CHAPTER EIGHTEEN FOURTEENTH-CENTURY ART IN EUROPE
. Which of the following is depicted in Ambrogio Lorenzetti’s Effects of Good Government in the City and in the Country (Fig. 18-16)?
A. patients dying from the plague
B. war with Florentine forces
C. portraits of Sienna’s civic leaders
D. agricultural activity of various seasons
Answer: D
Learning Objective: 18.b Interpret the meaning of works of fourteenth-century European art based on its themes, subjects, and symbols.
Topic: Sienese Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
2. Which of the following was a master mason for Exeter Cathedral (Fig. 18-23)?
A. Richard de Montefort
B. Thomas of Witney
C. Thomas Aquinas
D. Nicholas of Verdun
Answer: B
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Architecture
Difficulty Level: Easy
Skill Level: Remember the Facts
3. Which artist was known for combining his preference for substantial bodies, oversized hands and heads, and dour faces with the graceful quality of French Gothic style?
A. Master Hubert
B. Nicholas of Verdun
C. Heinrich Musselman
D. Master Theodoric
Answer: D
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: The Supremacy of Prague
Difficulty Level: Moderate
Skill Level: Understand the Concepts
4. Who did the city council of Siena commission to fresco the city hall with scenes of the government?
A. Lorenzetti
B. Duccio
C. Giotto
D. Cimabue
Answer: A
Learning Objective: 18.d Apply the vocabulary and concepts relevant to fourteenth-century European art, artists, and art history.
Topic: Sienese Painting
Difficulty Level: Easy
Skill Level: Remember the Facts
5. Which work represents the contemporary taste for personal items, crafted from fine materials and richly decorated with popular subject matter?
A. Vesperbild (Pieta) (Fig. 18-24)
B. The Kiss of Judas and The Annunciation (Fig. 18-17)
C. Attack on the Castle of Love (Fig. 18-20)
D. The Effects of Good Government in the City and in the Country (Fig. 18-16)
Answer: C
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Metalwork and Ivory
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
6. One of the first to demonstrate the shift to a more modern painting style, Cimabue worked in
A. Florence.
B. Sienna.
C. Pisa.
D. Venice.
Answer: A
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Florentine Painting
Difficulty Level: Easy
Skill Level: Remember the Facts
7. Modeling, which allows artists to simulate three-dimensional forms in painted figures, is
A. the use of light and dark pigment tones.
B. the use of live models so artists could closely observe natural details.
C. the texturing of paint with a stippling brushstroke.
D. thickly applying paint in small areas.
Answer: A
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Florentine Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
8. Which stylistic characteristic distinguishes fourteenth-century figure painting in Siena from that produced in Florence?
A. the use of modeling to suggest three-dimensional forms
B. the placement of figures in naturalistic and architectural settings
C. an emphasis on jewel-like coloring and elegantly posed forms
D. the use of tempera paint on small-paneled altarpieces
Answer: C
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Sienese Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
9. How did the artists convey that the angel Gabriel is speaking to Mary in the Annunciation (Fig. 18-13) by Simone Martini and Lippo Memmi?
A. They included iconographic details that symbolize Gabriel’s message.
B. They placed the figures in a conversational pose.
C. They incised scriptural text into the gold-leaf gesso.
D. They referenced the chapter and verse from Luke in the framework.
Answer: C
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Sienese Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
10. In fourteenth-century Germany, what factor contributed to the mystical religiosity that inspired images emphasizing both ecstatic joy and extreme suffering?
A. famine, wars, and plagues
B. a new ruler
C. the death of the pope
D. Islamic invasions
Answer: A
Learning Objective: 18.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of fourteenth-century European art.
Topic: Mysticism and Suffering
Difficulty Level: Easy
Skill Level: Remember the Facts
11. Which of the following probably influenced Giotto’s emphasis on human empathy and emotion seen in his painting?
A. his study with Cimabue
B. the writings of Cennino Cennini
C. the message of St. Francis of Assisi
D. the height of Gothic Cathedrals
Answer: C
Learning Objective: 18.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of fourteenth-century European art.
Topic: Florentine Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
12. What element of the standing gilt-silver Virgin and Child (Fig. 18-19) is distinctive of French sculpture in the fourteenth century?
A. the use of the fleur-de-lis as a reliquary
B. the S-curve of the Virgin’s figure
C. the use of gold, silver, and enamel
D. the child’s tender gesture
Answer: D
Learning Objective: 18.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of fourteenth-century European art.
Topic: Metalwork and Ivory
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
13. What characteristic introduced by the Parler family came to dominate central European architecture during the Renaissance?
A. intricately patterned vaults that unified interior space
B. clustered colonnettes that made the arcade seem to ripple
C. fortified walls and large towers
D. elongated naves and flying buttresses
Answer: A
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: The Supremacy of Prague
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
14. Which of the following themes is found in Giotto’s program of frescoes decorating the Scrovegni Chapel (Fig. 18-7)?
A. scenes from Dante’s Inferno
B. the Virtues and Vices
C. scenes of David and Goliath
D. scenes from Genesis
Answer: B
Learning Objective: 18.b Interpret the meaning of works of fourteenth-century European art based on its themes, subjects, and symbols.
Topic: Florentine Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
15. Applying water-based paints to the wet plaster of a wall is known as
A. tempera.
B. fresco secco.
C. buon fresco.
D. intonaco.
Answer: C
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Florentine Painting
Difficulty Level: Easy
Skill Level: Remember the Facts
16. Which city did Charles IV make the capital of the Holy Roman Empire?
A. Paris
B. London
C. Munich
D. Prague
Answer: D
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: The Supremacy of Prague
Difficulty Level: Moderate
Skill Level: Understand the Concepts
17. Located in the city hall in Siena, the council room was known as the
A. Porta Romana.
B. Sala della Pace.
C. the Campo.
D. Scrovegni Chapel.
Answer: B
Learning Objective: 18.d Apply the vocabulary and concepts relevant to fourteenth-century European art, artists, and art history.
Topic: Sienese Painting
Difficulty Level: Easy
Skill Level: Remember the Facts
18. Which event wiped out 40 percent of Europe’s population in the middle of the fourteenth century?
A. Black Death
B. Peasants’ War
C. Hundred Years’ War
D. Great Schism
Answer: A
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Fourteenth-Century Europe
Difficulty Level: Moderate
Skill Level: Understand the Concepts
19. According to Petrarch and his contemporaries, the essential qualification for a writer was an appreciation of authors of which culture?
A. Mesopotamia and Egypt
B. England and Rome
C. Greece and Rome
D. Persia and Constantinople
Answer: C
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Fourteenth-Century Europe
Difficulty Level: Easy
Skill Level: Remember the Facts
20. In the buon fresco technique, what term refers to a section or day’s work?
A. dado
B. grisaille
C. sinopia
D. giornata
Answer: D
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Florentine Painting
Difficulty Level: Easy
Skill Level: Remember the Facts
21. Duccio’s representation of the Raising of Lazarus (Fig. 18-11) contrasts with Giotto’s portrayal of the same subject in the
A. simplification to only a few characters.
B. expressive gestures and charged glances.
C. monumentality of the figures.
D. representation of majestic architecture.
Answer: B
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Sienese Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
22. What did Duccio include in his scene of the Betrayal of Jesus (Fig. 18-12) on the back of the Maestà?
A. several subsequent episodes
B. only a few figures
C. an expansive architectural backdrop
D. his own self-portrait
Answer: A
Learning Objective: 18.b Interpret the meaning of works of fourteenth-century European art based on its themes, subjects, and symbols.
Topic: Sienese Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
23. According to folklorists, the figures at the bottom of the page of the Annunciation by Jean Pucelle are
A. the infant Jesus and John the Baptist.
B. children of the patrons.
C. children playing “froggy in the middle.”
D. angels foreshadowing Jesus’ imminent death.
Answer: C
Learning Objective: 18.e Interpret a work of fourteenth-century European art using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Manuscript Illumination
Difficulty Level: Easy
Skill Level: Remember the Facts
24. According to art historian Millard Meiss, artists working after the Black Death reverted to
A. a softly modeled style.
B. highly detailed naturalism.
C. classically posed figures.
D. hierarchic linearity.
Answer: D
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Sienese Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
25. What did the designer of the vaults of Exeter Cathedral add as additional ribs?
A. plate tracery
B. rosettes
C. tiercerons
D. bosses
Answer: C
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Architecture
Difficulty Level: Easy
Skill Level: Remember the Facts
Short Answer
1. What was the role of guilds during the fourteenth century?
Answer: Guilds provided social services for their members, including care of the sick and funerals for the deceased.
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Fourteenth-Century Europe
Difficulty Level: Moderate
Skill Level: Understand the Concepts
2. What were the primary artistic influences on fourteenth-century Italian painters?
Answer: Scenes of salvation and judgment were extremely popular, because they mimicked the economic growth and cultural flourishing of the fourteenth century; however, they also reflected the constant war, disease, and famine of the time.
Learning Objective: 18.d Apply the vocabulary and concepts relevant to fourteenth-century European art, artists, and art history.
Topic: Italy
Difficulty Level: Moderate
Skill Level: Understand the Concepts
3. Discuss The Allegory of Good Government in the City and in the Country (Fig. 18-1) in the Palazzo Pubblico in Siena. Consider the technique, the subject matter, and the commission itself.
Answer: The fresco shows the city and the town during many seasons. The painting was commissioned by the nine leaders of the Siena to illustrate an idealized but recognizable portrait of the city.
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Sienese Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
4. Who was Geoffrey Chaucer and what was his contribution to literature?
Answer: Chaucer wrote his own stories of humanity’s pretensions, foibles, and virtues in The Canterbury Tales as if told by pilgrims traveling to the shrine of St. Thomas à Becket.
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Fourteenth-Century Europe
Difficulty Level: Moderate
Skill Level: Understand the Concepts
5. Discuss the techniques of buon fresco and fresco secco, citing examples of each.
Answer: Buon fresco means “true fresco” and incorporates paint applied to wet plaster. It becomes part of the wall. Fresco secco, or “dry fresco,” is tempera paint applied on top of the wall and is often used to create detail over buon fresco.
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Florentine Painting
Difficulty Level: Moderate
Skill Level: Understand the Concepts
6. What was the impact of the Black Death on the arts in fourteenth-century Europe?
Answer: The Black Death decimated European populations, causing patrons and artists to change their expectations of style and content. Without as much competition and with patrons looking for more and more secular works, artists had more freedom to express scenes of judgment and salvation.
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Sienese Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
7. How did the Holy Roman Empire change during the fourteenth century?
Answer: Power was localized and family lineage became important. The emperors and wealthy patrons commissioned works to emphasize their prominence, incorporating the ideas of mysticism and suffering.
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: The Holy Roman Empire
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
8. Discuss the change in patronage practices in fourteenth-century France. How did these changes impact the arts?
Answer: With war ravaging the countryside and depleting royal coffers, wealthy patrons and the Church commissioned luxury goods in wood, ivory, and precious metals.
Learning Objective: 18.d Apply the vocabulary and concepts relevant to fourteenth-century European art, artists, and art history.
Topic: France
Difficulty Level: Moderate
Skill Level: Understand the Concepts
9. Discuss the different phases of construction for Exeter Cathedral.
Answer: Construction began in 1313 with a new nave and redesign of the choir, but the original Norman towers were left. Building continued for two hundred years with additions of vaults, bar-tracery clerestory windows, and a high bishop’s throne.
Learning Objective: 18.d Apply the vocabulary and concepts relevant to fourteenth-century European art, artists, and art history.
Topic: Architecture
Difficulty Level: Moderate
Skill Level: Understand the Concepts
10. Who was Christine de Pizan? In what ways did she contribute to her profession and to her era?
Answer: She became an author out of necessity when she was left a widow. She wrote a poem in praise of Joan of Arc and a history of famous women in which she defended women’s abilities and argued for women’s rights and status.
Learning Objective: 18.c Relate fourteenth-century European art and artists to their cultural, economic, and political contexts.
Topic: Fourteenth-Century Europe
Difficulty Level: Moderate
Skill Level: Understand the Concepts
Essay
1. Discuss the major developments in fourteenth-century Europe, in general, and then focus on one that clearly impacted the arts. Build your discussion on specific works of art, using visual and historical analysis.
Answer:
1. By the fourteenth century, Books of Hours were very popular among wealthy patrons.
2. These Books of Hours included psalms, prayers, calendars, self-portraits, medieval satire, and histories.
3. Images of contradiction between suffering and joy were common, as seen in The Hours of Jeanne D’Évreux (Fig. 18-17).
4. Books of the Holy Roman Empire showed fuller and rounder figures, engaging the viewer with eye contact, such as St. Luke (Fig. 18-27).
Learning Objective: 18.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of fourteenth-century European art.
Topic: Manuscript Illumination; The Holy Roman Empire
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
2. Compare and contrast the approaches of Cimabue and Giotto to depictions of the human figure and the surrounding space in terms of style, technique, and composition
Answer:
1. Cimabue created Virgin and Child Enthroned (Fig. 18-5) on a large panel with tempera and gold. Giotto used the same composition and medium.
2. Cimabue used hierarchical scale with Mary in the center sitting on the throne looking out at the viewer with Jesus on her left lap. Giotto used the same composition.
3. Giotto’s Mary is much more realistic and three-dimensional and her action is more natural.
4. The architectural space in Giotto’s version is almost realistic, with converging lines.
Learning Objective: 18.b Interpret the meaning of works of fourteenth-century European art based on its themes, subjects, and symbols.
Topic: Florentine Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
3. Discuss the creation of Duccio’s Maestà (Fig. 18-10). Address specifics, such as its purpose, its size, the style, the technique, and subject matter. What is its present-day condition?
Answer:
1. Duccio used tempera and gold on wood for the large altarpiece that is decorated on front and back.
2. The work was dismantled in 1771, but the panels combined focus on the Virgin and Child in Majesty flanked by angels, as well as the Passion.
3. Many panels show several moments in the sequential narrative of its subject matter.
4. The figures are graceful, expressive, and dramatic in their gestures and poses.
Learning Objective: 18.a Identify the visual hallmarks of fourteenth-century European art for formal, technical, and expressive qualities.
Topic: Sienese Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
4. Discuss the Small Ivory Chest with Scenes from Courtly Romances (Fig. 18-19, 18-20, and 18-21) in terms of style, technique, composition, and content.
Answer:
1. The style of the chest reflects the French Gothic style popular at the time, with elongated forms and delicately folding drapery.
2. Gestures are exaggerated and the composition is crowded, making it dynamic and expressive.
3. The chest anthologizes scenes drawn from a group of stories, combining courtly romance, secular allegory, and ancient fables.
4. The carvings are mostly in low relief with areas in higher relief to emphasize focal points and imply motion with light and shadow.
Learning Objective: 18.b Interpret the meaning of works of fourteenth-century European art based on its themes, subjects, and symbols.
Topic: Metalwork and Ivory
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
5. Discuss the civic layout of Florence, including the Palazzo della Signoria and the doors of the Baptistery of San Giovanni.
Answer:
1. The ancient Romans designed Florence in an axial rectangular plan with open city squares.
2. The Baptistery stood northeast of the ancient forum, and a street following the Roman plan connected it with the Piazza della Signoria, the seat of the government.
3. A massive, fortified bell tower and houses surrounded the square with a loggia, or covered open-air corridor, to provide shelter for ceremonies and speeches.
4. Benches surrounding the palazzo offered public seating for viewing the decorations, such as the Baptistery doors.
Learning Objective: 18.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of fourteenth-century European art.
Topic: Florentine Architecture and Metalwork
Difficulty Level: Moderate
Skill Level: Understand the Concepts
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