Buildings Across Time: An Introduction to World Architecture, 4e (Fazio)
Chapter 11 Renaissance Architecture
1) The Vitruvian Man is:
A) an ideal ancient Roman man.
B) a man’s figure inscribed inside a circle and a square.
C) an ideal Renaissance citizen.
D) a man’s figure seen in dramatic perspective.
E) None of the answers is correct.
2) Masaccio’s The Trinity:
A) demonstrates Brunelleschi’s method of linear perspective.
B) depicts the ideal Renaissance central-plan church.
C) depicts the Father, Son, and Holy spirit.
D) demonstrates the Renaissance technique of sfumato.
E) None of the answers is correct.
3) Brunelleschi set off for Rome after losing a competition to design a new set of bronze doors
for the baptistery of Florence Cathedral to:
A) Masaccio.
B) Donatello.
C) Leonardo da Vinci.
D) Ghiberti.
E) All of the answers are correct.
4) The medieval inspiration for Brunelleschi’s Florence Cathedral dome is revealed by its:
A) concealed flying buttresses.
B) pointed-arch profile.
C) exposed ribs.
D) Gothic ornamentation.
E) Corinthian columns.
5) The church of S. Spirito in Florence illustrates Brunelleschi’s use of:
A) the ideal Renaissance central plan.
B) groin vaults.
C) the system of modular planning.
D) the ancient Roman system of measurement.
E) Gothic forms.
6) To frame, or set off, architectural elements on the Pazzi Chapel’s interior, Brunelleschi used:
A) marbleized plaster.
B) gray pietra serena.
C) polychromatic mosaic tiles.
D) carrara marble.
E) All of the answers are correct.
7) To give his Medici Palace in Florence a fortified appearance, Michelozzo used:
A) a moat.
B) crenelations.
C) corner turrets.
D) rustication.
E) All of the answers are correct.
8) Leon Battista Alberti’s Della pittura was dedicated to:
A) Luca della Robbia.
B) Ghiberti.
C) Masaccio.
D) Donatello.
E) All of the answers are correct.
9) Alberti modeled his De re aedificatoria, or On Building, on:
A) Vitruvius’s The Ten Books of Architecture.
B) his close study of classical ruins in Florence.
C) an unfinished treatise by Brunelleschi.
D) Pliny the Elder’s On Architecture.
E) None of the answers is correct.
10) At the Rucellai Palace façade, Alberti used:
A) the nearby Medici Palace as a model.
B) twin cortile, or courtyards.
C) Brunelleschi as a consultant.
D) superimposed Doric and Corinthian orders.
E) All of the answers are correct.
11) The small book titled The Prince was written by:
A) Brunelleschi.
B) Machiavelli.
C) Alberti.
D) Lorenzo di Medici.
E) None of the answers is correct.
12) The plan for Alberti’s church of S. Andrea in Mantua was that of:
A) the Pantheon.
B) the ancient Roman Basilica of Constantine.
C) the Maison Carré.
D) St. Peter’s.
E) None of the answers is correct.
13) The façade of Alberti’s church of S. Maria Novella:
A) is capped by a Gothic form.
B) became a prototype repeated by Renaissance designers.
C) includes scrolls that display the shed roofs of the side aisles.
D) is dominated geometrically by the use of the circle.
E) has a four-story central bay.
14) The façade design of the church of S. Francesco in Rimini is based on:
A) Old. St. Peter’s.
B) S. Maria Novella in Florence.
C) the Pantheon.
D) the nearby Roman Arch of Augustus.
E) None of the answers is correct.
15) Based on evidence in his sketchbooks, the principal architectural problem that concerned
Leonardo da Vinci, like it did the Renaissance designers, was the:
A) mixture used by the ancient Romans to make concrete.
B) system of ancient Roman vaulting.
C) central-plan church.
D) urban palazzo.
E) None of the answers is correct.
16) The distinctive feature of Donato Bramante’s S. Maria presso S. Satiro is the:
A) use of superimposed orders.
B) recreation of vaulting like that in an ancient Roman basilica.
C) inclusion of an aedicule like that in Old St. Peter’s.
D) illusionistic manipulation of the chancel wall.
E) None of the answers is correct.
17) Donato Bramante’s plan for Tempietto was intended to:
A) be at the center of the ancient Forum Romanum.
B) have a circular temple into a circular cloister.
C) be in the forecourt at St. Peter’s.
D) have a two-story cylinder capped by a hemispherical dome.
E) have a tomb at its western end.
18) Donato Bramante’s Belvedere Court was:
A) planned for the space in front of St. Peter’s.
B) based on the design of the Canopus at Hadrian’s Villa.
C) a great exterior space adjacent to St. Peter’s.
D) designed as a garden for the Roman mayor.
E) None of the answers is correct.
19) A prominent feature of Donato Bramante’s House of Raphael was:
A) a rusticated base.
B) a columned piano nobile.
C) an arcaded ground floor.
D) that it followed the model of the ancient Roman insula or apartment house.
E) All of the answers are correct.
20) The design of the Villa Madama was inspired by:
A) Bramante’s House of Raphael.
B) the villa of Pliny the Elder.
C) the Villa Medici in Fiesole.
D) the Roman villa rustica.
E) None of the answers is correct.
21) The Palazzo del Tѐ, Mantua, was designed for:
A) Lorenzo di Medici.
B) Federico Gonzaga.
C) Cardinal Giulio dé Medici.
D) Federigo da Montefeltro.
E) None of the answers is correct.
22) Michelangelo’s Laurentian Library is part of the complex that includes:
A) the Uffizzi in Florence.
B) S. Lorenzo in Florence.
C) the Ducal Palace in Urbino.
D) S. Giorgio Maggiore in Venice.
E) None of the answers is correct.
23) All of the following are part of Michelangelo’s Campidoglio design EXCEPT:
A) the Palace of the Senators.
B) a trapezoidal piazza.
C) a circular temple.
D) an equestrian statue.
E) All of the answers are correct.
24) The Sforza Chapel in Rome is found in the church of:
A) S. Maria Maggiore.
B) St. Peter’s.
C) S. Lorenzo.
D) S. Maria in Aracoeli.
E) None of the answers is correct.
25) Andrea Palladio’s villa designs include all of the following EXCEPT the Villa:
A) Rotonda.
B) Barbaro.
C) Foscari.
D) Trissino.
E) All of the answers are correct.
26) The false-perspective stage-set of the Teatro Olimpico was designed by:
A) Vincenzo Scamozzi.
B) Andrea Palladio.
C) Jacopo Sansovino.
D) Michele Sanmichele.
E) None of the answers is correct.
27) A sense of security is given to Jacopo Sansovino’s La Zecca by means of:
A) cyclopean masonry.
B) massive iron gates.
C) heavy rustication, including at the columns.
D) enormous crenelated towers.
E) All of the answers are correct.
28) In Italian Renaissance gardens, an alleé and a bosco are:
A) a paved path and a pool of water, respectively.
B) a shaft of space and a dense planting of trees, respectively.
C) a fish pond and elaborately pruned shrubs, respectively.
D) a grid of trees and a circular open space, respectively.
E) None of the answers is correct.
29) To the rear of the Château, Chenonceau, there is:
A) a fortified tower and a campanile.
B) a bridge, which later became the base for a grand dining hall.
C) a royal hunting estate, which later was turned into a royal garden.
D) a huge, glazed salon overlooking garden parterres.
E) a grid of trees and a circular open space.
30) The first two architects to rebuild the medieval Louvre Palace were:
A) Phillibert de l’Orme and Jean Bullant.
B) Leonardo da Vinci and Pierre Lescot.
C) Jacques Lemercier and Jean Bullant.
D) Pierre Lescot and Jacques Lemercier.
E) None of the answers is correct.
31) The Place des Vosges is:
A) surrounded by gardens that act as a barrier between it and urban residences.
B) surrounded by regularized residential façades, connected by a continuous ground-level
arcade.
C) a court fronted by multiple churches.
D) a square with a bi-level arcade and tall, central pavilions at each side.
E) built in a distinctively French manner of pairs surmounted by pavilion roofs.
32) The architect of Wollaton Hall was:
A) Sebastian Serlio.
B) Andrea Palladio.
C) Inigo Jones.
D) Robert Smythson.
E) None of the answers is correct.
9
33) Inigo Jones learned about Andrea Palladio’s work by:
A) studying with Italian architects who had come to England to work for the Crown.
B) traveling to Italy with a copy of the Four Books of Architecture.
C) writing his own version of the Four Books of Architecture.
D) assembling a huge library of Italian architectural publications.
E) None of the answers is correct.
34) Inigo Jones’s Banqueting House at Whitehall in London is:
A) influenced by the designs in Andrea Palladio’s Four Books of Architecture.
B) an example of the English emphasis on the use of triumphal-arch forms.
C) based on Donato Bramante’s banqueting hall that overlooks the Belvedere Court in Rome.
D) a classicization of the traditional, medieval English Great Hall.
E) an example of the English emphasis on the surface texture of the stone façade.
35) Inigo Jones’s Covent Garden was built as:
A) a replica of the principal piazza in Palladio’s Vicenza.
B) a speculative development.
C) a setting for performing operas.
D) an amenity for Buckingham Palace.
E) All of the answers are correct.
36) Write an architectural biography on one of the following:
a. Brunelleschi
b. Alberti
c. Bramante
d. Palladio
e. Michelangelo
Answer: Answer may vary.
Accessibility: Keyboard Navigation
10
37) Explain the differences in Renaissance and Mannerist architecture in Italy.
Answer: Answer may vary.
Accessibility: Keyboard Navigation
38) Discuss the features of Andrea Palladio’s villa designs in the Veneto.
Answer: Answer may vary.
Accessibility: Keyboard Navigation
39) Discuss the architecture of the châteaux in the Loire Valley as a combination of latent
medieval and arriving Renaissance influences.
Answer: Answer may vary.
Accessibility: Keyboard Navigation
40) Discuss Inigo Jones’s English interpretation of the work of Andrea Palladio.
Answer: Answer may vary.
Accessibility: Keyboard Navigation