CHAPTER 22—RENAISSANCE AND MANNERISM IN CINQUECENTO ITALY
MULTIPLE CHOICE
1. Leonardo painted the Virgin of the Rocks, and it is said this work is a masterpiece in expressing
emotional states. He modeled the figures with light and shadow— a technique he learned from earlier
works. Which 15th century Italian artist would have influenced Leonardo?
a.
Piero della Francesca
b.
Fra Angelico
c.
Masaccio
d.
Gentile da Fabriano
2. Leonardo’s style fully emerges in the cartoon, Virgin and Child with Saint Anne and the Infant Saint
John. Which of the following describes this work?
a.
The cartoon is ordered with pictorial logic reflecting the International Gothic style.
b.
The cartoon is ordered with pictorial logic and visual unity.
c.
The cartoon is ordered with the visual unity of the 15th century Flemish style.
d.
The cartoon is ordered with pictorial logic of Piero della Francesca.
3. In Leonardo’s Last Supper, the curved pediment above the head of Christ represents which of the
following?
a.
the Parthenon
b.
pagan Rome
c.
a halo
d.
mere ornamentation
4. In Leonardo’s Last Supper, how did the artist break with traditional iconography?
a.
By the placement of Judas on the same side as Christ and the other Disciples
b.
By including the Magdalene in the role of servant
c.
By including the Virgin seated at the table
d.
By not including Judas at all
5. Who commissioned the Tempietto?
a.
Pope Julius II
b.
Ferdinand and Isabella of Spain
c.
Henry VIII of England
d.
Lorenzo de’Medici
6. How did Michelangelo’s David become a political statement?
a.
The sheer size of the work illustrated the wealth of Florence
b.
David was the patron saint of the Gonzagas
c.
The Pope contributed to the commission
d.
The placement of figure near the west door of the Palazzo della Signoria
7. How has Michelangelo portrayed David?
a.
At the moment of victory
b.
With stern watchfulness before the battle
c.
By celebrating the defeat of Goliath
d.
By watching Goliath die
8. The Sistine ceiling represents which of the following themes?
a.
the chronology of Christianity
b.
the history of the papacy
c.
the history of Julius II
d.
the chronology of the Early Christian Church in Rome
9. Titian’s altarpiece, the Madonna of the Pesaro Family, differed from High Renaissance compositions
in central Italy in the ____.
a.
symmetrical arrangement of figures
b.
creation of a dark background
c.
placement of the figures on a steep diagonal
d.
the gesturing of figures toward the viewer
10. What is an Arcadian reverie?
a.
Greek countryside
b.
Florentine countryside
c.
Idyllic place of rural, rustic peace and simplicity
d.
Elysian Fields
11. Michelangelo’s fascination with the human body was a lifelong pursuit. In his David he presented a
perfect body with an attuned mind, prepared and ready for action. Which of the following descriptions
of this work would support this statement?
a.
It is a combination of Greek perfection and psychological insight.
b.
It is a combination of Hellenistic excess and restrained emotion.
c.
It is a combination of athletic tension and emotional excess.
d.
It is a combination of athletic tension and psychological insight.
12. Increasingly in portraiture, artists of the High Renaissance paid particular attention to the subject’s
personality and psychic state. This could also be said to describe the portraiture of which of the
following artists?
a.
Raphael
b.
Michelangelo
c.
Giulio Romano
d.
Cellini
13. His remarkable sense of color and his ability to convey light through color emerge in the altarpiece,
Assumption of the Virgin. Who was this artist?
a.
Michelangelo
b.
Raphael
c.
Titian
d.
Giorgione
14. Which of the following was the primary church for the Jesuits in Rome?
a.
St. Peter’s
b.
Il Gesù
c.
San Giorgio Maggiore
d.
Santa Maria Maggiore
15. Paul III convened the Council of Trent in 1545. It was part of which of the following?
a.
the Hundred Years War
b.
the League of Cambrai
c.
the Counter-Reformation
d.
the Hanseatic League
16. Who was Raphael’s teacher?
a.
Bronzino
b.
Andrea del Sarto
c.
Perugino
d.
Signorelli
17. The dome Bramante designed for St. Peter’s in Rome would have resembled which of the following?
a.
Pantheon, Rome
b.
Hagia Sophia, Constantinople (Istanbul)
c.
Florence Cathedral
d.
St. Mark’s, Venice
18. Of the following, who was one of the most important Roman patrons of Michelangelo?
a.
Lorenzo de’ Medici
b.
Federigo da Montefeltro
c.
Julius II
d.
Ludovico Sforza
19. Which of the following was one of the favorite compositional devices of painters of the High
Renaissance?
a.
a flat triangle
b.
a trapezoid
c.
a. pyramid
d.
an oval
20. The Neo-Platonic ideals of the Medici circle were most congenial to the thinking of which of the
following artists?
a.
Leonardo da Vinci
b.
Michelangelo
c.
Raphael
d.
Bronzino
21. In Leonardo’s Last Supper, the numerous preparatory sketches and studies he made for the work
indicate how carefully he thought about this work as a complete entity representing the entire story and
its theme. Based on this which of the following would describe Leonardo’s conceptualization of the
figures from his Last Supper?
a.
Each figure was individualized.
b.
He grouped the figures in threes and they all expressed the same emotion.
c.
He used the emotions of rage and sorrow for each figure appearing at each end of the
table.
d.
All the figures expressed only rage.
22. In Raphael’s Stanza della Segnatura, he reconciled the philosophies and teachings of Plato and
Aristotle. Which of the following have also been reconciled?
a.
Julius II and Lorenzo de’Medici
b.
Rome and Florence
c.
Rome and England
d.
Paganism and Christianity
23. The term terribilita is most often used to refer to ____?
a.
Leonardo da Vinci
b.
Michelangelo
c.
Raphael
d.
Andrea del Sarto
24. Which sculptor believed that the artist must proceed by first finding the idea⎯the image⎯locked in
the stone and then release it by chipping away the stone?
a.
Michelangelo
b.
Benvenuto Cellini
c.
Giovanni da Bologna
d.
Christoforo Foppa Caradosso
25. Which painter created dynamic compositions, often by means of swirling clouds and fitful light?
a.
Giorgione
b.
Tintoretto
c.
Giovanni Bellini
d.
Raphael
26. Which artist painted groups of soaring figures on the dome of Parma Cathedral that seemed to ascend
through rings of clouds into the sky itself?
a.
Andrea del Sarto
b.
Correggio
c.
Michelangelo
d.
Titian
27. Titian’s Meeting of Bacchus and Ariadne was most likely inspired by ____.
a.
Classical art
b.
the tradition of romance poetry
c.
the sermons of Savonarola
d.
Scholastic philosophy
28. Which of the following sculptural conventions did Michelangelo use for the figure of Moses in order
to create an expression of “awful wrath”?
a.
The straight forward pose
b.
The figure is staring down at viewer
c.
The figure is looming over the viewer
d.
The bulging muscles and swollen veins of the figure
29. Which of the following developed in 15th century Italy but fully matured in 16th century Italy?
a.
fresco
b.
manuscript illumination
c.
perspectival systems
d.
architectural standards
30. Sansovino was succeeded as chief architect of the Venetian republic by ____.
a.
Giulio Romano
b.
Michelangelo
c.
Della Porta
d.
Palladio
31. The major center for artistic development in the High Renaissance was ____.
a.
Florence
b.
Mantua
c.
Rome
d.
Parma
32. Who was instrumental in transforming the Mantua court into an important center for art and learning?
a.
Isabella d’Este
b.
Sofonisba Anguissola
c.
Isabella of Aragon
d.
Lucrezia Tornabuoni
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
33. (Figure 22-38)
a.
Leonardo da Vinci
b.
Titian
c.
Parmigianino
d.
Raphael
34. (Figure 22-54)
a.
San Giorgio Maggiore, Venice
b.
Tempietto, Rome
c.
St. Peter’s, Rome
d.
Palazzo del Tè, Mantua
35. (Figure 22-21)
a.
Bramante
b.
Palladio
c.
Michelangelo
d.
Sansovino
36. (Figure 22-10)
a.
Titian
b.
Bronzino
c.
Rosso Fiorentino
d.
Raphael
37. (Figure 22-27)
a.
Farnese Palace
b.
Palazzo Caprini
c.
Palazzo Medici-Riccardi
d.
Palazzo del Tè
38. (Figure 22-34)
a.
Andrea del Sarto
b.
Leonardo da Vinci
c.
Giorgione
d.
Giovanni Bellini
39. (Figure 22-47)
a.
Rosso Fiorentino
b.
Sofonisba Anguissola
c.
Parmigianino
d.
Bronzino
40. (Figure 22-13)
a.
Michelangelo
b.
Cellini
c.
da Bologna
d.
Donatello
41. (Figure 22-9)
a.
Leonardo
b.
Michelangelo
c.
Titian
d.
Raphael
42. (Figure 22-32)
a.
Madonna of the Goldfinch
b.
Madonna of the Harp
c.
Madonna and Child with St. Anne
d.
San Zaccaria Altarpiece
43. (Figure 22-6)
a.
pen and ink
b.
charcoal
c.
conte crayon
d.
pastel
44. (Figure 22-15)
a.
Tomb of Alexander VII
b.
Tomb of Julius II
c.
Tomb of Paul III
d.
Tomb of John Paul II
45. (Figure 22-16)
a.
Tomb of Julius II
b.
Tomb of Lorenzo de’Medici
c.
Tomb of Giuliano de’Medici
d.
Tomb of Michelangelo
46. (Figure 22-7)
a.
Raphael
b.
Leonardo
c.
Michelangelo
d.
Perugino
47. (Figure 22-40)
a.
Raphael
b.
Titian
c.
Giorgione
d.
Giovanni Bellini
48. (Figure 22-46)
a.
Bronzino
b.
da Bologna
c.
Michelangelo
d.
Pontormo
49. (Figure 22-3)
a.
Leonardo
b.
Michelangelo
c.
Raphael
d.
Giorgione
50. (Figure 22-23)
a.
Michelangelo
b.
della Porta
c.
Caradosso
d.
Vignola
51. (Figure 22-6A)
a.
Leonardo
b.
Michelangelo
c.
Raphael
d.
Giorgione
52. (Figure 22-8A)
a.
Andrea del Sarto
b.
Leonardo da Vinci
c.
Giorgione
d.
Giovanni Bellini
53. (Figure 22-30A)
a.
Bramante
b.
Palladio
c.
Michelangelo
d.
Sansovino
54. (Figure 22-26A)
a.
Bramante
b.
Palladio
c.
Michelangelo
d.
Sansovino
55. (Figure 22-54A)
a.
Last Judgment
b.
Fall of the Giants
c.
Creation of Adam
d.
Fall of the Rebel Angels
SHORT ANSWER
1. How does the work of Tintoretto reflect the Counter-Reformation?
2. What commissions did the Medici popes give to Michelangelo?
3. How does the Stanza della Segnatura reflect Western leaning?
4. How did the Medici popes’ commissions create a conflict for Michelangelo?
5. What does the Tempietto mark?
6. How did the tomb design Michelangelo created for Pope Julius II change?
7. In what ways does Michelangelo’s Last Judgment reflect a change in his beliefs from the ones that
informed his earlier frescoes on the Sistine ceiling?
8. How is Titian’s Venus d’Urbino significant?
9. How does the work of Veronese reflect Venice in the late 16th century?
10. How is Leonardo’s Virgin of the Rocks innovative?
11. What debate over medium ensued in fifteenth century?
12. What was Michelangelo’s last project for Pope Paul III?
13. How does Giorgione exemplify Poesia?
14. How did Palladio impact architecture?
15. How does the Il Gesù represent a unified plan?
ESSAY
1. Contrast three works each of Leonardo and Michelangelo. How did these two artists impact the art of
16th century Italy and Europe? Use examples to support your essay.
2. Compare Michelangelo’s David with the David of Donatello and Verrocchio respectively. Discuss the
change, if any, in the representation of the image. How did these three images reflect the artists and
their periods?
3. Explain the significance of Leonardo’s Last Supper. How did this work reflect the changes in the art of
the sixteenth century? Consider previous versions from the fifteenth century in your analysis.
4. Compare Raphael’s School of Athens with Veronese’s Christ in the House of Levi. How did each work
reflect the environments of Rome and Venice?
5. Describe the development of Mannerist sculpture. Use examples to support your essay.
6. Contrast the various manifestations of Mannerist painting.
7. How does the art of Venice contrast with that of Rome during the sixteenth century? Use examples to
support your essay.
8. What innovations occurred in portraiture in the sixteenth century and how did portraiture develop?
9. Explain the importance of the architecture of Bramante. In what way does his architecture represent
the attitudes and aesthetics of the High Renaissance? Use examples to illustrate your discussion.
OTHER
SLIDE QUESTIONS
1. What made this painting a proclaimed “marvel” by Pope Clement VII?
2. What features of this painting make it relatable with the work of Michelangelo?
3. What features reveal this artist’s Mannerist approach?
4. What features of this painting mark it as Mannerist?
5. What element of Antonio da Sangallo’s design for the Palazzo Farnese separates it from
fourteenth-century palaces?
6. What features mark this work as High Renaissance?
7. Who built this building, and what are some of the features that depart from the traditional Classical
canons and mark it as Mannerist?
8. How did the artist change the subject matter of this work?
9. How does this building differ from the architect’s other designs?
10. Why is this work Mannerist?
11. Who is this and why was she significant?