CHAPTER 12—ROMANESQUE EUROPE
MULTIPLE CHOICE
1. What purpose did Gislebertus’s image of the Last Judgment on the portal of Saint-Lazare serve?
a.
It encouraged viewer’s to go on a pilgrimage
b.
It displayed the saint to whom the church was dedicated
c.
It was meant to instill fear in sinners and call them into the church
d.
It reinforced the virginity of Mary
2. Among the saved in Gislebertus’s Last Judgment are people carrying bags adorned with a shell and a
cross. These figures represent ____.
a.
the inhabitants of India
b.
monks and nuns
c.
handworkers
d.
pilgrims
3. The term Roman-like was adopted to describe the architecture of the Romanesque period, because it
relied on elements of Roman architecture such as ____.
a.
groin and barrel vaults
b.
ionic capitals
c.
pumpkin domes
d.
timber ceilings
4. Which of the following encouraged the growth of towns and cities?
a.
an increase in trade
b.
the pilgrimage routes
c.
a consolidation of power within the papacy
d.
the end of the power of the Vikings
5. ____ was the economic system that was gradually replaced by the growth of towns and cities during
the Romanesque period.
a.
Pilgrimage
b.
The crusades
c.
Feudalism
d.
Monasticism
6. One of the factors that contributed to the enormous surge in church building during the Romanesque
period was the ____.
a.
influx of artists from Byzantium
b.
inexpensive cost of stone
c.
thanksgiving experienced at the peaceful conclusion of the first millennium
d.
conversion of the Vikings to Christianity
7. Pilgrims often journeyed to churches to view ____, which were the material remains of holy figures.
a.
censors
b.
relics
c.
chants
d.
stained glass
8. The primary motivation for undertaking a pilgrimage, which was extremely dangerous and could often
last a year, was ____.
a.
to seek salvation or a cure
b.
to visit family members
c.
to listen to their favorite preacher
d.
to become a member of religious order
9. ____ is the theft of relics for holy purposes.
a.
crypt
b.
reliquaries
c.
furta sacra
d.
tribune
10. Pilgrims believed that relics could ____.
a.
provide them with money
b.
heal body and soul
c.
put them in contact with deceased family members
d.
make them younger
11. The most venerated pilgrimage shrine in the West, outside Rome or Jerusalem, was the ____.
a.
tomb of Lazarus at Autun
b.
tomb of Saint Foy at Conques
c.
tomb of St. Martin at Tours
d.
tomb of the Apostle James at Santiago de Compostela
12. There is a diversity of regional styles in Romanesque church architecture. Which of the following is
characteristic of the Northern French style found in St.-Étienne at Vignory?
a.
It used small brick-like stones.
b.
It used poured cement.
c.
It used large sawn blocks of stone.
d.
It used a wooden superstructure.
13. The east end of Saint-Étienne at Vignory, which was comprised of ____ was innovative.
a.
an apse and a triumphal arch
b.
a double transept and a chancel
c.
semi domes
d.
an ambulatory and three radiating chapels
14. One of the exceptional features of the interior of Saint-Étienne at Vignory in comparison to other
Romanesque churches is ____.
a.
its west work
b.
its ornate marble encrusted façade
c.
the presence of decorative carving and sculpture
d.
the appearance of the rib vault
15. In contrast to Saint-Étienne at Vignory, the naves of Sant Vicenç and Saint-Philibert are covered by
____.
a.
ceiling paintings
b.
stone vaults
c.
carved tracery
d.
quadrant arches
16. In its three stories in the nave and timber roof, Saint-Étienne at Vignory resembles ____ churches.
a.
Ottonian
b.
Anglo-Saxon
c.
Bavarian
d.
Norman
17. Saint Faith at Conques, Saint James at Santiago de Compostela and Saint-Sernin at Toulouse are all
examples of ____ churches.
a.
Tuscan
b.
transept
c.
central plan
d.
pilgrimage
18. St.-Sernin at Toulouse has been called a “pilgrimage type” church. Which of the following accounts
for this designation?
a.
It added perimeter buildings to house pilgrims.
b.
It attached the ambulatory to the nave.
c.
It had radiating chapels attached to the transept and ambulatory.
d.
It narrowed the main aisle to create a dignified progress for viewing the relics.
19. The purpose of tribunes such as those found at Saint James at Santiago de Compostela and
Saint-Sernin in Toulouse was ____.
a.
to house the overflow crowds and to buttress the weight of the vaults
b.
for the Pope to greet the crowds
c.
to stage plays
d.
to hold trials
20. The nave of pilgrimage churches, such as Saint-Sernin at Toulouse and Saint James, were covered by a
a.
series of saucer domes
b.
cut-stone barrel vault
c.
diaphragm arch
d.
transept
21. At Saint-Sernin, the ____ served as the module for the proportions of the entire church.
a.
buttresses
b.
nave
c.
crossing square
d.
tribune
22. The plan of St.-Sernin is extremely regular and geometrically precise. It is based on a module seen in
earlier church architecture. Which of the following churches is the prototype for this refined and
rational structural approach?
a.
St. Michael, Hildesheim
b.
Monastery Church, St. Gall
c.
Sta. Maria Maggiore, Rome
d.
St. Cyriakus, Gernode
23. Compound piers are ____.
a.
piers with Doric and ionic capitals
b.
piers with sculptures of prophets
c.
pier with painted registers
d.
piers with attached columns or pilasters
24. In the Romanesque period church interiors became impressive acoustical settings for church services.
Which of the following architectural elements allowed for the excellent acoustics?
a.
the radiating chapels of the ambulatory
b.
the upper galleries or tribunes along the nave
c.
the radiating chapels attached to the transepts
d.
the continuous barrel-vaulted naves
25. ____ was the artist of one of the earliest sets of Romanesque reliefs at Saint-Sernin
a.
Corbie
b.
Master Hugo
c.
Bernardus Gelduinus
d.
Abbot Suger
26. The composition and style of of Bernardus Gelduinus’s Christ in Majesty at Saint-Sernin was
influenced by ____.
a.
Carolingian or Ottonian metalwork and/or ivories
b.
classicism
c.
Anglo-Saxon manuscripts
d.
catacomb painting
27. The revival of monumental sculpture in the Romanesque was partially influenced by ____.
a.
feudalism
b.
the invasion of Germanic tribes
c.
the survival of ancient Roman ruins
d.
the ease of stone carving
28. The monks of the ____ order were one of the primary patrons of Romanesque sculpture.
a.
Franciscan
b.
Cluniac
c.
Cisterican
d.
Knights Templar
29. Which of the following churches was the largest in Europe until the new St. Peter’s in Rome was
constructed in the 17th century?
a.
Cluny III
b.
St.-Sernin, Toulouse
c.
Speyer Cathedral
d.
Sant’Ambrogio, Milan
30. ____ were innovative architectural features that appeared at Cluny III.
a.
clerestory windows
b.
a barrel vault
c.
a three-story elevation and pointed arches
d.
rounded arches
31. ____ possesses the most extensive preserved ensemble of early Romanesque sculpture.
a.
San Giovanni
b.
Durham Cathedral
c.
San Miniato al Monte
d.
Saint-Pierre, Moissac
32. The ____ is the covered courtyard in a monastery where monks and nuns prayed and meditated in
quiet seclusion.
a.
rectory
b.
cloister
c.
infirmary
d.
abbey
33. The Cistercian monk who criticized the elaborate sculptural decoration in cloisters was ____.
a.
William of Normandy
b.
Richard the Lionhearted
c.
Bernard of Clairvaux
d.
Gislerbertus
34. One of the primary reasons that Bernard of Clairvaux criticized the profusion of sculptural decoration
in the Romanesque cloister was because it ____.
a.
distracted the viewer from reading and prayer.
b.
encouraged people to sin
c.
was too modern
d.
was gilded using gold leaf
35. The ____ order split from the Cluniac order to follow the rules of St. Benedict more strictly.
a.
Dominican
b.
Knights Templar
c.
Monophysite
d.
Cistercian
36. One of the most obvious differences between Cistercian churches such as Notre-Dame at Fontenay and
other Romanesques churches is the absence of ____.
a.
windows
b.
stone masonry
c.
sculptural decoration
d.
vaults
37. The ornate sculpted façade of Notre-Dame-la-Grande demonstrates the importance of having
sculptural decoration visible to the ____.
a.
foreign travelers
b.
laity
c.
royalty
d.
bishops
38. The ____ is the semi-circular are above the lintel of a Romanesque portal.
a.
trumeau
b.
buttress
c.
jamb
d.
tympanum
39. During the Romanesque period the vision of Christ’s Second Coming was often depicted on which of
the following?
a.
jambs
b.
the tribune
c.
the tympanum
d.
the trumeau
40. On the right face of the trumeau is a prophet, displaying his scroll containing his prophetic vision. He
is placed immediately below the depiction of Christ the Judge. This is another instance of the pairing
of the Old and New Testament themes. This iconographic tradition was established during which of
the following periods?
a.
Early Christian
b.
Early Byzantine
c.
Carolingian
d.
Hiberno-Saxon
41. Among the stylistic hallmarks of the artist of the South Portal of Saint-Pierre at Moissac are ____.
a.
squat and short figures
b.
naturalistic figures inspired by Greek art
c.
cross-legged figures with zigzag and dovetail drapery folds
d.
vast landscapes uninhabited by humans
42. ____ is the church most closely associated with the crusades.
a.
La Madeleine, Vézelay
b.
San Miniato al Monte
c.
Speyer Cathedral
d.
Durham Cathedral
43. The tympanum of the Romanesque portal of La Madeleine at Vézelay depicts ____.
a.
Christ’s Ascension
b.
Pentecost
c.
the Assumption of the Virgin
d.
Mary’s visit to Christ’s tomb
44. The ____ were the Christian campaigns to reclaim the Holy Land from the Muslims.
a.
Battle of Hastings
b.
relics
c.
crusades
d.
Cluniacs
45. At Pentecost the Apostles were called to ____.
a.
stay only in Rome
b.
spread the Gospels to all peoples
c.
hide from the Romans
d.
take care of Mary
46. Reflecting Christ’s mission to the Apostles, depicted in the lintel and tympanum compartments at
Vézelay are ____.
a.
female martyr saints
b.
Roman soldiers
c.
images of the world’s heathens
d.
twenty-four elders of the Apocalypse
47. Among the stylistic hallmarks of the artist of the Pentecost and Mission of the Apostles at La
Madeleine, Vézelay artist ____.
a.
are the whirling drapery patterns and animated figures
b.
is a sense of repose
c.
is the creation of a sense of spatial recession
d.
is the simplicity of the figures and their garments
48. Another Romanesque portal that established god’s omnipotence and presented the church as a road to
salvation is ____.
a.
Saint-Sernin at Toulouse
b.
Saint-Trophîme at Arles
c.
Speyer Cathedral
d.
Modena Cathedral
49. The mission of the ____, the earliest crusading knights, was to protect Christians visiting Christian
shrines in the Holy Land.
a.
Franciscans
b.
Benedictines
c.
Cistercian Order
d.
Knights Templar
50. How is the initial R from the Moralia in Job typically Romanesque?
a.
By the absence of a salutation
b.
By exceeding the boundaries of the frame
c.
By following Hiberno-Saxon carpet page patterns
d.
By the banding of the torso and the partitioning of the folds of the costumes
51. The Gospel books that are stylistically related to Moissac are the ____.
a.
Codex Colbertinus and the Corbie Gospels
b.
Morgan Madonna and Stavelot Reliquary
c.
Bayeux Tapestry and King David
d.
Eadwine Psalter and Bury Bible
52. Scholars believe that the ____ manuscript was produced in the scriptorium at Moissac.
a.
Bury Bible
b.
Eadwine Bible
c.
Codex Colbertinus
d.
Bayeux Tapestry
53. The intertwining forms on the Initial L and Saint Matthew of the Codex Colbertinus attest to the
enduring popularity of the ____ from the Hiberno-Saxon period.
a.
cloisonné technique
b.
animal interlace style
c.
Islamic rosette
d.
incrustation
54. In contrast to the Cluiacs, the ____ order eventually prohibited full-page illustrations in manuscripts.
a.
Knights Templar
b.
Cistercians
c.
Normans
d.
furta sacra
55. The depiction of the battle between the knight and the dragons from the Moralia in Job was viewed by
the clergy as ____.
a.
a prefiguration of the Ascension
b.
a reminder against the use of images
c.
a reenactment of the Battle of Hastings
d.
an allegory of the struggle of monks against the devil for the salvation of souls
56. The use of ornamented initials such as the Initial R in the Moralia in Job can be traced back to the
____ period.
a.
Visigoth
b.
Roman
c.
Hiberno-Saxon
d.
Ottonian
57. A(n) ____ church is one in which the aisles are approximately the same height as the nave.
a.
hall
b.
Cluniac
c.
abbey
d.
Tuscan
58. Saint-Savin is a hall church with paintings on the continuous vault of the nave. Which of the following
allows for this?
a.
It has low aisles and tribune galleries
b.
The aisles are approximately the same height as the nave
c.
It has a series of windows in the apse
d.
It has low aisles but no tribune galleries
59. ____, in northern Spain, boasts more Romanesque murals than anywhere else in Europe.
a.
Santiago de Compostela
b.
Seville
c.
Catalonia
d.
Castile
60. Similar to the subject matter of Romanesque portals the ____ fresco from Santa Maria de Mur
represents Christ surrounded by the Four Evangelists.
a.
Annunciation
b.
Crucifixion
c.
Jeremiah
d.
Christ in Majesty
61. The Throne of Wisdom, sedes sapientiae is the western European freestanding version of which of the
following?
a.
Islamic Throne
b.
Byzantine Theotokos
c.
Carolingian Throne
d.
Ottonian Throne
62. Which church was the burial place of the Holy Roman Emperors until the 12th century?
a.
Palatine Chapel, Aachen
b.
Speyer Cathedral
c.
Sant’Ambrogio, Milan
d.
St.-Étienne, Caen
63. The one important requirement often missing from these church interiors is light. Which of the
following did not allow for interior lighting?
a.
Barrel-vaults exerted great outward thrust making a clerestory difficult to construct
b.
Light not considered an important spiritual ingredient for church services
c.
The massive walls would not support a tribune and clerestory
d.
It was considered too expensive to fund the construction of a clerestory
64. How did 11th century Romanesque masons construct monumental groin vaults?
a.
By using ashlar blocks joined by mortar
b.
By using ashlar blocks
c.
By using concrete
d.
By using rubble blocks jointed by mortar
65. A more complex and efficient type of vaulting was needed that would admit light and at the same time
be aesthetically pleasing. Which of the following systems would allow this adoption?
a.
By elevating the side walls with additional buttressing
b.
By eliminating the upper galleries or tribunes
c.
By covering the nave with groin vaults
d.
By eliminating the ambulatory from the apse
66. Of the following characteristics, which is not relevant to Italian church architecture?
a.
verticality
b.
thick, massive walls
c.
continuous barrel-vaulting
d.
groin-vaulting
67. Which of the following describes the Stavelot reliquary of St. Alexander?
a.
It is a combination of multiple sources as well as stylistic diversity.
b.
It follows a strict adherence to the Meuse River region formula for figural representation.
c.
It illustrates the imperial workshops of Byzantium.
d.
It illustrates the impact of the Crusades in Belgium.
68. It is said this structure’s design is simple and serenely classical. It is a descendant of the Pantheon, the
imperial mausoleum, such as Diocletian’s, and the Early Christian Sta. Costanza. Which of the
following is being described?
a.
Sant’Ambrogio, Milan
b.
San Giovanni Baptistery, Florence
c.
San Miniato al Monte, Florence
d.
Modena Cathedral
69. The use of ____ characterizes Tuscan Romanesque monuments such as San Miniato al Monte and San
Giovanni.
a.
historiated capitals
b.
animal interlace
c.
enamel
d.
patterned marble incrustation
70. The Romanesque church that had a wooden ceiling like those found in Early Christian basilicas was
which of the following?
a.
San Miniato, Florence
b.
St.-Pierre, Moissac
c.
Durham Cathedral
d.
Sant’Ambrogio, Milan
71. At Sant’ Angelo in Formis the continuity of the ancient tradition of decorating walls with ____ can be
seen.
a.
mosaics
b.
frescoes
c.
niches
d.
arcades