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Study Guide For Final Exam

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by: Caitlin Acierno

Study Guide For Final Exam Art History 201

Caitlin Acierno
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Here is the study guide for the final. Sorry for any inconveniences as the notes did not upload yesterday. The rest of the notes from the semester will be posted soon.
History of Western Art 1: From Pyramids to Cathedrals
Prof Dale
Study Guide
50 ?




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This 48 page Study Guide was uploaded by Caitlin Acierno on Friday December 18, 2015. The Study Guide belongs to Art History 201 at University of Wisconsin - Madison taught by Prof Dale in Summer 2015. Since its upload, it has received 253 views. For similar materials see History of Western Art 1: From Pyramids to Cathedrals in Art History at University of Wisconsin - Madison.


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Date Created: 12/18/15
Art History 201 Study Guide for Final Part 1: Slide Identification Please see the handout on learn@UW that gives the directions for this part. Example: 1. Images from slide a. Artist or Architect(s) b. Name of the building or subject represented c. Original location of work (place name and building, if known) d. Object type and/or medium (e.g. stone sculpture; egg tempera or encaustic on panel; champlevé enamel) e. Culture (e.g. Romanesque France, Gothic Italy, Mosan, etc.) f. Date g. Patron (emperor, bishop, king, queen etc.) who commissioned the work h. Points of significance 1. a. ? b. Villa of Publius Fannius Synistor at Boscoreale c. Pompeii, Italy d. Fresco; 2 style wall painting e. Roman f. 50-40 BCE g. ? h. There is the illusion of open space and looking outside. The people took a sort of “pleasure” as “seeing” the outside from the inside. 2. a. ? b. Villa of Mysteries c. Pompeii, Italy nd d. Fresco; 2 style wall painting e. Roman f. 60-50 BCE g. ? h. This is like a stage (illusion of a stage) for the narrative. The narrative is very complex, but we don’t really know a lot about this room. That is why it is called the Villa of Mysteries. It is thought that this room might have been involved in an initiation. 3. a. ? b. Ixion Room, House of Vettii c. Pompeii, Italy d. 4 style wall painting e. Roman f. 70-79 CE g. ? h. This style has images within images. There are portraits that look like they are hanging on the wall but are actually painted on the wall along with everything else. This shows a taste for all things Greek (Greek nudes). In the image: The king is stretched out on a wheel naked while Zeus turns it. 4. a. Initiated by Vespasian, completed by Titus b. The Colosseum c. Rome, Italy d. White marble on the exterior, brick and concrete on the interior along with stufa e. Roman f. 70-80 CE g. Vespasian? h. Named for the statue Colossus of Niru which is nearby. Can seat about the same number of people as Camp Randall (45,000-50,000 people). 16 stories tall. Originally had a canvas awning to protect the spectators. 5. a. Domitian? b. Arch of Titus (left detail: procession of spoils of Temple of Jerusalem; right detail: Triumph of Titus) c. Rome, Italy d. Triumphal arch e. Roman f. 81 CE g. Titus’s brother h. Commemorates the victorious conquest of Titus over Jerusalem and the Middle East. This is the beginning of the victory route. 6. a. ? b. Pantheon c. Rome, Italy d. Marble? e. Roman f. 117-138 g. Emperor Hadrian h. This is similar to the Greek temples. The dome was highly innovative for its time. The hole in the top brings in natural light. 7. a. ? b. Basilica of Constantine and Maxentius (Basilica Nova) c. Rome, Italy d. Basilica? e. Roman f. 306-312 g. ? h. .. 8. a. ? b. Sarcophagus from Santa Maria Antiqua c. Rome, Italy d. Marble with relief carving e. Roman f. 270 CE g. ? h. From left to right: Jonah expelled by the whale; Orant woman; Philosopher; Good Shepherd; Baptism. When bought, there were not completed. They were individualized as they were bought by the occupant. 9. a. ? b. Dura Europos, Christian Community House; baptistery? c. ? d. ? e. Roman f. 240-256 g. ? h. This was a Christian building and it was an adopted version of the Roman house. The bottom wall has a narrative of three women going to Jesus’ tomb. Imagery is very important here. 10. a. ? b. Priscilla Catacomb c. Rome, Italy d. Wall painting e. Roman f. 200 g. ? h. Funerary portrait of the woman. The arms are in a praying gesture which would have appealed to the family. 11. a. ? b. Dura Europos, Synagogue (details of Moses’ life) c. Dura Europos, Syria d. Wall painting e. Roman? f. 244-245 g. ? h. The narrative moves right to life, like how Hebrew is read. It tells the story of Moses from birth to death? 12. a. ? b. Arch of Constantine (detail: Largitio relief: Constantine distributing largesse) c. Rome, Italy d. Triumphal arch; marble with porphyry inlay and spolia from earlier monuments e. Roman f. 312 g. Constantine h. Constantine used spolia from Trajan, Hadrian, and Marcus Aurelius, plus added his own stuff, to make this triumphal arch. 13. a. Giacomo Grimaldi (drawing) b. Album of Old Saint Peter’s (Biblioteca Apostolica Vaticana) c. Vatican City (Rome) d. This is a drawing e. Roman? f. 1613 g. ? h. This is a drawing done of the original Saint Peter’s. This is not standing today and there is a new one exactly where the old one used to be. 14. a. ? b. Sarcophagus of Junius Bassus c. From Old Saint Peter’s marble relief? d. Marble relief e. Roman f. 359 g. Junius Bassus? h. The narratives are what would be found on many sarcophaguses. 15. a. ? b. Santa Costanza (mausoleum of Costanza) c. Rome, Italy d. Mausoleum? e. Early Christian f. 350 g. ? h. This has images of the grape harvest. The bust in the center is of Costanza? 16. a. ? b. Santa Maria Maggiore (detail of triumphal arch: “SIXTUS, BISHOP OF THE PEOPLE OF GOD”) c. Rome, Italy d. Mosaic? e. Romanesque f. 432-440 g. Pope Sixtus III h. The crown and the cross on the throne symbolize Christ. Peter and Paul stand on either side. The detail is of the triumphal arch at the “front” of the church. 17. a. ? b. Abraham and Melchizedek—Santa Maria Maggiore c. Rome, Italy d. Mosaic e. Romanesque f. 432-440 g. ? h. This shows a strong connection to imperial Roman art—the clothing and the army behind. Allusion to the Eucharist. Christ is appearing from the sky at the top 18. a. ? b. Mausoleum of “Galla Placidia” oratory of the cross (detail of mosaic of Saint Lawrence) c. San Lorenzo, Ravenna? d. Mausoleum/mosaic? e. Early Christian f. 425 g. ? h. Saint Lawrence was a bishop and helped priests when he was alive. He was put to death on a flaming grill as seen in the mosaic. The image isn’t of his death but rather as if he has triumphed over death. 19. a. ? b. Sant’ Apollinare (transfiguration of Christ with Saint Apollinaris) c. Classe, Ravenna? d. Apse mosaic e. Byzantine? f. 539-549 g. Archbishop Maximian h. This has the bishops of Ravenna underneath between the windows. This is an image of a celestial paradise. The bust of Christ at the very top is surrounded by the Evangelist symbols. It focuses on the patron saint as a privileged witness to Christ. Gold cross against starry heaven is not a representation of the end of time. Moses and Elijah are the figures on either side of the cross. The transfiguration of Christ on the Mountain: God spoke to Christ and he radiated light. The three lambs are the three disciples who witnessed the transfiguration (Peter, James, and Andrew). The local bishop was given the role of mediating the divine vision. Christ is seen as a role model for a bishop: dress and gesture. The sheep is representative of the flock of the city of Ravenna. The landscape is flat! 20. a. ? b. Barberini Diptych? (Justinian as World Conqueror) c. ? d. Ivory relief e. Early Byzantine f. 550 g. Justinian? h. Justinian aspired to be the new Constantine. This ivory carving was made in six pieces. He was made to show resemblance to Christ (as they pictured him). 21. a. ? b. San Vitale c. Ravenna d. Centralized church? e. Byzantine? f. 536 g. Finished under Justinian h. This place was completely centralized; no longer a basilica. Anticipation for Hagia Sophia 22. a. ? b. Christ enthroned in Celiestial Paradise with Vitalis and Bishop Ecclesius; San Vitale c. San Vitale, Ravenna d. Apse mosaic e. Byzantine? f. 536 g. Justinian? h. Image of a celestial paradise. Christ on a globe. 4 rivers feeding paradise. Anthropomorphic form of Christ and not a cross. Christ is rewarding a military figure (Vitalis?). The angel is the intermediary. Bishop bearing a model of the church as a reward. Connects future and present time. 23. a. ? b. Procession of Justinian; San Vitale c. Ravenna d. Mosaic e. Byzantine? f. 540-548 g. Justinian? h. He is carrying the bread as if he is participating. He is asserting his presence in Ravenna. Flanked by military and priests. Justinian is showing his support for Maximian by putting him in this. This also shows the bishop’s new authority. 24. a. ? b. Procession of Theodora; San Vitale c. Ravenna d. Mosaic e. Byzantine? f. 540-548 g. Justinian/Theodora? h. Shows the empress who was the power behind the throne. The empress wouldn’t have entered the space in real life though. Both she and her husband donated many offerings. The emperor ruled in public, the empress ruled in private. 25. a. ? b. Monastery of St. Catherine on Mount Sinai; Sanctuary mosaics with Moses before the burning bush and receiving 10 commandments, transfiguration c. Mount Sinai, Egypt d. Mosaic e. Early Christian f. 548-565 g. Rebuilt by Justinian? h. The bush represents an indirect vision of God. 26. a. ? b. Monastery of St. Catherine; Transfiguration of Christ c. Mount Sinai, Egypt d. Mosaic e. Early Christian f. 548-565 g. Justinian h. The Transfiguration of Christ makes God visible in human form. The light rays extend into space and hit the witnesses: John, Hames, Peter, Moses, and Elijah. The mountain is not depicted because the viewer is already on the mountain. 27. a. Designed by Anthemios of Tralles and Isidore of Miletus b. Hagia Sophia (Church of Holy Wisdom) c. Constantinople (Istanbul) d. Brick and stone e. Early Christian? f. 532-537 g. Justinian h. Designed as a church, was transformed into a mosque in 1453. 28. a. Designed by Isidore of Miletos and Athemios of Tralles b. Hagia Sophia, Interior to the East c. Constantinople (Istanbul) d. Brick and stone e. Early Christian f. 532-537 g. Emperor Justinian h. The dome had to be reconstructed multiple times because of earthquakes. The rest of the building is still original. It is seen as a domed basilica. The focus is beneath the dome. 29. a. ? b. Madonna and Child with Saints George and Theodore; Monastery of St. Catherine c. Mount Sinai, Egypt d. Encaustic on panel e. Byzantine f. 6 century g. ? h. This uses Roman painting techniques. The figures in the background looking up are angels. There is a hand extending between them known as the hand of God. The crosses held by Saints George and Theodore are the symbol of martyrdom. 30. a. ? b. Icon of Pantokrator; Saint Catherine c. Mount Sinai? d. Encaustic on panel e. Byzantine f. 6 century g. ? h. Sinai icons were not destroyed because they were in a remote place and removed from society. He is holding a Gospel book in his hands. 31. a. ? b. Our Lady of Vladimir: Madonna and Child “Eleousa” with Instruments of Passion c. Made in Constantinople d. Tempera and gold leaf on panel e. Byzantine f. 1100 g. ? h. “image of tenderness; fully human relation” 32. a. ? b. Shroud of Turin: Icon Dead Christ (Epitaphios) c. Constantinople? d. On linen e. ? f. Carbon dated 1260-1390 g. ? h. It has been proven that this is a fake. 33. a. Dioscurides b. Vienna Dioscurides, De materia medica; Portrait of Princess Anicia Juliana with Magnanimity and Prudence c. Constantinople d. Vellum e. Late Antiquity f. 512 g. Princess Anicia Juliana—left picture h. This was a textbook of herbs. The text in the right picture is for blackberries, which is what the plant pictured is. 34. a. ? b. Vienna Genesis (detail: Rebecca comes to fetch water; offers water from well to Eliezer (servant of Abraham) at Nahor—Genesis 24) c. Constantinople d. Silver leaf on purple dyed parchment e. Byzantine f. 6 century g. ? h. One of the earliest Bible’s with Genesis. There is a use of continuous narratives from a bird’s eye perspective. I was unusual to see the whole Bible in one book when this was made. 35. a. ? b. Rossano Gospels, entry into Jerusalem with prophecies of David, Zachariah and Malachi c. Constantinople d. Tempera and silver leaf on purple-dyed parchment (vellum?) e. Byzantine f. 6 century g. ? h. The purple was a symbol of the Emperor, show clothing Jesus in purple cloth was like comparing him to the emperor. 36. a. Rabbula (a scribe) b. Rabbula Gospels (Crucifixion and Resurrection of Christ) c. Syriac? d. Tempura on vellum e. Early Byzantine f. 586 g. ? h. written right to left, back to front, like Hebrew. The canon tables (not seen here) have each of the stories in the Gospels and comparing them to the same stories in the other gospels. 37. a. ? b. Chludov Psalter (Crucifixion and iconoclasts whitewashing an icon of Christ) c. Constantinople d. ? e. Byzantine f. 850 g. ? h. Inscription: “And they mix water and vinegar upon his face” 38. a. Theotokos? b. Apse mosaic of Theotokos (Virgin and Child); Hagia Sophia c. Constantinople d. Apse mosaic e. Byzantine? f. 867 g. ? h. Theme of incarnation as justification for material representation of God in icons. Gold ground as signifier of autonomous significant space inhabited by the subject. 39. a. ? b. Monastery of Koimesis (Pantokrator: Almighty—God as ruler of all) c. Daphni? d. Mosaic e. Byzantine? f. 1080-1100 g. ? h. This is an example of “icons in space” (Otto Demus). 40. a. ? b. Squinch mosaic showing Nativity; Monastery of Kiomesis c. Daphni d. Squinch mosaic e. Byzantine f. 1080-1100 g. ? h. Topographical aspect. Jesus’ birth is occurring in a cave instead of a barn. The artist used the curvature of the apse to create depth. 41. a. ? b. Saint Panteleimon c. Nerezi d. Mural painting e. Byzantine f. 1164 g. ? h. Lots of empathy on the faces. 42. a. ? b. Oseberg ship burial c. Norway d. Clinker-build oak e. Anglo-Saxon f. 800 g. ? h. Ship burial was the most common burial at this time. The zoomorphic interlace is very particular to this period. Sea serpents are depicted in this. 43. a. ? b. Purse lid (detail of zoomorphic interlace—quadrupeds and dragons c. Sutton Hoo d. Gold with garnet cloisonné and millefioti enamel inlay e. Anglo-Saxon f. 595-625? g. ? h. See zoomorphic interlace again. 44. a. Eadfrith (scribe) b. Lindisfarne Gospels (evangelist portrait of Matthew) c. Northumbria? d. Tempura on vellum? e. Anglo-Saxon f. 700 g. ? h. This is beginning of the book of Matthew—Matthew is sitting writing his gospel. 45. a. ? b. Cross of Muiredach (detail: last judgement and weighing of souls) c. Monasterboice, Ireland d. Sandstone e. Anglo-Saxon? f. 923 g. ? h. Low relief sculpture. This is similar to the Book of the Dead of Hunefir from Egypt. The Irish were known to travel a lot. 46. a. ? b. Gatehouse of Lorsch Abbey c. Lorsch??? d. Stone and terracotta tile e. Carolingian f. 774 g. ? h. Uses the model of the Roman triumphal arch. Monasteries at this time had political aspects. 47. a. ? b. Coronation Gospels of Charlemagne (St. Matthew) c. Aachen? d. Tempera on vellum e. Carolingian f. 800-810 g. Charlemagne? h. Monasteries were important to copying texts. 48. a. ? b. Utrecht Psalter (Psalm 43) c. Hautviller (near Reims) d. Ink on velum e. Carolingian f. 825-850 g. ? h. The image is ad verbum, or word for word, of the text that is written at the top. Text translated: “Nay, for thy sake we are slain all the day long, and accounted as sheep for the slaughter. Rouse thyself! Why sleepest thou, O Lord” Awake! Do not cast us off for ever! Why dost thou forget our affliction and oppression? For our soul is bowed down to the dust; our body cleaves to the ground. Rise up, come to our help! Deliver us for the sake of thy steadfast love.” 49. a. ? b. Provinces of Roman Empire pay homage to Otto III (Gospels of Otto III) c. ? d. Tempera/gold leaf on vellum e. Ottoman f. 997-1000 g. Otto III h. On the right, the emperor is enthroned and surrounded by bishops and military leaders. On the left, the provinces are paying homage to the emperor. The emperor is larger than life. 50. a. ? b. Church of St. Michael (Genesis narrative—left, Life of Christ—right; detail: God reprimands Adam and Eve) c. Hildesheim, Germany d. Bronze doors e. Ottoman f. 1015 g. Bishop Bernward h. This is the first example of large scale bronze casting since the fall of the Roman Empire. The narratives compare the stories of Adam and Eve and Christ. Adam is being compared to Christ. 51. a. ? b. Gero Crucifix: Cologne Cathedral c. Cologne d. Painted and gilded wood e. Ottoman f. 970 g. ? h. Very detailed and lots of attention to detail. 52. a. Abbot Connacthach? b. The Chi Rho Page of The Book of Kells c. Iona, Scotland d. Tempera on vellum (calf skin) e. Hiberno-Saxon f. 800 g. ? h. Chi Rho—the Greek letters—are the representation of Christ. In the Book of Kells, Christ is always written in Greek. Note the great details used when creating this page. 53. a. Constructed under Caliph Abd’al-Malik b. Dome of the Rock c. Jerusalem d. ? e. Umayyad f. 687-692 g. ? h. This is an octangular space with a dome. It is similar to San Vitale in Ravenna. Inside there is no floor, it is the rock. 54. a. ? b. Great Mosque of Cordoba—Prayer Hall c. Spain d. Columns are spolia. e. Umayyad f. 784 g. Abd’ al Rhaman II and Hakam II h. All the columns are spolia. This is a prayer hall. There are so many columns to give the sense of privacy when praying. 55. a. ? b. Cappella Palatina (view to throne; detail of enthroned ruler—Roger II—in Islamic attire; muquarnas ceiling) c. Palermo, Italy d. Muquarnas ceiling e. Umayyad f. 1143-1148 g. Roger II h. There is no altar. The image of the figure above the raised platform at the end is a model for the king. Note the interesting type of ceiling. This is a Christian Temple in Islamic form 56. a. ? b. Court of the Lions—Alhambra Palace c. Grenada, Nastrid, Spain d. ? e. Islamic f. 1354-1391 g. Muhammad V h. This palace was built with similar plans as the Roman villas in Pompeii with the open courtyards. 57. a. ? b. Alhambra Palace—Hall of Abbencerrajes with muqarnas dome c. Granada Spain d. Carved stucco e. Islamic f. 1354-1391 g. Muhammad V h. The detail is amazing. There are inscriptions cared into the stucco. 58. a. ? b. Pilgrim’s Flask (Presentation; Nativity; Entry into Jerusalem) c. Ayyubid, Syria d. Brass inlaid with gold and silver e. ? f. 1240-1250 g. ? h. This is an example of portable items being transported through Europe. 59. a. Architect: Sinan b. Mosque of Selim II c. Edirne? Turkey d. ? e. Ottoman f. 1568-1575 g. Selim II? h. Used the model of Hagia Sophia. The Ottomans thought of themselves as the new Roman Empire 60. a. ? b. St. Sernin c. Toulouse, Languedoc, France d. ? e. Romanesque f. 1070-1120 g. ? h. Interior is very similar to Roman Basilica. The high vaulting enhanced the acoustics. 61. a. ? b. Sainte Foy c. Conques d. ? e. Romanesque? f. 1050-1130 g. ? h. This is a very popular pilgrimage site even today. It houses the statue of Sainte Foy. 62. a. ? b. Sainte Foy c. Conques d. Gold and gems over wooden core e. French? f. 1000 g. ? h. The Saint would appear to the Bishop? In a dream and tell him which gems should be placed on this statue. 63. a. ? b. Fontenay Abbey c. Burgundy d. ? e. French Romanesque f. 1139-1147 g. ? h. Looks like a Roman temple. 64. a. ? b. Sedes Sapientiae “Morgan Madonna” c. Auvergne d. Walnut wood and polychrome e. Romanesque f. 1150-1200 g. ? h. Formal formality is representative of the Romanesque time period. Mary is like the throne for Christ. 65. a. ? b. Chalice of Abbot Suger c. Saint-Denis, near Paris, France th d. Antique sardouyx cup with 12 century gold framing, set with filigree, pearls, and precious gems e. Medieval? th f. 12 century g. Abbot Suger h. .. 66. a. ? b. Reliquary of Pope Alexander I (detail of enamel plaques with virtues—Fortitude, Wisdom, Humility) c. Stevelot Abbey? d. Gold, silver, champlevé enamel and gems e. Romanesque f. 1145 g. Abbot Wibald h. .. 67. a. Nicholas of Verdun? b. Klosterneuberg Alter (sacrifice of Isaac; crucifixion) c. Klosterneuberg, Austria d. Champlevé enamel e. Romanesque f. 1181 g. ? h. .. 68. a. ? b. Tympanum with Second Coming of Christ (Maiestas Domini) c. Abbey of Saint-Pierre, Auvergne, France d. Limestone relief e. French Romanesque f. 1115-1130 g. ? h. Roman triumphal arch looking. It gives an anticipation to entering. 69. a. ? b. Abbey of Saint-Pierre, detail of left wall with Lust (Luxuria) and a Demon c. Abbey of Saint-Pierre, Auvergne, France d. Limestone relief e. French Romanesque f. 1115-1130 g. ? h. Lust is seen as a “decomposing beautiful female nude. Compare to the Knidian Aphrodite. Snakes are attacking lust’s breasts, private parts, and feet. 70. a. Giselbertus b. Saint Lazare—Tympanum of Last Judgment c. Autun, Bugandy, France d. Limestone relief e. Romanesque f. 1120-1135 g. ? h. “Another powerful entrance to a church.” The bottom depicts dead bodies rising up from the dead—example of the second coming. 71. a. ? b. Pentecost and the Mission of the Apostles, central west tympanum, Abbey of La Madeleine (including monstrous races and Zodiac Calendar) c. Vezelay d. Limestone relief? e. Romanesque f. 1120-1132 g. ? h. Monstrous races include Cynocephali, Panotii, Sciritae (noseless), Pygmies. There is a zodiac calendar around the outside. 72. a. ? b. Saint Michel du Cuxa, cloister (historiated capitals with double-bodied lions and threatening me and monstrous mouths—hell-mouths—devouring human torsos) c. Southern France d. marble e. French Romanesque f. 1140 g. ? h. There are many monsters depicted on these capitols (see above). There are men and apes possibly suggesting Darwinism? 73. a. Build under Abbot Suger b. St. Denis (interior of Chevet) c. France d. ? e. Early Gothic France f. 1140-1144 g. ? h. .. 74. a. Architects: Robert de Luzarches, Thomas and Renaud de Cormont b. Amiens Cathedral c. Amiens, France d. ? e. Rayonnant Gothic f. 1220-1269 g. ? h. Flying buttresses first used here? The outside is similar to the Notre Dame du Paris. 75. a. Architect: Thomas de Cormont b. Amiens Cathedral—upper nave c. France d. ? e. Rayonnant Gothic f. 1240-1250 g. ? h. The geometry was very important. 76. a. ? b. Salisbury Cathedral c. England d. ? e. Early English Gothic f. 1220-1258 g. ? h. It is now celebrated as a pilgrimage church. 77. a. ? b. Chartres Cathedral c. France d. ? e. French Gothic f. 1145-1155 g. ? h. Flying buttresses very important. 78. a. ? b. Chartres Cathedral (left—north transept rose window with geneology of Christ, Saint Ann and Mary; right—Melchizedek, David, Anne and Mary; Solomon; Aaron) c. Chartres France d. Stained glass e. French Gothic f. 1240 g. Blanche of Castille and Louis IX h. The Rose Window is the greatest expanse of glass at the time. Stained glass was very important 79. a. ? b. Chartres Cathedral—right door of Incarnation (Throne of Wisdom, Presentation, Annunciation, Visitation, Nativity, and Liberal Arts) c. Chartres, France d. Limestone relief e. French Gothic f. 1145-1155 g. ? h. These are seen as portals into the church. This is the infancy of Christ 80. a. ? b. Chartres Cathedral—Portrait Royal—central tympanum of Christ in Majesty c. Chartres, France d. Limestone relief e. Early Gothic French? f. 1145-1155 g. ? h. This is the central tympanum and depicts Christ during his time on earth. 81. a. ? b. Chartres Cathedral—left jamb of central doorway (statues Colonnes with Old Testament Queen and prophets) c. Chartres, France d. Limestone relief e. French Gothic f. 1145-1155 g. ? h. Statues Colonnes with Old Testament Queen and prophets 82. a. ? b. Chartres Cathedral—South Transept: Last Judgement c. Chartres France d. Limestone relief e. French Gothic f. 1210-1215 g. ? h. This is one of the three portals into the cathedral and depicts the last judgement with Christ in the middle. 83. a. ? b. Naumburg Cathedral c. Naumburg, Germany d. Painted limestone e. Romanesque f. 1245-1260 g. Ekkehard and Uta? h. Ekkehard and Uta were two of the founders of the church and contributed a lot of money to the building of the church. They are like the medieval version of Pigmaleon, so life-like that they could come alive at any moment. 84. a. ? b. Vesperbild (Rottgen Pieta)—Virgin Mary with the Dead Christ c. Rheinland d. Painted wood e. Romanesque f. 1300-1325 g. ? h. .. 85. a. ? b. Palmesel (Christ riding donkey) c. Austria d. Wood sculpture with polychrome e. Late Gothic f. 1400 g. ? h. Processed during Palm Sunday. 86. a. ? b. Gloucester Cathedral—Tomb and Effigy of Edward II with angels lifting king’s head heavenward c. Gloucester, England d. Alabaster e. English Gothic f. 1330-1335 g. Edward II? h. The angles seen by the king’s head are thought to be lifting the king up to heaven. This is a permanent memorial. 87. a. ? b. Bayeux Tapestry: Death and Burial of Edward the Confessor at Westminster Abbey c. Normandy, France? d. Woolen embroidery on linen e. Anglo-Norman (Romanesque) f. 1070-1080 g. ? h. It is not actually a tapestry. This shows the battle of succession for the throne. 88. a. ? b. Bayeux “Tapestry”: Harold swears oath of allegiance to William over relics of Bayeux Cathedral c. Normandy, France? d. Woolen embroidery on linen e. Anglo-Norman f. 1070-1080 g. ? h. It is not actually a tapestry. This shows the battle of succession for the throne. 89. a. ? b. Bible moralisee (Moralized Bible) (left—Blanche of Castile, Louis IX of Fance and the author dictating to his scribe; right—Abraham with Isaac carrying sticks for fire, Christ carrying the cross) c. Paris, France d. Gold leaf, tempera on parchment e. French Gothic f. 1224-1234 g. Blanche of Castile and Louis IX? h. The texts were written in Old French, not Latin. It was an educational Bible, only had fragments of the texts. 90. a. Jean Pucelle? b. Book of Hours of Jeanne d’Evreux (Betrayal of Christ, Annunciation) c. Paris France d. Tempera on vellum e. French Gothic f. 1325-1328 g. Made for Jeanne d’Evreux h. This is an example of royal patronage. It is an abbreviated book with congregational responses for mass. It is also a prayer book. It was the most widely distributed book in the Middle Ages—more than the Bible! 91. a. ? b. Ivory Casket with Siege of Castle Love c. Paris, France d. Ivory Casket e. French Gothic f. 1330-1350 g. ? h. This was used for women’s jewelry. Shows scenes of courtly love. 92. a. ? b. Breviary of Philippe le Bel (David anointed by Samuel; David and Goliath) c. France d. ? e. French Gothic f. 1296 g. ? h. Also a prayer book, used by many people for masses. The top was seen as a model for the king. 93. a. Nicola Pisano b. Pulpit of the Pisa Baptistery (detail of Hercules as Fortitude) c. Pisa, Italy d. Marble e. Italian Gothic f. 1260 g. ? h. It was rare before the 13 century to see a glorification of the artist. The trifold arches are a gothic characteristic. The capitols are classical. Hercules is compared to the Polykleitos Canon—classical model male nude. 94. a. Nicola Pisano b. Nativity—Pulpit of the Pisa Batistery c. Pisa, Italy d. Marble e. Italian Gothic f. 1260 g. ? h. .. 95. a. Giovanni Pisano b. Pulpit from St. Andrea? c. Pistoria, Italy d. Marble relief e. Italian Gothic f. 1297-1301 g. ? h. Similar to the pulpit at the Pisa Baptistery. It was rare before the 13th century to see a glorification of the artist. The trifold arches are a gothic characteristic. The capitols are classical 96. a. Cimabue? b. Virgin and Child Enthroned c. Florence, Italy d. Tempera and gold leaf on panel e. Italian Gothic f. 1280 g. ? h. Compared to the Vladimir Madonna. No one is looking straight ahead. The architecture at the bottom leads the eye up to Mary and Christ. 97. a. Duccio? b. Doccio’s Maiesta—Siena Cathedral c. Siena, Italy d. Tempera on panel e. Italian Gothic f. 1308-1311 g. ? h. Part of a much larger panel. Local saints surround the virgin and child. 98. a. Giotto? b. Last Judgement—Arena Chapel (Enrico Scrovegni presents chapel to the Virgin Mary and John the Evangelist) c. Padua, Italy d. Fresco e. Italian Gothic f. 1305-1306 g. ? h. Scrovegni presents the chapel to the Virgin Mary, John the Evangelist, and Mary Magdalen. In the bottom right corner is a depiction of Hell similar to the description in Dante’s Inferno. 99. a. Giotto? b. Lamentation—Arena Chapel c. Padua, Italy d. Fresco e. Italian Gothic f. 1305-1306 g. ? h. After Christ has died and is taken off the cross, before burial. Women crying over his dead body. Woman holding Christ is Mary. 100. a. Ambrogio Lorenzetti? b. Alleogry of Good Government: Well-ordered city of Siena—Palazzo Pubblico c. Siena, Italy d. Fresco e. Italian Gothic f. 1338-1339 g. ? h. This is similar to Pompeii wall paintings. It shows what a “well-ordered” city should look like.


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