Professional Documents
Culture Documents
MULTIPLE CHOICE
1. Which of the following describes the Temple of "Fortuna Virilis" (Temple of Portunus), Rome?
a. pseudo-peripteral
b. peripteral
c. marble façade
d. placed on a stylobate
ANS: A PTS: 1
2. Roman temple design during the Republican period reflected the colossal design of the Greek
Hellenistic style. This can be seen in which of the following temples?
a. Temple of "Fortuna Virilis" (Portunus), Rome
b. Temple of Vesta, Tivoli
c. Pantheon, Rome
d. Sanctuary of Fortuna Primigenia, Palestrina
ANS: D PTS: 1
3. Freed slaves often ordered portrait reliefs for their tombs. Which of the following is the best reason for
this?
a. celebrate their new status as free
b. reminder of their former status as slaves
c. commemorate their status as Roman citizens
d. celebrate their immortality via portraiture
ANS: C PTS: 1
4. Which of the following structural materials allowed the architect of the Sanctuary of Fortuna
Primigenia to raise such a grand and eloquent expression of Roman power?
a. concrete
b. marble
c. bronze rebar
d. metal armatures
ANS: A PTS: 1
5. The Republican portraits are usually of older men. Which of the following explains the life-like verism
of these portraits?
a. the Hellenistic tradition of portraiture
b. the Etruscan tradition of funereal sculpture
c. the tradition of the treasured household imagines
d. the new Republican tradition of portraiture
ANS: C PTS: 1
6. Which of the following was the first to break with tradition and use his portrait on Roman coinage?
a. Caesar Augustus
b. Pompey
c. Julius Caesar
d. Tiberius
ANS: C PTS: 1
7. Which of the following would be located in a forum and would house the law court for the city?
a. stoa
b. Capitolium
c. basilica
d. arena
ANS: C PTS: 1
8. The Arch of Titus shows the military triumphs of Titus, returning after the successful conclusion of the
Jewish Wars in 70 CE. Which of the following was also included in the sculptural program for the
Arch of Titus?
a. celebration of imperial virtues
b. celebration of the ancestry of Titus
c. celebration of the birthplace of Titus
d. celebration of the reign of Nero
ANS: A PTS: 1
9. Flavian portraits, unlike Republican portraits, showed people of all ages and both sexes. Which of the
following was one of the purposes of the portrait bust of the Flavian Woman (probably a Flavian
princess)?
a. show Republican virtue
b. show divinity of the woman
c. show her Greek ancestry
d. show idealized beauty
ANS: D PTS: 1
10. Which of the following would describe the "baroque" style of the 2nd century CE tomb nicknamed
Al-Khazneh, the Treasury, located at Petra?
a. studied disregard for classical rules
b. studied regard for classical rules
c. experimentation with new architectural rules
d. standard use of forms and motifs to reflect Middle Eastern funerary architecture
ANS: A PTS: 1
11. The Pantheon was one of the most influential designs in the history of architecture. It brought new
meaning to the concept of "architectural space." Which of the following descriptions characterize this
influential work?
a. the design is based on the intersection of two squares
b. the design is based on the intersection of two circles
c. the design is based on the intersection of two rectangles
d. the design is based on the trapezoid
ANS: B PTS: 1
12. Which of the following best describes and distinguishes the "First Style" of Roman painting?
a. Architectural
b. Intricate
c. Masonry
d. Ornate
ANS: C PTS: 1
13. A large palace/fort was built at Split in Yugoslavia by ____.
a. Julius Caesar
b. Trajan
c. Diocletian
d. Constantine
ANS: C PTS: 1
14. Which of the following best describes and distinguishes the "Fourth Style" of Roman painting?
a. Masonry
b. Linear Fantasies
c. Dissolution of confining walls
d. Architectural Illusionism
ANS: D PTS: 1
15. Pompeian wall paintings of the Second Style are characterized by which of the following?
a. fantastic architecture based on the theater
b. painted copies of inlaid stonework
c. various sections, some painted decoratively
d. the wall seemingly opening up into an illusionistic landscape
ANS: D PTS: 1
18. The most pronounced influence of Greek Classical art on Roman art could be seen in work done for
which of the following?
a. the Roman Republic
b. the Emperor Augustus
c. Trajan
d. Constantine
ANS: B PTS: 1
19. The Sanctuary of Fortuna Primigenia was characterized by which of the following?
a. monumental concrete barrel vaults
b. pseudo-peripteral style
c. use of bucrania
d. religious frescoes
ANS: A PTS: 1
20. The reliefs on the Column of Trajan are not a reliable chronological account of the Dacian campaigns;
however, they do present an accurate record of the general character of the campaigns. Which of the
following also describes this narrative?
a. Dacians were depicted as insignificant with poor military skills
b. Dacians were never depicted, only Trajan was depicted
c. no active battles were depicted
d. Dacians were depicted respectfully and their skills as warriors were acknowledged
ANS: D PTS: 1
21. Coffering was a useful architectural device in that it performed what function?
a. helped expand interior space
b. helped lighten the weight of a dome or arch
c. supplied an accurate means of measurement for the Romans
d. enabled extensive road systems to be built
ANS: B PTS: 1
22. Which style of wall painting was least characteristic of Roman wall painting?
a. architectural frames
b. illusionism
c. mathematical linear perspective
d. eclecticism
ANS: C PTS: 1
23. The palace at Tivoli was constructed for which of the following emperors?
a. Augustus
b. Nero
c. Constantine
d. Hadrian
ANS: D PTS: 1
24. Christianity was recognized as the official religion of Rome in the early fourth century CE by which of
the following?
a. Diocletian
b. Constantine
c. Marcus Aurelius
d. Trajan
ANS: B PTS: 1
26. In Second-style wall paintings such as Cubiculum M from the Villa of Publius Fannius Synistor,
Roman architects used ____ to convincingly portray depth.
a. linear perspective
b. puppet-like figures
c. imitation marbling
d. incrustation
ANS: A PTS: 1
27. The figures from the frieze of the Villa of Mysteries are thought to depict an initiation into which of
the following?
a. cult of Demeter
b. cult of Persephone
c. cult of Dionysus
d. cult of Sol Invictus
ANS: C PTS: 1
28. In portraying the personality of the emperor, and, in particular his sense of concern about the
weakened state of the empire, the portraits of ____ began a new trend in portraiture.
a. Augustus
b. Pompey
c. the Julio-Claudians
d. Marcus Aurelius
ANS: D PTS: 1
29. One of the devices used in the Spoils from Jerusalem from the Arch of Titus that was used to create
the illusion of depth was ____.
a. use of a gold background
b. to vary the depth of carving of foreground and background figures
c. introduce allegorical figures
d. to place the figures in a forest
ANS: B PTS: 1
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
SHORT ANSWER
ANS:
Depth is indicated by the increasingly blurred appearance of objects in the distance.
PTS: 1
2. How does eclecticism describe the Republican Temple of Fortuna Virilis, Rome?
ANS:
It was the primary characteristic of this temple; it takes components from both the Etruscan and the
Greeks and creates a uniquely Roman statement. It has the high podium and deep porch of the
Etruscans and an imitation of the Greek marble façade it has a stucco façade with an ionic frieze.
PTS: 1
3. What are characteristics of concrete and what effect did it have upon building design?
ANS:
Concrete is a building material of great tensile strength that allows for enormous flexibility in shaping
both interior space and exteriors.
PTS: 1
4. How did the Sanctuary of Fortuna Primigenia at Palestrina reflect Roman architectural design and
expression?
ANS:
The innovative use of concrete allowed the architects to transform an entire hillside into a complex
symbol of Roman power. It was the subjugation of nature to the order and rationality of Rome itself
and thus reiterated the Roman imperial spirit.
PTS: 1
ANS:
A groin vault results from the intersection of two barrel vaults.
PTS: 1
ANS:
A vault allows more flexibility in covering vast interior space, while a post-and-lintel system is limited
by the structural elements of uprights and crossbeams. These do not allow great interior open space.
PTS: 1
ANS:
Portraits of Marcus Aurelius were the first ones in which a Roman emperor appeared weary. The strain
of constant warfare showed in the emperor's face.
PTS: 1
8. How did influences from Christianity and eastern religions affect Roman funerary art?
ANS:
Beginning with the reigns of Trajan and especially during the Antonine years, Romans began to favor
burials rather than cremations as a funerary practice. This change also encouraged an increased
demand for sarcophagi.
PTS: 1
ANS:
Persian god of light, who was symbolic of truth and victory over death. This mystery cult was very
popular during the final years of the Empire with many shrines dedicated to this god found in Rome
and Ostia.
PTS: 1
10. How did the Pax Augusta (Augustan Peace) or Pax Romana influence the arts?
ANS:
During this time emperors commissioned a huge number of public works and they also commissioned
portraits and monuments meant to mold public opinion.
PTS: 1
ANS:
Her unblemished skin and sharply-defined features resemble images of classical Greek goddesses.
PTS: 1
ANS:
During the Republican years, portraits of elders were the norm. During the reign of Augustus,
sculptors were called upon to produce youthful portraits of the head of state. Augustus understood the
powerful political statement a portrait could make and he used this very effectively during his reign.
Subsequent generations learned and followed his examples.
PTS: 1
ESSAY
1. How did the political situation in third century CE Rome differ from that of the first century CE, and
what effect did that have on art? Cite specific monuments to illustrate your discussion.
ANS:
pages 219-225.
PTS: 1
2. Evaluate the role of Augustus as a patron of the arts. Use examples to support your essay.
ANS:
pages 197-201.
PTS: 1
3. Explain the contributions of Diocletian and how he impacted the Late Empire period. Use examples to
support your essay.
ANS:
pages 224-225.
PTS: 1
4. Explain the techniques used by Roman architects and describe the types of buildings they created. Use
examples to support your essay.
ANS:
found throughout the chapter.
PTS: 1
5. Describe Roman painting styles; how did they evolve? Use examples to support your essay.
ANS:
pages 191-195.
PTS: 1
6. Describe the art created for non-imperial patrons. Use examples to support your essay.
ANS:
pages 187; 196-197; 213-215.
PTS: 1
7. Compare and contrast the Arch of Titus with the Arch of Constantine. What are the similarities and
differences? How does each monument represent the emperor and his century?
ANS:
pages 206-206 and 226-229.
PTS: 1
8. Compare and contrast the Greek Parthenon with the Roman Pantheon. How does each represent its
period and culture?
ANS:
pages 210-211.
PTS: 1
9. Contrast the veristic preferences in Republican portraiture with Imperial portraiture. Use examples to
support your essay.
ANS:
found throughout chapter.
PTS: 1
OTHER
SLIDE QUESTIONS
ANS:
Portrait bust of Commodus (Figure 7-59A). In this image he is portrayed as Hercules. Emperors and
empresses frequently masqueraded as gods and goddesses an heroes and heroines.
ANS:
Seated full-length portrait of Menander (Figure 7-25B). Portraits of famous men and women of earlier
eras were infrequently portrayed on Pompeian walls.
ANS:
Baths of Diocletian, Rome reconstruction of central hall (Figure 7-67). Shows a groin vault, with
intersecting barrel vaults. This construction increased the building size measurably and allowed more
light to come through the fenestrated groin vaults.
ANS:
Arch of Constantine, Rome (Figure 7-75). This work "reused" sculptures to associate Constantine with
the "good emperors" of the early 2nd century CE. It exhibited respect for the classical past in the
re-use of these 2nd century sculptures; but it rejected the norms of classical design in the frieze.
ANS:
Dionysiac mystery frieze, Villa of the Mysteries, Pompeii (Figure 7-18). This work is representative of
the Second Style and depicts Dionysiac rites and rituals. The painter has combined the imitative
paneling of the First style and created the illusion of a shallow ledge. This allows the characters to
move about the room.
ANS:
Aerial view of Amphitheater, Pompeii (Figure 7-13). This work shows the innovation the Roman
engineer used in creating an outdoor stadium/theater. Although it resembles Greek theaters, it is
actually two theaters together and does not use a natural hillside as a structural base. By using concrete
and barrel vaulting, the engineer was able to contain the space and seating.
ANS:
Triumph of Titus, Arch of Titus, Rome (Figure 7-42). The image shows Titus in triumph returning to
Rome after his military victories in the Jewish campaigns. The figures accompanying him transform
this event further by emphasizing the imperial virtues of honor and valor. Victory crowns Titus with a
victory wreath. The youth is the personification of Honor and Valor leads the horses.
ANS:
Canopus and Serapeum, Hadrian's Villa at Tivoli (Figure 7-52). This work is a blend of classical
Greek elements and Roman innovation. The grotto was made with concrete, a Roman invention, yet
surrounding the pool are Greek columns and statuary. The Corinthian colonnade is uniquely Roman; it
breaks with Greek design. It lacks a superstructure and has arched lintels, rather than horizontal as in
Greek design.
ANS:
Asiatic sarcophagus (Figure 7-61). An imported luxury item from Asia Minor, it attests to the vibrant
market for luxury goods during this time. The sarcophagus also shows the Roman tendencies for
merging motifs from other cultures. The arrangement of the figures is distinctly Asiatic but the figures
echo Greece, while the lid mirrors the influence from the Etruscans.
10. What features are emphasized in this portrait and what do they communicate?
ANS:
Trebonianus Gallus, Bronze (Figure 7-69). A Soldier Emperor is depicted not as a Classical Greek
ideal favored by Augustus and earlier emperors, but rather as a massive wrestler. The emphasis on
brute force indicates the instability of the Empire.
11. How does this image represent the Roman middle-class and professional citizen?
ANS:
Funerary reliefs, Vegetable Seller (Figure 7-56). This images represents a middle class merchant and a
professional woman of Roman 2nd century society. The relief documents the activity and the individual
as seller. It is as important to the legacy of art history as imperial monuments commissioned by the
Roman emperors. A scene such as this may have been instrumental in formulating the illustrations for
medieval "labors of the months".
Muukalaista verta.
*****
Korventauksen koirat näyttivät tehneen yksituumaisen päätöksen
asettua viholliselle kannalle kahta kylään ilmestynyttä muukalaista
vastaan. Milloin muukalaiset tulivat heidän seuraansa, antoivat he
niille säälimättömästi selkään. Etenkin kahden naapuritalon koirat
hammastivat yhtenään näitä pentukoiria, jotka suuruudestaan
huolimatta olivat vielä hentoja ja heikkoja. Penttilän vanha vihainen
Nuoli kerran puri Caroa niin pahasti, että rautatieinsinööri uhkasi
ampua Nuolen.
Kuka tiesi minkä tähden tuo Silju rakastui Caroon? Caro oli
pystykorvain mielestä hirvittävän ruma koira. Vaan Silju viihtyi Caron
seurassa, sillä Caro oli ylhäissukuinen, jaloverinen rakastaja, jolle
seikalle hempeä sukupuoli aina antaa niin suuren arvon. Caro osasi
mielistelläkin Siljua paremmin kuin kylän pystykorvat. Hän heittäytyi
Siljun eteen selälleen ja liehakoi; hän antoi Siljun leikillään pureksia
käpäliään. Erittäinkin miellytti Siljua, kun Caro aina otti suureen
leveään suuhunsa hänen pienen suipon päänsä ja pureksi sitä
hellävaraa. Caro voitti Siljun kokonaan omakseen.
He olivat lapsia.
Talossa oli vähän pienempi tyttö, joka katseli ujoa pikku poikaa.
Tyttö meni kohta pojan lähelle ja kysyi, eikö pojalla ollut hyvin kylmä
ja hyvin nälkä. Olihan pojalla hyvin kylmä ja hyvin nälkä. Tyttö katseli
suurella säälillä tuota pikku poikaa, jonka kasvot olivat kylmästä
sinervän punaiset, kalvoset vilusta mustat, jolla oli suuri, väljä ja
repaleinen nuttu, jonka ruumis värisi, ja veripunainen varvas näkyi
kengästä.
— Äiti!
— No mitä?
— Minä olen jo niin kauvan ollut teillä, minun pitää nyt mennä
toiseen taloon.
— Vaan äiti lupasi, että saat olla meillä. Jää vaan vielä meille!
houkutteli Hilma.
Kun Hilma, ainoa lapsi, niin paljon pojasta piti ja omasta säälistään
antoi emäntä pojan jäädä yhä edelleen taloon. Hän opetti hänet
käämiä tekemään ja käytti häntä pienillä asioilla. Kun Hilma yhä
vakuutti pojalle, että hän saa olla aina heillä, tavastui poika vähitellen
taloon eikä muistanut enää yrittääkään pois, vaan oli kuin kotonaan.
Äiti oli varma, että heistä vielä pari tulee, vaan kuka tiesi milloin,
kun ovat vielä niin lapselliset. Hän toivoi, että se tapahtuisi hänen
elinaikanaan. Mutta nuoret rakastivat toisiaan niin salaa ja ujostivat
häntä.
— Minä liitän nyt teidät yhteen, sanoi äiti ja asetti heidät käsikkäin.
Onko se teidän tahtonne?
Äiti näki, että hänen täytyy asia auttaa perille asti, ja eräänä
päivänä ehdotti hän, että heidät pantaisiin kuulutuksiin ja kohta
vihittäisiin. Hän vanhenee vanhenemistaan eikä voi enää kauvan
elää, vaan tahtoisi nähdä heidän liittonsa ennen kuolemataan.
Hän siunasi tuon puhtaan sijan, että ne kaksi tulisivat sillä aina
lepäämään onnellisina.
— Hilma!
— Mitä, äiti?
— Tulepas tänne!
Tuo toinen vuode ajan ollen hävisi äidin tahdosta, vaan äidillä oli
sittekin omat epäilyksensä lastensa yhdyselämästä. Hänellä oli
vanha tarkka silmä, jonka ohi ei mennyt mitään.
Viiden, kuuden kuukauden kuluttua sai Kaarle työnjohtajan paikan
eräässä pienemmän kaupungin kirjapainossa. Sinne muutti Kaarle
Hilmansa kanssa.
Junankulettaja.
Lehmiä hän suorastaan vihasi ja inhosi, ja kun hän näki niitä radan
varrella syömässä ja katsoa ammottamassa ohi kiitävää junaa, oli
hänen tapanaan sanoa: "Tuolla lailla te ammottaisitte, vaikka
päällenne laskisi." Kun taas lehmät läksivät peloissaan juoksemaan
radan vartta aidan toisella puolen, sanoi hän: "Ne varmaan tulisivat
radalle junan eteen, jos pääsisivät." Kun lehmä sattui radalle ja
häntä suorana alkoi juosta ja laukata edellä pakoon, ei hän voinut
olla nauramatta, niin rumalta ja typerältä se hänestä näytti. Hyvä
hevonen voi joitakuita kilometrejä juosta junan edellä, mutta että
lehmä — oh, se oli niin mieletöntä ja inhoittavaa, että hän olisi
suonut veturissa olevan laitoksen, joka olisi syytänyt tulta ja tulikiveä
tuohon elukkaan, ennen kuin se joutui veturin alle. Ajettuaan lehmän
päälle hän aina kertoi, että lehmä on niin kauhean tyhmä eläin ja
mitenkä hän ajaessaan hevosella säälimättä laskee päälle, eikä
odota kunnes tämä vetelä eläin on kömpinyt ylös maantien keskeltä,
johon se on ruvennut märehtimään. Tavallisesti se ennättää
kuitenkin hevosen edestä nousta, vaan vetäytyy syrjään niin
laiskasti, että useasti hänen ajaessaan on kärrinpyörä raapaissut sitä
lonkkaluuhun tai kylkeen.
Heittäytyä junan alle saadakseen siten surmansa, sitä vastaan
hänellä ei ollut mitään, se oli varma että surmansa siinä sai, ja
saihan ihminen valita parhaimman keinon kuolemataankin varten.
Jotka taas muka vahingossa jäivät junan alle, heitä hän ei säälinyt
ollenkaan, sillä hänen mielestään oli joka tapauksessa kunkin oma
syynsä, jos jäi junan alle, kun kerran rautatieliikkeessä on niin selvät
säännöt ja järjestykset, että kaikkein yksinkertaisimmankin ihmisen
pitäisi osata niitä noudattaa. Eläimet eivät tosin tietäneet
ohjesäännöistä, mutta niiden omistajain piti tietää eikä päästää
elukoitaan radalle; siitä ei ollut mitään edesvastausta, jos ajoi radalle
tulleen elukan päälle.
*****
— Mutta kun lehmä on niin laiska, ettei mene edestä pois, märehtii
vaan!