
c)
feudalism
d)
the papacy
34.
The nave of the church is covered by
a)
a coffered ceiling
b)
a barrel vault
c)
groined vaults
d)
domical vaults
35.
The builders organized the nave of the church in three-dimensional modules called
a)
bays
b)
cells
c)
niches
d)
apsidioles
36.
The mathematical unit that organizes the plan is derived from the
a)
radiating chapels
b)
crossing square
c)
towers
d)
apse
37.
The interior shows a two-story elevation consisting of a nave arcade and a
a)
clerestory
b)
triforium
c)
gallery
d)
crypt
38.
The work shown demonstrates the influence of earlier northern European artistic traditions through
a)
the avoidance of figurative imagery in favor of purely abstract shapes
b)
the use of filigree to create complex ornamental designs
c)
the interlacing of stylized animal forms to create dense patterns
d)
the division of the page into four different registers
39.
The influence of older northern European artistic traditions on the work shown demonstrates that
a)
there was a steady exchange of ideas between Christians in the British Isles and mainland Europe during the early Middle Ages
b)
a well-developed bookmaking tradition existed in the British Isles even before Christian missionaries arrived there
c)
the patrons who commissioned such works wanted to uphold their old pagan beliefs even after they converted to Christianity
d)
missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts
40.
The complex designs that make up this work reflect its function as a
a)
sacred icon that was used in private worship by early Christians
b)
divider intended to mark the transition between different sections of a book
c)
instructional tool intended to illustrate the content of sacred stories for illiterate people
d)
status symbol that represented the wealth and high social standing of its owner
41.
The folio Rebecca and Eliezer at the Well from the Vienna Genesis belongs to an illuminated manuscript tradition that favors
a)
including multiple narrative episodes in one scene
b)
organizing the space using hierarchical scale
c)
embellishing the text with interlacing patterns
d)
faithful depictions of architectural settings
42.
The architects of the Hagia Sophia created an expansive internal space by using
a)
groin vaults to channel the weight of the dome
b)
an oculus to let in natural light
c)
pendentives to support the central dome
d)
a ring of radiating chapels to widen the interior
43.
The narrative imagery in Gothic stained-glass windows is most comparable to that of
a)
manuscript illumination
b)
tomb sculpture
c)
catacomb painting
d)
jamb sculptures
44.
The progressive arrangement of the three ancient architectural orders on the exterior of the Colosseum proved influential for the design of
a)
the Palace at Versailles
b)
the Palazzo Rucellai
c)
the Pazzi Chapel
d)
Monticello
45.
Both works were created using
a)
fresco
b)
mosaic
c)
oil paint
d)
egg tempera
46.
Both works are found in which part of a church?
a)
Apse
b)
Narthex
c)
Transept
d)
Baptistery
47.
The golden background of the work on the left conveys a sense of
a)
spatial recession
b)
mystical vision
c)
observed naturalism
d)
site specificity
48.
The compositional focus of the work on the right is a
a)
saint
b)
prophet
c)
pilgrim
d)
pope
49.
The central figure in the work on the left is set within a
a)
mandorla
b)
tympanum
c)
voussoir
d)
portal
50.
Both works represent the
a)
Ascension
b)
Transfiguration
c)
Resurrection
d)
Crucifixion
51.
The art historical period of both works is
a)
Byzantine
b)
Ottonian
c)
Romanesque
d)
Gothic
52.
he facade shown contains which of the following architectural elements?
a)
Flying buttresses and a central spire
b)
Jamb statues and a recessed portal
c)
Horseshoe arches and intricate muqarnas
d)
Engaged columns and decorative pediments
53.
The style of the relief sculpture on the tympanum is best demonstrated as Romanesque through the
a)
heavily stylized figures that are depicted either frontally or in composite poses
b)
representation of the figures using a realistic scale and classical proportions
c)
dynamic motion suggested by elongated figural forms with graceful gestures and stances
d)
figures that are arranged in a compact composition with an emphasis on linear patterns
54.
The tympanum relief sculpture at the Church of Sainte-Foy uses contrasting iconography within a symmetrical composition to distinguish between
a)
the events of the past and the future
b)
the consequences of good and evil
c)
beliefs held in two religious doctrines
d)
sacred power and secular authority
55.
The scenes represented on the tympanum affected pilgrims entering the church by eliciting responses of
a)
sadness at the depiction of Christ as a sacrificial lamb
b)
joy at the sight of the Virgin Mary as Queen of Heaven
c)
dread at the scenes of punishment and torment
d)
enlightenment at the portrayal of events from historical texts
56.
Once inside, religious pilgrims would move through the church into an ambulatory and radiating chapels, which were special features adopted by churches of this period to
a)
allow multiple services to be held simultaneously to appeal to people of various regions
b)
accommodate the large number of people who traveled to see the Reliquary of Sainte-Foy
c)
replace the separate construction of traditional sacristy and baptistry spaces
d)
invite local wealthy patrons to sponsor the dedication of private familial chapels
57.
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
a)
inspire visiting pilgrims to similarly adopt humble reverence before the hand of God
b)
inform visiting pilgrims of the tragedy of her death and her resulting sainthood
c)
remind visitors that they should approach the altar on their knees
d)
prepare visitors that they should also expect to die as Christian martyrs
58.
Both buildings are closely associated with a
a)
Greek patriarch
b)
Visigoth king
c)
Catholic pope
d)
Roman emperor
59.
Both plans are best characterized as
a)
axial
b)
central
c)
basilican
d)
directional
60.
Both San Vitale and the Pantheon have which of the following architectural features?
a)
Pendentives
b)
A dome
c)
An oculus
d)
An ambulatory
61.
One factor contributing to the difference between these structures is the rise of
a)
Islam
b)
paganism
c)
Christianity
d)
Russian Orthodoxy
62.
The plan of San Vitale differs from that of the Pantheon by the inclusion of a
a)
crypt
b)
narthex
c)
transept
d)
westwork
63.
Which of the following art historical periods did NOT influence San Vitale?
a)
Roman
b)
Byzantine
c)
Early Christian
d)
Romanesque
64.
San Vitale is located in
a)
Pisa
b)
Rome
c)
Ravenna
d)
Constantinople
65.
The plan of San Vitale is most similar to which of the following?
a)
Sant’Apollinare in Classe
b)
Old Saint Peter’s
c)
Hagia Sophia
d)
The Basilica of Constantine
66.
Religious objects such as this one were produced primarily for
a)
court ritual
b)
private devotion
c)
architectural decoration
d)
burial purposes
67.
The piece is called
a)
a lintel
b)
an altar
c)
a frieze
d)
a triptych
68.
The objects in the work on the right contain references to
a)
the transience of life
b)
ancient Roman ritual
c)
table manners
d)
paganism
69.
The narrative moment is expressed through the
a)
gestures
b)
textual gloss
c)
color palette
d)
lighting
70.
The work incorporates
a)
hierarchical scale
b)
linear perspective
c)
elongated proportions
d)
strident colors
71.
The work is located in a
a)
ducal palace
b)
papal chapel
c)
monastic refectory
d)
city hall
72.
The work is a
a)
wall painting
b)
panel painting
c)
manuscript illumination
d)
tapestry
73.
The work is by
a)
Masaccio
b)
Michelangelo
c)
Leonardo da Vinci
d)
Andrea del Castagno
74.
The artist experimented with the work's
a)
placement
b)
iconography
c)
materials
d)
size
75.
The work depicts the
a)
Feast in the House of Levi
b)
Last Supper
c)
Marriage at Cana
d)
Supper at Emmaus
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