Ch 22 Study Guide Questions #2
1. What are the themes of the frescos in the Stanza della Segnatura? What sort of message do
they communicate about the patron, Pope Julius II?
2. Explain how Aristotle and Plato represent their doctrines and how all figures are grouped in
Raphael’s School of Athens.
3. Briefly explain the story being told in Raphael’s Marriage of the Virgin?
4. Compare Marriage of the Virgin to Perugino’s Christ Delivering the Keys of the Kingdom.
Knowing that Perugino was Raphael’s teacher, in what ways was he influenced in Marriage of
the Virgin?
5. In what ways did Raphael modify his depiction of Bramante’s Tempietto in Marriage of the
Virgin?
6. What techniques does Raphael borrow from Leonardo in his Madonna in the Meadow? How is
his work different from Leonardo’s?
7. How does Raphael create a lively and energetic composition in Galatea?
8. Compare Raphael’s Baldassare Castiglione to Leonardo’s Mona Lisa. How does Raphael provide
an even greater focus on the personality and psychic state of his subject than Leonardo?
9. Why are the Michelangelo’s Medici tombs a puzzle? Explain the standard interpretation.
10. How are the figures on the Medici tombs representative of Michelangelo’s figural art?
11. How do the statues of Giuliano and Lorenzo de Medici represent the “two ways human beings
might achieve union with God?”
12. How does the Palazzo Farnese have “a spatially active three-dimensional mass” in a way that the
Palazzo Medici-Riccardi does not?
13. How can Michelangelo’s Last Judgment be viewed as a part of the Counter Reformation effort?
14. How did Michelangelo carry his obsession with the human form over to architecture in his
redesign of Capitoline Hill?
15. With what existing elements did Michelangelo have to contend in his redesign of Capitoline Hill?
16. Why was the equestrian statue of Marcus Aurelius the “ideal centerpiece for the new civic
center of Renaissance Rome?”
17. Why was Michelangelo’s choice of the oval base for the equestrian statue of Marcus Aurelius
significant?
18. How did Michelangelo use the “giant order” in the façade of the Museo Capitolino and St.
Peter’s?
19. How did Michelangelo modify Bramante’s original plan for St. Peter’s?
20. Why did Giacomo della Porta choose to stick with Michelangelo’s original design for the dome of
St. Peter’s?
21. Explain the type of painting known as the sacra conversazione.
22. What are some of the key features of the Venetian style of painting as seen in Bellini’s San
Zaccaria Altarpiece?
23. How is the term Arcadian understand by Renaissance painters such as Bellini and Titian?
24. How is the scene in The Feast of the Gods “idyllic?”
25. How did the 16th century Venetian artists differ in their approach to art as compared with their
Florentine and Roman contemporaries?
26. Explain how Giorgione’s Pastoral Symphony embodies poesia?
27. Why would the viewer not find the uncertain meaning of Pastoral Symphony distressing?
28. Why is it believed that no definite narrative exists in Giorgione’s The Tempest?
29. How does Titian create an “image with a drama and intensity” in Assumption of the Virgin?
30. How is Titian’s composition for the Madonna of the Pesaro Family more dynamic than those
created in the High Renaissance?