Arth Exam 3 - Byzantine Art - Quiz, Flashcards & Trivia

1. Who were the architects of Hagia Sophia in Constantinople?

Ictinus and Callicrates

Frank Gehry and Zaha Hadid

- anthemius of tralles and isidorus of miletus hagia sophia, constantinople- Byzantine- 532- 537

Leonardo da Vinci and Michelangelo

Hagia Sophia in Constantinople (now Istanbul) was built by Anthemius of Tralles and Isidorus of Miletus in the Byzantine period between 532-537. None of the other architects listed were involved in the construction of Hagia Sophia.

Explanation

Hagia Sophia in Constantinople (now Istanbul) was built by Anthemius of Tralles and Isidorus of Miletus in the Byzantine period between 532-537. None of the other architects listed were involved in the construction of Hagia Sophia.

2. Early Christian and Byzantine churches are typically decorated in this medium:

Fresco

Wood carving

Oil painting

Mosaic

Early Christian and Byzantine churches are known for their intricate mosaic decorations, which involve the use of small colored tiles or glass pieces to create intricate designs on walls, ceilings, and floors. Frescoes are also common in these churches, but mosaics are more prevalent in Byzantine art.

Explanation

Early Christian and Byzantine churches are known for their intricate mosaic decorations, which involve the use of small colored tiles or glass pieces to create intricate designs on walls, ceilings, and floors. Frescoes are also common in these churches, but mosaics are more prevalent in Byzantine art.

3. Mosaics may use tesserae of glass and gold deliberately placed at irregular angles to create this effect:

The gold glitters & gives effect of heavenly glow

Results in a messy and unorganized visual effect.

Causes the mosaic to lose its shine and reflective properties.

Creates a dull appearance due to the irregular angles.

Mosaics often incorporate tesserae of glass and gold at irregular angles to create a striking effect of heavenly glow, enhancing the overall aesthetic appeal of the piece.

Explanation

Mosaics often incorporate tesserae of glass and gold at irregular angles to create a striking effect of heavenly glow, enhancing the overall aesthetic appeal of the piece.

4. Churches in the ______ tend to be in basilica form and churches in the ______ tend to use a central plan.

West, East

North, South

Modern, Ancient

City, Countryside

The correct answer refers to the architectural traditions seen in churches based on their geographical location. Churches in the West, primarily in Europe and the Americas, historically follow a basilica form characterized by a long rectangular shape with a central aisle and a raised platform for the clergy. On the other hand, churches in the East, including regions like Byzantium and modern-day Middle East, tend to use a central plan where the focus is on a central domed space symbolizing unity and heavenward aspiration.

Explanation

The correct answer refers to the architectural traditions seen in churches based on their geographical location. Churches in the West, primarily in Europe and the Americas, historically follow a basilica form characterized by a long rectangular shape with a central aisle and a raised platform for the clergy. On the other hand, churches in the East, including regions like Byzantium and modern-day Middle East, tend to use a central plan where the focus is on a central domed space symbolizing unity and heavenward aspiration.

5. How does the artist create the effect of Justinian in San Vitale being described as having no physical form or earthly space, but as existing in an eternal present?

Dynamic poses with exaggerated movements

Three-dimensional sculptural relief depicting realistic muscle tone

Very flattened figures, w/o modeling, feet seem to float with pointed toes

Highly detailed facial features and pronounced shadows

The correct answer describes the artist's technique of using very flattened figures without modeling, which gives the impression of the figures existing in an eternal present without physical form or earthly space. The incorrect answers, which include high detail, three-dimensional sculptural relief, and dynamic poses with exaggerated movements, do not align with the specific artistic choices made by the artist in San Vitale.

Explanation

The correct answer describes the artist's technique of using very flattened figures without modeling, which gives the impression of the figures existing in an eternal present without physical form or earthly space. The incorrect answers, which include high detail, three-dimensional sculptural relief, and dynamic poses with exaggerated movements, do not align with the specific artistic choices made by the artist in San Vitale.

6. What are Justinian and Theodora holding and why?

Scrolls & quills - signifying their dedication to laws and governance.

Scepter & crown - symbols of their power and authority.

A loaf of bread & cup of wine - elements of the sacrament of the eucharist transformed into body & blood of Christ. Emperor & Empress are main actors in this important ritual

Sword & shield - representing their roles as protectors of the empire.

The correct answer refers to the ritual of the eucharist, a central sacrament in Christianity where bread and wine are transformed into the body and blood of Christ. Justinian and Theodora, as Emperor and Empress, play a key role in this ceremony.

Explanation

The correct answer refers to the ritual of the eucharist, a central sacrament in Christianity where bread and wine are transformed into the body and blood of Christ. Justinian and Theodora, as Emperor and Empress, play a key role in this ceremony.

7. What is the architectural feature that makes a transition between the square nave and circular dome in Hagia Sophia?

Pendentive

Flying buttress

Arcade

Cantilever

In Hagia Sophia, the triangular pendentives help support the weight of the circular dome above the square base of the building, allowing for a seamless transition between the different shapes.

Explanation

In Hagia Sophia, the triangular pendentives help support the weight of the circular dome above the square base of the building, allowing for a seamless transition between the different shapes.

8. What gives the dome of Hagia Sophia the appearance of floating?

The dome is equipped with optical illusions.

The dome is made of lightweight materials.

The dome is suspended by invisible wires.

A row of closely spaced windows at the base

The row of closely spaced windows at the base of the dome provides the illusion of it floating due to the abundance of natural light entering the space.

Explanation

The row of closely spaced windows at the base of the dome provides the illusion of it floating due to the abundance of natural light entering the space.

9. Procopius describes the church, and suggests that the purpose of the design and decoration is ___

To intimidate and instill fear in worshippers

To showcase the wealth and power of the church

One's mind is "lifted up towards God...feeling that He cannot be far away"

To distract worshippers with intricate details and decorations

Procopius believed that the design and decoration of the church were intended to create a sense of closeness to God and elevate the mind towards divine presence.

Explanation

Procopius believed that the design and decoration of the church were intended to create a sense of closeness to God and elevate the mind towards divine presence.

10. In a 6th Century ivory in the British Museum, the presence of St. Michael is described as compelling because of its disembodied quality; how does the artist create this effect?

Glowing halo above St. Michael's head.

Detailed facial features of St. Michael.

Inconsistent relationship between the figure & architecture (arms in front of & feet behind the columns)

Use of bright colors to make the figure stand out.

The correct answer highlights the specific artistic choice of creating a disconnect between the figure of St. Michael and the architectural elements in the artwork, which contributes to the disembodied quality.

Explanation

The correct answer highlights the specific artistic choice of creating a disconnect between the figure of St. Michael and the architectural elements in the artwork, which contributes to the disembodied quality.