1

Question 1

was introduced by Italian humanists to differentiate the 1000-year gap from the Classical Period (Ancient Greek and Roman) up to the Renaissance.

Answer 1

Medieval Period

Question 2

was the last Roman emperor. He was defeated by a Germanic tribe leader, Odoacer in 476 CE.

Answer 2

Marcus Augustulus

Question 3

who defeated marcus augustulus

Answer 3

Odacer

Question 4

Why did the roman empire fall

Answer 4

Financial Crisis
-overspending,
-minimal resources,
-and depletion of labor force.

Question 5

Roman Empire was divided into two

Answer 5

Western Empire and Eastern Empire

Question 6

the seat of power in Milan

Answer 6

Western Empire

Question 7

the seat in Constantinople

Answer 7

Eastern Empire

Question 8

What empire endured longer

Answer 8

Eastern Empire

Question 9

Refers to the painting, sculpture, and architecture from the beginnings of Christianity up to the 6th Century CE in Italy and the Western part of the Mediterreanean

Answer 9

Early Christian Art

Question 10

The earliest identifiably Christian art consists of a few 2nd-century wall and ceiling paintings in the Roman catacombs (underground burial chambers), which continued to be decorated in a sketchy style derived from Roman impressionism through the 4th century. The earliest Christian iconography tended to be symbolic

Answer 10

Hidden and symbolic

Question 11

was one of the most important early Christian symbols.

Answer 11

Fish as a symbol for Christ

Question 12

Putting the two together, they represent the eternity of Christ as the Son of God.

Answer 12

Christ as the Alpha and the Omega

Question 13

According to Matthew 3:16, during the Baptism of Jesus the Holy Spirit descended like a dove and came to rest on Jesus. For this reason the dove became a symbol of the Holy Spirit and in general it occurs frequently in connection with early representations of baptism

Answer 13

Dove as the Holy Spirit

Question 14

The earliest identifiably Christian art consists of a few 2nd-century wall and ceiling paintings in the Roman catacombs (underground burial chambers), which continued to be decorated in a sketchy style derived from Roman impressionism through the 4th century. The earliest Christian iconography tended to be symbolic

Answer 14

3rd and 4th Century Catacombs

Question 15

The agreement shifted Christianity from being an illicit, persecuted sect to being a welcome—and soon dominant—religion of the Roman Empire. It was the outcome of a political agreement concluded in Mediolanum (modern Milan) between the Roman emperors Constantine I and Licinius in February 313. The proclamation, made for the East by Licinius in June 313, granted all persons freedom to worship whatever deity they pleased, assured Christians of legal rights (including the right to organize churches), and directed the prompt return to Christians of confiscated property.

Answer 15

The Edict of Milan

Question 16

Since Christianity was a mystery religion that demanded initiation to participate in religious practices, Christian architecture put greater emphasis on the interior. The Christian churches needed large interior spaces to house the growing congregations and to mark the clear separation of the faithful from the unfaithful. At the same time, the new Christian churches needed to be visually meaningful. The buildings needed to convey the new authority of Christianity

Answer 16

The basilica

Question 17

The Basilica of Constantine in Trier, Germany
. Today it is used as the Church of the Redeemer and owned by a congregation within the Evangelical Church in the Rhineland

Answer 17

Aula Palatina

Question 18

The oldest church in Europe, it is considered the mother church of the Roman Catholic faithful. The papal cathedra situated at the apse

Answer 18

Basilica of St. John Lateran

Question 19

Built on the site of the Circus of Nero. The basilica is the traditional site of the remains of St. Peter. It became a site of monumental importance from its construction in the 300th Century CE up to this date. The basilica was around 403 feet long and 208 feet in width. It held 4 aisles instead of the usual 2, and accentuated by the transept running through the nave and the apse, the central part of the building and portion containing the altar respectively.

Answer 19

Old St. Peter’s Basilica

Question 20

Present-day insight into the crucial early phase of this part of the history of mosaic is limited because of the loss of nearly everything that was made in the field during the first half of the 4th century. It seems certain that wall mosaics had come into use in Roman art well before Emperor Constantine’s edict of toleration of the Christian faith in 313 CE.

Answer 20

Early Christian Mosaics

Question 21

Can be seen at the Church of Santa Costanza

Traditionally identified as the mausoleum of Constantina, the daughter of Constantine

Answer 21

Mosaic of the Traditio Legis

Question 22

Can be seen at the Church of Santa Costanza

The key represents the power to forgive and to share the word of God thereby giving it the power to allow others into heaven

Answer 22

Christ presenting the key of His Kingdom to St. Peter

Question 23

In the centre of the mosaic stands Christ. He is dressed in a golden toga, which is embroidered with what looks like the letter iota, the tenth letter of the Greek alphabet, possibly a reference to the Ten Commandments. Christ is thus the Law and the Word made flesh.

Answer 23

Apse Mosaic

Question 24

This part of the mosaic shows the scene where Jonah was thrown off the boat and was about to be eaten by a giant fish

Answer 24

Mosaic at the Basilica di Santa Maria Assunta

Question 25

Took shape in the eleventh century, initially developing in France then spreading to Spain, England, Flanders, Germany, Italy, and other regions. As the first style to spread across Europe, it symbolized the growing wealth of European cities and the power of church monasteries

Answer 25

Romanesque Art

Question 26

” was invented by 19th century art historians to refer specifically to architecture of the time period, which retained many basic features of Roman architectural style—most notably semi-circular arches—but retained distinctive regional characteristics.

Answer 26

Romanesque

Question 27

resulted from the great expansion of monasticism in the 10th and 11th centuries, when Europe first regained a measure of political stability after the fall of the Roman Empire.

Answer 27

Romanesque art

Question 28

Characteristics: of painting

Answer 28

OSLSBE
originality developed
saturated primary colors
limited depth
subjects vary in sizes depending on importance
backgrounds are abstract
elongated human forms

Question 29

sculpture was used to depict biblical history and church doctrine on the capitals of columns and around the massive doors of churches.

Answer 29

RELIEF Sculpture

Question 30

exhibited a vigorous style, evident in the carved capitals of columns, which often depicted complete scenes consisting of several figures. Precious objects sculpted in metal, enamel, and ivory, such as reliquaries, also had high status in this period

Answer 30

Sculpture

Question 31

is a 12th century Romanesque wooden crucifix, now in the National Art Museum of Catalonia in Barcelona. It is one of the most elaborate examples in Catalonia of an image of Christ on the Cross symbolizing his triumph over death.

Answer 31

The Majestat Batlló

Question 32

as Seat of Wisdom, 1199, inscribed as by Presbyter Martinus, from the Camaldolese abbey in Borgo San Sepolcro near Arezzo, Italy.

Answer 32

Madonna

Question 33

Bamberg, Germany was founded by Emperor Henry II in 1002. The cathedral is approximately 94 meters long and the four towers are each about 81 meters high. The cathedral houses many beautiful German works of art and an equestrian statue known as the Bamberg Horseman.

Answer 33

The Bamberg Cathedral

Question 34

in Porto, Portugal is one of the oldest cathedrals in the city and is characterized by its two square towers supported by buttresses and crowned by a cupola. The first Romanesque building has undergone many restorations but it has remained strikingly Romanesque.

Answer 34

The Porto Cathedral

Question 35

is one of the few existing examples of European fortress churches. Built between 1079 and 1098, it is located in the middle of the Old Town district of Krakow and was designed by a medieval Polish statesman, Palatine Sieciech.

Answer 35

St. Andrew’s Church in Krakow, Poland

Question 36

developed after the Romanesque, in the 12th century. The style continued to be used well into the 16th century in some parts of Europe, while giving way to the Renaissance style earlier in some regions.

Answer 36

Gothic Art

Question 37

was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the nonclassical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culturein the 5th century CE.

Answer 37

Gothic

Question 38

A handwritten book that has been decorated with gold or silver, brilliant colors, or elaborate designs or miniature pictures. Though various Islamic societies also practiced this art, Europe had one of the longest and most cultivatedtraditions of illuminating manuscripts.

Answer 38

Illuminated Manuscripts

Question 39

What is the term originally denoted the embellishment of the text of handwritten books with gold or, more rarely, silver

Answer 39

Illumination

Question 40

Probably created in York, Britain, this work is a collection of descriptions of animals – some real and some imaginary – drawn from pre-Christian sources, the Bible, and legends.

Answer 40

The Westminster Abbey Bestiary

Question 41

Created in Paris, France by the leading illustrator of the time, Jean Pucelle, for the queen Jeanne d’Evreux (1310-1371 CE), wife of Charles IV (1322-1328 CE). It is a small Book of Hours delicately illustrated on exceptionally fine vellum with over 700 illustrations accompanying the text.

Answer 41

The Book of Hours of Jeanne d’Evreux

Question 42

An enormous work of 1,670 pages with full-page illustrations of scenes from the Bible, secular legend, contemporary landscapes and domestic scenes. The text is made up of prayers, psalms, and other selections from the Bible.

Answer 42

Grimani Breviary

Question 43

They were particularly important in the High Gothic cathedrals, most famously in Chartres Cathedral. Their function was to fill the interior with a mystical colored light, representing the Holy Spirit, and also to illustrate the stories of the Bible for the large majority of the congregation who could not read.

Answer 43

Stained Glass

Question 44

Described as the “jewel of the Rayonnant Gothic period

Answer 44

Sainte-Chapelle

Question 45

is famous for its treasure trove of narrative windows. The iconography featured in the splendid panes incorporates both religious and royal motifs and illustrates the artistic advancements of England’s late Gothic period

Answer 45

King’s College Chapel

Question 46

is home to the largest collection of preserved medieval stained-glass windows in the world. The windows are in an excellent state of conservation and currently undergoing an active restoration phase to return them to their original splendour. Most of them date from the early years of the 13th century and they are an exceptional legacy of the thriving artistic, intellectual and spiritual activity of a time when Gothic Humanism was reaching full maturity

Answer 46

Chartres Cathedral

Question 47

assumed an increasingly prominent role during the High and late Gothic periods and were placed in large numbers on the facades of cathedrals, often in their own niches. In the 14th century, Gothic sculpture became more refined and elegant and acquired a mannered daintiness in its elaborate and finicky drapery.

Answer 47

Monumental sculptures

Question 48

was closely tied to architecture, since it was used primarily to decorate the exteriors of cathedrals and other religious buildings

Answer 48

Gothic sculpture

Question 49

architectural style in Europe that lasted from the mid-12th century to the 16th century, particularly a style of masonry building characterized by cavernous spaces with the expanse of walls broken up by overlaid tracery.

Answer 49

Gothic architecture

Question 50

is the tallest completed cathedral in France, reaching an internal height of 138.8 feet. It also has the largest interior volume at 260,000 cubic yards

Answer 50

Amiens Cathedral,
France

Question 51

Characteristics:
of gothic architecture

Answer 51

GUPVLGD

Question 52

Henry III ordered the construction of this abbey in 1245, as he chose the spot for his burial. It’s now the site of British coronations and many royal weddings—most recently, the marriage of Prince William and Kate Middleton, now the Duke and Duchess of Cambridge.

Answer 52

Westminster Abbey, London

Question 53

The kings of France were crowned in this cathedral, constructed during the 13th century on the site of an old church dating from the year 400.

Answer 53

Notre-Dame de Reims, France

Question 54

Archbishop Thomas Becket was famously murdered in the church.

Answer 54

Canterbury Cathedral, U.K.

Question 55

The largest church in Italy took nearly 600 years to complete. Unlike most Gothic cathedrals, which have two towers in front, Milan’sl has quite a different silhouette, being covered in many small pinnacles.

Answer 55

Milan Cathedral,
Italy

Question 56

was a fervent period of European cultural, artistic, political and economic “rebirth” following the
Middle Ages. Generally described as taking place from the 14th century to the 17th century, the Renaissance
promoted the rediscovery of classical philosophy, literature and art.

Answer 56

Renaissance

Question 57

comes from the French word for “rebirth.”

Answer 57

“Renaissance”

Question 58

major developments of the Renaissance

Answer 58

astronomy, humanist philosophy, the printing press, vernacular
language in writing, painting and sculpture technique, world exploration and, in the late Renaissance, Shakespeare’s
works

Question 59

WHAT CAUSED THE RENAISSANCE?

Answer 59

Discovery and translation of Ancient Greek and Roman texts

The Crusades

Fall of the Byzantine Empire

Humanism

Invention of the printing press

Copernican revolution

The Black Death

Art patrons

Question 60

the Renaissance proper was preceded by an important
“blankzzz” in the late 13th and early 14th centuries,
which drew inspiration from Franciscan radicalism. St. Francis had
rejected the formal Scholasticism of the prevailing Christian
theology and gone out among the poor praising the beauties and
spiritual value of nature.

Answer 60

Proto-Renaissance Art

Question 61

PROTO-RENAISSANCE
ARTISTS

Answer 61

Giotto di
Bondone

Francesco
Petrarch

Giovanni
Boccaccio

Question 62

The painting shows some of the natural, lifelike qualities
Giotto introduced into the art of his time. Giotto painted the
throne of the Madonna with open sides, and showed two
bearded men looking through the openings. In this way,
Giotto increased the feeling that the scene is not just a flat
panel but realistically recedes into space. The painting was
originally done for the Church of the Ognissanti in Florence,
Italy, but is now on display in that city’s Uffizi Gallery.

Answer 62

OGNISSANTI MADONNA

GIOTTO DI BONDONE, 1310

Question 63

It is one of the famous frescoes made by Giotto
at the Scrovegni Chapel in Padua. After the Last Supper, in
the garden of Gethsemane, Judas identifies Jesus for the
Roman soldiers by kissing him. In the center of the
composition we see Judas, in yellow robes, as he envelops
Jesus with an intimate embrace. The two men lock eyes as
angry soldiers carrying weapons lie in wait.

Answer 63

KISS OF JUDAS

GIOTTO DI BONDONE, EARLY 14TH CENTURY

Question 64

is is another fresco made by Giotto at the
Scrovegni Chapel in Padua. In the scene of the Lamentation,
Christ’s body has been cut down from the cross and is
surrounded by his weeping family and friends. His head is
cradled in the arms of his mother, the Virgin Mary - who is the
focus of the picture - while Mary Magdalene grieves at his
feet, and John the Evangelist opens his arms wide in shock
and anguish.

Answer 64

LAMENTATION

GIOTTO DI BONDONE, EARLY 14TH CENTURY

Question 65

Giotto’s last great surviving paintings are frescoes in the
Church of Santa Croce in Florence. In these works, Giotto
used more complicated compositions than he did in the
Scrovegni frescoes. This picture, which shows the Adoration
of the Magi in the foreground and the Annunciation to the
Shepherds in the background highlights clearly organized
space, arranged like a stepped stage with the stable viewed
from below, and the simplified shapes of the figures

Answer 65

THE EPIPHANY

GIOTTO DI BONDONE, EARLY 14TH CENTURY

Question 66

A series of allegorical poems that describes a succession of
victories, beginning with Love which is conquered by
Chastity, which gives way to Death, which is triumphed over
by Fame, Time and Divinity. In the poems, Petrarch presents
his vision of the human experience and establishes a moral
hierarchy of virtues, with Divinity triumphing over the others.

Answer 66

TRIONFI (THE TRIUMPHS)
FRANCESCO PETRARCH, 1351-1374

Question 67

A collection of more than 317 sonnets and almost 50
additional poems in various forms. The main theme is
Petrarch’s love for a woman named Laura, a love that seems
to have been either unrequited or inaccessible. While some
scholars think Laura was fictional, others believe she may
have been the very real, and very married, Laura de Noves, an
Italian noblewoman.

Answer 67

IL CANZONIERE

FRANCESCO PETRARCH

Question 68

begins with the flight of 10 young people (7
women and 3 men) from plague-stricken Florence in 1348.
They retire to a rich, well-watered countryside, where, in the
course of a fortnight, each member of the party has a turn as
king or queen over the others, deciding in detail how their
day shall be spent and directing their leisurely walks, their
outdoor conversations, their dances and songs, and, above all,
their alternate storytelling. This storytelling occupies 10 days
of the fortnight (the rest being set aside for personal
adornment or for religious devotions); hence the title of the
book itself, Decameron, or “Ten Days’ Work.”

Answer 68

DECAMERON

GIOVANNI BOCCACCIO, 1348-1353

Question 69

began to create work intensified by
knowledge of architecture, philosophy, theology, mathematics,
science, and design. The innovations that emerged in art during
this period would go on to cause reverberations, which continue
to influence creative and cultural arenas today.

Answer 69

Early Renaissance Art

Question 70

Characteristics of Early Renaissance Arts

Answer 70

-RADICALLY FRESH ARTISTIC
TECHNIQUES
-NEW SUBJECT MATTER
EVOLVED
-EMPHASIZED EMOTIONS AND
INDIVIDUALISM
-ARTS PATRONS LIKE THE
MEDICI FAMILY

Question 71

A fresco located inside the Brancacci Chapel in Florence,
Adam is hiding his face with his hand while Eve’s face is
uncovered, exuding anguish; it’s easy for the viewer to
recognize that both figures are incredibly distraught – their
body postures add to the emotion of the artwork. While some
photos of the fresco show fig leaves covering their private
areas, they were never meant to be there and were removed
when the fresco was restored.

Answer 71

EXPULSION FROM THE
GARDEN

MASACCIO, 1425

Question 72

This fresco depicts the Holy Trinity. Christ, crucified, is the
central figure with God the Father standing behind him. A
small white dove above Christ’s head represents the Holy
Spirit. Within the architectural niche that holds the three,
Mary can also be seen, dressed in blue on the left while John
the Disciple stands at the right, both gazing up at Christ in
devotion. On either side of the columns, the commissioned
work’s unidentified patrons kneel in profile. Below them, a
skeleton lies in a tomb bearing the inscription: “I once was
what you are and what I am you also will be,

” representing a

memento mori, or an object that serves as a warning or
reminder of the inevitability of death.

Answer 72

THE HOLY TRINITY

MASACCIO, 1426-1427

Question 73

This photograph shows Brunelleschi’s famous octagonal
dome crowning the Florence Cathedral. Its red stone,
emblematic of the Florentine love of stonework and Medici
red, dominates the skyline with one of the world’s most
recognized and iconic views. Consisting of over four million
bricks, it remains the largest masonry dome in the world.

Answer 73

THE DOME OF FLORENCE
CATHEDRAL

FILIPPO BRUNELLESCHI, 1420-1436

Question 74

is believed to have been commissioned by
Cosimo de’ Medici. What makes this piece quite unique for
the time was that it was the first freestanding nude sculpture
since antiquity, and the body itself is feminine, speaking to
the fact the David portrayed is a young man. Wearing a hat –
the same type they would have worn during those times –
David, who has long hair, is standing on Goliath’s head,
revealing to the viewer that he had just slain the enemy.

Answer 74

DAVID

DONATELLO, 1430-1440

Question 75

, or the moment when the angel
Gabriel appears to the Virgin Mary telling her that she is with
child, the artwork, although simple in its rendering, is
beautiful, especially when the natural light floods through the
window of the staircase, located left of the painting –
something the artist kept in mind when painting the fresco.

Answer 75

THE ANNUNCIATION

FRA ANGELICO, 1438-1445

Question 76

This painting, divided vertically down the center by Roman
columns, depicts the flagellation of Christ in the background
on the left in contrast to three aristocratic Florentine men
engaged in conversation in the foreground on the right. The
innovative use of perspective, though, further emphasized
the division between the two scenes, conveying the
dissonance between two worlds; the self-preoccupation of
the important and wealthy ruling class of Florence implicitly
critiqued by the suffering of Christ taking place in the
adjacent space.

Answer 76

FLAGELLATION OF CHRIST

PIERO DELLA FRANCESCA, 1455

Question 77

This remarkable image shows the dead Christ, lying upon a
marble slab, his lower body shrouded by a piece of linen, as
the stricken faces of St. John and the Virgin Mary peer over
him. The extreme foreshortening and vivid details, like the
nail holes visible in Christ’s feet, result in an experience of
intense intimacy for the viewer. Christ becomes less a divine
figure, and merely an affronting human cadaver.

Answer 77

LAMENTATION OVER THE
DEAD CHRIST

ANDREA MANTEGNA, 1480

Question 78

An allegorical painting, ——–, often referred to as the
Allegory of Spring, is beautifully rendered with great detail –
hundreds of flowers have been identified in the artwork. The
painting features various figures beginning with Zephyrus
(the wind god) on the right side, grabbing one of the virgin
nymphs, Chloris, who then turns into Flora, the figure dressed
in the embroidered garb gently tossing flower petals around.
We then have the central figure of Venus, followed by the
Three Graces and then Mercury.

Answer 78

LA PRIMAVERA

SANDRO BOTTICELLI, 1481-1482

Question 79

Christ is emphasized slightly in scale and by placement,
outlined and set apart by the space that surrounds him, and
the diagonal that leads to the Temple’s entrance of the
building, which begins at the top of his head. The key is
directly in line with the Temple entrance, and isolated, too,
within its own space.

Two scenes from the New Testament are depicted behind.
The scene on the left shows Christ and the disciples paying
the tribute money, and the scene on the right shows Christ
escaping from an attempted stoning. Two identical arches,
resembling the Arch of Constantine flank the Temple in the
background.

Answer 79

CHRIST HANDING THE KEYS
OF THE KINGDOM TO ST.
PETER
PIETRO PERUGINO, 1482

Question 80

This seminal, iconic work, inspired by the Roman poet Ovid’s
Metamorphoses (8 A.D.), focuses on the birth of Venus, the
goddess of love, riding her scallop shell as she arrives on land.
To the right, a female with billowing dress and hair leans
toward Venus holding out a swirling red robe to clothe her.
Flying at a diagonal and also leaning toward Venus, Zephyrus,
the god of the wind, puffs out his cheeks, blowing her toward
the shore, as pink flowers fill the air around them.

Answer 80

THE BIRTH OF VENUS

SANDRO BOTTICELLI, 1483-1485

Question 81

This tender portrait vividly evokes a moment of embrace,
juxtaposing a man toward the end of his life with a child at his
beginning. The older man wears a red fur-lined robe, and the
younger, a red doublet and cap. Behind them, a window that
opens onto a landscape of winding roads through fields that
lead toward a small church at the bottom of a terraced hill.
Next to it, a monolithic rock rises out of a lake. The golden
locks of the boy, echoed in the folds of his doublet, draw the
viewer’s eye up to the window, which, framed by somber grey
and black, evokes a feeling of contrast between the two
subjects’ phases of existence.

Answer 81

PORTRAIT OF AN OLD MAN
WITH HIS GRANDSON

DOMENICO GHIRLANDAIO, 1490

Question 82

, subsequently coined to denote the artistic
pinnacle of the Renaissance, refers to a thirty-year period
exemplified by the groundbreaking, iconic works of art being
made in Italy during what was considered a thriving societal
prime. A rejuvenation of classical art married with a deep
investigation into the humanities spurred artists of unparalleled
mastery whose creations were informed by a keen knowledge of
science, anatomy, and architecture, and remain today, some of the
most awe-inspiring works of excellence in the historical art canon.

Answer 82

High Renaissance Art

Question 83

Characteristics of High Renaissance Art

Answer 83

-CONTINUATION OF ARTISTIC
METHODS
-SFUMATO & QUADRATURA
INITIATEDBY DA VINCI
-INFUSING IDEALS OF BEAUTY
BACK INTO ART
-RENAISSANCE MEN

Question 84

This painting focuses on four figures: the Virgin Mary, John
the Baptist and Christ as young children, and an angel. The
Virgin is the central figure at the top of a pyramidal
composition that emphasizes her importance, framed by
rocks. Gazing downward, she reaches out her arm in blessing
toward Christ but also outward to invite the viewer into this
intimate scene. In the foreground, a pool is visible, with plants
such as an iris and an aquilegia growing along its edges. The
background is a dramatic vista of boulder formations,
pinnacles rising up from earth, the shadowy depths of
caverns, and an overarching roof of stone and fallen trees.
Through the gaps, a sinuous river of blue green water moves
toward the misty horizon on the upper left.

Answer 84

VIRGIN OF THE ROCKS

LEONARDO DA VINCI, 1483-1485

Question 85

Created between the years 1495 and 1498 for the refectory
of the Santa Maria della Grazie in Milan, this fresco made use
of the experimental technique of oil and tempera on plaster –
it has faded horribly; however, it is one of the best and most
loved pieces of all time.

Answer 85

THE LAST SUPPER

LEONARDO DA VINCI, 1495-1498

Question 86

is considered by many scholars to be the
premier example of High Renaissance architecture. With its
perfect proportions, harmony of its parts, and direct
references to ancient architecture, the Tempietto embodies
the Renaissance. This structure has been described as
Bramante’s “calling card” to Pope Julius II, the important
Renaissance patron of the arts who would then employ
Bramante in the historic design of the new St. Peter’s Basilica

Answer 86

TEMPIETTO

DONATO BRAMANTE, 1502

Question 87

Michelangelo’s version of —— is colossal, standing at 17
feet, with extremely large hands: the reason for this is
because it is meant to be placed up high so that viewers have
to look up – the proper way to view it, making him appear
superhuman. While still a young man – age 16 – this David
has a strong body, making him appear slightly older than his
16 years, and with his sling resting on his shoulder, he has not
yet gone to battle.

Answer 87

DAVID

MICHELANGELO, 1501-1504

Question 88

Among the works created by da Vinci in the 16th century is
the small portrait known as the ——–, or La Gioconda,
“the laughing one.” In the present era it is arguably the most
famous painting in the world. Its fame rests, in particular, on
the elusive smile on the woman’s face—its mysterious quality
brought about perhaps by the fact that the artist has subtly
shadowed the corners of the mouth and eyes so that the
exact nature of the smile cannot be determined.

Answer 88

MONA LISA

LEONARDO DA VINCI, 1503-1519

Question 89

This painting shows the Virgin Mary with child versions of
Christ and John the Baptist in an Italian landscape. The facial
expressions and body language, conveyed with a fluid and
precise naturalism, are both remarkably human and
spiritually expressive. The Virgin’s gaze, as her right arm
reaches out to touch John comfortingly on the shoulder, is
portent with awareness of future events. He returns her look
with understanding while his left hand grips the base of the
wooden cross.

Answer 89

THE ALBA MADONNA

RAPHAEL, 1510

Question 90

In the painting ———
composition again picks up the theme of figures in a
landscape. What makes this painting unusual is that there are
two obliquely set figures superimposed. Mary is seated on the
knee of her mother, St. Anne. She leans forward to restrain
the Christ Child as he plays roughly with a lamb, the sign of
his own impending sacrifice . This painting influenced many
contemporaries, including Michelangelo, Raphael, and Andrea
del Sarto. The trends in its composition were adopted in
particular by the Venetian painters Tintoretto and Veronese.

Answer 90

VIRGIN AND CHILD WITH ST.
ANNE

LEONARDO DA VINCI, 1510

Question 91

This fresco, depicting a gathering of classical Greek
philosophers, noted contemporary scholars, and artists, uses
perspective to draw the viewer’s gaze toward the central
figures of Plato on the left and Aristotle on the right, walking
as they discuss philosophical matters under the replicating
arches. The scene is animated, as groups in discussion cluster
on both the left and right, creating a contrast with other
individual figures that sit in solitary reflection. A statue of
Apollo, god of music and art, stands on the left, while a statue
of Athena, goddess of reason and wisdom stands on the right,
symbolizing the division between Plato’s philosophy of ideal
forms and Aristotle’s emphasis on logic and empirical
knowledge.

Answer 91

THE SCHOOL OF ATHENS

RAPHAEL, 1509-1511

Question 92

This legendary painting, part of the vast masterpiece that
adorns the Sistine Chapel, shows Adam as a muscular
classical nude, reclining on the left, as he extends his hand
toward God who fills the right half of the painting. God rushes
toward him, his haste conveyed by his white flaring robe and
the energetic movements of his body. God is surrounded by
angels and cherubim, all encased within a red cloud, while a
feminine figure thought to be Eve or Sophia, symbol of
wisdom, peers out with curious interest from underneath
Adam’s arm.

Answer 92

THE CREATION OF ADAM

MICHELANGELO, 1508-1512

Question 93

– an epic High Renaissance work that is sure to take your
breath away. Commissioned by Pope Julius II, the ceiling
features stories from the Old Testament separated by
painted-on architectural elements. The frescoes are brightly
colored and make use of chiaroscuro, and the figures are very
sculptural in form. Some of the stories represented include
The Creation of Adam and Eve, Expulsion from the Garden of
Eden, and Noah and the Great Flood, plus there are various
Sibyls, prophets, and ignudi, or nude youths, dotted
throughout.

Answer 93

THE CEILING OF SISTINE
CHAPEL

MICHELANGELO, 1508-1512

Question 94

presents a serene, self-possessed Virgin
Mary with the Christ child, a woman of ideal maternal
splendor and beauty. She stands on the clouds front and
center, robes flowing, with curtains drawn on either side of
her to emphasize her importance. The view behind her opens
into heaven, as the faces of the souls of unborn children or
angels throng in the clouds. Two third-century martyrs,
patron saints of the church of San Sisto, meet her. On her left,
Pope Sixtus II, kneels to gaze up at her, his left hand above his
heart, and his right hand inviting the viewer forward. On the
right, Saint Barbara kneels, her face turned toward the
viewer and downward toward the two impish cherubim
staring up from the bottom.

Answer 94

THE SISTINE MADONNA

RAPHAEL, 1512

Question 95

A sculpture by Michelangelo, —— was created for Pope
Julius II’s tomb – it was common in those times for rulers to
commission a tomb before their deaths. The tomb was meant
to be a marble three-story edifice; however, the Pope died
before Michelangelo could finish, so they made it work with
what was already done. The sculpture is unique in that Moses
features horns, and all due to a misinterpretation. When Saint
Jerome was translating the Bible, he mistook the word rays –
when it’s explained that God’s light radiated out of Moses –
for horns, so now, this Moses will always have horns.

Answer 95

MOSES

MICHELANGELO, 1513-1515

Question 96

is another massive masterpiece by
Michelangelo located in the Sistine Chapel. Commissioned by
Pope Paul III, this glorious work features over 300 figures,
most of which are muscular (some over the top) and nude,
with colorful pieces of cloth here and there. Christ is, of
course, at the center of the fresco, along with his Mother, and
is surrounded by various saints, including St. Bartholomew,
who was flayed alive; he, indeed, is shown holding skin with a
caricature of Michelangelo’s face on it. While the majority of
the work displays Heaven on a celestial blue background, the
bottom of the work takes a terrifying turn as many of those
people will not be floating up but rather pulled to Hell.

Answer 96

THE LAST JUDGEMENT

MICHELANGELO, 1535-1541

Question 97

in Burgundy France. Depicted on the relief is Christ with His arms wide open to the Crusaders

Answer 97

The central portal of the Vézelay Abbey

Question 98

is attributed to Reiner of Huy, a 12th century metalworker and sculptor.

Answer 98

The Baptismal Font at St. Bartholomew’s Church

Question 99

in Maastricht, Netherlands is a Roman Catholic Church dedicated to Saint Servatius. Today, the Basilica of Saint Servatius is the main church of Deanery of Maastricht.

Answer 99

The Basilica of Saint Servatius