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CHAPTER FIFTEEN
EARLY MEDIEVAL ART IN EUROPE
15
Multiple Choice
1. The Book of Kells (Fig. 15-1) was produced on
A. papyrus.
B. paper.
C. deckles.
D. vellum.
2. A cornerstone of Christian philosophy is the text of
A. The City of God.
B. The Realm of the Lord.
C. The Gospel of Paul.
D. The Word of Matthew.
3. What is was the most likely use of the Lindisfarne Gospel Book?
A. It was the primary reference used by monks at the monastery at Lindisfarne.
B. It was read during liturgical services by the bishop of Lindisfarne.
C. It was carried during processionals and displayed on the altar.
D. It was used by a wealthy patron in private devotion.
4. Christians in the Muslim territories were called
A. Mozarabs.
B. Mesopotamians.
C. Israelites.
D. Iranians.
5. Which work is an example of the technique known as repoussé?
A. Equestrian Portrait of Charles the Bald (?) (Fig. 15-16)
B. Crucifixion with Angels and Mourning Figures (Fig. 15-23)
C. Otto I Presenting Magdeburg Cathedral to Christ (Fig. 15-24)
D. Gero Crucifix (Fig. 15-26)
6. The page from the Ebbo Gospels (Fig. 15-21) shows St. Matthew receiving the Word of God
from his symbol, the distant
A. lion.
B. lamb.
C. angel.
D. physician.
7. Seafaring bands of Norse seamen were called
A. Scandinavians.
B. Danes.
C. Vikings.
D. Soviets.
8. Why did Celtic Christians develop their own liturgical practices and distinctive artistic
traditions?
A. They refused to accept the authority of Bishop of Rome.
B. They had little contact with Rome until the sixth century.
C. Celtic mythological beliefs prevailed over Christianity among the general population.
D. Celtic rulers imposed strict regulations in terms of language and iconography.
9. On the page from the Lindisfarne Gospel Book, Matthew Writing His Gospel (Fig. 15-8), what
suggests a break with Roman traditions?
A. iconography
B. blank background
C. modeling drapery
D. intuitive perspective
10. Maius’s illustrations for Beatus’s Commentary on the Apocalypse (Fig. 15-15) reveals the
bold patterns and colorful forms of the
A. animal style.
B. Mozarabic style.
C. classicizing style.
D. Carolingian style.
11. Which Roman prototype provided an artistic model for realizing Charlemagne’s vision of
“the Renewal of the Roman Empire”?
A. equestrian portraits
B. royal rune stones
C. ivory plaques
D. illustrated manuscripts
12. The animated poses of the angels and mourners on the cover of the Lindau Gospels are
similar to the energetic expressionism of
A. the Book of Durrow.
B. the Coronation Gospels.
C. the Utrecht Psalter.
D. the Gospels of Otto III.
13. What structure is at the center of the Saint Gall plan (Fig. 15-19), which reflects the basic
design used in the layout of medieval monasteries?
A. a large basilican church
B. the monk’s living quarters
C. a cloister
D. the dining room
14. Why did many Ottonian cathedrals burn down in the eleventh century?
A. Muslim invaders destroyed them.
B. The number of wooden sculptures made them susceptible to fire.
C. Riots protesting imperial rule led to massive destruction.
D. Their timber roofs made them susceptible to fire.
15. What is notable about the Doors of Bishop Bernward in Hildesheim (Fig. 15-27)?
A. The artists used a strict pre-Christian, iconographical program to relay the narrative.
B. They were the most complex bronze-casting project undertaken since antiquity.
C. They were inspired by the Byzantine use of narrative sculpture relief.
D. The monastic collaboration included the employment of secular artists.
16. Which style influenced the sharply outlined drawings and lavish fields of gold in the Hitda
Gospels (Fig. 15-28) and the Gospels of Otto III (Fig. 15-29)?
A. Islamic
B. Hiberno-Saxon
C. Byzantine
D. Early Christian
17. Which artistic style was a fusion of Celtic, Romanized British, Germanic, and Norse
traditions?
A. barbarian
B. Carolingian
C. Hiberno-Saxon
D. Frank
18. Charlemagne established a dynasty and an empire known today as the
A. Carolingian.
B. Ottonian.
C. Merovingian.
D. Frankish.
19. Which plan did most Carolingian churches follow?
A. martyrium
B. cross
C. basilican
D. central
20. Which work—one of the most famous Carolingian manuscripts—uses ink drawings to
illustrate the words and images of individual psalms literally?
A. Ebbo Gospels
B. Book of Durrow
C. Lindisfarne Gospel Book
D. Utrecht Psalter
21. Much Scandinavian architecture consisted of wooden frames filled with
A. mortar.
B. waddle-and-daub.
C. runes.
D. louver.
22. In the early 900s, a new Saxon dynasty came to power in lands corresponding roughly to
present-day Germany and Austria; this dynasty was known as the
A. Ottonians.
B. Hiberno-Saxons.
C. Merovingians.
D. Carolingians.
23. Supported by the Carolingians, the most dominant form of monasticism throughout Europe
became
A. Merovingian.
B. Benedictine.
C. Celtic.
D. Ionian.
24. Which design is seen in the Gummersmark Brooch (Fig. 15-3)?
A. words and initials
B. warrior and rulers
C. crosses and circles
D. monsters and beasts
25. Monumental stone crosses were influenced by
A. metalworking traditions.
B. architecture.
C. imperial sculpture.
D. catacomb painting.
Short Answer
1. How does the life of Galla Placidia bring the fall of the Roman Empire to life?
2. What time period is considered to be the Middle Ages?
3. How did the “barbarians” use animal style in their art?
4. What artifacts were contained in the burial ship at Sutton Hoo?
5. What was the result of St. Augustine’s successful mission?
6. What were the special needs of a monastic community?
7. Why were manuscript covers often reused or stolen?
8. How does the Gero Crucifix (Fig. 15-26) appeal emotionally to viewers?
9. What did the Oseberg ship contain, and what was its intended use?
10. What do the Doors of Bishop Bernward depict (Fig. 15-27)?
Essay
1. How do the arts of the Carolingian dynasty compare with those of the Ottonian dynasty?
2. How did the Vikings affect the art world? What specific artistic trends did they set?
3. What influences of the Roman Empire were seen in the Carolingian and Ottonian dynasties?
4. Describe the Mozarabic style in Spain.
5. Discuss the design, iconography, and purpose of the illustrated books of the Early Christian
British Isles.
