Advanced Art History Cultural Influences Quiz

The Sarcophagus of the Married Couple depicts a reclining husband and wife at a banquet, reflecting Etruscan beliefs in companionship after death. Unlike Greek funerary art, which often appears solemn, this sculpture emphasizes affection and continuity of life. The relaxed posture and shared gesture symbolize marital unity and the cultural value placed on family and social bonds.

The Maison Carrée is a Roman temple built in Nîmes during the Early Empire. Its Corinthian columns, engaged sides, and raised podium derive from Etruscan architectural traditions, while the decorative order reflects Greek influence. Unlike Greek temples, it emphasizes frontal access and axial symmetry, reinforcing Roman ceremonial practices.

The sarcophagus from Santa Maria Antiqua reflects Early Christian burial practices. It combines portraiture with biblical imagery such as Jonah and the Good Shepherd. These scenes could be interpreted through both pagan and Christian lenses, demonstrating a transitional period where symbolic language communicated salvation and resurrection beliefs.

The mosaic depicts Abraham and Lot separating, symbolizing moral choice and divine favor. Created in the 5th century, it uses Classical-style figures and gold backgrounds to convey sacred meaning. The visual narrative reinforces Early Christian theology through Old Testament stories interpreted as moral exemplars.

Rebecca at the Well is part of the Vienna Genesis, an illuminated manuscript painted on parchment around 500–550 CE. It preserves Late Roman features such as continuous narrative and personified water spirits while conveying Christian themes of divine guidance and destiny through visual storytelling.

The apse mosaic at San Vitale presents Christ seated on a globe symbolizing universal authority. Surrounded by angels and church patrons, the image connects imperial power with divine rule. Created under Justinian, it exemplifies Byzantine emphasis on spirituality, hierarchy, and sacred symbolism.

The Barberini Ivory portrays Justinian as a triumphant universal ruler. He appears on horseback, accompanied by Victory and receiving tribute, symbolizing imperial dominance. The layered imagery blends Roman imperial tradition with Christian ideology, reinforcing the emperor’s divinely sanctioned authority.

The Tabara Beatus illustration exemplifies Mozarabic style from 10th-century Spain. Created by Emeterius and scribe Senior, it depicts a monastery scene using Islamic-influenced architectural forms. Bold colors and flattened space reflect cultural exchange under Islamic rule.

St. Matthew from the Ebbo Gospels reflects the Carolingian Renaissance. The figure’s expressive eyes, agitated drapery, and energetic brushwork convey divine inspiration. Patroned by Bishop Ebbo, the style revives Hellenistic emotion while serving Christian manuscript illumination.

Rebecca at the Well is an illuminated parchment manuscript intended for sacred reading. The painted narrative illustrates divine providence and salvation history. Its luxurious materials and storytelling imagery indicate its devotional function and importance in Early Christian scripture transmission.

Etruscan funerary art emphasized celebration rather than mourning. Scenes of banquets and couples highlight beliefs in social continuity after death. This contrasts with Greek funerary restraint and reveals a worldview centered on life, family, and communal identity.

Early Christian luxury manuscripts were typically made from parchment derived from calfskin. This durable material allowed vibrant pigments and fine detail. Its cost and craftsmanship signified the sacred importance of biblical texts and elite patronage.

Continuous narrative, where figures appear multiple times in a single scene, reflects Late Roman influence. This method allows sequential storytelling within one composition, guiding viewers through time and action visually rather than relying on text alone.

Emperor Justinian commissioned San Vitale during his reign. The church’s art reflects his goal of unifying empire and faith. Imperial presence within sacred imagery reinforced political authority through religious symbolism.

Roman temples differ from Greek ones by using raised podiums and frontal orientation. These features derive from Etruscan practice and emphasize processional access, aligning architecture with Roman civic and religious rituals.