Architects who rebuilt Chartres Cathedral employed an innovative ground plan and flying buttresses that became exemplary

height of central nave while also allowing for enlarged clerestory windows

Architects of the Palace at Versailles asserted the absolute power of the French monarchy through which of the following

built on an east-west axis to create symbolic parallel between king and sun

To help viewers distinguish between different scenes depicted on the ceiling of the Sistine Chapel, Michelangelo used

a painted illusionistic architectural framework separating the scenes

The designers of Chartres Cathedral intended medieval visitors entering the church to experience

mystical atmosphere created by colored light through the stained glass

The style of Bibles moralisées from thirteenth century was influential medieval manuscripts in part because the

gold leaf demonstrated the wealth and taste of the works’ patron

In the Annunciation Triptych, portraits of the work’s patrons were most likely included for which of the following

satisfy patrons’ desire to show piety, including them in a sacred scene

Michelangelo’s altar fresco differs from medieval depictions of the Last Judgment in that Michelangelo’s Christ

depicts him with a muscular body and in a dynamic pose

Scenes from Apocalypse, a Bible moralisée, use of rich coloration, segmented composition were most likely influenced by

stained-glass presentations of religious narratives used in medieval church

The artist who created Scenes from the Apocalypse chose imagery intended to elicit the following response

Deeper understanding of the relevance of biblical stories to the era

Scholars theorize that differences in tone and style that are evident between the altar fresco may be the result of

the beginning of the Reformation, which resulted in religious turmoil

At the Great Mosque of Córdoba, architectural expansion was used by the Umayyads to

reinforce the power and grandeur of their rule

In the Middle Ages, Chartres Cathedral drew many visitors, primarily because it

housed an important relic of the Virgin Mary in its crypt

Francesco Borromini shaped San Carlo alle Quattro Fontane using complex geometrical arrangements in part to

provide viewers with a spiritual vision of the divine

The Virgin and Child between Saints Theodore and George exemplifies early Byzantine pictorial conventions through

a flattened perspective in a composition with spatial ambiguity

In Angel with Arquebus, Asiel Timor Dei, has posed the angel with a Spanish firearm most likely to suggest the

protective power of angels as divine defenders of the Catholic faith

The subject matter of Fruit and Insects would have appealed to its original patrons because its

fruits and grains would prompt thoughts of their Christian faith

Ruysch composed Fruits and Insects with an eye toward

combining discrete scientific studies of the different plants and creatures

Leonardo da Vinci’s Last Supper and Raphael’s School of Athens are similar in that both use linear perspective to

create a focus on important figures positioned at the vanishing point

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AP Art History Unit 3 (Early Euro/Colonial American)

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30 questions on AP Art History (Early Euro/Colonial American)

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Questions 20

Answers

1
Architects who rebuilt Chartres Cathedral employed an innovative ground plan and flying buttresses that became exemplary
height of central nave while also allowing for enlarged clerestory windows
height of side aisles to the level of the nave, creating wide-open interior
an ambulatory that allowed for more efficient flow of visitors
a circular dome over the rectangular base of the transept
2
The Bayeux Tapestry depicts which of the following historical events?
The Norman Conquest
The Battle of Issus
The Siege of Belgrade
The Spanish conquest
3
Architects of the Palace at Versailles asserted the absolute power of the French monarchy through which of the following
built on an east-west axis to create symbolic parallel between king and sun
surrounded by fortified wall, a statement about royal strength and military
Walls in the palace were mirrored for reflecting the image of the king
Reception rooms in the palace were open to the public via seating
4
To help viewers distinguish between different scenes depicted on the ceiling of the Sistine Chapel, Michelangelo used
a detailed depiction of a distinct landscape setting for each scene
hierarchical scale to emphasize most important figures across the scenes
continuous narration within each scene to clarify the series of events
a painted illusionistic architectural framework separating the scenes
5
The designers of Chartres Cathedral intended medieval visitors entering the church to experience
a somber mood seeing the many reliquaries of saints who had died as martyrs
mystical atmosphere created by colored light through the stained glass
brightness caused by the vast nave being flooded with brilliant sunlight
impression of a space opening to heaven, created by illusionistic paintings
6
The style of Bibles moralisées from thirteenth century was influential medieval manuscripts in part because the
illustrations helped illiterate understand the teachings of Reformation
use of geometric forms made it easy to mass-produce the designs
gold leaf demonstrated the wealth and taste of the works’ patron
small size made it easy for the devout to carry the books with them
7
In the Annunciation Triptych, portraits of the work’s patrons were most likely included for which of the following
satisfy patrons’ desire to show piety, including them in a sacred scene
express patrons’ concern about their sins, by symbols of damnation
show the patrons’ desire for greater wealth
convey the patrons’ longing for status, by showing them outside the door
8
Michelangelo’s altar fresco differs from medieval depictions of the Last Judgment in that Michelangelo’s Christ
shows him in a mandorla surrounded by symbols of the four Evangelists
depicts him with a muscular body and in a dynamic pose
shows him as a spiritual idea symbolized by his initials
emphasizes his intense suffering on the cross
9
At the time it was painted, Rachel Ruysch’s Fruit and Insects would have been displayed in a
church’s side chapel
merchant’s house
monastery’s refectory
market’s food hall
10
Scenes from Apocalypse, a Bible moralisée, use of rich coloration, segmented composition were most likely influenced by
Merovingian cloisonné metalwork, interplay of positive and negative space
medieval embroideries depicting historical events in text and image
Byzantine mosaics using round, cut stones called tesserae
stained-glass presentations of religious narratives used in medieval church
11
The artist who created Scenes from the Apocalypse chose imagery intended to elicit the following response
renewed devotion to the family because of the scenes of domestic life
Deeper understanding of the relevance of biblical stories to the era
Strong appreciation of the reigning monarchs and their divine right to rule
Feeling of connection to biblical events via the inclusion of local saints
12
Scholars theorize that differences in tone and style that are evident between the altar fresco may be the result of
the beginning of the Reformation, which resulted in religious turmoil
Pope Julius II’s rejection of humanist ideals in Michelangelo's early work
Michelangelo’s admiration for the style of Raphael
change in function of the Sistine Chapel to place where new popes elected
13
At the Great Mosque of Córdoba, architectural expansion was used by the Umayyads to
render relics more accessible to pilgrims
promote the adoption of an Abbasid style of architecture
reinforce the power and grandeur of their rule
celebrate their defeat of invading Visigoths
14
In the Middle Ages, Chartres Cathedral drew many visitors, primarily because it
displayed a tapestry of Bishop Odo that told the story of a famous event
was the place where medieval French kings were buried
housed an important relic of the Virgin Mary in its crypt
was on the site where an important biblical event thought to have occurred
15
Francesco Borromini shaped San Carlo alle Quattro Fontane using complex geometrical arrangements in part to
eliminate the need for pendentives in the construction of the dome
provide viewers with a spiritual vision of the divine
accommodate the liturgical requirements of the Jesuit order
symbolize the triumph of papal authority over Protestant heresy
16
The Virgin and Child between Saints Theodore and George exemplifies early Byzantine pictorial conventions through
a flattened perspective in a composition with spatial ambiguity
strong, direct shadows that emphasize anatomical naturalism
a frontal composition with individualized facial features drawn from life
illusionistic architecture that is included in the background
17
In Angel with Arquebus, Asiel Timor Dei, has posed the angel with a Spanish firearm most likely to suggest the
power of angels to appear on Earth and destroy the lives of ordinary humans
similarly destructive nature of both angels and native Andean deities
military victory of the Spanish conquistadores over the indigenous Inka
protective power of angels as divine defenders of the Catholic faith
18
The subject matter of Fruit and Insects would have appealed to its original patrons because its
fruits and grains would prompt thoughts of their Christian faith
emphasis on natural world would affirm patrons ambivalence about Christian
overt references to sin and decay would have aligned with religious beliefs
fantastical representations of insects conflicted with scientific studies
19
Ruysch composed Fruits and Insects with an eye toward
combining discrete scientific studies of the different plants and creatures
reflecting how the subject matter would have been encountered in nature
mimicking a tabletop display found in a contemporary home
following a template provided by her teacher to emulate the Old Masters
20
Leonardo da Vinci’s Last Supper and Raphael’s School of Athens are similar in that both use linear perspective to
convey a sense of sacred geometry through an emphasis on orthogonal lines
create a focus on important figures positioned at the vanishing point
cause an illusion of spatial depth that visually enlarged the space
encourage multiple views, enabling works to be approached from different

AP Art History Unit 3 (Early Euro/Colonial American) Flashcards | StudBud