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CHAPTER TWENTY-ONE
SIXTEENTH-CENTURY ART IN ITALY
21
Multiple Choice
1. Which pope enlisted Bramante, Raphael, and Michelangelo to carry out his vision of a
revitalized Rome as the center of a new Christian architecture?
A. Clement VII
B. Paul III
C. Julius II
D. Leo X
2. What element of Leonardo da Vinci’s The Virgin of the Rocks best embodies the principles of
art in the High Renaissance?
A. the references to Classical subject matter
B. the balanced pyramidal grouping of figures
C. the somber mood created through darkened tones
D. the unusual landscape of the background
3. What distinguished Venetian painting of the late sixteenth century from works done in other
Italian cities?
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
4. What about Bronzino’s Allegory with Venus and Cupid (Fig. 21-41) would have probably
been most appreciated by patrons of Mannerist art?
A. the clarity attained through the circular composition
B. the use of hieratic scale with bright color
C. the political and religious implications
D. the complex iconography and ambiguous meaning
5. What did Giorgione focus on in The Tempest (Fig. 21-26) as much as the figures?
A. natural elements
B. facial expressions
C. religious figures
D. architectural settings
6. What original feature is seen in Michelangelo’s Last Judgment (Fig. 21-46)?
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.
7. What did Giorgione introduce into Venetian painting as enigmatic pastoral themes?
A. Mannerism
B. poesie
C. allegories
D. Counter-Reformation themes
8. Why was Sofonisba Anguissola unusual among women artists in the sixteenth century?
A. She painted miniatures.
B. She became a lady in waiting.
C. She was from Bologna.
D. She was not the daughter of an artist.
9. Which city produced a notable number of accomplished women painters and sculptors?
A. Bologna
B. Venice
C. Florence
D. Rome
10. What feature of Palladio’s Villa Rotonda (Figs. 21-35 and 21-36) had not previously been
used on a domestic structure?
A. a portico
B. exterior sculpture
C. the dome
D. Ionic columns
11. The trompe l’oeil paintings of the Sala dei Giganti in the Palazzo del Te create the illusion of
A. a window onto the exterior courtyard and gardens.
B. multiple panel paintings and architectural features.
C. a magnificent view over the city.
D. the room collapsing around the viewer.
12. In contrast to Leonardo da Vinci’s beliefs, what did Michelangelo believe to be the most
complete means of creating an illusion of the natural world?
A. painting
B. embroidery
C. drawing
D. sculpture
13. What city attracted some of the greatest Italian artists of the sixteenth century at the
beginning of their careers?
A. Rome
B. Florence
C. Venice
D. Mantua
14. What was the cause of the extensive damage to Leonardo’s painting of The Last Supper
(Figs. 21-4 and 21-5) that occurred shortly after its completion?
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
15. Which of the following projects in the Sistine Chapel was considered the most prestigious
and expensive commission?
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
16. Recent scholarship suggests that Titian’s “Venus” of Urbino (Fig. 21-30) was meant to
represent
A. a classical goddess.
B. a newly married woman.
C. a Venetian courtesan.
D. a specific individual.
17. What encourages viewers to explore Giambologna’s The Capture of a Sabine Woman (Fig.
21-45)?
A. Classical goddess
B. contrapposto pose
C. spiraling composition
D. detailed rendering of the drapery
18. What characteristic of Tintoretto’s painting style was criticized by his contemporaries?
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
19. How does Michelangelo’s David differ from the Classical sculpture that inspired it?
A. the use of heroic nudity
B. the figure’s contrapposto stance
C. the figure’s emotional intensity
D. the figure’s muscular physique
20. Raphael’s well-known fresco The School of Athens (Fig. 21-10), in both its subject matter
and harmonious formal arrangement, summarizes the ideals envisioned by
A. the Medici family of Florence.
B. the Holy Roman Emperor.
C. the Doni family of Florence.
D. the Renaissance popes.
21. How did its patron respond to Veronese’s Feast in the House of Levi (Fig. 21-31)?
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.
22. Who was the first pope to pursue church reform in response to Protestants?
A. Francis I
B. Paul III
C. Julius II
D. Clement VII
23. What is a full-scale drawing called that is a model for a major painting, tapestry, or other
two-dimensional work of art?
A. engraving
B. sinopia
C. cartoon
D. woodcut
24. Raphael’s portrait of Maddalena Strozzi imitates
A. the Mona Lisa.
B. Venus of Urbino.
C. the Pieta.
D. The Tempest.
25. What is characterized by subtle transitions between light and dark in shading?
A. grisaille
B. sfumato
C. poesie
D. intonaco
Short Answer
1. In what ways was Leonardo da Vinci experimental with his artwork?
2. What was included in a Classical education in the sixteenth century?
Skill Level: Apply What You Know and Analyze It
3. How was Lavinia Fontana inspired by Mannerism?
4. What is the arrangement of images on the Sistine Chapel ceiling?
5. How was St. Peter’s Basilica modified during the sixteenth century?
6. What role did the Jesuits play in patronizing Roman artists or architects?
7. What was Palladio’s great contribution to Venetian religious architecture?
8. How did Julius II support and complicate Michelangelo’s artistic life?
9. Why did Michelangelo’s art change in his later years?
10. Discuss the meaning and iconography of the Vitruvian Man.
Essay
1. How did High Renaissance artists produce some of the major monuments during a period of
political tumult?
2. How was Venetian Renaissance art similar to and different from High Renaissance art in
Florence and Rome?
3. Discuss the emergence of Mannerism in the sixteenth century and Parmigianino’s Madonna of
the Long Neck (Fig 21-39). Consider its similarities and differences to art of the High
Renaissance and its influence on subsequent Italian art.
4. Leonardo da Vinci’s portrait Mona Lisa (Fig. 21-1) has continued to entrance and mystify
viewers over the centuries. Explain some of the mystery and enigma behind this portrait, as well
as its beauty.
5. Discuss the composition, symbolism, and possible interpretations of Titian’s “Venus” of
Urbino (Fig. 21-30).
