Question 1

Before the iconoclasm of the eighth century, icons were accepted as
A) illustrations of key biblical events.
B) intermediaries between worshipers and holy figures.
C) didactic images that reinforced Christian moral values.
D) images to be worshiped in churches and private settings.

Accepted Answer

Before the iconoclasm of the eighth century, icons were primarily seen as intermediaries between worshipers and holy figures, allowing for a connection between the physical world and the spiritual realm. They were not meant to be worshipped themselves, but rather served as aids to devotion and contemplation. While they did depict key biblical events and reinforce Christian moral values, their primary function was as a means of communication between the worshipper and the divine.

Question 2

The nobility and suffering of the figures of the Crucifixion (Fig. 8-22) were meant to
A) provoke fear in travelers and pilgrims.
B) move monks and visitors to meditation.
C) express knowledge of Greek artistic tradition.
D) emphasize the power of the royal patron.

Accepted Answer

The nobility and suffering of the figures of the Crucifixion were meant to move monks and visitors to meditation. This was a common objective of medieval art, especially in religious contexts.

Question 3

During the Byzantine era, to separate the congregation from the sanctuary, the celebration of the Mass took place behind a(n)
A) ciborium.
B) screen.
C) ambulatory.
D) aisle.

Accepted Answer

During the Byzantine era, the celebration of the Mass took place behind a screen called the iconostasis.

Question 4

Near the end of the first century, what replaced the scroll as the primary form of recording texts?
A) codex
B) manuscript
C) miniature
D) vellum

Accepted Answer

The codex replaced the scroll as the primary form of recording texts, as it was more compact, easier to store, and easier to read. A codex is a book made up of individual sheets of material (such as parchment or paper) that are bound together on one side, like a modern-day book.

Question 5

Architects of the Cathedral of St. Mark in Venice relied on a Greek-cross plan, marking each square unit with a separate
A) altar.
B) apse.
C) chapel.
D) dome.

Accepted Answer

The architects of the Cathedral of St. Mark in Venice relied on a Greek-cross plan, which means that the floor plan is in the shape of a cross with four arms of equal length. The four arms create a central space, which is usually crowned by a dome. Therefore, they marked each square unit with a separate dome, making option D the correct answer.

Question 6

The Archangel Michael (Fig. 8-12) is an example of carved ivory diptychs that served what function in Christian worship?
A) They were used to send messages to friends and colleagues.
B) They were portable objects of veneration, similar to painted icons.
C) They were used to record names of people who were to be remembered in prayers.
D) They were used as book covers for manuscripts.

Accepted Answer

The answer of The Archangel Michael (Fig. 8-12) is an...

Question 7

The monastery church of St. Panteleimon at Nerezi was built under the patronage of
A) Basil I.
B) Prince Vladimir.
C) Alexios Komnenos.
D) Romanos II.

Accepted Answer

The monastery church of St. Panteleimon at Nerezi was built under the patronage of Alexios Komnenos, a member of the Byzantine imperial family, in 1164. This period was marked by significant contributions to art and architecture from the Komnenos dynasty.

Question 8

Which refers to an intensified interest in the styles and themes of Classical art during the Middle Byzantine period?
A) Chora Revival
B) Palaeologue Renaissance
C) Macedonian Renaissance
D) Venetian Period

Accepted Answer

The Macedonian Renaissance refers to an intensified interest in the styles and themes of Classical art during the Middle Byzantine period.

Question 9

In both its subject matter and artistic style, the Paris Psalter (Fig. 8-27) reflects
A) the continuation of pagan artistic traditions in the Christian art of Constantinople.
B) the Byzantine interest in representing an otherworldly space of the mystical.
C) the preference for two-dimensional surface patterns in the Middle Byzantine period.
D) the spread of Christianity among the masses through the production of manuscripts .

Accepted Answer

The answer of In both its subject matter and artistic...

Question 10

Justinian provided the monastery at St. Catherine at Mount Sinai with
A) vaults.
B) minarets.
C) fortifications.
D) a chapel.

Accepted Answer

Justinian provided the monastery at St. Catherine at Mount Sinai with fortifications to protect it against attacks.

Question 11

Which medium, which the poet and philosopher Theodore Metochites was responsible for, cover(s) every inch of the funerary chapel at the church of the monastery of Christ in Chora?
A) mosaics
B) frescoes
C) tapestries
D) stonework

Accepted Answer

The answer of Which medium, which the poet and philosopher...

Question 12

What originated in the third century, when devout Christians retired to the desert?
A) iconoclasm
B) monasticism
C) orthodoxy
D) pilgrimage

Accepted Answer

Monasticism originated in the third century when devout Christians retired to the desert. Iconoclasm refers to the rejection of religious images, orthodoxy refers to adherence to traditional or accepted beliefs, and pilgrimage refers to a journey to a sacred place for religious purposes.

Question 13

The use of purple vellum in the production of the Vienna Genesis (Fig. 8-13) indicates it was probably made for
A) a bishop.
B) a woman.
C) an imperial patron.
D) public display

Accepted Answer

The use of purple vellum, which was expensive and associated with imperial patronage, suggests that the Vienna Genesis was made for an elite patron such as an emperor or member of the imperial court.

Question 14

The inscription accompanying the image of the Virgin and Child in the Apse of Hagia Sophia (Fig. 8-16) credited emperors with
A) reviving the use of images.
B) being great patrons of the arts.
C) saving the city from its enemies.
D) following religious decrees.

Accepted Answer

The inscription accompanying the image of the Virgin and Child in the Apse of Hagia Sophia credited emperors with reviving the use of images.

Question 15

The extensive use of marble, colored glass, and gold mosaics to decorate the interior of the Church of San Vitale (Fig. 8-6) had what effect on the structure?
A) It served to reinforce the underlying supports.
B) It made the structure appear to dissolve into shimmering light and color.
C) It called attention to the architectural complexity seen throughout the building.
D) It disguised structural irregularities that were originally visible inside the church.

Accepted Answer

The use of marble, colored glass, and gold mosaics created a visual effect that made the structure appear to dissolve into shimmering light and color.

Question 16

Which description of the image of the Lamentation with Standing Monastic Saints Below (Fig. 8-23) at Nerezi reflects art under the Komnenians?
A) short, squatty figures
B) aloof and emotionless quality
C) flat, two-dimensionality
D) painterly spontaneity

Accepted Answer

The Lamentation with Standing Monastic Saints Below at Nerezi reflects art under the Komnenians because it shows painterly spontaneity, which was a hallmark of their artistic style. The figures are not short and squatty, and they are not aloof and emotionless. Although the painting has a degree of flatness, the overall effect is not two-dimensional.

Question 17

Which notion was emphasized in The Transfiguration of Christ (Fig. 8-11) in the apse at St. Catherine?
A) theophany
B) parakklesion
C) anastasis
D) symbolism

Accepted Answer

The Transfiguration of Christ is a theophany, which refers to a manifestation or appearance of a god to a human in a visible form. In this image, Christ is shown in his divine form, with bright light emanating from him and flanked by Moses and Elijah. This emphasizes the notion of the divine nature of Christ and the transfiguration as a manifestation of his glory as the son of God.

Question 18

During the Late Byzantine period, the territory of the Byzantine Empire decreased to
A) small areas of the Balkans and Greece.
B) Constantinople and Russia.
C) Greece and eastern Europe.
D) Greece and Macedonia.

Accepted Answer

During the Late Byzantine period, the territory of the Byzantine Empire decreased significantly, and they lost much of their territory to advances by the Ottomans. By the time of the Fall of Constantinople in 1453, the Empire was reduced to small areas of the Balkans and Greece.

Question 19

What pictorial element indicates an otherworldly space in Empress Theodora and her Attendants in the Church of St. Vitale (Fig. 8-9)?
A) the emphasis on illusionistic space
B) three-dimensional modeling of the figures
C) the silhouetting of the figures against a gold background
D) the open doorway to the women's gallery

Accepted Answer

The silhouetting of the figures against a gold background is a pictorial element that is often associated with otherworldly or heavenly spaces in Byzantine art. It creates a sense of separation between the figures and the earthly realm, emphasizing their divine or spiritual nature. The gold background is also symbolic of the divine light or radiance that surrounds holy figures in Byzantine art.

Question 20

What religious theme unites the mosaics in the Church of San Vitale (Figs. 8-5, 8-6, 8-7, 8-8, and 8-9)?
A) the martyrdom of St. Vitalis
B) the marriage sacrament of Justinian and Theodora
C) Christ's role as King of Heaven
D) the celebration of the Eucharist

Accepted Answer

The answer of What religious theme unites the mosaics in...

Quiz 8: Byzantine Art

Before the iconoclasm of the eighth century, icons were accepted as

The nobility and suffering of the figures of the Crucifixion (Fig. 8-22) were meant to

During the Byzantine era, to separate the congregation from the sanctuary, the celebration of the Mass took place behind a(n)

Near the end of the first century, what replaced the scroll as the primary form of recording texts?

Architects of the Cathedral of St. Mark in Venice relied on a Greek-cross plan, marking each square unit with a separate

The Archangel Michael (Fig. 8-12) is an example of carved ivory diptychs that served what function in Christian worship?

The monastery church of St. Panteleimon at Nerezi was built under the patronage of

Which refers to an intensified interest in the styles and themes of Classical art during the Middle Byzantine period?

In both its subject matter and artistic style, the Paris Psalter (Fig. 8-27) reflects

Justinian provided the monastery at St. Catherine at Mount Sinai with

Which medium, which the poet and philosopher Theodore Metochites was responsible for, cover(s) every inch of the funerary chapel at the church of the monastery of Christ in Chora?

What originated in the third century, when devout Christians retired to the desert?

The use of purple vellum in the production of the Vienna Genesis (Fig. 8-13) indicates it was probably made for

The inscription accompanying the image of the Virgin and Child in the Apse of Hagia Sophia (Fig. 8-16) credited emperors with

The extensive use of marble, colored glass, and gold mosaics to decorate the interior of the Church of San Vitale (Fig. 8-6) had what effect on the structure?

Which description of the image of the Lamentation with Standing Monastic Saints Below (Fig. 8-23) at Nerezi reflects art under the Komnenians?

Which notion was emphasized in The Transfiguration of Christ (Fig. 8-11) in the apse at St. Catherine?

During the Late Byzantine period, the territory of the Byzantine Empire decreased to

What pictorial element indicates an otherworldly space in Empress Theodora and her Attendants in the Church of St. Vitale (Fig. 8-9) ?

What religious theme unites the mosaics in the Church of San Vitale (Figs. 8-5, 8-6, 8-7, 8-8, and 8-9) ?