Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
73
80
87
95
48
54
60
67
100
107
113
120
25
31
37
42
4
9
14
19

1.
Which of the following is not a theory about the reasons Paleolithic people created cave art? a.
Magic charms meant to ensure a successful hunt b.
Lunar calendars for predicting seasonal migration of the animals c.
Conjuring game by depicting it d.
Offerings to the dead found buried in the caves
Answer: d page 4
2.
Why are the Chauvet animal paintings probably not associated with the hunt? a.
Most of the animals painted on the walls were imaginary b.
Most of the animals painted on the walls were never or rarely hunted c.
Most of the animals painted on the walls were domesticated d.
Most of the animals painted on the walls were shown killing humans
Answer: b page 4
3.
How has Chauvet Cave changed thinking about prehistoric art? a.
Art progressed from awkward beginnings to more sophisticated representations b.
Paleolithic cave art probably was created by a single person c.
Art did not necessarily evolve in a linear progression from primitive to realistic d.
Paleolithic cave handprints were a form of graffiti created by young people
Answer: c page 5
4.
What is significant about Lascaux’s bird-headed man, bison, and rhinoceros painting? a.
It shows a human killing an animal b.
It is one of the few cave paintings to depict a human c.
It is the largest depiction of a human in cave art d.
It gives a naturalistic representation of a human
Answer: b page 5
5.
What effect does perspectival drawing create? a.
Three-dimensional space on a two-dimensional surface b.
All lines appear to converge at a single vanishing point c.
An object in the distance appears shorter than it really is d.
A figure with no single predominant view
Answer: a page 5
6.
What features distinguished homo sapiens from earlier hominids? a.
More robust build and straighter spine b.
Shortened toe and finger bones c.
Elongated skull and prominent brow ridge d.
Lighter skeletal structure and larger brain
Answer: d page 5

7.
Why do Paleolithic female figurines vastly outnumber male representations? a.
Males likely were the carvers b.
Males probably outnumbered females c.
Females played a central role in the culture d.
Females were more physically attractive than males
Answer: c page 6
8.
With what is the Venus of Willendorf’s original red color associated? a.
Sacrifice b.
Menses c.
Autumn d.
Shamanism
Answer: b page 6
9.
Why was agriculture such an enormous development? a.
It enabled the people to abandon a carnivorous diet b.
It created a warmer climate because of gases released by the plants c.
It encouraged written language so that records could be kept d.
It encouraged distinct centers of people with a common pursuit
Answer: d page 8
10.
Which of the following is one of the Great River Valley Civilizations? a.
Anasazi b.
Indus-Ganges c.
Tiber d.
Shang
Answer: b page 8
11.
Where is the oldest known Neolithic settlement? a.
Jericho in the Middle East b.
Skara Brae in Scotland c.
Jiangzhai in China d.
Susa on the Iranian plateau
Answer: a page 9
12.
Why did the Neolithic era lead to increased pottery creation? a.
More permanent settlements could support artists b.
Tending crops provided more free time for art than did hunting c.
Neolithic people had learned to control fire to use in kilns d.
Pottery is too fragile to have been practical for hunter-gatherers
Answer: d page 11
13.
According to the most recent discoveries, why was Stonehenge constructed? a.
A place for sacrifice b.
A king’s residence c.
A burial grounds d.
A Druid gathering place

Answer: c page 16
14.
What is the most basic architectural technique for spanning space? a.
Post-and-Lintel b.
Corbel c.
Cromlech d.
Menhir
Answer: a page 18
15.
What can myths tell about their producing cultures? a.
The culture’s place of origin b.
The culture’s views and beliefs c.
The culture’s social hierarchy d.
The culture’s form of government
Answer: b page 18
16.
What is a shaman? a.
The leader of a tribe b.
A person’s essence or soul c.
A teller of myths d.
A person with mystical powers
Answer: d page 18
17.
Why did an Anasazi kiva have a small, round hole in its floor? a.
The Anasazi believed that their ancestors emerged from the depths of the Earth b.
The Anasazi used the hole to collect what little rain fell in the parched desert c.
The Anasazi believed evil spirits could be flushed into the depths of the Earth d.
The Anasazi developed a complex human-waste-disposal system
Answer: a page 21
18.
Which of the following is not reflected in Pueblo emergence tales? a.
The forces of nature are inhabited by living spirits b.
Humans can communicate with the spirits of nature c.
Humans can take on animal form if they offer the proper sacrifice d.
Nature’s behavior can be compared to human behavior
Answer: c page 22
19.
How did Japanese emperors justify their divinity? a.
As heads of the Shinto religion b.
As direct descendants of the sun goddess c.
As a result of their political heritage d.
As a result of a spiritual transformation at coronation
Answer: b page 22
20.
Shinto shares many similarities with which Native American religion? a.
Aztec b.
Navajo c.
Olmec

d.
Pueblo
Answer: d page 23
21.
Why is the Shinto main sanctuary at Ise always built of wood? a.
Reverence for the natural world and tradition b.
Stone is a rare commodity in Japan c.
Amaterasu’s kami (spirit) resides in trees d.
Wood is one of Shinto’s three sacred treasures
Answer: a page 23
22.
Why are Ise’s shrine buildings razed and then rebuilt every twenty years? a.
Aged wood becomes fragile b.
To celebrate ritual renewal c.
Generational cycles are twenty years d.
To symbolize Amaterasu’s lifespan
Answer: b page 23
23.
Who are the Olmec’s colossal stone heads believed to represent? a.
Their gods b.
Their enemies c.
Their rulers d.
Their allies
Answer: c page 24
24.
What do the Hopewell tribe’s elaborate burials tell about them? a.
They considered bear teeth to be sacred b.
They created beautiful works of pottery c.
They believed the dead would be reincarnated d.
They had an extensive trade network
Answer: d page 25
25.
How does the Great Serpent Mound differ from most Hopewell mounds? a.
Its spiral shape and raised embankments b.
Its alignment with the sun at equinoxes c.
Its absence of burial sites d.
Its mysterious abandonment
Answer: c page 26
26.
With what astronomical event might the Great Serpent Mound be associated? a.
The summer solstice b.
Halley’s Comet c.
A solar eclipse d.
Alignment of the planets
Answer: b page 26

27.
Chauvet Cave
28.
Venus of Willendorf
29.
Stonehenge
30.
Nok
31.
Skara Brae
32.
Anasazi
33.
Olmec
34.
Great Serpent Mound a. Scotland b. Gulf of Mexico c. Ohio d. American Southwest e. England f. Austria g. France h. Nigeria
Answers: 27-g, 28-f, 29-e, 30-h, 31-a, 32-d, 33-b, 34-c
35.
Discuss the implications of Chauvet Cave’s revelations about art not developing linearly and early Paleolithic artists not being as primitive as we previously thought.
36.
Discuss the reasons the onset of agricultural production would lead to the development of a social, economic, and political entity—a civilization.
37.
Examine the Paleolithic female figurines—the Laussel Woman Holding an Animal Horn, the
Venus of Willendorf—as “images of beauty in a cold, hostile world.”
38.
Describe the picture of Paleolithic daily life that the peoples’ artifacts provide.
39.
Discuss the view of society that construction of the megalithic dolmens, Carnac, and Stonehenge reveal.
40.
Discuss the ways in which settling near a river changed and benefitted early peoples.
41.
Explain the reasons pottery making facilitated advancement for Neolithic agriculture-based people.
42.
Describe the afterlife beliefs that the mound burials of the Hopewell people present.
43.
Think of a current myth—a story grounded in observed experience that a culture assumes is true—and consider what this myth reveals about our society.

Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
50
56
62
67
73
79
85
4
10
16
21
27
33
39
45
91
97
103
109
115

1.
What did Bernini aim to symbolize with his oval colonnade that encloses Vatican Square? a.
The world converging at the church b.
The classical tradition of the church c.
The motherly arms of the church d.
The expansive reach of the church
Answer: c page 677
2.
What is a defining characteristic of Baroque art? a.
Attention to viewers’ emotional experience of a work b.
Return to the forms and proportions of classical art c.
Focus on the symbolic meaning of a work d.
Absence of excessive decoration and sensuousness
Answer: a page 677
3.
What is the meaning of the Portuguese term barroco, from which “Baroque” likely derived? a.
Flamboyant b.
Misshapen pearl c.
Ecstasy d.
Sailor
Answer: b page 677
4.
Why was Baroque originally used in a derogatory way to describe this new style? a.
It was associated with the common people b.
It was very expensive to create c.
It defied the Council of Trent’s directives d.
It was seen as too ornate and strange
Answer: d page 677
5.
Why did the Baroque artists place elements on a diagonal, not the Renaissance frontal and parallel planes? a.
To evoke a sense of depth b.
To induce more defined shadows c.
To produce a sense of action d.
To provide more balance
Answer: c page 679
6.
Why did Pope Urban VIII commission a baldachino (canopy) for Saint Peter’s interior? a.
To cover Saint Paul’s tomb b.
To define the altar space c.
To crown the papal throne d.
To encircle Michelangelo’s Pietà
Answer: b page 680

7.
Why did Bernini decorate the baldachino’s grooved columns with bronze vines? a.
To symbolize the union of the Old and New Testaments b.
To create a sense of naturalism on the columns c.
To emphasize the blending of classical and Italian design d.
To draw the viewers’ eyes upward along the spirals
Answer: a page 680
8.
In his Cornaro Chapel sculptural program, with what did Bernini equate Saint Teresa’s religious visions? a.
Spiritual rebirth b.
Duality of body c.
Sexual orgasm d.
Ecstatic dancing
Answer: d page 682
9.
Why did Bernini include theater boxes on each side his Cornaro Chapel sculptural program? a.
To allow visitors to have a better view of Saint Teresa b.
To create preferential seating for the Cornaro family c.
To emphasize his design’s high drama d.
To provide extra seating for the churchgoers
Answer: c page 681
10.
What did Bernini intend his Four Rivers Fountain to represent? a.
Triumph of the Roman Catholic Church over the world’s rivers b.
Holy Roman Emperor Ferdinand III’s defeat of Egypt c.
Domination of the Roman Catholic Church over paganism d.
The Roman Catholic Church’s position as the center of the world
Answer: a page 683
11.
While his coworkers constructed his designs, what hobby did Bernini pursue? a.
Flower cultivation at the Villa Borghese b.
Writing plays and designing stage sets c.
Amateur archaeology in Rome’s ruins d.
Composing canzonas for religious services
Answer: b page 683
12.
How did Fra Andrea Pozzo create the highly dramatic space in Triumph of Saint Ignatius of
Loyola? a.
Chiaroscuro b.
Tenebrism c.
Foreshortening d.
Invisible complement
Answer: b page 686
13.
Why did Caravaggio portray his subjects in The Calling of Saint Matthew in attire of his time, not
Jesus’s?

a.
To use richer colors and brushstrokes b.
To conform to other paintings in the series c.
To enable the audience to identify with them d.
To portray the painting’s patrons realistically
Answer: c page 690
14.
What effect does Caravaggio achieve with light in The Calling of Saint Matthew? a.
Transforms the calling into a miracle b.
Identifies which of the subjects is Matthew c.
Shows Jesus bringing the light to sinners d.
Makes Jesus’s entrance seem threatening
Answer: a page 689
15.
What technique that contrasts large areas of dark with smaller illuminated areas did Caravaggio master? a.
Chiaroscuro b.
Tenebrism c.
Foreshortening d.
Invisible complement
Answer: b page 690
16.
Why was Artemesia Gentileschi so obsessed with the biblical story of Judith beheading
Holofernes that she painted five versions of it? a.
Gentileschi was of Jewish descent b.
Judith was the female equivalent of David c.
Judith was a female artist d.
Gentileschi had been raped
Answer: d page 692
17.
Why was the division between the Council of Trent-rejected secular music and religious compositions less pronounced in Venice? a.
It traditionally had ignored papal authority b.
It had a large Protestant population c.
It was too far from Rome for any to notice d.
It was not a part of the Holy Roman Empire
Answer: a page 694
18.
Which of the following is not a way Giovanni Gabrieli aimed to make church music more emotionally engaging? a.
Playing two organs against each other b.
Placing the four choirs in separate areas c.
Adding the first all-female ensemble to the choir d.
Using brass and wood instruments in the music
Answer: c page 694
19.
What is the canzona’s dominant rhythm? a.
Short-long

b.
Long-short-short c.
Long-long d.
Short-long-long
Answer: b page 694
20.
Why did Gabrieli organize his compositions around a single note—the tonic note? a.
To heighten the sense of harmonic drama b.
To allow more pitch for the voices c.
To create effects of sonority in a cathedral d.
To enable the words to be heard over the music
Answer: a page 694
21.
What inspired the first operas? a.
Gabrieli’s compositions b.
Bernini’s plays c.
The Venetian street processions d.
Ancient Greek drama
Answer: d page 695
22.
What Greek myth inspired Monteverdi’s first opera? a.
Prometheus and Pandora b.
Orpheus and Eurydice c.
Paris and Helen of Troy d.
Zeus and Leda
Answer: b page 696
23.
Why were only girls in Venice’s orphanages given music instruction? a.
Girls would handle the delicate instruments more gently b.
It was assumed that boys would enter the labor force c.
Girls required musical skill to secure a good marriage d.
Venetian orphanages housed only girls
Answer: c page 697
24.
Why did the orphanage directors hope audiences would be dazzled by the orphans’ musical performances? a.
They would adopt the talented children b.
They would buy tickets to their performances c.
They would help find jobs for the orphans d.
They would donate money to the orphanages
Answer: d page 697
25.
Why is Vivaldi’s The Four Seasons known as program music? a.
He composed it for one of the orphans’ performances, or programs b.
Its purely instrumental music is connected to a story or idea c.
Its episodes contrast back and forth with the musical score d.
The music follows the program and rhythms of speech
Answer: b page 696

26.
As reported in the chapter’s ”Continuity and Change“ section, why did Louis XIV reject Bernini’s design for a new façade for the Louvre? a.
It looked too similar to the Vatican colonnade b.
It was too simple and classically inspired c.
It would be too expensive to build d.
It was too elaborate and ornate
Answer: d page 699
27.
What did Louis XIV’s rejection of Bernini’s plan mark in European culture? a.
The beginning of the Counter-Reformation b.
The end of Italian art and architecture’s dominance c.
The beginning of the Romantic period d.
The end of classically-inspired designs
Answer: b page 699
28.
Gian Lorenzo Bernini a. Canzona Duodecimi Toni
29.
Francesco Borromini
30.
Caravaggio
31.
Giovanni Gabrieli
32.
Artemesia Gentileschi b. Conversion of Saint Paul c. Church of San Carlo alle Quattro Fontane d. Four Rivers Fountain e. The Four Seasons
33.
Claudio Monteverdi
34.
Andrea Pozzo f. Judith and Maidservant with Head of Holofernes g. Orfeo
35.
Antonio Vivaldi h. Triumph of Saint Ignatius of Loyola
Answers: 28-e, 29-c, 30-b, 31-a, 32-f, 33-g, 34-h, 35-e
36.
Describe Bernini’s colonnade enclosure of Vatican Square, and explain how it defines the
Baroque style.
37.
Identify and describe three elements of Bernini’s Cornaro Chapel sculptural program that illustrate the high drama of the Baroque.
38.
Compare Bernini’s Baroque David to Michelangelo’s Renaissance David, explaining how each is representative of its respective period.
39.
Compare Andrea Pozzo’s Baroque Triumph of Saint Ignatius of Loyola to Michelangelo’s
Mannerist Last Judgment (Chap. 24), explaining how each is representative of its respective period.
40.
Define tenebrism, and explain Caravaggio’s use of it to provide drama to two of his works.
41.
Compare the sensual elements of Bernini’s Ecstasy of Saint Teresa to Caravaggio’s Conversion of
Saint Paul.

42.
List and analyze at least two reasons for Artemesia Gentileschi’s use of her self-portrait for
Judith in her five paintings of the Jewish heroine’s story.
43.
List and explain two ways Giovanni Gabrieli made church music more emotionally engaging.
44.
Provide a detailed explanation for the reasons opera developed during the Italian Baroque period.
45.
Using one sculpture, one painting, and one musical composition, explain the artists’ achievement of Baroque drama—the sense of action, excitement, and sensuality.