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A) a portico
B) exterior sculpture
C) the dome
D) Ionic columns
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Multiple Choice
A) the Sistine ceiling by Michelangelo
B) The Last Judgment by Michelangelo
C) The Life of Christ frescoes by Perugino
D) the tapestry program by Raphael
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A) Francis I
B) Paul III
C) Julius II
D) Clement VII
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Multiple Choice
A) the use of oil paint on canvas
B) an emphasis on technical perfection
C) an interest in color and light
D) the frequent use of nude figures
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Multiple Choice
A) The painting was praised as propaganda for the Counter-Reformation.
B) The church was offended by its grand pageantry and the focus on architectural elements.
C) It was seen as a testimony of Christ's humility and willingness to associate with sinners.
D) The patron disliked the luxurious textures, symmetrical composition, and numerical iconography.
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Multiple Choice
A) the spontaneity of his slashing brushwork
B) his use of strong diagonals and active compositions
C) his deep colors and flashing highlights, reminiscent of Byzantine art
D) his elongated figures with non-Classical proportions
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Multiple Choice
A) Classical goddess
B) contrapposto pose
C) spiraling composition
D) detailed rendering of the drapery
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Multiple Choice
A) It depicts nude figures surrounding Christ.
B) He placed Christ at the center of the composition.
C) It does not clearly separate the saved from the damned.
D) He used expressive gestures and emotions.
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Multiple Choice
A) Rome
B) Florence
C) Venice
D) Mantua
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Multiple Choice
A) engraving
B) sinopia
C) cartoon
D) woodcut
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A) Bologna
B) Venice
C) Florence
D) Rome
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Multiple Choice
A) the humid climate in Milan
B) the experimental technique used in its production
C) bombings during World War II
D) poor attempts at restoration of the work
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Multiple Choice
A) Clement VII
B) Paul III
C) Julius II
D) Leo X
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Multiple Choice
A) the use of heroic nudity
B) the figure's contrapposto stance
C) the figure's emotional intensity
D) the figure's muscular physique
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