Art 101 - Test 3

Front 1

catacomb

Back 1

developed as a place to bury the dead separate from the pagans – a vast underground network of halls and galleries carved out of the soft Tufa

Front 2

nave

Back 2

the long central hall that held the congregation

Front 3

side aisles

Back 3

found on either side of the nave, provided walkways around the nave

Front 4

trancept

Back 4

the area that crossed the nave and formed a symbolic cross shape

Front 5

apse

Back 5

the semicircular area on the opposite side of the trancept that held the alter

Front 6

narthex

Back 6

an entrance to the nave that gave the visitor a chance to make a shift from the material world outside to the spiritual world inside the church

Front 7

ambulatory

Back 7

a ringlike barrel-vaulted corridor separated from the central domed cylinder by a dozen pairs of columns

Front 8

codex

Back 8

bound like a modern book and was made possible through new development in paper, such as vellum (calfskin) and parchment (lambskin)

Front 9

byzantine art

Back 9

hagia sophia, justinian & attendants

Front 10

early christian art

Back 10

ceiling from catacomb of st. peter, good shepherd sarcophagus, christ as the good shepherd

Front 11

pendentive

Back 11

solved the problem of placing a round dome on a square structure by taking the weight off the walls and channeling it onto massive piers

Front 12

iconoclasm

Back 12

the destruction of images – the destroyers of images were known as iconoclasts – those who opposed such a ban were known as iconophiles or
iconodules

Front 13

migration art

Back 13

animal head, ornamental page, purse cover

Front 14

feudalism

Back 14

a social, political, and economic system that dominated medieval Europe –society was divided into three groups, the lord, the clergy, and the serfs

Front 15

fibula

Back 15

decorative pins used to fasten garments together – these were made of a metal working process called cloisonne

Front 16

cloisonne

Back 16

used metal strips to form a basic geometric pattern – the spaces between these strips were filled with stone or melted glazes, leaving edge of strips showing at top and the colored stones or glazes between them

Front 17

interlace

Back 17

(found on the purse cover) a complex pattern of woven lines, in this case created with the metal strips of cloisonne

Front 18

viking

Back 18

terrorized the coastal areas of western Europe – they attached, plundered, and colonized many of the coastal areas – they often used fear as a tactic for making it easier to take control of these areas – most Viking art was done in the form of
wood carving, made for ships

Front 19

illuminated manuscript

Back 19

hand copied manuscripts decorated with drawings – they were said to be illuminated due to the use of gold leaf in the paint that caused it to glow in the sunlight

Front 20

carolingian art

Back 20

st. matthew, st. matthew

Front 21

ottonian art

Back 21

st. michaels, adam and eve reproached by the lord

Front 22

romanesque art

Back 22

st. sernin, nave of st. sernin, durham cathedral, pisa cathedral group, west tympanum of st. lazare, bayeux tapestry, st. george and the dragon

Front 23

pilgrimage

Back 23

Christian travels to sacred shrines where the relics of saints were kept – they believed that pilgrimages would heal the body and guarantee salvation for the soul – this was also a public way of showing devotion

Front 24

radiating chapels

Back 24

small chapels often used to house relics or give pilgrims a place to worship without disturbing the service already in progress

Front 25

alternating support system

Back 25

where there are alternating heavy and light columns

Front 26

choir

Back 26

the space reserved for the clergy and singers in the church, usually east of the transept but, in some instances, extending into the nave

Front 27

campanile

Back 27

a bell tower of a church, usually, but not always, freestanding

Front 28

tympanum

Back 28

the space enclosed by a lintel and an arch over a doorway

Front 29

trumeau

Back 29

in church architecture, the pillar or center post supporting the lintel in the middle of the doorway

Front 30

gothic art

Back 30

royal portals of chartres cathedral, notre dame, west facade, the visitation, st. chapelle, salisbury cathedral

Front 31

flying buttress

Back 31

an exterior support that channels the weight of the stone vaults outward
and downward relieving the wall of their supporting function - act as an exterior skeleton to support the vaults – opened the way for the development of stained glass windows

Front 32

rayonnant style

Back 32

meaning the radiant style – highly decorative and takes Gothic technology to the extreme

Front 33

flamboyant style

Back 33

named for the flame like appearance of its highly pointed arches decoration was taken to the extreme to the point that sculptural ornamentation dominates the structure

Front 34

tracery

Back 34

ornamental stonework for holding stained glass in place, characteristic of Gothic cathedrals

Front 35

clerestory

Back 35

the fenestrated part of a building that rises above the roofs of the other parts

Front 36

stained glass

Back 36

the colored glass used for windows

Front 37

paleolithic

Back 37

the “old” Stone Age, during which humankind produced the first sculptures and paintings, paintings found mostly on the walls of caves

Front 38

mesolithic

Back 38

the “middle” Stone Age, between the Paleolithic and the Neolithic ages, we start to see lots of human depicted both singly and in groups, paintings are more narrative, but still depict man as simplified stick figures

Front 39

sumerian

Back 39

an agricultural society who had an early writing system called the cuniform - religion played an important role in Sumerian life, so did the pattern of war and peace

Front 40

babylonian

Back 40

a peaceful, cultured people who succeeded in unifying Mesopotamia – Hammurabi was their most famous leader

Front 41

assyrian

Back 41

a warlike, cruel people who conquered the Babylonians – fearful of attack, they built walled fortresses around their palaces – gates of their palaces were guarded by lamassu – carved low relief sculptures on the outside of the palace wall

Front 42

persian

Back 42

originated as a nomadic people on the high plateau of Iran – their early art was portable and in the form of fantasy animals and animal objects – because they were nomads, they built no permanent architecture – they are known as the “great copiers” of art history

Front 43

egyptian

Back 43

religion and permanence characterize the Egyptian culture – their art expresses this continuity – much of the art relates to the climate, but the primary subject of their art revolves around their belief that the spirit lives on after the body dies and that they must provide everything a man had in life for him in the afterworld

Front 44

minoan

Back 44

known for their development of the pottery wheel – early Minoan pots were simple, decorated with abstract shapes that often came from the sea, such as spirals - not fearful of attack, so rather than building tombs, temples, or forts, they built monumental palaces

Front 45

mycenean

Back 45

fearful of attack and built great fortresses – in addition to their fortifications, they were also known for their tombs

Front 46

greek - geometric

Back 46

Greek vase painting becomes very geometric in design and shows influences of Mesopotamian and Egyptian art – the first human form appears in Greek art

Front 47

greek - archaic

Back 47

“golden age” of Greek vase painting - began to experiment with the human form – vase painting was at its height, sculpture and architecture are being developed

Front 48

greek - classical

Back 48

the height of Greek sculpture, created a much more lifelike human figure – sculpture and architecture were at their height of achievement – went beyond just realism and strove for perfection in their human sculptures – demonstrated a thorough understanding of how the body moves

Front 49

greek - hellenistic

Back 49

this was a very diverse period – they lost the idealism of the classical age, but gained realism – a new sense of realism as human flaws and strong emotion began to appear in sculpture – they showed real humanity, not just perfect specimens

Front 50

etruscan

Back 50

people of an unknown origin – built fortified hilltop cities – skilled sea farers, although they had a reputation of being pirates – gesturing hands were common for this culture

Front 51

roman

Back 51

used art and architecture as a means to illustrate the power and achievements of the government – it was political propaganda to reach people living many miles from Rome – much of their culture still survives today

Front 52

early christian

Back 52

– two distinct periods in this art, the period of persecution and the period of recognition – art during the period of persecution was Roman in style and Christian in subject – the period of recognition created a need for public places of worship – early churches were based on Roman architectural styles, but were adapted and modified to fit Christian needs

Front 53

byzantine

Back 53

– figures are dramatically elongated and have lost the three dimensional aspects of Roman influenced mosaics – they are essentially flat – flattening of space is characteristic of Byzantine art – Byzantine artists used special characteristics for symbolic means

Front 54

migration

Back 54

– most of the art was done on small scale and took the form of decorative objects that had some functional value – the subjects were either geometric patterns or abstract animal imagery

Front 55

carolingian

Back 55

art and learning began to flourish – manuscript illumination was a prevalent form of art - architecture experienced a revival

Front 56

ottonian

Back 56

short lived but produced St. Michaels which used an alternating support system and also reintroduced large scale sculpture with its cast bronze doors

Front 57

romanesque

Back 57

– not descriptive of one are or group of people – the style had regional variations, but maintained similar characteristics – two practices were instrumental in shaping these times: monasticism and pilgrimages

Front 58

gothic

Back 58

attitudes toward humanity and man’s role in the universe had become much more positive – this change in attitude can be seen in the architecture, the sculpture, and the manuscripts of this period