Transcript
Chapter 14: Christian Art
Multiple Choice Questions
Lindisfarne Gospels
A. Early Christian B. Byzantine C. Early Medieval* D. Romanesque E. Gothic
Catacomb of Sts. Pietro and Marcellino, Rome
A. Early Christian* B. Byzantine C. Early Medieval D. Romanesque E. Gothic
St. Sernin, Toulouse
A. Early Christian B. Byzantine C. Early Medieval D. Romanesque* E. Gothic
Notre Dame, Paris
A. Early Christian B. Byzantine C. Early Medieval D. Romanesque E. Gothic*
Old St. Peter's, Rome
A. Early Christian* B. Byzantine C. Early Medieval D. Romanesque E. Gothic
San Vitale, Ravenna
A. Early Christian B. Byzantine* C. Early Medieval D. Romanesque E. Gothic
Bayeux Tapestry
A. Early Christian B. Byzantine C. Early Medieval D. Romanesque* E. Gothic
Hagia Sophia, Istanbul
A. Early Christian B. Byzantine* C. Early Medieval D. Romanesque E. Gothic
The great "Barbarian Migrations"
A. Early Christian B. Byzantine C. Early Medieval* D. Romanesque E. Gothic
Chartres Cathedral
A. Early Christian B. Byzantine C. Early Medieval D. Romanesque E. Gothic*
Ottonian Period
A. Early Christian B. Byzantine C. Early Medieval* D. Romanesque E. Gothic
A portal or series of portals leading to the interior of the church
A. narthex* B. nave C. transept D. apse
A semicircular projection at the eastern end of a church
A. narthex B. nave C. transept D. apse*
A crossing arm at the eastern end of a church; it was often extended in length to resemble a cross
A. narthex B. nave C. transept* D. apse
The long central aisle of a church
A. narthex B. nave* C. transept D. apse
Dominated by round arches
A. Romanesque* B. Gothic C. both Romanesque and Gothic D. neither Romanesque nor Gothic
Extensive use of the pointed arch
A. Romanesque B. Gothic* C. both Romanesque and Gothic D. neither Romanesque nor Gothic
Flying buttresses
A. Romanesque B. Gothic* C. both Romanesque and Gothic D. neither Romanesque nor Gothic
The rectangular bay system
A. Romanesque B. Gothic* C. both Romanesque and Gothic D. neither Romanesque nor Gothic
Concern for getting light into the interior of churches
A. Romanesque B. Gothic C. both Romanesque and Gothic* D. neither Romanesque nor Gothic
Completion/Fill-in-the-Blank Questions
The ____________ were burial places beneath city streets, most notably in Rome.
{{catacombs}}
The study and interpretation of symbols in art is called ____________
{{iconology}}
The model for the first monumental Christian church buildings was the old Roman building type called the ____________
{{basilica}}
A building organized around a central point (such as San Vitale) is called a ____________ plan building.
{{central}}
A building organized along a line (such as Old St. Peter's) is called a ____________ plan building.
{{longitudinal}}
When Constantine moved his capital to the eastern port city of Byzantium, the city became known as Constantinople; today the city is called ____________
{{Istanbul}}
The dome of Hagia Sophia in Istanbul rests on supports called ____________
{{pendentives}}
The most important architectural achievement of the Ottonian period was the construction of the abbey church of St. Michael in ____________.
{{Hildesheim}}
In the ____________ plan, such as that found at St. Mark's Cathedral in Venice, the "arms" of the cross are equal in length.
{{Greek Cross}}
Charlemagne established his court at ____________, a western German city on the border of present-day Belgium.
{{Aachen}}
The ____________ square at St. Michael's, Hildesheim, is formed by the intersection of the nave and the transept.
{{crossing}}
Charlemagne's Palatine Chapel at Aachen has a design that was inspired by Roman architecture and by the Byzantine church of ____________ in Ravenna.
{{San Vitale}}
In an ____________ support system in a medieval church alternating structural elements (such as pillars and columns) are repeated down the length of the nave.
{{alternate}}
The ____________ was an important site for relief sculpture in Romanesque churches because people who entered the church could not help but see it.
{{tympanum}}
The Bayeux Tapestry was almost certainly created by a team of ____________ on the commission of Odo, the Bishop of Bayeux.
{{women}}
The term ____________ originated among historians who believed that the Goths were responsible for the style of the period.
{{Gothic}}
At St. Denis, the ____________ arch is used in the structural skeleton of the building rather than the rounded arches of the Romanesque style.
{{pointed}}
The ____________ window refers to a large stained glass window at the entrance of Gothic cathedrals.
{{rose}}
If the chief iconographic theme of Romanesque sculpture had been damnation, the chief Gothic theme was ____________
{{redemption}}
The figures of Mary and Elizabeth on the west portals of Reims Cathedral display a stance called ____________
{{contrapposto}}
Discussion Questions
Describe specific features of the mosaic of Christ as the Good Shepherd in the Mausoleum of Galla Placidia in Ravenna that are reminiscent of Pompeian wall paintings.
Compare and contrast the representation of weight and space in the painting of The Good Shepherd in the Catacomb of Sts. Pietro and Marcellino and the mosaic of Justinian and Attendants in Ravenna's Church of San Vitale.
Describe how the quest for light provided a powerful incentive for structural developments in Romanesque architecture.
Discuss the social position and variety of achievements of Hildegarde of Bingen.
Briefly describe the structural innovations that permitted Gothic cathedrals to achieve a feeling of "spiritual escape to another world."
Compare and contrast the Scythian Plaque with Animal Interlace and the page from the Lindisfarne Gospels.
Compare and contrast the exteriors of Chartres Cathedral and the Cathedral of Florence.
Examine the detail of the Last Judgment Tympanum from Autun. Explain the narrative.
Describe how the artist of the Adam and Eve panel from the bronze doors at St. Hildesheim used gesture to tell the story.
What features of the plan of Old St. Peter's survive in Romanesque and Gothic church plans?
