CHAPTER 9—BYZANTIUM
MULTIPLE CHOICE
1. Who was the founder of the “New Rome” of the East?
a.
Diocletian
b.
Constantine
c.
Julian
d.
Theodosius I
2. Which of the following features is of Byzantine origin and was never incorporated in San Vitale?
a.
apse
b.
iconostasis
c.
ambulatory
d.
vault
3. The dome of the Hagia Sophia is supported by ____.
a.
squinches.
b.
pendentives.
c.
vaults.
d.
bemas.
4. The medium used for the icon of the Virgin and Child between St. Theodore and St. George is which
of the following?
a.
encaustic
b.
oil on panel
c.
mosaic
d.
fresco
5. Theodora’s presence in the mosaic program of San Vitale indicates her importance and unique position
within the court of Justinian. The representation of the Three Magi on the border of her robe also
suggests she ____.
a.
belongs here as Empress
b.
belongs in the elevated company
c.
belongs here as wife to Justinian
d.
belongs here because of her patronage
6. Justinian’s position on the north wall of the apse of San Vitale is somewhat ambiguous. He appears to
be slightly behind the bishop, yet the paten he carries overlaps the bishop’s arm. This indicates the
____.
a.
unimportance of Bishop Maximianus
b.
importance of the State
c.
force of Justinian’s character
d.
balance between Church and State
7. The flight of Byzantine scholars in 1453, introduced the study of classical Greek into Italy. Which of
the following accounts for this?
a.
the renewed interest in Byzantium
b.
the formalization of political treaties with Byzantium
c.
the renewed interest in the West
d.
the fall of Byzantium
8. The nave of the Hagia Sophia was exclusively reserved for the clergy. The laity or congregation was
confined to the aisles and galleries. Based on this information, what accounts for the symbolical unity
of Church and State?
a.
the emperor and empress were the only laity privileged to enter the sanctuary
b.
the emperor was the only layperson privileged to enter the sanctuary
c.
the First Counselor and the emperor were the only laity privileged to enter the sanctuary
d.
the Imperial Council were the only laity privileged to enter the sanctuary
9. What region did Byzantium Christianize?
a.
Lombardy
b.
Russia
c.
Syria
d.
Egypt
10. What church combines the intricacies of Greek theology, the ambitious architectural scale of Rome,
the vaulting tradition of the Near East, and the mysticism of Eastern Christianity in order to create a
monument that is the summation of antiquity and the triumph of Christianity?
a.
San Vitale
b.
Sts. Sergius and Bacchus
c.
Church of the Dormition, Daphni
d.
Hagia Sophia
11. The mosaic program found in the apse of San Vitale supports the Byzantine theme of the holy
ratification of Church and State. The presence of which figures in the mosaic program supports this
theme?
a.
Christ and Saint Vitalis (San Vitale)
b.
Saint Vitalis (San Vitale) and Justinian
c.
Bishop Maximianus and Justinian
d.
Christ and Justinian
12. The images and symbols found in the sanctuary from San Vitale express the single theme of ____.
a.
the Nativity
b.
Christ’s Crucifixion
c.
Christ’s redemption of humanity
d.
the Martyrdom of Saint Vitalis (San Vitale)
13. The monastic movement began in ____ in the third century.
a.
Egypt
b.
Syria
c.
Rome
d.
Constantinople
14. It is said the Ascension from the Rabbula Gospels is not an illustration of the Gospels but rather an
illumination. Which of the following validates this assertion?
a.
the presence of Mary Magdalene
b.
the presence of the Virgin
c.
the absence of St. John the Apostle
d.
the portrait of the monk Rabbula
15. Where would a squinch most likely be found?
a.
as part of a column
b.
supporting a dome
c.
guarding the entry
d.
at the entrance of a chapel
16. The seventh and eighth centuries were a period of turmoil for Byzantium. This period saw the loss of
the Eastern provinces to conquest under the banner of Islam. These events persuaded Emperor Leo III
that God was punishing the Empire for its idolatrous worship of icons. Based on this what did Leo III
initiate?
a.
He formally prohibited the use of images.
b.
He formally petitioned prayers from the Patriarch.
c.
He formally charged the Imperial workshops to increase production of images.
d.
He formally charged the population to increase their worship of images.
17. In place of images the iconoclasts used only symbolic forms already familiar in Early Christian art.
Which of the following symbolic forms would be acceptable?
a.
a bearded Christ on the Cross
b.
the Holy family
c.
vacant Throne of God
d.
the Transfiguration
18. Basil I undertook the repair of damage done during the Iconoclasm. How was this repair initiated?
a.
by dedicating a new mosaic in Hagia Sophia
b.
by seeking an alliance through marriage with Charlemagne
c.
by formalizing relations with the Ottomans
d.
by commissioning a new royal chapel
19. The dome on the Katholikon, Hosios Loukas is formed by ____.
a.
pendentives
b.
bemas
c.
supporting octagons
d.
squinches
20. The image of Christ as the Pantokrator refers to his role as ____.
a.
Redeemer
b.
Savior
c.
Lamb of God
d.
Last Judge
21. The Middle Byzantine artist assimilated classicism’s simplicity, dignity, and grace and synthesized it
with Byzantine piety and pathos. Which of the following follows this formula?
a.
Virgin and Child Enthroned, Hagia Sophia
b.
Virgin and Child between Sts. Theodore and George, Monastery St. Catherine
c.
Anicia Juliana, Vienna Dioskorides
d.
Crucifixion, Church of the Dormition, Daphni
22. Whose relics were obtained from Egypt for Venice?
a.
St. Matthew
b.
St. Mark
c.
St. Luke
d.
St. John
23. The interior mosaic program for St. Mark’s has explanatory labels written in both Greek and Latin.
What accounts for this?
a.
It accommodates the needs of Venice’s diverse population.
b.
It reflects the political ambitions of the bishop of Venice.
c.
It reflects Venice’s position as a link between East and West.
d.
It accommodates the needs of the Patriarch of Constantinople.
24. In the cathedral of Monreale, a mosaic panel depicts William II standing next to the Enthroned Christ,
who, in turn, places his hand on William’s crown. Based on this theme, does this panel commemorate?
a.
the divine right to rule.
b.
the expulsion of the Arabs from Sicily.
c.
the relationship between Venice and Sicily.
d.
William II.
25. In the semi-dome of the apse, the architectural focus of the cathedral of Monreale is another allusion to
William’s right to rule. Which of the following figures would support that allusion?
a.
the enthroned Theotokos
b.
the archangels
c.
the Twelve Apostles
d.
the Pantokrator
26. The emotional impact of Christ’s death can be seen in the wall painting of the Lamentation over the
Dead Christ found in St. Pantaleimon, Nerezi. Which two figures in the painting support this assertion
by their gestures?
a.
Joseph of Arimathea and Nicodemus
b.
Martha and Mary
c.
Mary and John
d.
Lazarus and Peter
27. The so-called “Macedonian Renaissance” is reflected in the Paris Psalter. Which of the following
supports this assertion?
a.
It was inspired by the Late Imperial tradition of the pre-Christian world.
b.
It was inspired by the Classical tradition of the pre-Christian world.
c.
It was inspired by the Early Christian tradition of the Mediterranean world.
d.
It was inspired by Hellenistic naturalism of the pre-Christian world.
28. Which of the following events changed the fortunes of Byzantium in the final or Late Byzantine
period?
a.
the defeat of the Sasanians in 1261
b.
the Seljuk Turks captured most of Anatolia
c.
William II of Sicily sought an alliance with Constantinople
d.
a successful treaty was negotiated between Constantinople and Rome
29. What accounts for the fragmentary knowledge of Byzantine art prior to the ninth century?
a.
The Ottoman Turks invasion of Constantinople
b.
The Second Crusade
c.
The Iconoclasm
d.
The Seljuk Turks capture of Anatolia
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
30. (Figure 9-5)
a.
Hagia Sophia
b.
San Vitale
c.
Santa Costanza
d.
St. Mark’s
31. (Figure 9-20)
a.
S. Apollinare en Classe
b.
Katholikon
c.
St. Pantalemion
d.
Daphne Monastery
32. (Figure 9-18)
a.
Vladimir Madonna
b.
Madonna of St. Catherine
c.
Theotokos between Sts. Theodore and George
d.
Madonna of Compassion
33. (Figure 9-18)
a.
tempera
b.
encaustic
c.
pastel
d.
oil
34. (Figure 9-26)
a.
San Vitale
b.
Hagia Sophia
c.
St. Dimitri
d.
St. Mark’s
35. (Figure 9-5)
a.
St. Peter’s, Rome
b.
churches of Hosios Loukas, Greece
c.
Hagia Sophia, Constantinople
d.
Annunciation Cathedral, Moscow
36. (Figure 9-15)
a.
Mausoleum of Galla Placidia, Ravenna
b.
S. Apollinare en Classe, Ravenna
c.
Santa Pudenziana, Rome
d.
Pala d’Oro, Venice
37. (Figure 9-35)
a.
oil on wood
b.
tempera on wood
c.
encaustic
d.
mosaic on wood
38. (Figure 9-14)
a.
Early Christian
b.
Early Byzantine
c.
Middle Byzantine
d.
Late Byzantine
39. (Figure 9-27)
a.
Italy
b.
Russia
c.
Turkey
d.
Sicily
40. (Figure 9-17)
a.
Paris Psalter
b.
Vatican Vergil
c.
Rabbula Gospels
d.
Rosanno Gospels
41. (Figure 9-16)
a.
Pentecost
b.
Ascension
c.
Lamentation
d.
Transfiguration
42. (Figure 9-13)
a.
Justinian
b.
Theodosius I
c.
Basil I
d.
John VII Palaeologus
43. (Figure 9-2)
a.
wood
b.
marble
c.
ivory
d.
ebony
44. (Figure 9-33)
a.
Late Byzantine
b.
Early Byzantine
c.
Middle Byzantine
d.
Early Christian
45. (Figure 9-34)
a.
Annunciation
b.
Visitation
c.
Epiphany
d.
Anastasis
46. (Figure 9-32A)
a.
Middle Byzantine
b.
Early Christian
c.
Late Byzantine
d.
Early Byzantine
47. (Figure 9-35A)
a.
rug
b.
tugrah
c.
caftan
d.
sakkos
48. (Figure 9-27A)
a.
Istanbul
b.
Palermo
c.
Thessaloniki
d.
Venice
49. (Figure 9-26A)
a.
gold cloisonné inlaid with stones
b.
gold, silver gilt, and cloisonné enamel
c.
satin embroidered with gold and silver thread
d.
ivory and wood
50. (Figure 9-14A)
a.
psyxis of Plotinus
b.
throne of Maximus
c.
large sakkos of Photius
d.
throne of Maximianus
SHORT ANSWER
1. Explain the importance of Basil I.
2. The phrase “consequences of iconoclasm” has significant meaning for the history of Byzantine art.
Explain the Iconoclasm and its subsequent impact on Byzantine art.
3. Describe the contributions of Justinian during the Early Byzantine period.
4. How is Mary represented in the Vladimir Madonna?
5. What is St. Catherine’s, Mount Sinai?
6. What political and religious messages are communicated by the Barberini Ivory?
7. Describe the mosaic, Theodora and Attendants from San Vitale, and explain its symbolism.
8. Why is Eulalios significant?
9. How does William II of Sicily indicate his “divine right to rule’?
10. What is the Corpus Juris Civilis?
11. How did the Byzantine emperors refer to themselves and why is this significant?
12. Why is it significant that the Anastasis is found in the parekklesion, a side chapel, in this instance a
funerary chapel, of the church of Christ in Chora?
ESSAY
1. Discuss the significance of the unification of church and state during the art of the Early Byzantine
period.
2. Discuss the roles played by the Classical style of Greece and Rome and the formalistic style of the
East in the development of Byzantine art. Use examples to support your essay.
3. Discuss the consequences of the Iconoclasm and its effect on Early Byzantine art. How did the
Iconoclasm affect Middle Byzantine art? Include in your discussion the reasons for the Iconoclasm.
Use examples to support your essay.
4. Explain the innovations Byzantine architects developed. Discuss specific features from at least three
buildings and include all three periods (Early, Middle, and Late Byzantine) in your essay. Use
examples to support your essay.
5. Compare the mosaics of St. Catherine, Sinai and San Vitale, Ravenna. What changes have been
incorporated into San Vitale and why?
6. Compare and contrast the impact Byzantium had on the arts of Venice and Sicily. Consider the
political and social climates of each area and the implications of Byzantine iconography. Use examples
to support your essay.
7. Compare the Lamentation from Nerezi and the Anastasis from the Church of Christ in Chora. How are
they different? Why? Consider the political climate for each work and why it is relevant.
8. Compare the mosaic programs developed for church interiors during the Early through Middle
Byzantine periods. Include in your essay the political as well as religious significance of the themes
and depictions. Use specific examples to support your essay.
9. Compare the Rabbula Gospels with the Paris Psalter. Consider the time frame of each work. How
does each one reflect its environment? What innovations and changes did each initiate? What
influences shaped each work? How did they, in turn, influence subsequent works?
10. Explain the evolution of the depiction of Christ in Byzantine art. How was the depiction changed and
modified? Consider the political and social climate of each period and area. What influences shaped
each work? How did these works, in turn, influence subsequent works? Use specific examples to
support your essay.
SLIDE QUESTIONS
11. How is this representative of Middle Byzantine architecture?
12. What served as the main inspiration for the plan of this church?
13. What features of this image are classical?
14. One of these buildings is Early Christian and the other Byzantine. Identify them, describe the structural
system used, and note the historical factors that might account for their similarity.
15. Which icon is earlier? What similarities do both icons share and what changes have been initiated?
What features reflect the influence of the hieratic style?
16. Describe the features of each mosaic that make it a typical example of the Early Byzantine and Middle
Byzantine styles.
17. Compare the treatment of space and form in these two manuscripts and discuss the factors that may
account for the pronounced differences in style.
18. Compare these two images and explain the representation of Christ in each image. How is each
different and what might account for the differences?
19. Compare the two images in terms of subject, location and purpose.
20. What similarities exist between these images?
21. Compare the two images. What is each scene describing? How are they alike and how are they
different?
22. Compare the two images. What is each scene describing? How are they alike and how are they
different?