Unit 2 Quiz
Answer D Correct. As is traditional in Etruscan painting, the male figures are depicted with darker skin than female figures.
In creating the figures, the artist used which of the following conventions of representation typical of the culture? Responses A Contrapposto to show the figures in motion B Registers to divide multiple scenes of the narrative C Hierarchical scale to distinguish the ruler from the subjects D Color differentiation to convey gender
Answer B Correct. The Sarcophagus of the Spouses is similar to the Tomb of the Triclinium in terms of its content and function, as both works depict banquet scenes associated with Etruscan funerary rites.
In terms of its content, the work is most similar to the Responses A Anavysos Kouros B Sarcophagus of the Spouses C grave stele of Hegeso D Ludovisi Battle Sarcophagus
Answer A Correct. The archaic Greek Anavysos Kouros was a grave marker in the form of an idealized young hero. This is similar to the Etruscan Sarcophagus of the Spouses, which also had a funerary function.
In the way it functions to commemorate individuals after their death, the Etruscan Sarcophagus of the Spouses is most similar to which of the following sculptures? Responses A Anavysos Kouros B Statues of votive figures C Code of Hammurabi D Doryphoros
Answer A This option is correct. Art played a serious role in the intellectual and cultural life of the Roman elite who used their homes to showcase their taste and erudition.
Originally located in a private house in Pompeii, the Alexander Mosaic was likely interpreted by viewers in which of the following ways? Responses A It conveyed the elevated and learned status of the owner of the house. B It exemplified the fears of those who lived near an active volcano. C It underscored the political aspirations of the elite class. D It functioned as a memorial to the owner's heroic deeds.
Answer B Correct. The sculpture of Apollo from the Temple of Minerva at Veii was originally part of a larger sculptural program consisting of several terra cotta statues, which together most likely depicted the story of one of the twelve labors of Hercules, and which were displayed on the rooftop of the temple.
Scholars believe that the sculpture of Apollo from the Temple of Minerva at Veii served as a A votive statue buried as an offering to the Etruscan gods B part of group of figures depicting a mythological narrative C cult statue to be placed in the inner sanctuary of the temple D reliquary figure containing the remains of a venerated individual
Answer C Correct. The House of the Vettii functioned as a home for a prosperous family of freedmen. The House of the Vettii was a type of townhouse, known as a domus, which was typically inhabited by members of the upper class or wealthy freedmen. Scholars believe that the House of the Vettii was owned by a family of former slaves (freedmen).
The House of the Vettii functioned as a Responses A secluded retreat for a Roman patrician B place for worshipping an important deity C home for a prosperous family of freedmen D tomb for a prominent married couple
Answer C Correct. The House of the Vettii included wall paintings and a peristyle garden to impress visitors with the wealth and taste of the patrons. The intricate wall paintings and large garden in the House of the Vettii were intended to communicate the material wealth and elevated taste of the owners of the house.
The House of the Vettii included wall paintings and a peristyle garden for which of the following reasons? Responses A To symbolize paradise through flowing water and vegetation B To enable and provide space for funerary rituals C To impress visitors with the wealth and taste of the patrons D To provide a setting for mystery rites
Answer C Correct. Innovations in the use of concrete in ancient Roman architecture provided the ideal combination of strength and versatility to efficiently create architectural elements of various shapes, including the massive coffered dome of the Pantheon.
The Pantheon exemplifies Roman innovations in the use of concrete in the creation of its Responses A expansive upper clerestory B continuous vaulted ambulatory C massive coffered dome D free-standing colonnade
Answer A Correct: Both the Parthenon and the White Temple of Uruk contained an inner sanctuary, or cella, which housed sacred objects or cult figures.
The Parthenon and the White Temple at Uruk both included which of the following architectural features? Responses A A sacred cella that contained votive figures or cult statues B A peripteral colonnade that housed an open-air market C A polished marble exterior that reflected the sun's divine light D A processional staircase that restricted access to the inner sanctum
Answer D This option is correct. Both the pharaoh in the Palette of King Narmer and the king in the Standard of Ur are depicted in hierarchical proportion to distinguish them from other human figures and imbue them with a sense of authority and power
The Standard of Ur and the Palette of King Narmer are similar in that both works A use complex mythological stories as allegories of historic military battles B were created for the commemoration of powerful rulers long after their deaths C differentiate between men and women through the application of different colors D employ hierarchical scale to distinguish between figures of varying degrees of importance
Answer A This option is correct. After passing through a portico, a visitor to the Pantheon enters a large, circular space. Its diameter of 143 feet equals its height from the center floor to the summit of the domed ceiling.
The architect of the Pantheon in Rome sought to impress viewers by Responses A incorporating an unexpectedly large interior space B requiring them to circumambulate the pronaos C placing an enormous chryselephantine cult statue in the center D restricting access to the cella through the use of a choir screen
Answer C This option is correct. Evidence indicates that the Alexander Mosaic is a copy of a Greek painting by Philoxenes of Eretria. A description of the original painting by Pliny the Elder has led to this attribution.
The artist of the Alexander Mosaic likely intended to celebrate ancient Greek art by Responses A reproducing a sculpted relief from a temple frieze B creating a monumental artwork intended to be hung on a wall C emulating an earlier painting described in ancient texts D depicting Athens' triumph over Rome in battle
Answer A Correct. The artists who created the wall frescoes in the House of the Vettii included illusionistic architectural features and vistas to create a sense of spatial depth. The artists of the frescoes utilized painted representations of architecture as well as painted backgrounds to create the illusion that the frescoes extended back into space.
The artists who created the wall frescoes in the House of the Vettii included which of the following visual effects? Responses A Illusionistic architectural features and vistas to create a sense of spatial depth B Scenic paintings framed with embossed gold leaf to incorporate contrast C Multiple thick layers of paint to emphasize luscious surface textures D Modeled forms that follow the natural contours of the stone surface to create drama
Answer C Correct. The work shown, Augustus of Prima Porta, was created during a time of political transition of the Roman state from a Republic to an Empire. Emperor Augustus, who had himself depicted in this work, was the first ruler of the Roman Empire from 27 B.C.E. until his death in 14 C.E. The iconography of the statue was intended to lend legitimacy to Augustus' authority as emperor by emphasizing his contributions to the Roman people.
The choice of iconography of the work shown was strongly influenced by the Responses A introduction of Christianity as the new Roman state religion B recent ransacking of the city of Rome by a conquering army C establishment of the Roman Empire under Augustus D connection of Rome to foreign cultures through the silk road
Answer B Correct. The iconography of the breastplate worn by Augustus includes references to military and diplomatic accomplishments of Emperor Augustus in ensuring peace and stability for the Roman empire. The inclusion of these references in the work shown were intended to serve a propagandist function of legitimizing Augustus' authority as emperor, by highlighting his services to the Roman people and state.
The choice of imagery on the breastplate of the individual depicted was most likely intended to elicit which of the following responses from viewers? Responses A Reverence for his status as only prophet of a single true deity B Appreciation of his services as protector of peace and prosperity C Empathy for his display of humility and earthly suffering D Fear of his power to hand out judgment and punishment to his people
Answer B Correct. The choice of the site for the Colosseum in Rome indicates that members of the Flavian Dynasty sought to eradicate the memory of Nero by building the structure on an area that had previously belonged to him. The Colosseum was constructed on the site of Nero's palace by Emperor Vespasian of the Flavian Dynasty in an attempt to erase Nero's legacy and to revitalize the city of Rome.
The choice of the site for the Colosseum in Rome indicates that members of the Flavian Dynasty sought to Responses A affirm their ties to great rulers such as Julius Caesar by building the structure on the site where Caesar was assassinated B eradicate the memory of Nero by building the structure on an area that had previously belonged to him C promote their political legitimacy by constructing the building as part of the imperial forum D draw attention to their military power by constructing the building with the spoils from their victory over the Parthians
Answer B Correct. Etruscan funerals were not somber; instead, they consisted of lively feasts accompanied by music and dancing. The fresco within the Tomb of the Triclinium presents one of such celebrations in its entirety, complete with musicians and dancers.
The depiction of dancers and musicians references the Responses A public celebrations that followed military victories B elaborate feasting that accompanied funerals C lavish gift giving that showcased the wealth and power of the ruler D earthly pleasures that the deceased can no longer experience in the afterlife
Answer A This option is correct. In the third century B.C.E., King Attalos I successfully fought back an invasion of Gauls into Asia Minor. The reliefs of the Great Altar, built in the second century B.C.E. under the direction of Eumenes II, could have alluded to this event as well as to all conflicts the Hellenistic Greeks experienced with outsiders.
The depiction of the gigantomachy on the reliefs of the Great Altar of Zeus at Pergamon may have served as an allegory of Responses A King Attalos' victory over the Gauls B Athens' defeat of Sparta C Rome's control over the Mediterranean D Alexander the Great's military campaigns
Answer A Correct. The development of the Athenian agora as a public space differed substantially from the Forum of Trajan in that the agora of Athens, having been in use since Neolithic times, was gradually transformed over time in response to political change. In contrast, the Forum of Trajan was commissioned by Emperor Trajan and constructed as part of a major building project by an architectural engineer, Apollodorus of Damascus.
The development of the Athenian agora as a public space differed substantially from the Forum of Trajan in that the agora Responses A evolved gradually over centuries in response to political change B incorporated buildings dedicated to secular and religious functions C served as the primary residential sector for the city's aristocracy D used axial planning to highlight a series of military monuments
Answer B This option is correct. The horses and figures are foreshortened, dramatizing the retreat of Darius and his Persian army as Alexander the Great charges into the scene.
The foreshortening of figures in the Alexander Mosaic likely affected viewers in which of the following ways? Responses A It reminded viewers of the chaos of everyday life. B It conveyed the climactic moment of a narrative. C It resulted in a detached scene that appeared to occur in the past. D It divided the narrative into a sequence of scenes.
Answer B Correct. The form of the Pantheon was influential on later architectural development in part because the high-domed rotunda could accommodate a large number of congregational worshipers. This same high dome to create a large space for congregational worship can be seen in the church of Hagia Sophia in Constantinople (Istanbul) and in the mosque of Selim II in Edirne, Turkey, among other architectural examples.
The form of the Pantheon was influential on later architectural development in part because the Responses A oculus provided an affordable and efficient way to fully illuminate the interior B high-domed rotunda could accommodate a large number of congregational worshipers C sacred geometry of circles within squares was believed to protect against earthquakes D raised platform made the building easy to see from a great distance
Answer C Correct. Art historians have noted the close resemblance between of the statue of Augustus of Prima Porta and the Classical Greek sculpture of the Doryphoros (Spear Bearer) by Polykleitos, which follows an idealized canon of proportions and a contrapposto stance very similar to the portrayal of the Roman emperor.
The formal qualities of the sculpture shown suggest a strong influence by which of the following earlier works? Responses A King Menkaura and queen B Anavysos Kouros C Doryphoros (Spear Bearer) D Head of a Roman patrician
Answer A Correct. The freestanding female figures associated with the Parthenon, including the chryselephantine statue of Athena and the Peplos Kore, functioned as religious images and offerings made to a deity. Both statues were gifts created for the Goddess Athena, who was the patroness of the Athenian people.
The freestanding female figures associated with the Parthenon, including the now-lost chryselephantine statue of Athena and the surviving Peplos Kore, have which of the following in common? Responses A They both functioned as religious images and offerings made to a deity. B They broth represented goddesses beckoning with empty, outstretched hands. C They were both created on a colossal scale to impress worshippers. D They both stood as guardian figures at the entrance of the temple.
Answer B This option is correct. The pyramids of Giza are believed to have held tombs for the pharaohs Khufu, Khafre, and Menkaura. Hatshepsut was not buried in her mortuary temple; her tomb is thought to be in the Valley of the Kings, KV20.
The mortuary temple of Hatshepsut differs from the Great Pyramids at Giza in that the temple did not function as a Responses A monument to a ruler's reign B tomb for a deceased ruler C symbol of political and religious power D place for prayer and ritual
Answer A Correct. The painter of the Niobides Krater used precise contour lines. Contour lines differ from simple outlines in providing information about how the parts of a figure shift as the figure moves. The precise, skillful contours here make the relatively flat figures expressive and active.
The painter of the Niobides Krater used which of the following to create convincing figures in motion? Responses A Precise contour lines B Vertical registers C Veristic portraiture D Chiaroscuro
Answer A Correct. The progression of distinct spaces along the axis of the temple of Amun-Re at Karnak, from left to right in the plan shown, led from the entrance toward the inner sanctuary. Access along this route became increasingly restricted and only the pharaohs and priests were allowed in the innermost shrine.
The progression of distinct spaces along the axial plan of the temple of Amun-Re at Karnak reflects the Responses A increasing restriction of access as one moved toward the inner sanctum B separation of spaces according to their mortuary, religious, and secular functions C beliefs about the different stages a soul must pass through to reach the afterlife D stages of enlightenment that a worshipper would experience during prayer
Answer D Correct. The relief shown can be attributed to the Amarna period in Egypt due to the depiction of Aten. The work depicts Aten as a disk surrounded by diagonal rays. This was a common subject for the Amarna period, during which the pharaoh Akhenaton established a monotheistic religion centered around the worship of the sun god Aten.
The relief shown can be attributed to the Amarna period in Egypt based on which of the following typical characteristics? Responses A The depiction of Hatshepsut with the attributes of a male pharaoh B The use of hierarchical scale to distinguish the ruler from conquered peoples C The use of wet drapery to emphasize the sculptor's natural rendering of the body D The depiction of the deified Aten as a sun disk with diagonal rays
Answer C Correct. As Roman Emperor, Augustus was a gifted orator (public speaker), who was skillful in giving political speeches, as well as addressing his troops prior to military confrontations. The pose of the statue, in which one arm is outstretched, is commonly used in ancient Roman art to represent the act of public speaking and is used in the work to emphasize one of Augustus' skills that enabled him to be a successful leader.
The sculptor of the work shown chose to show the figure's arm extended to Responses A emphasize the importance of casting a vote B dramatize a confrontation with another ruler C highlight his speaking skills as a gifted orator D demonstrate his piety through a gesture of prayer
Answer D This option is correct. Both the Etruscan figure of Apollo and the Anavysos Kouros were created during the sixth century B.C.E., and they both exhibit the so-called Archaic smile. Each work is stylized and lacks individualized features.
The sculpture of Apollo from the Temple of Minerva at Veii shows the greatest stylistic similarity to the Responses A Doryphoros B Seated boxer C Augustus of Prima Porta D Anavysos Kouros
Answer A Correct. The contrapposto stance, in which weight is placed on one leg while the other naturally bends, was an innovation of fifth century Classical Greek sculpture adopted in many later Greek and Roman sculptures, such as the statue shown of Augustus of Prima Porta. Figures in the contrapposto stance seem more life-like than Archaic Greek sculptures, such as the Anavysos Kouros, whose straight-legged stance appears far more rigid.
The sculpture shown appears life-like and natural as a result of the Responses A sense of balance provided by the contrapposto stance B emotional expressiveness captured by the Archaic smile C realistic depiction of an individual including physical flaws D sense of calm achieved through its compactness of form
Answer B Correct. The sculpture shown bears the hallmarks of the ancient Sumerian votive figure tradition, including the posture of the body, the pelt-like kilt, exposed chest, and enlarged eyes, similar to the votive figures from the Square Temple at Eshnunna.
The sculpture shown can be attributed to the same culture that produced the Responses A Peplos Kore from the Acropolis in Athens B votive figures from the Sumerian Square Temple at Eshnunna C seated scribe from the Egyptian tomb at Saqqara D sculpture of Apollo from the Etruscan temple at Veii
Answer C Correct. The structure shown, the octagonal court of Emperor Nero's Domus Aurea, exemplifies the ancient Roman architectural innovation of the oculus. The round opening at center of the dome, known as an oculus, was an important architectural innovation associated with the Romans.
The structure shown, the octagonal court of Emperor Nero's Domus Aurea, exemplifies the ancient Roman architectural innovation of Responses A the barrel vault B the clerestory C the oculus D the supporting column
Answer A Correct. During the Amarna period of New Kingdom Egypt, the pharaoh Akhenaton introduced a new monotheistic belief system that was centered around the worship of a single deity, the sun god, Aten, with Akhenaton himself regarded as Aten's divine representative on Earth. This meant a radical shift from the religious tradition of worshiping a pantheon of multiple gods. Scholars have attributed the stylistic changes in the art of that period, for example, the emphasis on curvilinear over rectilinear forms, to the requirements of this new religion, especially with regard to depictions of the pharaoh and his family.
The stylistic innovations that are evident in the relief sculpture of Akhenaton, Nefertiti, and three daughters are a result of Responses A the introduction of a new monotheistic religion under the Pharaoh Akhenaton B the introduction of Asian art to New Kingdom Egypt through the Silk Road C the rise of a wealthy Egyptian merchant class who created a demand for new types of luxury objects D the shift of the political system during the Amarna period from a kingdom to an oligarchy
Answer B This option is correct. The numerous tiles allowed the artist to contrast lights and darks, creating modeled figures and cast shadows, along with a number of other illusionistic details.
The use of over one million small tiles to make the Alexander Mosaic allowed its creator to Responses A depict a disorganized scene that overwhelms the viewer B model the anatomy of the figures naturalistically C modify and transport the composition easily D reduce the figures into abstract forms
Answer C Correct. The style of the grave stele of Hegeso is reminiscent of the sculptural program of the Parthenon, specifically the low-relief frieze, such as in the Plaque of the Ergastines. Both works reflect an idealized approach to figural representation that is characteristic of Classical Greek sculpture. The grave stele of Hegeso depicts a seated woman and her female attendant carved in shallow relief. A sense of body mass is achieved through the intricate folds of draped garments that follow the contours of their bodies. The multiple figures seen in the Plaque of Ergastines are also rendered in an idealized manner, with proportional anatomy clothed in complex draped cloth.
The way the human form is idealized in the grave stele of Hegeso is most characteristic of which of the following ancient Greek art periods? Responses A Archaic as seen in the Peplos Kore from the Acropolis B Hellenistic as seen in the Winged Victory of Samothrace C Classical as seen in the Plaque of the Ergastines D Archaic as seen in the Anavysos Kouros
Answer C Correct. The lavish feast scene depicted in the wall fresco was intended both to honor the deceased and to emphasize the wealth and social status of their family.
The work has been interpreted both as honoring a deceased individual and as Responses A depicting an important scene from classical mythology B marking the transition of power from the deceased to a new ruler C emphasizing the high social status of the deceased's family D encouraging youth to participate in a local mystery cult
Answer A This option is correct. The clerestory is an Egyptian innovation that allowed sunlight to illuminate the central aisle of the Hypostyle Hall in the Temple of Amun-Re at Karnak.
Which of the following architectural innovations provided an enhanced religious experience for visitors walking through the Hypostyle Hall at the Temple of Amun-Re at Karnak? Responses A The clerestory, which allowed for the illumination of the central aisle B The causeway, which provided an elevated space for approaching the ka statue C The proscenium, which facilitated the performance of elaborate rituals D The apse, which housed a cult statue of the sun god Amun-Re
Answer A Correct. Winged Victory of Samothrace exemplifies the art of the Hellenistic period through its dramatic movement and fluid drapery. Hellenistic sculpture is known for its dynamic poses and detailed folded drapery.
Winged Victory of Samothrace exemplifies the art of the Hellenistic period through its Responses A dramatic movement and fluid drapery B frontal stance and contrapposto pose C animated gestures and enigmatic smile D hierarchical scale and idealized form
