Deck 4: Republican Domestic Architecture and Mural Painting

Question 1

The large, central reception area in a Roman private house was called a(n)

A) atrium.
B) impluvium.
C) compluvium.
D) fauces.

Answer 1

A

Question 2

Both Vitruvius and Varro trace the origin of the Republican domus to the ____________ house.

A) Greek
B) Palatine
C) Etruscan
D) Samnite

Answer 2

C

Question 3

The general layout of a Roman house functioned to

A) place the garden near the front of the house for all visitors to see.
B) separate the public and private wings of the house.
C) mimic the appearance of a small temple for the worship of family gods.
D) exist separately from all business activities.

Answer 3

B

Question 4

The patron-client ritual that characterized Roman social relationships took place in what areas of the Roman house?

A) cubiculum and hortus
B) tablinum and culina
C) atrium and cubiculum
D) atrium and tablinum

Question 5

Greek influence on Republican houses was evident in all of the following ways EXCEPT

A) the houses' inward-looking nature and axiality
B) the addition of a peristyle
C) copies or variations of Greek statuary
D) paintings and mosaics that depicted subjects from Greek mythology

Question 6

The Alexander Mosaic in the House of the Faun shows a confrontation between Alexander the Great and

A) Perdiccas.
B) Ptolemy I.
C) Darius III.
D) Mithridates VI.

Question 7

The House of the Silver Wedding contains a banquet hall with four columns called a(n)

A) peristyle.
B) domus italica.
C) exedra.
D) tetrastyle oecus.

Question 8

Private estates with expansive grounds located in the immediate vicinity of towns like Pompeii were known as

A) alae.
B) villae suburbanae.
C) insulae.
D) domus italicae.

Question 9

Modeling plaster reliefs after expensive marble paneling was the goal of the ____________ Style of Roman mural painting.

A) First
B) Second
C) Third
D) Fourth

Question 10

Creating the illusion of an imaginary three-dimensional world was the goal of the ____________ Style of Roman mural painting.

A) First
B) Second
C) Third
D) Fourth

Question 11

In Roman mural painting (fresco), pigment was applied to

A) giornata.
B) mosaics.
C) drywall.
D) wet plaster.

Question 12

The figural cycle in the Villa of the Mysteries probably represents cult initiation rites of the Greek god

A) Apollo.
B) Dionysos.
C) Zeus.
D) Ares.

Question 13

The initiation rites depicted in the Villa of the Mysteries are an example of megalographia, or

A) painting with large figures.
B) painting to imitate marble panels.
C) dry fresco.
D) painting with shading and color modulation.

Question 14

In order suggest a three-dimensional world beyond the confines of the room, Roman mural painters used a technique known as

A) encaustic painting.
B) megalographia.
C) linear perspective.
D) atmospheric perspective.

Question 15

The fragmentary paintings excavated in a house on the Esquiline Hill in Rome depict the adventures of the Greek hero

A) Homer.
B) Remus.
C) Dionysos.
D) Odysseus.

Question 16

Describe what a visitor might see and experience upon entering a typical domus italica.

Question 17

Discuss how the Roman house facilitated important social rituals.

Question 18

Discuss how Roman houses were influenced by both Etruscan and Greek architecture.

Question 19

Compare and contrast the features and purposes of Roman suburban villas with those of houses in the city.

Question 20

Compare and contrast the two Republican styles of Roman paintings.

Question 21

Describe the process by which Roman murals were produced.

Question 22

Describe the figural cycle in the Villa of the Mysteries, and give a possible interpretation for its meaning.

Question 23

Discuss the use of perspective and illusionistic space in Roman mural painting.

Question 24

Explain why scholars believe that common motifs were available to artists in the form of pattern books.

Question 25

What functions did statues, mosaics, and mural paintings serve in Roman houses?

Question 26

Describe the arrangement of dining rooms in Roman houses, and discuss variations such as the tetrastyle oecus and Corinthian oecus.

Question 27

Discuss the origins of the peristyle, and give examples of its use in Roman houses.

Question 28

Roman houses typically did not contain any public areas.

Question 29

Roman freedmen did not need tablina in their homes because they did not have clients visiting them.

Question 30

The First Style of Roman painting is also called the Masonry Style.