A) reviving the use of images.
B) being great patrons of the arts.
C) saving the city from its enemies.
D) following religious decrees.
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A) short, squatty figures
B) aloof and emotionless quality
C) flat, two-dimensionality
D) painterly spontaneity
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A) mosaics
B) frescoes
C) tapestries
D) stonework
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A) the emphasis on illusionistic space
B) three-dimensional modeling of the figures
C) the silhouetting of the figures against a gold background
D) the open doorway to the women's gallery
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A) a messenger.
B) a military commander.
C) a Roman deity.
D) a disciple.
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A) provoke fear in travelers and pilgrims.
B) move monks and visitors to meditation.
C) express knowledge of Greek artistic tradition.
D) emphasize the power of the royal patron.
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A) the Virgin's anguish.
B) the activities of the onlookers.
C) the background landscape.
D) the moment of the Crucifixion.
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A) altruistic flair.
B) philosophical virtues.
C) religious meaning.
D) pagan motifs.
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A) the martyrdom of St. Vitalis
B) the marriage sacrament of Justinian and Theodora
C) Christ's role as King of Heaven
D) the celebration of the Eucharist
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A) small areas of the Balkans and Greece.
B) Constantinople and Russia.
C) Greece and eastern Europe.
D) Greece and Macedonia.
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A) They were used to send messages to friends and colleagues.
B) They were portable objects of veneration, similar to painted icons.
C) They were used to record names of people who were to be remembered in prayers.
D) They were used as book covers for manuscripts.
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A) It served to reinforce the underlying supports.
B) It made the structure appear to dissolve into shimmering light and color.
C) It called attention to the architectural complexity seen throughout the building.
D) It disguised structural irregularities that were originally visible inside the church.
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A) codex
B) manuscript
C) miniature
D) vellum
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