Answer: c
page 16
14.
What is the most basic architectural technique for spanning space?
a.
Post
–
and
–
Lintel
b.
Corbel
c.
Cromlech
d.
Menhir
Answer: a
page 18
15.
What can myths tell about their producing cultures?
a.
The culture’s place of origin
b.
The culture’s views and beliefs
c.
The culture’s
social hierarchy
d.
The culture’s form of government
Answer: b
page 18
16.
What is a shaman?
a.
The leader of a tribe
b.
A person’s essence or soul
c.
A teller of myths
d.
A person with mystical powers
Answer: d
page 18
17.
Why did an Anasazi kiva
have a small, round hole in its floor?
a.
The Anasazi believed that their ancestors emerged from the depths of the Earth
b.
The Anasazi used the hole to collect what little rain fell in the parched desert
c.
The Anasazi believed evil spirits could be flushed into
the depths of the Earth
d.
The Anasazi developed a complex human
–
waste
–
disposal system
Answer: a
page 21
18.
Which of the following is not reflected in Pueblo emergence tales?
a.
The forces of nature are inhabited by living spirits
b.
Humans can communicate with the
spirits of nature
c.
Humans can take on animal form if they offer the proper sacrifice
d.
Nature’s behavior can be compared to human behavior
Answer: c
page 22
19.
How did Japanese emperors justify their divinity?
a.
As heads of the Shinto religion
b.
As direct
descendants of the sun goddess
c.
As a result of their political heritage
d.
As a result of a spiritual transformation at coronation
Answer: b
page 22
20.
Shinto shares many similarities with which Native American religion?
a.
Aztec
b.
Navajo
c.
Olmec
d.
Pueblo
Answer: d
pag
e 23
21.
Why is the Shinto main sanctuary at Ise always built of wood?
a.
Reverence for the natural world and tradition
b.
Stone is a rare commodity in Japan
c.
Amaterasu’s
kami
(spirit) resides in trees
d.
Wood is one of Shinto’s three sacred treasures
Answer: a
page
23
22.
Why are Ise’s shrine buildings razed and then rebuilt every twenty years?
a.
Aged wood becomes fragile
b.
To celebrate ritual renewal
c.
Generational cycles are twenty years
d.
To symbolize Amaterasu’s lifespan
Answer: b
page 23
23.
Who are the Olmec’s
colossal stone heads believed to represent?
a.
Their gods
b.
Their enemies
c.
Their rulers
d.
Their allies
Answer: c
page 24
24.
What do the Hopewell tribe’s elaborate burials tell about them?
a.
They considered bear teeth to be sacred
b.
They created beautiful works of pot
tery
c.
They believed the dead would be reincarnated
d.
They had an extensive trade network
Answer: d
page 25
25.
How does the Great Serpent Mound differ from most Hopewell mounds?
a.
Its spiral shape and raised embankments
b.
Its alignment with the sun at equinoxes
c.
Its
absence of burial sites
d.
Its mysterious abandonment
Answer: c
page 26
26.
With what astronomical event might the Great Serpent Mound be associated?
a.
The summer solstice
b.
Halley’s Comet
c.
A solar eclipse
d.
Alignment of the planets
Answer: b
page 26
Matching:
27.
C
hauvet Cave
a. Scotland
28.
Venus of Willendorf
b. Gulf of Mexico
29.
Stonehenge
c. Ohio
30.
Nok
d. American Southwest
31.
Skara Brae
e. England
32.
Anasazi
f. Austria
33.
Olmec
g. France
34.
Great Serpent Mound
h. Nigeria
Answers: 27
–
g, 28
–
f, 29
–
e,
30
–
h, 31
–
a, 32
–
d, 33
–
b, 34
–
c
Essay Questions:
35.
Discuss the implications of Chauvet Cave’s revelations about art not developing linearly and
early Paleolithic artists not being as primitive as we previously thought.
36.
Discuss the reasons the onset of
agricultural production would lead to the development of a
social, economic, and political entity
—
a civilization.
37.
Examine the Paleolithic female figurines
—
the Laussel Woman Holding an Animal Horn, the
Venus of Willendorf
—
as “images of beauty in a cold, hos
tile world.”
38.
Describe the picture of Paleolithic daily life that the peoples’ artifacts provide.
39.
Discuss the view of society that construction of the megalithic dolmens, Carnac, and Stonehenge
reveal.
40.
Discuss the ways in which settling near a river chang
ed and benefitted early peoples.
41.
Explain the reasons pottery making facilitated advancement for Neolithic agriculture
–
based
people.
42.
Describe the afterlife beliefs that the mound burials of the Hopewell people present.
43.
Think of a current myth
—
a story ground
ed in observed experience that a culture assumes is
true
—
and consider what this myth reveals about our society.
Table of Contents
Chapter
2
1
4
Chapter
2
2
10
Chapter
2
3
16
Chapter
2
4
21
Chapter
2
5
27
Chapter
2
6
33
Chapter
2
7
39
Chapter
2
8
45
Chapter
2
9
50
Chapter
3
0
56
Chapter
3
1
62
Chapter
3
2
67
Chapter
3
3
73
Chapter
3
4
79
Chapter
3
5
85
Chapter
3
6
91
Chapter
3
7
97
Chapter
3
8
103
Chapter
3
9
109
Chapter
4
0
115
Chapter 21: The Baroque in Italy:
The Church and Its Appeal
Multiple Choice
1.
What did Bernini aim to symbolize with his oval colonnade that encloses Vatican Square?
a.
The world converging at the church
b.
The classical tradition of the church
c.
The motherly arms of the church
d.
The expansive reach of the church
Answer: c
page 677
2.
What is
a defining characteristic of Baroque art?
a.
Attention to viewers’ emotional experience of a work
b.
Return to the forms and proportions of classical art
c.
Focus on the symbolic meaning of a work
d.
Absence of excessive decoration and sensuousness
Answer: a
page
677
3.
What is the meaning of the Portuguese term
barroco
, from which “Baroque” likely derived?
a.
Flamboyant
b.
Misshapen pearl
c.
Ecstasy
d.
Sailor
Answer: b
page 677
4.
Why was Baroque originally used in a derogatory way to describe this new style?
a.
It was associated w
ith the common people
b.
It was very expensive to create
c.
It defied the Council of Trent’s directives
d.
It was seen as too ornate and strange
Answer: d
page 677
5.
Why did the Baroque artists place elements on a diagonal, not the Renaissance frontal and
parallel
planes?
a.
To evoke a sense of depth
b.
To induce more defined shadows
c.
To produce a sense of action
d.
To provide more balance
Answer: c
page 679
6.
Why did Pope Urban VIII commission a baldachino (canopy) for Saint Peter’s interior?
a.
To cover Saint Paul’s tomb
b.
To
define the altar space
c.
To crown the papal throne
d.
To encircle Michelangelo’s
Piet
à
Answer: b
page 680
7.
Why did Bernini decorate the baldachino’s grooved columns with bronze vines?
a.
To symbolize the union of the Old and New Testaments
b.
To create a sense of na
turalism on the columns
c.
To emphasize the blending of classical and Italian design
d.
To draw the viewers’ eyes upward along the spirals
Answer: a
page 680
8.
In his Cornaro Chapel sculptural program, with what did Bernini equate Saint Teresa’s religious
vision
s?
a.
Spiritual rebirth
b.
Duality of body
c.
Sexual orgasm
d.
Ecstatic dancing
Answer: d
page 682
9.
Why did Bernini include theater boxes on each side his Cornaro Chapel sculptural program?
a.
To allow visitors to have a better view of Saint Teresa
b.
To create preferential seating for the Cornaro family
c.
To emphasize his design’s high drama
d.
To provide extra seating for the churchgoers
Answer: c
page 681
10.
What did Bernini intend his
Four Rivers Fountain
to represent?
a.
Triumph of the Roman Catholic Church
over the world’s rivers
b.
Holy Roman Emperor Ferdinand III’s defeat of Egypt
c.
Domination of the Roman Catholic Church over paganism
d.
The Roman Catholic Church’s position as the center of the world
Answer: a
page 683
11.
While his coworkers constructed his
designs, what hobby did Bernini pursue?
a.
Flower cultivation at the Villa Borghese
b.
Writing plays and designing stage sets
c.
Amateur archaeology in Rome’s ruins
d.
Composing canzonas for religious services
Answer: b page 683
12.
How did Fra Andrea Pozzo c
reate the highly dramatic space in
Triumph of Saint Ignatius of
Loyola
?
a.
Chiaroscuro
b.
Tenebrism
c.
Foreshortening
d.
Invisible complement
Answer: b page 686
13.
Why did Caravaggio portray his subjects in
The Calling of Saint Matthew
in attire of his time, n
ot
Jesus’s?
a.
To use richer colors and brushstrokes
b.
To conform to other paintings in the series
c.
To enable the audience to identify with them
d.
To portray the painting’s patrons realistically
Answer: c page 690
14.
What effect does Caravaggio achieve with light in
The Calling of Saint Matthew
?
a.
Transforms the calling into a miracle
b.
Identifies which of the subjects is Matthew
c.
Shows Jesus bringing the light to sinners
d.
Makes Jesus’s entrance seem threatening
Answer: a
page 689
15.
What technique that contrasts large areas of dark with smaller illuminated areas did Caravaggio
master?
a.
Chiaroscuro
b.
Tenebrism
c.
Foreshortening
d.
Invisible complement
Answer: b page 690
16.
Why was Artemesia
Gentileschi so obsessed with the biblical story of Judith beheading
Holofernes that she painted five versions of it?
a.
Gentileschi was of Jewish descent
b.
Judith was the female equivalent of David
c.
Judith was a female artist
d.
Gentileschi had been raped
Answer:
d page 692
17.
Why was the division between the Council of Trent
–
rejected secular music and religious
compositions less pronounced in Venice?
a.
It traditionally had ignored papal authority
b.
It had a large Protestant population
c.
It was too far from
Rome for any to notice
d.
It was not a part of the Holy Roman Empire
Answer: a page 694
18.
Which of the following is
not
a way Giovanni Gabrieli aimed to make church music more
emotionally engaging?
a.
Playing two organs against each other
b.
Placing th
e four choirs in separate areas
c.
Adding the first all
–
female ensemble to the choir
d.
Using brass and wood instruments in the music
Answer: c page 694
19.
What is the canzona’s dominant rhythm?
a.
Short
–
long
b.
Long
–
short
–
short
c.
Long
–
long
d.
Short
–
long
–
long
Answer: b
page 694
20.
Why did Gabrieli organize his compositions around a single note
—
the tonic note?
a.
To heighten the sense of harmonic drama
b.
To allow more pitch for the voices
c.
To create effects of sonority in a cathedral
d.
To enable the words to be heard ov
er the music
Answer: a
page 694
21.
What inspired the first operas?
a.
Gabrieli’s compositions
b.
Bernini’s plays
c.
The Venetian street processions
d.
Ancient Greek drama
Answer: d
page 695
22.
What Greek myth inspired Monteverdi’s first opera?
a.
Prometheus and Pandora
b.
Orpheus and Eurydice
c.
Paris and Helen of Troy
d.
Zeus and Leda
Answer: b
page 696
23.
Why were only girls in Venice’s orphanages given music instruction?
a.
Girls would handle the delicate instruments more gently
b.
It was assumed that boys would enter the labor force
c.
Girls required musical skill to secure a good marriage
d.
Venetian orphanages housed only girls
Answer: c
page 697
24.
Why did the orphanage directors hope audiences would be dazzled by the orphans’ musical
performances?
a.
They would adopt the talented children
b.
They would buy tickets to their performances
c.
They would help find jobs for the orphans
d.
They would donate money to the orphanages
Answer: d
page 697
25.
Why is Vivaldi’s
The Four Seasons
known as program music?
a.
He composed it for one of the orphans’ performa
nces, or programs
b.
Its purely instrumental music is connected to a story or idea
c.
Its episodes contrast back and forth with the musical score
d.
The music follows the program and rhythms of speech
Answer: b
page 696
26.
As reported in the chapter’s ”Continuity
and Change“ section, why did Louis XIV reject Bernini’s
design for a new façade for the Louvre?
a.
It looked too similar to the Vatican colonnade
b.
It was too simple and classically inspired
c.
It would be too expensive to build
d.
It was too elaborate and ornate
Ans
wer: d
page 699
27.
What did Louis XIV’s rejection of Bernini’s plan mark in European culture?
a.
The beginning of the Counter
–
Reformation
b.
The end of Italian art and architecture’s dominance
c.
The beginning of the Romantic period
d.
The end of classically
–
inspired
designs
Answer: b
page 699
Matching
28.
Gian Lorenzo Bernini
a.
Canzona Duodecimi Toni
29.
Francesco Borromini
b.
Conversion of Saint Paul
30.
Caravaggio
c. Church of San Carlo alle Quattro Fontane
31.
Giovanni Gabrieli
d.
Four Rivers Fountain
32.
Artemesia Gentil
eschi
e.
The Four Seasons
33.
Claudio Monteverdi
f.
Judith and Maidservant with Head of Holofernes
34.
Andrea Pozzo
g.
Orfeo
35.
Antonio Vivaldi
h.
Triumph of Saint Ignatius of Loyola
Answers: 28
–
e, 29
–
c, 30
–
b, 31
–
a, 32
–
f, 33
–
g, 34
–
h, 35
–
e
Essay
36.
Describe Bernini’s colonnade enclosure of Vatican Square, and explain how it defines the
Baroque style.
37.
Identify and describe three elements of Bernini’s Cornaro Chapel sculptural program that
illustrate the high drama of the Baroque.
38.
Compare Bernini’s Ba
roque
David
to Michelangelo’s Renaissance
David
, explaining how each is
representative of its respective period.
39.
Compare Andrea Pozzo’s Baroque
Triumph of Saint Ignatius of Loyola
to Michelangelo’s
Mannerist
Last Judgment
(Chap. 24), explaining how each is
representative of its respective
period.
40.
Define tenebrism, and explain Caravaggio’s use of it to provide drama to two of his works.
41.
Compare the sensual elements of Bernini’s
Ecstasy of Saint Teresa
to Caravaggio’s
Conversion of
Saint Paul
.
42.
List and analyze at least two reasons for Artemesia Gentileschi’s use of her self
–
portrait for
Judith in her five paintings of the Jewish heroine’s story.
43.
List and explain two ways Giovanni Gabrieli made church music more emotionally engaging.
44.
Provide a
detailed explanation for the reasons opera developed during the Italian Baroque
period.
45.
Using one sculpture, one painting, and one musical composition, explain the artists’
achievement of Baroque drama
—
the sense of action, excitement, and sensuality.
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