ART 112 Exam 3

Bosch was an artist from:
1. Flanders
2. Germany
3. Italy

Flanders

Bosch’s Garden of Earthly Delights Triptych was created in Flanders at the same moment that
__________________ was being executed in Italy.
1. Masaccio’s Trinity
2. Giotto’s Scrovegni Chapel frescos
3. Botticelli’s Birth of Venus
4. Michelangelo’s Sistine Chapel ceiling

Michelangelo's Sistine Chapel ceiling

Given that Bosch’s Garden of Earthly Delights Triptych is a work of Flemish art, which of the following would you expect to find here?
1. Lots of minute detail, and expert depiction of surfaces
2. Lots of highly naturalistic nude figures with athletic musculature
3. Lots of ‘quotations’ of ancient Greek and Roman statues
4. The rhythmic, balanced formal quality that the Italians called grazia

Lots of minute detail, and expert depiction of surfaces

What was the main discussion in 16th century art?
Flemish vs Italian art

Disagreement between the use of nude bodies (source of earthly pleasure for Titian, source of sin for Giotto, and source of divine, spiritual pleasure for Michelangelo)

What is classicism

the style of naturalistic, idealized beauty invented by the Greeks in the 5th century B.C.

The left panel of Bosch’s Garden of Earthly Delights Triptych depicts:
1. The Garden of Eden
2. The terrestrial (earthly) realm
3. Purgatory
4. Hell

The Garden of Eden

In Bosch’s depiction of God presenting Eve to Adam, next to the figure of Eve, Bosch placed:
1. An elk, which symbolizes melancholy (depression)
2. A rabbit, which symbolizes lust
3. A cat, which symbolizes aggressiveness

A rabbit, which symbolizes lust

Which of the following characteristics of Michelangelo’s Adam from the Sistine Chapel does Bosch’s Adam
display?
1. Idealized musculature
2. Contrapposto arrangement of parts
3. The ancient Greek Torso Belvedere as a source of inspiration
4. None of the above

None of the above

Bosch, like Jan van Eyck, depicts the fons vitae, a fountain symbolizing God as the source of eternal life.
How does Bosch’s image of the fons vitae differ from van Eyck’s?
1. Bosch’s resembles the forms of Gothic architecture
2. Bosch’s is made up of plant-like shapes that form that a grinning face
3. Bosch’s includes an owl, which was a symbol for wicked or perverted wisdom
4. All of the above

All of the above

Explain the iconography of the central panel of Bosch’s Garden of Earthly Delights Triptych. What is the main theme? What is meant by the
association between human beings and non-human animals? How does the iconography of the central scene
relate to the iconography of the scenes depicted on the right and left wings of the triptych?

Humanity living under sinful impulses, male lust signified by the behavior of animals

In Bosch’s Garden of Earthly Delights Triptych the scene with nude young women in a pool surrounded by nude young men riding animals, what do the
animals signify?
1. The fact that the young men, in their lustful pursuit of the women, are being driven by the physical
impulses that humans share with animals
2. The fact that the young men, in their lustful pursuit of the women, are being driven by the intellectual and
spiritual impulses that humans share with God

The fact that the young men, in their lustful pursuit of when, are being driven by the physical impulses that humans share with animals

Compared to the figures in Michelangelo’s art, the figures in Bosch’s Garden of Earthly Delights Triptych
are:
1. More influenced by classical nudes
2. Not at all influenced by classical nudes

Not at all influenced by classical nudes

What does the panel on the right side of Bosch’s Garden of Earthly Delights Triptych have in common with the depiction of Hell in Giotto’s
Last Judgment?
1. Style
2. Medium
3. Subject matter

subject matter

In Bosch’s Garden of Earthly Delights Triptych the Hell scene, characteristically Flemish stylistic qualities can be observed?

Details showing texture, reflective surfaces, minute details

Which of the following does Bosch’s depiction of Hell NOT demonstrate?
1. Bosch’s bizarre, often frightening imagination
2. Bosch’s interest in minutely detailed naturalism
3. Bosch’s interest in the idealized beauty of Greco-Roman Classicism
4. Bosch’s virtuoso ability to depict reflective and translucent surfaces

Bosch's interest in the idealized beauty of Greco-Roman Classicism

Pieter Bruegel the Elder, Peasant Dance is an example of:
1. Sixteenth-century Italian art
2. Sixteenth-Century Flemish art

16th century Flemish art

The subject of Pieter Bruegel the Elder, Peasant Dance is:
1. A group of traveling musicians
2. A mythological drinking party in honor of the god Bacchus
3. A group of peasants dancing and drinking at a village festival

A group of peasants dancing and drinking at a village festival

Compared to Bruegel’s Peasant Dance, Titian’s Bacchanal on the Island of Andros is:
1. More idealized
2. Less idealized

More idealized

According to the 16th-century Dutch author Karl van Mander, what reaction do Brueghel’s paintings of
peasants provoke in the viewer?
1. The viewer will laugh at the peasant’s coarse behavior
2. The viewer will disapprove of the fact that the peasants are getting drunk and behaving wildly on a
religious holiday
3. The viewer will have pity for the condition of poverty in which the peasants live

The viewer will laugh at the peasant's coarse behavior

Which of the following terms refers to “the action of understanding, being aware of, being sensitive to, and
vicariously experiencing the feelings, thoughts, and experience of another person”?
1. Pathos
2. Penitence
3. Empathy

empathy

What aspect of Brueghel’s painting suggests that he empathized with the peasants who are the subjects of
this painting?
1. The fact that the peasants look funny, and the viewer is inclined to laugh at them
2. The fact Brueghel shows some of the peasants interacting in tender, loving way toward each other, making
the best they can of a tough life
3. The fact that some of the peasants are shown getting drunk and arguing, rather than observing the religious
holiday in a more decorous way

The fact Brueghel shows some of the peasants interacting in a tender, loving way toward each other, making the best they can of a tough life

Caravaggio was from: 1. Flanders 2. Italy 3. Spain 4. France

Italy

Iconographically, Caravaggio’s Bacchus is most closely related to:
1. Jan van Eyck’s Ghent Altarpiece
2. Michelangelo’s Last Judgment
3. Titian’s Bacchanal on the Island of Andros

Titian's Bacchanal on the island of Andros

The subject of Caravaggio’s Bacchus is:
1. The Christian saint Bacchus, who is holding the chalice used in the ritual of the Mass
2. An ancient Roman senator
3. A Flemish peasant celebrating the harvest
4. The ancient Greco-Roman God of inebriation and physical desire

The ancient Greco-Roman god of inebriation and physical desire (earthly delights)

What does Caravaggio’s figure of Bacchus have in common with the Virgin Mary in Masaccio’s Trinity
fresco?
1. Both figures are characters found in biblical stories
2. Both figures turn toward and address the viewer of the painting
3. Both figures were created by artists from the Early Renaissance

Both figures turn toward and address the viewer of the painting

Typical of the art of Caravaggio, the figure of Bacchus in this painting seems to be modeled on:
1. An ancient Greek statue that was especially revered for its beauty
2. A figure from Michelangelo’s Last Judgment, which set the standard of excellence for the male nude
3. A formula for ideal human proportions devised by Leonardo da Vinci
4. A young man that Caravaggio bumped into on the street, and dressed up as Bacchus in his painting st

A young man that Caravaggio bumped into on the street, and dressed up as Bacchus in his painting studio

The rotten fruit and dirty fingernails in Caravaggio’s Bacchus are examples of:
1. Realism
2. Idealism
3. Classicism
4. Naturalism

realism

The rotten fruit and dirty fingernails seen in Caravaggio’s Bacchus are a stylistic link to:
1. Brueghel’s Peasant Dance
2. Michelangelo’s Last Judgment
3. Titian’s Bacchanal on the Island of Andros
4. Botticelli’s Annunciation

Brueghel's peasant dance

Caravaggio’s art was considered shocking by many of his contemporaries. Why might a viewer have found
Caravaggio’s Bacchus more discomforting, or even scandalous, than Titian’s Bacchanal on the Island of
Andros?
1. Because Caravaggio painting was painted earlier, before images of the pagan gods had become acceptable
in Italian culture
2. Because Caravaggio does not set his scene in a remote, idealized world of classical myth, but in the realm
of real, everyday human life
3. Because Titian’s painting depicts a scene from the New Testament, and thus aids the viewer in battling sin
and attaining salvation

Because Caravaggio does not set his scene in a remote, idealized world of classical myth, but in the realm of real, everyday human life

Caravaggio, The Inspiration of Saint Matthew (first version), and
The Inspiration of Saint Matthew (second version) were both made for:
1. A private chapel in a Roman church
2. The pope’s apartment in the Vatican
3. The headquarters of the Florentine government

A private chapel in Roman church

The subject of Caravaggio, The Inspiration of Saint Matthew (first version), and
The Inspiration of Saint Matthew (second version) is:
1. St. Matthew learning to read
2. St. Matthew writing a letter to Jesus
3. St. Matthew writing the Gospel of St. Matthew

St. Matthew writing the Gospel of St. Matthew

The first version of The Inspiration of Saint Matthew can be seen only in a black and white photograph because:
1. The painting was destroyed by an amateur restorer attempting to clean it
2. Caravaggio experimented with a new painting technique, which eventually caused the painting to
disintegrate
3. The painting was destroyed by bombing during World War II

The painting was destroyed by bombing during WW11

Why did Caravaggio paint a second version of this painting for the same altar?
1. The priests at the church where the painting was located were opposed to the first version
2. The first version was destroyed
3. The first version was a great success, and other patrons commissioned Caravaggio to paint additional
versions

The priests at the church where the painting was located were opposed to the first version

What does Caravaggio, The Inspiration of Saint Matthew (first version), and
The Inspiration of Saint Matthew (second version) have in common with Jan van Eyck’s Ghent Altarpiece?
1. Both were made by an Italian artist
2. Both are altarpieces
3. Both depict the fons vitae

Both are altarpieces

In the first version of Caravaggio, The Inspiration of Saint Matthew, the face of St. Matthew most closely resembles:
1. The facial type of Michelangelo’s Sistine Chapel ignudi
2. The face of Polykleitos’s Doryphorus
3. The face of the bagpipe-playing peasant in Brueghel’s Peasant Dance

The face of the bagpipe-playing peasant in Brueghel's Peasant Dance

What is the point that comes across when we comparing Caravaggio’s two versions of The Inspiration of Saint Matthew to a set of guidelines for professionalism in job interviews?
1. Caravaggio never had to interview for a job, because the job interview had not yet been invented
2. When Caravaggio painted the first version of the painting, he broke a code of decorum for proper
depiction of religious subjects, similar to the code of decorum that applied to job interview etiquette.

When Caravaggio painted the first version of the painting, he broke a code of decorum for proper
depiction of religious subjects, similar to the code of decorum that applied to job interview etiquette.

List the changes that Caravaggio made in the second version of his painting of The Inspiration of Saint
Matthew, to make the image more decorousb (and explain the one naughty detail that he put in, so that we’d
know the painting is still a Caravaggio):

Saint Matthew was given a halo, his foot isn't centrally located, the body of the angel is less exposed, angel is influencing Matthew from above

Which of the following passages was written by Saint Matthew—the same saint shown in Caravaggio’s
painting—which may help us understand the humble, un-idealized way in which Caravaggio painted
Matthew in the first of the two paintings?
1. “My eyes, desirous of beautiful things, and my soul, likewise, of its salvation, have no other means to rise
to heaven but to gaze upon all such things”
2. “Many shall be last who are now first, and many who are now last shall be first”
3. “Noble painters and sculptors, imitating that first maker... correct nature so that she is without fault either
of color or of line”

“Many shall be last who are now first, and many who are now last shall be first”

Loreto is: 1. A town near Jerusalem 2. A town in Italy 3. The name of this painting’s patron
4. The name of the church for which this painting was made

A town in Italy

he two figures in the lower right of Caravaggio, Madonna di Loreto are:
1. Saints paying homage to the Virgin Mary and Christ child
2. Pilgrims adoring the Virgin and Child
3. Peasants offering assistance to a poor woman and her child

Pilgrims adoring the Virgin and Child

What aspects of the style of Madonna di Loreto are typical of Caravaggio

Dirty feet, realism (old lady), fallen/cracked plaster, tenebrism (darkness)

In his Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori compares idealism in
art to:
1. The perfection of celestial objects above the moon
2. Michelangelo’s nudes

The perfection of celestial objects above the moon

We can compare Bellori’s concept of the distinction between the earthly and celestial realms to a pair of
sandwiches one moldy and one not. The point is that in premodern science, the Earthly realm is:
1. Like the moldy sandwich, because the Earthly realm is subject to decay
2. Like the un-moldy sandwich, because the Earthly realm is unchangeable, and remains forever pristine

Like the moldy sandwich, because the Earthly realm is subject to decay

In his Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori criticizes Caravaggio
and his followers for:
1. Not idealizing the figures in their paintings
2. Depicting contorted, muscular nudes
3. Focusing on pagan rather than Christian subjects

Not idealizing the figures in their paintings

Bellori criticizes Caravaggio for not learning from, and imitating, which of these artists?
1. Brueghel
2. Raphael
3. Bosch

Raphael

What is the name we use for an artist who is a follower of Caravaggio?
____________________

caravaggista

The last major European artistic movement to develop within a cultural environment dominated by
Christian subjects, stories and values, was:
1. Renaissance 2. Baroque 3. Rococo 4. Neo-Classicism

Baroque

Artemisia Gentileschi has the distinction of being:
1. The first female artist Europe
2. The first woman from Rome to travel Spain
3. The first female member of a European art academy

The first female member of a European art academy

The foundation of the European art academies, beginning with the Florentine academy founded by
Vasari in 1563, is an indication of:
1. A decrease in the social status of artists following the decline of the Renaissance
2. The decline of the system of artistic patronage whereby artists competed with each other for artistic
commissions
3. An increase in the social status of artists, and a more theoretical type of artistic training

The decline of the system of artistic patronage whereby artists competed with each other for artistic
commissions

The iconography of Artemisia Gentileschi, Judith Beheading Holofernes derives from:
1. The Old Testament
2. The New Testament
3. Pagan mythology

The Old Testament

What artistic technique associated with Caravaggio does Artemisia Gentileschi, Judith Beheading Holofernes make use of?
1. Linear perspective
2. Sfumato
3. Tenebrism

Tenebrism

Artemisia’s gory treatment of the subject matter of Judith Beheading Holofernes is an example of the realism associated
with:
1. Michelangelo 2. Peter Paul Rubens 3. Caravaggio

Caravaggio

The dramatic facial expressions and dramatic lighting in Artemisia Gentileschi, Judith Beheading Holofernes are characteristic of what art-
historical period?
1. Renaissance 2. Baroque 3. Rococo 4. Neo-Classicism

Baroque

The characteristic artistic style of the 1600s is called:
1. Renaissance 2. Baroque 3. Rococo 4. Neo-Classicism

Baroque

When we look at the paintings that Artemisia produced over the course of her career, we notice some
patterns in her choice of subject matter. Briefly explain the nature of those patterns, and explain how the
subjects she chose to paint relate to what we know about the traumatic personal experience she
underwent in Rome as a young woman:

She used art to get revenge on the male culture, with gory scenes of women getting vengeance on men, or woman getting assaulted by men

What do most paintings of Judith Beheading Holofernes that were made by male artists in the
Renaissance and Baroque periods have in common with the older of the two Star Wars posters we have
been discussing in this class?
1. Both express female agency, because they show a woman in an active rather than a passive role
2. Both were painted in Italy in the seventeenth century, to promote an action film
3. Both depict a sexualized female figure, in a way designed to gratify the viewer’s sexual desire

Both depict a sexualized female figure, in a way designed to gratify the viewer’s sexual desire

What does Artemisia’s version of Judith Beheading Holofernes have in common with the more recent of
the two Star Wars posters we have been discussing in this class?
1. Both are expressions of female agency, because they show a woman in an active rather than a passive role
2. Both were painted in Italy in the seventeenth century, to promote an action film
3. Both depict a sexualized female figure, in a way designed to gratify the viewer’s sexual desire

Both are expressions of female agency, because they show a woman in an active rather than a passive role

In your readings for this week, the feminist historians Griselda Pollock and Mary Garrard disagree as to:
1. Whether Artemisia Gentileschi’s Judith Beheading Holofernes was actually painted by Artemisia
2. Whether Artemisia Gentileschi should be regarded as a victim of sexism
3. Whether Artemisia’s gender and sexual history should influence interpretations of her art

Whether Artemisia’s gender and sexual history should influence interpretations of her art

Which of the following make Bernini’s David a work of art that is characteristically Baroque, rather
than Renaissance, in style?
1. The marble medium
2. The figure’s dramatic action
3. The figure’s nudity
4. The figure’s idealized body type

The figure’s dramatic action

Bernini’s masterpiece, the Ecstasy of Saint Teresa, is located in:
1. The papal palace, in Rome
2. A side chapel in the church of Santa Maria della Vittoria in Rome
3. A side chapel in the duomo (cathedral) of Florence

A side chapel in the church of Santa Maria della Vittoria in Rome

The subject of the Ecstasy of Saint Teresa is:
1. The Annunciation
2. The death of the Virgin Mary
3. The mystical experience of a female saint
4. The martyrdom of a female saint

The mystical experience of a female saint

Which of the following are depicted in carved balconies on either side of this chapel?
1. Martyr saints
2. Allegorical figures representing Christian virtues
3. Members of the family that owned the chapel
4. Jesus’s apostles

Members of the family that owned the chapel

Which of the following is NOT a characteristic of Baroque art?
1. Drama and intense emotion
2. Stable, symmetrical compositional arrangements
3. Scenes strongly lit by light emanating from a single, discernable direction
4. Compositional arrangements dominated by strong diagonal elements

Stable, symmetrical compositional arrangements

We can use the architectural elements in the Cornaro Chapel (which were designed by Bernini), as an
example of Baroque architecture. List the aspects of the chapel that are characteristic of Baroque
architectural style.

Oval window, billowing drapery, dramatic lighting and poses, no visible supports, unique stone and materials

The artist who made The Raising of the Cross was from:
1. Italy 2. Flanders 3. France 4. Spain

Flanders

Peter Paul Rubens, The Raising of the Cross is an altarpiece for a church in:
1. Rome 2. Paris 3. Florence 4. Antwerp

Florence

The subject of Peter Paul Rubens, The Raising of the Cross derives from:
1. The Old Testament 2. The New Testament

The New Testament

What formal (i.e. stylistic) characteristics of Peter Paul Rubens, The Raising of the Cross are typical of Baroque art?

Dramatic scene, lighting, gory, diagonal lines

Rubens is a Northern European artist known for:
1. Rejecting the influence of Italian art
2. Combining Italian and Flemish stylistic influences
3. Rejecting the influence of Northern European art

Combining Italian and Flemish stylistic influences

Which ancient statue, which we studied at the start of Art 112, inspired Rubens’ depiction of Christ in
this painting?
1. Polykleitos’s Doryphorus
2. The Laocoon Group
3. Praxiteles’ Aphrodite of Knidos

The Laocoon Group

In designing the figures who are raising the cross in this painting, Rubens seems to have been inspired
by a detail from:
1. Michelangelo’s Last Judgment
2. Masaccio’s Trinity
3. Bosch’s Garden of Earthly Delights

Michelangelo’s Last Judgment

Which of the following aspects of Rubens’ The Raising of the Cross was likely inspired by Caravaggio?
1. The strong contrast between light and shade
2. The inclusion of a landscape in the background
3. The muscular nude figures

The strong contrast between light and shade

Which of the following aspects of Rubens’ The Raising of the Cross was likely inspired by Flemish art?
1. The strong contrast between light and shade
2. The minute details and naturalistic depiction of surfaces and textures
3. The twisting, foreshortened muscular nudes

The minute details and naturalistic depiction of surfaces and textures

Which of the following aspects of Rubens’ The Raising of the Cross is characteristic of Baroque art?
1. The diagonal arrangement of forms
2. The use of oil paint
3. The minute details and naturalistic depiction of surfaces and textures
4. The twisting, foreshortened muscular nudes

The diagonal arrangement of forms

The artist who made Christ Preaching was from: 1. Italy 2. The Netherlands 3. France 4. Spain

The Netherlands

The first book ever printed was:
1. Vitruvius’s treatise on architecture 2. Plato’s Symposium 3. Dante’s Divine Comedy 4. The Bible

The Bible

Rembrandt’s Christ Preaching is an example of which kind of print?
1. Woodblock 2. Engraving 3. Etching

Etching

Which print technique involves coving a metal plate with wax, incising lines, then immersing the plate
in a bath of acid, to produce minute grooves where the metal is exposed?
1. Woodblock 2. Engraving 3. Etching

Etching

Rembrandt left the figures on the left side of Christ Preaching unfinished—why?
1. He died before the work was completed, leaving it in an unfinished state
2. To demonstrate his etching technique and make the image more “collectable”
3. He abandoned work on the image when his patron failed to pay him
4. As a protest against the privileges of the upper class

To demonstrate his etching technique and make the image more “collectable”

On the realism/idealism spectrum, Rembrandt is closer to:
1. Raphael and Michelangelo 2. Brueghel and Caravaggio

Brueghel and Caravaggio

What does Rembrandt's Christ Preaching have in common with Brueghel’s Peasant Dance?
1. Both depict poor people in a realistic way
2. Both have strong contrasts between light and shadow
3. Both are strongly influenced by Italian Renaissance painting
4. Both are strongly influenced by Greco-Roman sculpture

Both depict poor people in a realistic way

Which of the following does Joachim von Sandrart say in his biography of Rembrandt?
1. Rembrandt did not travel to Italy to study Italian art
2. Rembrandt did not study ancient Greco-Roman art
3. Rembrandt spent time with members of the lower classes
4. All of the above

All of the above

Our analysis of Joachim von Sandrart’s comments on Rembrandt suggest that:
1. Sandrart was a supporter of Caravaggio, and in his discussion of Rembrandt, defends the
Caravaggesque aspects of Rembrandt’s style
2. In European art, there was a divide between those who favored and ideal, Classically-influenced style
of art, and a grittier, realist style of art
3. In the later Baroque period, the realist style of Caravaggio went into decline, so that by Rembrandt’s
time, there were few Caravaggisti left in Italy

In European art, there was a divide between those who favored and ideal, Classically-influenced style of art, and a grittier, realist style of art

Which of the following characteristics of Christ Preaching suggest Rembrandt’s empathetic character?
1. The strong tenebrism
2. The fact that the work is an etching, as opposed to a woodblock print or an engraving
3. The sensitivity with which he depicts the poor and the sick gathered around Christ
4. The fact that he left part of the work unfinished

The sensitivity with which he depicts the poor and the sick gathered around Christ

In the 18th-century the center of European artistic life shifted from:
1. Flanders to Rome
2. Florence to Rome
3. Italy to France
4. France to Flanders

Italy to France

In discussions of European history, the French term ancien regime refers to:
1. The European political order before the French Revolution
2. The European political order after the French Revolution

The European political order before the French Revolution

Which social class in French society benefitted most from the political order under the ancien regime?
1. The unemployed French poor
2. The French working class
3. The French middle class
4. The French aristocracy

The French aristocracy

With which eighteenth-century socio-cultural group is Rococo art associated?
1. The unemployed French poor
2. The French working class
3. The French middle class
4. The French aristocracy

The French aristocracy

The artist who painted The Toilet of Venus was:
1. A member of the French royal family
2. A wealthy aristocrat and amateur painter
3. A professor of painting at the French Royal Academy of Painting
4. A revolutionary during the French revolution

A member of the French royal family

The Toilet of Venus was made for the dressing room of:
1. The King of France
2. The Queen of France
3. The mistress of the King of France
4. A corrupt priest

The mistress of the King of France

Briefly explain in what ways are the iconographic and stylistic features of this painting are typical Rococo art:

Painted for an aristocrat, material luxury, psychological luxury, eroticism, garden theme, furniture in ornate rococo style

The social and ethical values signified by this painting are most closely associated with which of the
following?
1. The French peasant class
2. The French aristocracy
3. French philosophes
4. French revolutionaries

The French aristocracy

The artist who made The Swing was a student of:
1. Rembrandt
2. Boucher
3. David

Boucher

The scene of The Swing, like that of many Rococo works, takes place in:
1. A village square
2. A forest
3. A garden

A garden

Fragonard’s The Swing, like most works of French Rococo art, was made for:
1. A member of the French peasantry
2. A member of the French middle class
3. A member of the French aristocracy

A member of the French aristocracy

Explain the iconography of this painting, and what makes its theme typical of Rococo art:

Pleasure principal, "teasing" eroticism, earthly delights

The humorous, mischievous eroticism of this painting is a characteristic that The Swing shares with:
1. Brueghel’s Peasant Dance
2. Rembrandt’s Christ Preaching
3. The Hellenistic Greek Aphrodite, Pan and Eros

The Hellenistic Greek Aphrodite, Pan and Eros

What does Salon de la Princesse mean?
1. “Room of the Princess” 2. “Hairdresser of the Princess”

“Room of the Princess”

The Salon de la Princesse is a room in a building located in which city?
1. Rome, Italy
2. Paris, France
3. Antwerp, Belgium

Paris, France

In French, the term hotel means:
1. A building where one pays to rent a room for the night
2. A large, opulent town house, usually belonging to an aristocrat

A large, opulent town house, usually belonging to an aristocrat