Art History Volume 1 6th Edition Stokstad Test Bank

Art History Volume 1 6th Edition
Stokstad Test Bank

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CHAPTER EIGHT
BYZANTINE ART
8
Multiple Choice
1. 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
Answer: A
Learning Objective: 8.c Relate Byzantine artists and art to their cultural, economic, and political
contexts.
Topic: Luxury Objects
Difficulty Level: Easy
Skill Level: Remember the Facts
2. 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. Christ’s role as King of Heaven
D. the celebration of the Eucharist
Answer: D
Learning Objective: 8.b Interpret the meaning of works of Byzantine art based on their themes,
subjects, and symbols.
Topic: The Golden Age of Justinian
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
93
3. 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 women’s gallery
Answer: C
Learning Objective: 8.a Identify the visual hallmarks of Byzantine art for formal, technical, and
expressive qualities.
4. 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.
Answer: B
Learning Objective: 8.d Apply the vocabulary and concepts relevant to Byzantine art, artists, and
art history.
Topic: Iconoclasm
5. 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.
Answer: C
Learning Objective: 8.e Interpret a work of Byzantine art using the art historical methods of
observation, comparison, and inductive reasoning.
Difficulty Level: Moderate
Skill Level: Understand the Concepts
94
6. 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.
Answer: B
Learning Objective: 8.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of Byzantine art.
7. 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
Answer: C
8. 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.
Answer: B
contexts.
Topic: Architecture and Wall Painting in Mosaic and Fresco
95
9. 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
Answer: B
Topic: Constantinople: The Chora Church
10. 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 .
Answer: A
Topic: Precious Objects of Commemoration, Veneration, and Devotion
11. 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.
Answer: D
96
12. 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.
Answer: B
art history.
13. 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.
Answer: A
contexts.
Topic: Late Byzantine Art
14. Justinian provided the monastery at St. Catherine at Mount Sinai with
A. vaults.
B. minarets.
C. fortifications.
D. a chapel.
Answer: C
97
15. What originated in the third century, when devout Christians retired to the desert?
A. iconoclasm
B. monasticism
C. orthodoxy
D. pilgrimage
Answer: B
art history.
16. 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
Answer: A
17. Which refers to an intensified interest in the styles and themes of Classical art during the
Middle Byzantine period?
A. Chora Revival
B. Palaeologue Renaissance
C. Macedonian Renaissance
D. Venetian Period
Answer: C
Topic: Middle Byzantine Art
98
18. The inscription accompanying the image of the Virgin and Child in the Apse of Hagia Sophia
(Fig. 8-16) credited emperors with
A. reviving the use of images.
B. being great patrons of the arts.
C. saving the city from its enemies.
D. following religious decrees.
Answer: A
19. The monastery church of St. Panteleimon at Nerezi was built under the patronage of
A. Basil I.
B. Prince Vladimir.
C. Alexios Komnenos.
D. Romanos II.
Answer: C
contexts.
20. Which description of the image of the Lamentation with Standing Monastic Saints Below
(Fig. 8-23) at Nerezi reflects art under the Komnenians?
A. short, squatty figures
B. aloof and emotionless quality
C. flat, two-dimensionality
D. painterly spontaneity
Answer: D
99
21. The Lamentation with Standing Monastic Saints Below (Fig. 8-23) at Nerezi focuses on
A. the Virgin’s anguish.
B. the activities of the onlookers.
C. the background landscape.
D. the moment of the Crucifixion.
Answer: A
22. Small, portable luxury items created in the Middle Byzantine period combine exceptional
beauty and technical skill with
A. altruistic flair.
B. philosophical virtues.
C. religious meaning.
D. pagan motifs.
Answer: C
23. On the back of the central panel of the Harbaville Triptych (Fig. 8-25B), what symbolized
paradise?
A. bust-length portraits of saints
B. vegetation inhabited by animals
C. the archangel Michael
D. portraits of monks
Answer: B
100
24. Which work of art is related to the Harbaville Triptych (Fig. 8-25) in figure style and
composition?
A. Crucifixion and Iconoclasts
B. The Hospitality of Abraham
C. Christ Pantokrator with Scenes from the Life of Christ
D. Christ Crowning Emperor Romanos II and Empress Eudokia
Answer: D
25. In the Icon of Saint Michael the Archangel (Fig. 8-29) from the Middle Byzantine period, the
archangel is depicted as
A. a messenger.
B. a military commander.
C. a Roman deity.
D. a disciple.
Answer: B
Short Answer
1. What are the “three golden ages” of Byzantine art, and when did each occur?
Answer: The Early Byzantine period lasted from the fifth century to the eighth century. The
Middle Byzantine period began in 843 and continued until 1204. The late Byzantine period
lasted from 1261 to 1453.
contexts.
Topic: Early Byzantine Art
101
2. What does the term “Byzantine” mean, and what is the significance of the location?
Answer: Byzantine refers to the art and architecture of Constantinople, which is at the crossroads
of Europe and Asia. The city was known as the “New Rome.”
Topic: Early Byzantine Art
3. How is the main dome of Hagia Sophia (Fig. 8-4) supported?

Answer: The main dome rests on four pendentives that connect the base with supporting piers at
the four corners of the area beneath it.
4. How does the dome of Hagia Sophia (Fig. 8-4) differ from the dome of the Pantheon (Figs. 6-
48 and 6-49)?
Answer: The Pantheon dome contains an oculus. The Hagia Sophia dome includes squinches.
The Pantheon includes a ring of masonry underneath the dome.
5. What were the purposes of Byzantine manuscripts?

Answer: All books were handwritten. Manuscripts took the form of Bibles, personal prayer
books, and secular books. They showed wealth and status.
contexts.
6. What caused the iconoclasm of 726 CE, and what was the result?
Answer: Emperor Leo III imposed iconoclasm because of mounting discomfort with the place of
icons in Christian devotion.
art history.
Topic: Iconoclasm
102
7. What was established by the Kievan mosaics (Fig. 8-20)?
Answer: A standard iconographical system was established in Russian Orthodox churches. It
made a powerful political statement.
contexts.
8. How do the mosaics in the monastery church of the Dormition at Daphni (Figs. 8-21 and 8-22)
convey a mood and message?
Answer: Fewer figures with more curves and an illuminated background make the mosaics
exude emotion.
9. What inspired the doge of Venice to commission the Cathedral of Saint Mark (Fig. 8-24)?
Answer: The doge wanted to replace the palace chapel that housed the relics of St. Mark; the
relics had been brought to Venice from Alexandria.
contexts.
10. How does math play a role in Late Byzantine works, such as The Hospitality of Abraham
(Fig. 8-36)?
Answer: The circle is the basic underlying form of the composition and the artist relied on
mathematical conventions to create ideal figures and symmetry.
Topic: Late Byzantine Art, Icons
103
Essay
1. Discuss the iconographic motifs that developed during Byzantine periods for representing
events from the Life of Christ.
Answer:
1. The iconography of color and Christian narratives continued from the Early Christian
period.
2. The Transfiguration of Christ became a popular theme to inspire meditation and prayer.
3. The Virgin Mary emerged as a prominent figure, and icons with the child figure of Jesus
were numerous.
4. The number of figures represented in the Crucifixion, Lamentation, and other scenes put the
focus on the divine.
Topic: Early Byzantine Art; Middle Byzantine Art
2. Compare and contrast the image of Christ in Figure 8-11 and in Figure 8-32. What
developments can be described from sixth century to the fourteenth century in Byzantine art?
Answer:
1. Both works are semicircular in the apse.
2. Anastasis is a fresco and, therefore, the colors are less brilliant than in the mosaic.
3. The Transfiguration of Christ shows the main figure as large, surrounded by a few smaller
figures and with many boarder medallions.
4. In Anastasis the figure of Christ is closer in scale to the many surrounding figures. It shows
some implied motion and is a clear narrative.
Topic: Early Byzantine Art; Late Byzantine Art
104
3. Discuss the floor plan of the monastery at Hosios Loukas. What role did it play in the life of
the monks?
Answer:
1. Monks lived in cells that were situated around the walls of the complex.
2. The refectory mimicked the nave of the church next to it and acted as a dining hall.
3. Warm rooms were situated along the exterior walls for writers who wrote the word of God.
4. Scenes of Christ’s life decorated the church to encourage meditation.
4. Compare and contrast the representation of the Virgin Mary throughout the Byzantine era.
Answer:
1. Mary became one of the most prominent figures in Christian art.
2. Mary is shown in blue, with hints of red to symbolize sacrifice, and gold, to symbolize
divinity and spiritual knowledge.
3. Stock images were used to represent her facial details, including an elongated face and
nose, a small mouth, and large, high-set eyes.
4. She typically sits on a throne but also physically acts as the throne of Heaven for the figure
of Jesus.
Topic: Middle Byzantine Art; Late Byzantine Art
5. Describe the formal and stylistic elements of David Battling Goliath (Fig. 8-1). How does this
exemplify the Byzantine aesthetic?
Answer:
1. The figures on the plate show three signature scenes from David’s battle with Goliath.
2. Implied motion is seen in all three registers and the composition is crowded.
3. The proportion and scale of the figures reflects a Classical influence.
4. Goliath can be identified by iconography, such as a helmet, spear, sword, and shield.
Topic: Chapter Introduction
105

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Art History Volume 1 6th Edition

Stokstad Test Bank

4. Before the iconoclasm of the eighth century, icons were accepted as

3. How is the main dome of Hagia Sophia (Fig. 8-4) supported?

5. What were the purposes of Byzantine manuscripts?

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