b. little temple.
a. a Doric peristyle
b. a balustrade
c. a dome
d. an Ionic frieze
e. a cella
3. The painting of An Ideal City (artist anonymous) featured in the chapter illustrates what key aspect of Renaissance urban architecture?
a. fixed spatial relationships between topiary and structures
b. centrally planned buildings
c. importance of ornamentation
d. expansion of open spaces
c. Fra Angelico.
a. David and Goliath
b. Venus and Adonis
c. Plato and Aristotle
d. Alexander the Great and Socrates
a. He made anatomical drawings.
b. He was an uomo universal.
c. He wrote backwards.
d. He made more paintings than drawings.
e. He made more paintings than sculptures.
7. According to a popular anecdote of the time, what effect did Leonardo’s earliest known painting of an angel on Verrocchio’s Baptism of Christ have upon Verrocchio?
a. He became Leonardo’s apprentice.
b. He falsely credited the entire work to Leonardo.
c. He banned Leonardo from his studio.
d. He quit painting.
9. Some experts say that the pyramidal style of the High Renaissance first emerges in
a. Raphael’s Galatea.
b. Michelangelo’s Sibyls.
c. Leonardo’s Virgin and Child with Saint Anne.
d. Masaccio’s Trinity.
a. Leonardo’s Last Supper – Milan
b. Bramante’s Tempietto – Florence
c. the Sistine Chapel – Siena
d. the Mona Lisa – Rome
a. Madonna and Child with Saint Anne
b. Mona Lisa
c. Creation of Adam
d. Vitruvian Man
12. The term sfumato refers to
a. the fashion of smoking while painting, adopted soon after the discovery of America.
b. a smoky haze to convey depth and distance.
c. aerial perspective.
d. the style in imitation of the candle-smoke darkened walls of Roman churches.
a. Raphael’s School of Athens
b. Michelangelo’s Sistine ceiling
c. Michelangelo’s Last Judgment
d. Leonardo’s Last Supper
a. the Latin cross
b. the pyramid
c. the Greek cross
d. the circle
a. Rondanini Pietà; the Rome Pietà; David; the Sistine ceiling
b. David; the Rome Pietà; the Sistine ceiling; Rondanini Pietà
c. the Rome Pietà; David; the Sistine ceiling; Rondanini Pietà
d. the Rome Pietà; the Sistine ceiling; David; Rondanini Pietà
a. a broken pediment.
b. curved triangular sections.
c. short spans in a vaulted ceiling.
d. a small carving tool used to sculpt marble.
c. the tomb of Lorenzo de’ Medici
a. Lorenzo de’ Medici
b. the Duke of Mantua
c. Julius II
d. Francis I of France
a. Leonardo da Vinci’s single-minded dedication to sculpture.
b. Classical mythology.
c. Medici’s patronage.
d. The rough and tumble life he found in Renaissance Rome.
e. both Classical mythology and Medici’s patronage.
21. The Laurentian library housed
a. Leonardo’s scientific drawings.
b. Michelangelo’s architectural plan for Florence.
c. the Julius II codex.
d. the Medici manuscript collection.
a. Julius II
b. Paul III
c. John Paul II
d. Clement X
24. The High Renaissance was centered in
25. Which work is matched with the correct patron?
a. Sistine Chapel ceiling – Sixtus IV
b. Michelangelo’s David – Florence
c. School of Athens – Agostino Chigi
d. Stanza della Segnatura – Giovanni Bellini
e. Michelangelo’s Creation of Adam – Philip II of Spain
26. The patron saint of Venice is
a. Saint Mark.
b. Saint Peter.
c. Saint Matthew.
d. Saint Sebastian.
e. Saint John the Evangelist.
27. Which best describes the stigmata?
a. an outcast
b. the Flagellation
c. the arrows of Saint Sebastian
d. the wounds of Christ
e. a painting by Giotto
28. Which artist is correctly matched with his place of birth?
a. Giorgione – Castelfranco
b. Michelangelo – Siena
c. Leonardo – Padua
d. Raphael – Milan
e. Bramante – Venice
29. The theme of Titian’s Venus of Urbino is
a. sensuality and illicit love.
b. marital love and fidelity.
c. seduction and erotic desire.
d. not definitively agreed upon.
a. the Pietà.
b. the Last Judgment.
c. the Last Supper.
d. the Creation of Adam.
a. Gentile Bellini had two sons, Jacopo and Giovanni.
b. Giovanni Bellini had two sons, Gentile and Jacopo.
c. Jacopo Bellini was the father of Gentile, Giovanni, and Mantegna.
d. Jacopo Bellini had two sons and one daughter.
33. Gentile Bellini’s rich textures and ability to convey character appealed to
a. the ruler of Venice.
b. the Sultan in Constantinople.
c. the Byzantine Patriarch.
d. the Pesaro family.
a. Jacopo Bellini.
b. Andrea Mantegna.
c. Gentile Bellini.
d. Giovanni Bellini.
a. through a description in his autobiography.
b. by painting a nude man with reflections from three sides.
c. by making a sculpture and a painting of a man.
d. by dictating a comparison to Vasari.
36. The rich details in 16th-century Venetian painting show influence from
a. the Netherlands.
c. the International Style.
37. Col Tempo refers to
a. an Italian proverb.
b. a book by Aretino.
c. a painting by Giorgione.
d. a painting by Titian.
a. Giovanni and Gentile Bellini.
b. Titian and Giovanni Bellini.
c. Giorgione and Gentile Bellini.
d. Titian and Giorgione.
d. the Dialogues of Plato.
a. Pope Julius II, the Rape of Europa, and Saint Francis in Ecstasy
b. Tempest, the Allegory of Prudence, and the Sleeping Venus
c. Assumption of the Virgin, the Rape of Europa, and Venus of Urbino
d. Tempest, the Rape of Europa, and Venus of Urbino
a. assertive pose.
b. political power in the city’s senate.
c. wise gaze.
d. bulk, and the textures of his costume.
e. impatience with portrait-sitting.