Deck 5: From Marcellus to Caesar

Question 1

Marcus Claudius Marcellus's triumph in 211 BCE broke with precedent in a significant way because

A) Marcellus brought back Syracuse's artistic patrimony in addition to the usual spoils of war.
B) Marcellus dedicated a temple to the deity who he believed gave him victory over Syracuse.
C) Marcellus did not engage in a triumphal procession through the city of Rome.
D) Marcellus displayed the wealth of Egyptian art he had collected on his campaigns.

Answer 1

A

Question 2

Rome's territorial expansion and exposure to Greek art were facilitated by all of the following events EXCEPT

A) the conquest of Syracuse in 211 BCE.
B) the invasion of Hannibal between 218-201 BCE.
C) the annexation of Greece as a Roman province in 146 BCE.
D) the bequeathing of Pergamum to Rome in 133 BCE.

Answer 2

B

Question 3

When Lucius Aemilius Paullus defeated King Perseus at Pydna in 168 BCE, Paullus humiliated Perseus by

A) instituting a damnatio memoriae of Perseus's name and portrait throughout Greece.
B) executing Perseus in front of his entire army.
C) parading Perseus as a captive slave in a Roman triumphal procession.
D) converting a monument that Perseus had erected into a monument glorifying Paullus.

Answer 3

D

Question 4

Because of the demand for Greek sculpture among wealthy Romans, workshops sprang up around Republican Italy that specialized in

A) implementing peristyles in elite Roman houses.
B) the use of a running drill.
C) producing copies of Greek masterpieces.
D) the extensive use of bronze for copying marble originals.

Question 5

The pointing machine was a device used for

A) ensuring precision in Roman military attacks.
B) installing mural art in Roman houses.
C) creating accurate reproductions of statuary.
D) measuring distances between interior walls.

Question 6

The date of the so-called Altar of Domitius Ahenobarbus is controversial because

A) its findspot and provenance are unknown.
B) it exhibits a striking combination of different artistic styles.
C) it is believed to be a copy an earlier monument from Athens.
D) the identity of the sculptors who carved it is unknown.

Question 7

Roman patricians kept ____________, or wax likenesses, of their ancestors in cupboards in their homes.

A) victimarii.
B) suovetaurilia.
C) atria.
D) imagines.

Question 8

The subjects of Republican veristic portraits were typically

A) men, and sometimes women, of advanced age.
B) legendary founding heroes of the Republic.
C) mythological gods and heroes who had been imported to Rome from abroad.
D) successful military generals shown in their youthful prime.

Question 9

All of the following were motivations for the creation of Roman ancestor portraits EXCEPT

A) extolling the virtues of the family's ancestors.
B) separating the old patrician families from the plebeian middle and lower classes.
C) displaying pride in one's genealogy.
D) legitimizing the status of self-made "new men" in the Senate.

Question 10

Portraits of Republican women were consistent with those of men because they revealed

A) idealized youth.
B) divine ancestry.
C) advanced age.
D) the depiction of a nodus.

Question 11

Full-length portraits such as the Pseudo-Athlete from Delos and the Tivoli General exhibit a discordant combination of ____________ and ____________.

A) veristic head; idealized body
B) idealized head; heroic nudity
C) veristic head; aging body
D) idealized head; aging body

Question 12

Pompey's distinctive hairstyle, combed to form an arc over the center of his forehead, facilitated comparisons between himself and

A) Julius Caesar.
B) Alexander the Great.
C) Pericles.
D) Marcus Claudius Marcellus.

Question 13

In order to mollify his conservative critics, Pompey presented his theater as

A) a temple in front of which spectator shows could take place.
B) a basilica whose functions included state business as well as spectacles for the people.
C) an amphitheater that provided free entertainment for the public.
D) an odeum that catered to the interests of the Republican political elite.

Question 14

Julius Caesar offended traditional Republican propriety by placing his own image on

A) Greek-style herms.
B) equestrian statues.
C) Roman coins.
D) triumphal arches.

Question 15

Julius Caesar promoted the idea of his divine lineage by dedicating the temple in the Forum Iulium to

A) Venus Victrix.
B) Venus Genetrix.
C) Mars Ultor.
D) Jupiter Optimus Maximus.

Question 16

Discuss the events at the end of the third century BCE that sparked the Romans' interest in Greek art.

Question 17

Describe the effects of Roman military generals on the Greek artistic landscape.

Question 18

Discuss the materials and technologies used in Roman reproductions of Greek statuary.

Question 19

Explain the controversy surrounding the date of the Altar of Domitius Ahenobarbus ("Paris/Munich Reliefs").

Question 20

What was the purpose of Republican veristic portraiture?

Question 21

Explain the role that ancestor portraits played in elite Roman society.

Question 22

Discuss the various messages for the viewer that are displayed in statues such as the Pseudo-Athlete from Delos and the Tivoli General.

Question 23

Describe how Roman generals and politicians portrayed themselves on coins during the Republican era.

Question 24

Describe the layout, features, and purpose of the Theater of Pompey.

Question 25

Explain how Julius Caesar represented himself in portraiture and how his manner of representation offended traditional Republican propriety.

Question 26

Compare and contrast the ways in which Pompey and Julius Caesar presented themselves to the Roman people in both portraiture and building projects.

Question 27

Discuss the changes and additions that took place in Roman fora during the Republican era.

Question 28

The Forum Iulium was intended to glorify Julius Caesar's divine lineage.

Question 29

Julius Caesar's triumph in 211 BCE unleashed a "craze for Greek art" in Rome.

Question 30

Veristic portraiture celebrated the idealized youth of Rome's important politicians.