Multiple choice in 1401 an important competition was held to determine the design of the Baptistery doors for the Cathedral of Florence. Even at this early date Renaissance traits were evident. Which of the following is one of those traits?
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Chapter 21 Italy, 1400 To 1500 MULTIPLE CHOICE 1. In 1401 an important competition was held to determine the design of the Baptistery doors for the Cathedral of Florence. Even at this early date Renaissance traits were evident. Which of the following is one of those traits?
Answer: b 2. Ghiberti’s competitive panel for the Baptistery doors of the Florence Cathedral shows classical references that reflect influences of humanism. Which of the following is a classical reference seen on Ghiberti’s panel?
Answer: d 3. In Ghiberti’s Isaac and his Sons from the east doors of the Baptistery, he arranged the figures in front of grandiose architecture. Which of the following architects stated, “the grandeur of the architecture reflects the dignity of the events shown in the foreground”?
Answer: c 4. Which of the following describes the Medieval narrative method?
Answer: a 5. Which of the following describes Ghiberti’s use of the Medieval narrative method in his Baptistery panel?
Answer: c 6. Which of the following artists actively collected Classical sculpture?
Answer: b 7. Which of the following works represented the beginning of the process of separating architectural sculpture from its architectural setting or niche?
Answer: c 8. Donatello was commissioned to create five statues for the bell tower (Campanile) of Florence Cathedral. How did he design these figures in relation to the height factor?
Answer: b 9. How does Gentile da Fabriano reconcile the Adoration of the Magi with the current trends in Florentine Renaissance art?
Answer: d 10. How did Masaccio create a sense of bulk for his figures in the Tribute Money?
Answer: a 11. In Masaccio’s Expulsion of Adam and Eve from Eden Adam’s feet clearly come into contact with the ground. Which of the following is the interpretation for this?
Answer: b 12. In Masaccio’s Trinity there is a coffered barrel-vault reminiscent of which of the following?
Answer: c 13. In Masaccio’s Trinity, he embodies two principal Renaissance interests. One is realism based on observation. Which of the following is the other?
Answer: a 14. In Masaccio’s Trinity, the vanishing point can be found at which of the following?
Answer: c 15. Which of the following artists was the winner of the famous competition for the bronze doors of the Florence Baptistery? a. Donatello b. Ghiberti c. Brunelleschi d. Nanni di Banco Answer: b 16. Which of the following architects wrote influential treatises on painting and architecture? a. Brunelleschi b. Michelozzo c. Alberti d. Vitruvius Answer: c
b. Pollaiuolo c. Fra Angelico
Answer: c 18. The fifteenth-century Italian artist whose work showed the most influence of the International style was ______________. a. Masaccio b. Gentile da Fabriano c. Andrea del Castagno d. Pollaiuolo Answer: b 19. Which of the following individuals denounced humanist philosophy? a. Marsilio Ficino b. Piero della Francesca c. Savonarola d. Lorenzo de’ Medici Answer: c 20. The development of linear perspective is generally credited to ____________. a. Donatello b. Brunelleschi c. Uccello d. Ghiberti Answer: b
b. Palazzo Medici-Riccardi c. Pazzi Chapel d. Santo Spirito Answer: c 22. Which Italian city played the most important role in the development of Renaissance ideas and art forms in the early fifteenth century? a. Venice b. Florence c. Siena d. Rome
23. Which of the following accounts for the decline in the role Florence played in the support of the arts at the end of the 15th century?
Answer: d 24. Which of the following was the most prominent patron of fifteenth-century Florentine art? a. Medici family b. Pazzi family c. Riccardi family d. Gonzaga family Answer a 25. The style of Ghiberti can be characterized as a rhythmic, unified system for depicting space. He is further credited with which of the following? a. heavy reliance on Medieval sculptural elements b. continued use of Gothic frames c. realism in characterization, movement, and surface detail d. posing his figures in the architectural space he created Answer: c 26. Which of the following artists departed from the rule of frontality that dominated sculpture since the Middle Ages? a. Piero della Francesca b. Paolo Uccello c. Pollaiuolo d. Andrea del Castagno Answer: c 27. The Classical principle of contrapposto, or weight shift, was reintroduced into Western art by the sculptor ______________. a. Ghiberti b. Verrocchio c. Pollaiuolo d. Donatello Answer: d
b. To create a visual expression of his authority c. To challenge the Medici as the leading patron of the arts in Italy d. to create a tribute to his wife Answer: b 29. In Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter, the artist has reminded the viewer of the link between Constantine, St. Peter, and the basilica of St. Peter. Which of the following is the vehicle used as that reminder? a. the triumphal arches in the background b. the Pantheon –like temple in the background c. the key dangling from Peter’s hand d. the great marble piazza in the background Answer: a 30. Which of the following describes the style of Fra Angelico? a. lush and opulent b. scientifically precise c. simple and direct d. dynamic and complex
b. Signorelli c. Mantegna d. Perugino Answer: b SHORT ANSWER 32. In Castagno’s Last Supper, where does Judas appear and why? Answer: He is separated from the other Apostles in order to clearly identify him as the betrayer. 33. Who was Erasmo da Narni, and what was his nickname? Explain its significance. Answer: He was a Venetian condottiere. Donatello had been commissioned by the city fathers to create an equestrian statue of Erasmo. He was known as Gattamelata or “honeyed cat” which was a play on his mother’s name Melania Gattelli. The commission was a visible signal of the city’s gratitude to Gattamelata for his leadership. 34. The Ruccellai family commissioned a new facade for Santa Maria Novella a thirteenth century Florentine church. Why is the façade significant? Answer: Alberti created an ingenious solution to a difficult design problem. He incorporated the organizational principles of Renaissance architecture onto a medieval structure. He reconciled the structure to the new façade by unifying the façade with classical elements that compliment the original medieval elements: the classical volutes complement the medieval rose window. 35. Piero della Francesca produced the fresco cycle in San Francesco, Arezzo. Why is this fresco cycle significant? Answer: He allowed the architectural background to organize and control the groupings of figures. As the architectonic nature of the work begins to unfold, the mood of the cycle takes on a solemnity and stillness that compliments the theme. It becomes spatially clear and precise. 36. Who was Savonarola? Answer: Savonarola was a late 15th century Dominican monk who preached in Florence and denounced the Medici. He claimed they had corrupted the city and were the cause of the current military incursions initiated by the French. He also condemned humanism and called for the destruction of all things related to humanism. Fortunately his span of power and influence was not lengthy. However some scholars attribute Florence’s decline as the leading center for culture to Savonarola’s leadership. 37. What is the significance of Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter? Answer: The papacy predicated its claims of infallibility and authority on this event. This work becomes the visible expression of papal authority. In addition, Perugino organized the action and the space incorporating the artistic knowledge acquired in this century and uniting it with humanist ideals. 38. What was the importance to an artist of a papal invitation to Rome? Answer: It was considered an honor to be invited to serve the papacy. Many artists enjoyed the reputation they garnered from such an invitation. Many artists upon returning home enjoyed increased patronage and commissions. 39. Why was Mantua important to art history in this period? Answer: Located in northern Italy, its famous condottiere, Ludovico Gonzaga, determined after a papal visit to transform Mantua into a cultural capital. He set about that very purpose. He understood the value of the visual statement as an enhancement to power and leverage. He employed well-respected artists, among them Andrea Mantegna. He also commissioned a fresco series for his residence, which reiterated his power and his dynasty. 40. How was Signorelli influential? Answer: His interests in portraying muscular bodies in violent actions expressed visually horrific consequences and great emotion. He fits the twisting figures into a coherent presentation. He showed great skill in presenting the foreshortened human figure in action. Signorelli furthered the developments initiated by Pollaiuolo in presenting a variety of poses and foreshortenings of the human figure. 41. What is significant about Nanni di Banco’s Four Crowned Saints? Answer: The artist positioned the figures in a semicircle within the niche and had them relate to each other by posture and gesture. He created a unified composition not tied to the niche or the architecture. 42. How does Masaccio respond to the element of taxation or catasto in the Tribute Money? Answer: Scholars have suggested that the narrative in the Tribute Money is perhaps a support for just such a tax. Masaccio has depicted St. Peter finding the tax money in the mouth of a fish and paying the tax collector. However, the considerable wealth of the patron Felice Brancacci seems to indicate a less than active support for taxes in any shape or form. So the determination for narrative value of this fresco is still under debate. 43. What does the interior of Santo Spirito exemplify? Answer: It illustrates the Renaissance spirit of faith in reason rather than emotion. 44. How did Masaccio impact 15th century Florence? Answer: His artistic adjustments, such as pictured space to the position of the viewer allowed current and subsequent artists to fully explore the advantages of such tools. His ability to create illusion as a measured, rational coherent statement also allowed further explorations. Masaccio laid the foundation for perspective but also for a unified and harmonious monumental composition, which was fully realized in the 16th century. 45. What features characterize the work of Domenico Ghirlandaio? Answer: Ghirlandaio was a synthesizer, not an innovator. His work provides an excellent picture of Florence at the end of the fifteenth century. He depicted detailed representations of the life, pageantry, costume, and material wealth of the citizens. 46. How did Donatello shift interest in the depiction of the nude? Answer: Donatello reinvented or rediscovered the classical nude. Even though his figure of David is biblical, he used the relaxed contraposto and proportions of Praxitelean classicism. He invoked classical formats and furthered the pursuit of humanist ideals. He reintroduced the nude back into the artistic vocabulary. 47. Briefly describe the contributions of Lorenzo de’ Medici. Answer: He was considered the greatest patron of art in fifteenth-century Florence. Lorenzo used his wealth and position to shape the political structure of Florence. He used the Medici wealth to commission art and architecture on a scale rarely seen. His court was a center of learning and humanism. He and his family contributed to the Renaissance ideal by supporting artists and funding great projects. 48. How was the Medici commission of the statues of David significant? Answer: The family was aligning itself visually with the city of Florence by identifying themselves with the symbol of Florence. They became responsible servants for the city’s interests and prosperity. The family commissioned the statues from both Donatello and Verrocchio. Both artists were recognized for their sculpture and the Medici commissions further emphasized their commitment to the city-state of Florence. 49. Describe linear perspective. Answer: Linear perspective is a mathematically based system that creates a window into space in which all parallel lines that are perpendicular to the picture plane converge at a single point known as the vanishing point, which falls on the horizon. 50. What caused a revival of portraiture in the fifteenth century? Answer: Humanism’s emphasis on individual achievement and recognition. 51. How did Gentile da Fabriano reflect the International style in the first half of the fifteenth century? Answer: He created gorgeous surfaces and sumptuously costumed figures representing all the pomp and circumstance of chivalric etiquette. He used rich color and gold to enhance the scene. But Gentile da Fabriano also inserted into this work, for example the Adoration of the Magi, current elements that indicated that he was aware of the experimental trends in 15th century Florentine art. SAMPLE ESSAY QUESTIONS52. Describe Donatello’s contribution to the sculpture of the fifteenth century. Use examples to support your essay. Answer: pages 546-547, 545-546, 549, 550-551. 53. Explain the effect Florentine patronage had on the development of fifteenth-century art. Use at least three examples to support your essay. Answer throughout the chapter. 54. Describe the impact humanism and its attendant philosophy had on the work of Botticelli and Perugino. Use examples to support your essay. Answer: pages 541-542, 559-560, 568. 55. Contrast the work of Donatello and Verrocchio. How does each artist respond to the aesthetics of the Renaissance tradition? Use examples to support your essay. Answer: pages 545-546, 549-550. 56. How does this statement by Ghiberti, “I strove to imitate nature as closely as I could...” reflect the development of art in fifteenth century Italy? Use examples to support your essay. Answer found throughout the chapter. 57. How does the Trinity by Masaccio express 15th century Renaissance humanism? Include in your essay examples from two other artists who express the same humanist ideals. Did they express humanism in the same way? Use examples to support your essay. Answer found throughout the chapter. 58. How did perspective shape Renaissance art? Discuss three examples. Answer found throughout the chapter. 59. How did central-plan church design express Renaissance ideals? How did architects reflect Renaissance ideals using other church plans? Use examples to support your essay. Answer: pages 562-567. 60. Explain the extent to which Alberti realized the principles of his theoretical writings in the architecture of specific buildings he designed. Answer: pages 566-567. 61. How did the competition for the Baptistery doors of the Cathedral of Florence shape the Renaissance tradition in 15th century Italy? Use examples to support your essay Answer found throughout the chapter. SLIDE IDENTIFICATION 62. (Figure 21-31) a. Alberti b. Michelozzo c. Lombardo d. Brunelleschi Answer: d 63. (Figure 21-27) a. Botticelli b. Fra Angelico c. Filippo Lippi d. Castagno Answer: a 64. (Figure 21-24) a. Mantegna b. Perugino c. Ghirlandaio d. Botticelli Answer: c 65. (Figure 21-46) a. Mantua b. Rimini c. Florence d. Urbino Answer: a 66. (Figure 21-2) a. door panel Siena Cathedral b. door panel St. Peter’s, Rome c. competitive panel Santa Croce d. competitive panel Baptistery, Florence Answer: d 67. (Figure 21-11) a. Donatello b. Ghiberti c. Brunelleschi d. Pollaiuolo Answer: b 68. (Figure 21-30) a. Alberti b. Ghiberti c. Brunelleschi d. Michelozzo Answer: c 69. (Figure 21-40) a. Mantegna b. Perugino c. Signorelli d. Botticelli Answer: b 70. (Figure 21-12) a. Rossellino b. Desiderio c. Verrocchio d. Donatello Answer: d 71. (Figure 21-36) a. Brunelleschi b. Michelozzo c. Alberti d. Sangallo Answer: b 72. (Figure 21-35) a. Pazzi Chapel b. Ospedale degli Innocenti c. Santo Spirito Answer: a 73. (Figure 21-16) a. Leonardo Bruni b. Gattamelata c. Colleoni d. Pippo Spano Answer: c 74. (Figure 21-48) a. Sacra conversazione b. di sotto in sù c. chiaroscuro d. entablature Answer: b 75. (Figure 21-5) a. St. Mark b. David c. St. Sebastian d. St. James Answer: a 76. (Figure 21-4) a. Donatello b. Nanni di Banco c. Verrocchio d. Pollaiuolo Answer: b 77. (Figure 21-28A) a. Mantegna b. Perugino c. Signorelli d. Botticelli Answer: d
b. Desiderio c. Verrocchio d. Donatello Answer: a
b. Perugino c. Mantegna d. Botticelli Answer: c
Answer: c 81. (Figure 21-40A)
Answer: b SLIDE QUESTIONS82. What are the Roman and Northern European influences seen in this work? How did Piero come into contact with them? Answer: Piero della Francesca, Battista Sforza and Federico da Montefeltro (21-42A) Piero would have been familiar with Northern European developments because Federico employed Flemish painters at his court. But Piero depicted the Urbino condottiere and his wife in profile, in part to emulate the profile portraits of Roman rulers on coins (FIG. 10-81), which Renaissance humanists avidly collected. The backs of the panels also bear paintings. They represent Federico and Battista in triumphal chariots accompanied by personifications of their respective virtues, including Justice, Prudence, and Fortitude (Federico) and Faith, Charity, and Chastity (Battista). The placement of scenes of triumph on the reverse of profile portraits also emulates ancient Roman coinage.
Melozzo’s debt to Masaccio (FIG. 21-20) as well as to his teacher, Piero della Francesca (FIGS. 21-42 and 21-43), is evident in his weighty and solemn figures and in his interest in employing perspective to unify the painted space of his fresco with that of the surrounding room. A steady rhythm of piers rendered in precise linear perspective leads the eye farther into the background. To enhance the illusionism, Melozzo painted Platina’s cloak spilling over the inscription at the bottom of the fresco. 77. How do these portraits resemble each other, and how do they differ? Answer: Verrocchio’s Colleoni (Figure 21-16) and the Roman equestrian portrait of Marcus Aurelius (Figure 10-59). The Marcus Aurelius of the second century CE predates the Colleoni, which was created in the second half of the fifteenth century. Both statues represent rulers and military leaders. The differences are not great, yet each work is characteristic of its respective period. The Colleoni represents the larger-than-life condottiere, who rules with power and might and shows no mercy. Marcus Aurelius represents a thoughtful Caesar who understands the term “empire” and all it encompasses. He is a ruler who is a statesman and leader while Colleoni is brutality and merciless might. 78. How does the renovation of this church by Alberti demonstrate his ideas about Classical form and harmonic relationships between parts? Answer: Alberti, facade of Santa Maria Novella (Figure 21-39). Alberti designed a small, pseudo-Classical, pediment-capped temple front for the upper part of the facade and supported it with a broad base of pilaster-enframed arcades. The height of the facade equals the width, so that the entire structure can be contained in a square. The upper portico is exactly one-fourth the size of the main square, while a cornice separates the two halves of the main square. The segments of the lower portion are all created in sizes that can be expressed in a simple numerical relationship to the whole. 79. How is this portrait significant? Answer: Ghirlandaio Giovanna Tornabuoni (Figure 21-25). In this portrait the artist summarizes the state of Florentine art. Ghirlandaio has presented a careful character reading of the young woman. The portrait also tells the viewer the value of the cultivation of beauty and courtly manners as well as the humanist tradition was held in Florentine society. 80. How did this work reflect traditions of portraiture during the period? Answer: Donatello, Gattamelata (Figure 21-15). By not representing Gattalmelata as larger than life, Donatello, emphasized the character of the man. He did not create a heroic monument, but a portrait representing an Italian military leader, an utterly confident condottiere and a man of his times. 81. How do these images symbolize Florence? Answer: Donatello, David (Figure 21-12), and Verrocchio, David (Figure 21-13). Donatello’s contemplative nude re-creates the Classical prototype. His David has the closed, quiet silhouette seen in Praxitelean nudes. Verrocchio’s David conforms to the traditional representation. However both figures symbolize the state of Florence and its adherence to the humanist ideals. Humanist ideals represented a return to classicism yet tempered with the energy of a 15th century power broker. Both images represented 15th century Florence. 82. How does the work represent logical space? Answer: Masaccio, Holy Trinity (Figure 21-20). We look down on the tomb and up at the architecture and Trinity. Masaccio uses perspective to differentiate between the sacred and the profane realms. Yet he delineates for the viewer the logical placement of the figures in rational space based on factual observation. 83. What major change had taken place in the representation of pictorial space as seen in this work? Answer: Ghiberti, Isaac and his Sons, Gates of Paradise, Baptistery Doors, Florence (Figure 21-11). Perspective had been invented. In the panel Ghiberti created a deep, logical space. Although he placed the major figures in a parallel plane in front of the architecture rather than fully utilizing the space, he did place several smaller figures within it to relieve any uncertainties. The viewer experienced very little confusion because of the careful and subtle placement of the each grouping within the whole scene. 84. In what ways does the plan of this building reflect the ideal forms of Renaissance architecture? Answer: Brunelleschi, Pazzi Chapel, Plan (Figure 21-34). The building nearly realized the centralized plan that was to fascinate Renaissance architects. The emphasis was on the central, dome-covered space. The wall was articulated with simple, geometric, modular forms that can be related with simple arithmetic ratios. 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