CHAPTER 15
Mannerism and the Later Sixteenth Century in Italy
Multiple-Choice Questions
1. Mannerism involved
a. twisted forms.
b. strange colors.
c. ambiguous space.
d. All these answers are correct.
Answer: d
2. ________ was NOT a Mannerist painter.
a. Pontormo
b. Parmigianino
c. Correggio
d. Michelangelo
Answer: d
3. Which is NOT a meaning related to the Mannerist style?
a. affectation
b. mannered
c. to the manner born
d. stylized
e. bizarre
Answer: c
4. “Indulgences” refer to
a. liberal child-rearing practices.
b. credits against one’s sins.
c. the 95 theses of Martin Luther.
d. the rules of the Council of Trent.
Answer: b
5. Which of the following correctly matches artist with work?
a. Parmigianino – allegory called Venus, Cupid, Folly, and Time
b. Bronzino – Madonna of the Long Neck
c. Cellini – saltcellar of Francis I
d. Giambologna – Palazzo del Tè
Answer: c
6. Who wrote “Self-Portrait in a Convex Mirror”?
a. Parmigianino
b. Ashbery
c. Clement VII
d. Carlo Ridolfi
Answer: b
7. The patron of Cellini’s gold and enamel saltcellar was
a. Francis I.
b. Cosimo I de’ Medici.
c. Eleonora of Toledo.
d. Federigo Gonzaga.
Answer: a
8. Serpentinata refers to
a. Cellini’s lizard.
b. the salamander of Francis I.
c. a Mannerist pose.
d. Bronzino’s iconography.
Answer: c
9. Vasari’s account of women artists is a reflection of
a. his feminism.
b. his humanism.
c. his patriarchal view of art.
c. his political correctness.
Answer: b
10. Tintoretto painted
a. dynamic compositions.
b. strong diagonals.
c. serpentine curves.
d. All these answers are correct.
Answer: d
11. Working in Spain from 1577 onward, this painter’s style was greatly affected by Byzantine
influences.
a. Tintoretto
b. Correggio
c. Michelangelo
d. El Greco
Answer: d
12. Giambologna was born in
a. Italy.
b. Germany.
c. Flanders.
d. France.
Answer: c
13. The exterior of the Palazzo del Tè contains
a. triglyphs.
b. metopes.
c. keystones.
d. rustication.
e. All these answers are correct.
Answer: e
14. Veronese satisfied the Inquisition by
a. repainting his picture.
b. renaming his picture.
c. putting his picture in storage.
d. destroying his picture.
e. sending his picture out of the country.
Answer: b
15. A significant influence on the development of El Greco’s style was
a. Tintoretto.
b. Titian.
c. Byzantine style.
d. High Renaissance style.
Answer: c
16. Martin Luther was
a. an American civil rights leader.
b. a 16th-century monk.
c. an artist.
d. a member of the Council of Trent.
Answer: b
17. Important Counter-Reformation authors include
a. Ridolfi, Teresa, and Ignatius.
b. Luther, Clement VII, and Teresa.
c. Teresa, John of the Cross, and Clement VII.
d. John of the Cross, Teresa, and Ignatius.
Answer: d
18. El Greco was born
a. in Venice.
b. in Constantinople.
c. in Toledo.
d. in Crete.
Answer: d
19. Palladio studied Roman ruins and published an illustrated edition of ________ in 1556.
a. Vitruvius.
b. the Four Books.
c. Martin Luther’s Ninety-Five Theses.
d. Plato’s Republic.
Answer: a
20. According to your text, who was the single most important architect of his generation and
influenced subsequent generations of Western architects?
a. Vasari
b. Cellini
c. Palladio
d. Vitruvius
e. Ridolfi
Answer: c
21. What problem did Palladio solve in the façade of San Giorgio Maggiore?
a. how to deal with the fact that it is on an island
b. how to reconcile a high nave with lower side aisles
c. how to combine a dome with a Greek portico
d. how to relate the building to its environment
Answer: b
22. The design of the Church of Il Gesù was intended to
a. accommodate large congregations.
b. satisfy the humanist tastes of the patron.
c. reflect the Greek cross plan.
d. show the importance of Alberti’s churches.
Answer: a
23. Which of the following correctly matches work with patron?
a. the design of the Church of Il Gesù – Palladio
b. Bronzino’s Venus, Cupid, Folly, and Time – the king of Spain
c. Palazzo del Tè – Federigo Gonzaga
d. Villa Rotonda – Pythagoras
Answer: c
24. Who was the artist of the Entombment painted for the Church of Santa Felicità in Florence?
a. Parmigianino
b. Pontormo
c. Bronzino
d. Anguissola
Answer: c
25. Who painted The Artist’s Sister Minerva?
a. Sofonisba Anguissola
b. Properzia de’ Rossi
c. Andrea del Verrocchio
d. El Greco
Answer: c
Key Works
Jacopo da Pontormo, Entombment, Capponi Chapel, Santa Felicità, Florence, 1525–1528
Parmigianino, Self-Portrait in a Convex Mirror, 1524
Parmigianino, Madonna and Child with Angels (Madonna of the Long Neck), c. 1535
Agnolo Bronzino, allegory called Venus, Cupid, Folly, and Time, c. 1545
Agnolo Bronzino, Eleonora of Toledo and her Son Don Giovanni, 1545–1546
Lavinia Fontana, Noli Me Tangere, 1581
Properzia de’ Rossi (attrib.), Joseph and Potiphar’s Wife, c. 1520
Sofonisba Anguissola, The Artist’s Sister Minerva, c. 1559
Benvenuto Cellini, saltcellar of Francis I, finished 1543
Giambologna, Mercury (front and side views), c. 1576
Giulio Romano, courtyard façade of the Palazzo del Tè, Mantua, 1525–1535
Giulio Romano, Sala dei Giganti ceiling, Palazzo del Tè, 1530–1532
Giulio Romano, Sala dei Giganti wall view showing the Fall of the Giants, Palazzo de Tè,
1530–1532
Paolo Veronese, Last Supper, renamed Christ in the House of Levi, 1573
Jacopo Tintoretto, Last Supper, 1592–1594
El Greco, Christ Healing the Blind, c. 1577
El Greco, Burial of the Count of Orgaz, c. 1586–1588
Andrea Palladio, Villa Rotonda, Vicenza, begun 1567–1569
Andrea Palladio, San Giorgio Maggiore, Venice, begun 1565
Giacomo da Vignola and Giacomo della Porta, façade of the Church of Il Gesù, Rome,
c. 1575–1584
Maps, Diagrams, and Projections
Giulio Romano, plan of the Palazzo de Tè, Mantua, 1525–1535
Plan of the Villa Rotunda, Vicenza
Plan of San Giorgio Maggiore, Venice
Giacomo da Vignola, plan of the Church of Il Gesù, Rome, 1565–1573
Key Terms
broken pediment
cross-section
crossing
figura serpentinata
keystone
oculus
rustication
triglyph
volute
voussoir