ROME
The following is taken from the 1997
Advanced Placement Art History
examination.
______1) The sculpture was made in a)
pharaonic Egypt b) republican Rome c)
classical Greece d) imperial Byzantium
______2) Portrait sculptures from this
historical period were noted for their
a) idealized features b) broad humor
c) intentional realism d) imitation of
Egyptian royalty
______3)The style of the sculpture is most
closely related to a) Egyptian panel
painting b) wax death masks c) kouros
images d) votive figures
______4) A patron of this type of
portraiture would most likely have been a
a) merchant b) senator c) foot soldier d)
priest
______5) Sculptures such as this one were
intended to be installed in a) museums b)
amphitheaters c) imperial forums d)
homes
______6) Portrait busts such as the two
held here were a) buried with the deceased
b) displayed in the central marketplace c)
used in funerary processions d) used as
reliquaries
______7) Portrait sculptures from this
historical period were generally carved
from a) soapstone b) wood c) slate d)
marble
The following is taken from the 2006
Advanced Placement Art History
examination.
______8) Both interiors are examples of
a) Egyptian funerary complexes b) Greek
religious buildings c) Etruscan temples d)
Roman residential architecture
______9) The interior on the left is called
a) a podium b) an atrium c) an
amphitheatre d) a cella
______10) All of the following are true of
the interior on the left EXCEPT: a) it uses
the Doric order b) it contains an
impluvium c) it is connected to a peristyle
d) it is open to the sky
______11) Interiors of this type are found
in buildings in which of the following
cities? a) Pompeii b) Luxor c) Knossos d)
Ur
______12) The walls of the interior shown
on the right are decorated with a)
paintings b) tapestries c) mosaics d)
sculptural reliefs
______13) The most likely time period for
both interiors is a) 10,000 BC b) 500 BC
c) 1st Century AD d) 4th Century AD
The following is taken from the 2011
Advanced Placement Art History
examination.
______14) This work is from which
culture? a) Sumerian b) Mycenaean c)
Etruscan d) Minoan
______15) The medium of the work is a)
terracotta b) marble c) bronze d) wood
______16) The work is a) a krater b) an
acroterion c) a stele d) a sarcophagus
______17) Works such as the one shown
were typically placed in a) an atrium b) a
necropolis c) a treasury d) a temple
______18) The work depicts a a) king and
queen b) god and goddess c) husband and
wife d) master and slave
______19) The work primarily reveals the
influence of ancient a) Crete b) Rome c)
Assyria d) Greece
______20) The pose of the figures suggest
that they are a) sleeping b) banqueting c)
praying d) grieving
______21) The culture in which the work
was produced is known for a) the relative
equality of women b) the centralization of
political authority c) its emphasis on
military victories d) human sacrifices
The following is taken from a practice
Advanced Placement Art History
examination.
______22) The sculpture on the left was
made in which period? a) Hellenistic
Greek b) Republican Rome c) Imperial
Rome d) Early Christian
______23) The sculpture on the left
deliberately evokes which earlier work?
a) Polykleitos’ Doryphoros b) Donatello’s
David c) Myron’s Diskobolos d)
Praxiteles’ Hermes and the Infant
Dionysos
______24) A function of both sculptures
was to a) honor a bishop b) portray a
ruler c) memorialize a patron d) serve as a
funerary monument
______25) Which of the following best
describes the sculpture on the left? a) it is
more realistic than idealized b) it
communicated only through allegory c) it
encourages meditation and introspection
d) it conveys a strong message about
power and authority
______26) Both images were probably
originally intended for a) public display b)
private veneration c) placement in tombs
d) use as ornamentation
______27) The sculpture on the right
recalls work from which period? a)
Archaic Greek b) Classical Greek c)
Hellenistic Greek d) Etruscan
______28) The visual characteristics of
the sculpture on the right reflect a) a
glorified interpretation of history b) the
origins of Christian sculpture c) the
persistence of Augustan ideals d) the
growing political unrest of its era
The following is taken from the 2008
Advanced Placement Art History
examination.
______29) Both wall paintings are from
a) Ravenna b) Tarquinia c) Paestum d)
Pompeii
______30) The wall painting on the right
was located in a a) catacomb b) home c)
temple d) basilica
______31) The wall painting on the left is
probably related to a) a mystery cult b)
ancient Roman history c) ancestor
worship d) an epic narrative
______32) The illusion of depth in both
paintings is created by all of the following
EXCEPT a) highlights b) overlapping
figures c) marbleized panels d) modeling
______33)The two figures in the slide on
the right are a) the mythological founders
of Rome b) a sibyl and a scribe c) a
married couple d) a teacher and student
______34) When did the wall painting on
the left come to public attention? a) In the
aftermath of bombings of the Second
World War b) During eighteenth-century
archaeological excavations c) After the
sack of Rome in 1527 d) during the
Visigoth invasion of Italy
______35) The objects held by the figures
in the slide on the right refer to a) religion
b) music c) astrology d) literacy
The following is taken from the 2004
Advanced Placement Art History
examination.
The work on the left is from the beginning
of the Roman portrait tradition, and the
work on the right is from the end of that
tradition. Identify the portrait on the right.
Discuss ways in which the function and
time period of each work account for the
differences in their appearances.
The following is taken from the 2009
Advanced Placement Art History
examination.
The slides show two views of the same
building.
Identify the building. Analyze how
innovative elements were used in both the
design and construction of the building.
The following is taken from the 2013
Advanced Placement Art History
examination.
The general view and detail show the Arch
of Constantine.
What was the intended meaning of the
monument? Analyze how the reuse of
sculptural fragments from other roman
works of art reinforces the intended
meaning of the monument.
The following is taken from the 2012
Advanced Placement Art History
examination.
These are details of the Ara Pacis
Augustae in Rome. What was the political
agenda of the work’s patron, Augustus?
Analyze how the sculpted figures depicted
in both details convey Augustus’ political
agenda.
The following is taken from the 1994
Advanced Placement Art History
examination.
Identify the culture that built each temple.
Compare and contrast the architectural
features of each temple.
The following is taken from the 1995
Advanced Placement Art History
examination.
The relief on the left was created in India
in the late second to early third century
A.D.; the relief on the right was created
for a Roman sarcophagus in the third
century A.D. Compare and contrast these
reliefs in terms of space, composition and
treatment of figures.
The following is taken from the 1996
Advanced Placement Art History
examination.
The slides show two views of the same
building, the exterior (left) and a painting
of the interior (right). Name the building
and describe the construction techniques
used in the building. How did the
architects design the interior to conceal the
weight and mass of the structure?
The following is taken from the 1997
Advanced Placement Art History
examination.
Identify the culture that produced the two
interior wall paintings shown. Discuss the
ways in which the painters created the
illusion of space in each work.
The following is taken from the 2007
Advanced Placement Art History
examination.
Analyze how this Roman temple is similar
to and different from a Greek temple.
The following is taken from the 2003
Advanced Placement Art History
examination.
Identify the structure shown. In what ways
does this structure reflect the imperial
aspirations of the early Roman Empire?
Answers: 1-B, 2-C, 3-B, 4-B, 5-D, 6-C,
7-D, 8-D, 9-B, 10-A, 11-A, 12-A, 13-C,
14-C, 15-A, 16-D, 17-B, 18-C, 19-D, 20B, 21-A, 22-C, 23-A, 24-B, 25-D, 26-A,
27-C, 28-D, 29-D, 30-B, 31-A, 32-C, 33C, 34-B, 35-D