Test Bank for The Humanities: Culture, Continuity, and Change, Volume 2, 4th Edition

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Test Bank
For
The Humanities
Culture, Continuity & Change
Fourth Edition
Volume 2
Henry M. Sayre
Prepared by
R. Dean Carpenter Turner, Professor
Art & Architectural History
The Art Institute of Austin

iii
Table of Contents
21 The Baroque in Italy: The Church and Its Appeal 1
22 The Secular Baroque in the North: The Art of Observation 36
23 The Baroque Court: Absolute Power and Royal Patronage 81
24 The Rise of the Enlightenment in England: The Claims of Reason 122
25 The Rococo and the Enlightenment on the Continent: Privilege and Reason 157
26 The Rights of Man: Revolution and the Neoclassical Style 191
27 The Romantic World View: The Self in Nature and the Nature of Self 228
28 Industry and the Working Class: A New Realism 260
29 Defining a Nation: American National Identity and the Challenge of Civil War 298
30 Global Confrontation and Modern Life: The Quest for Cultural Identity 336
31 The Promise of Renewal: Hope and Possibility in Late Nineteenth-Century Europe 367
32 The Course of Empire: Expansion and Conflict in America 404
33 The Fin de Siècle: Toward the Modern 440
34 The Era of Invention: Paris and the Modern World 475
35 The Great War and Its Impact: A Lost Generation and a New Imagination 508
36 New York, Skyscraper Culture, and the Jazz Age: Making It New 543
37 The Age of Anxiety: Fascism and Depression, Holocaust and Bomb 579
38 After the War: Existential Doubt, Artistic Triumph, and the Culture of Consumption 622
39 Multiplicity and Diversity: Cultures of Liberation and Identity in the 1960s and 1970s 660
40 Without Boundaries: Multiple Meanings in a Postmodern World 696

1
Chapter 21
The Baroque in Italy:
The Church and Its Appeal
Multiple Choice Questions
1. A defining characteristic of Baroque art was
a. attention to the viewers’ emotional experience of a work.
b. a return to the forms and proportions of Classical art.
c. a focus on symbolism.
d. a minimal decoration and sensuousness.
Answer: a
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Chapter Introduction
Difficulty Level: Easy
Skill Level: Remember the Facts
2. The term Baroque was originally used in a derogatory way because the new style
a. was associated with the common people.
b. was very expensive to create.
c. defied the Council of Trent’s directives.
d. was seen as too ornate and strange.
Answer: d
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Chapter Introduction
Difficulty Level: Easy
Skill Level: Remember the Facts
3. Baroque artists placed elements on a diagonal plane, rather than the frontal and parallel planes used
by Renaissance artists, to
a. evoke a sense of greater depth.
b. induce more defined shadows.
c. produce a stronger sense of action.
d. provide greater balance.
Answer: c
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Baroque Style and the Counter-Reformation
Difficulty Level: Easy
Skill Level: Understand the Concepts

2
4. The Roman patrons who were most responsible for creating the Baroque style were
a. the middle class.
b. the nobility.
c. women
d. the papal court.
Answer: d
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Baroque Style and the Counter-Reformation
Difficulty Level: Easy
Skill Level: Remember the Facts
5. In his work in St. Peter’s Basilica, Gianlorenzo Bernini decorated the baldachino’s grooved
columns with bronze vines to
a. symbolize the union of the Old and New Testaments.
b. create a sense of naturalism.
c. emphasize the blending of Classical and Italian design.
d. draw the viewers’ eyes upward along the spirals.
Answer: a
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Sculpture and Architecture: Bernini and His Followers
Difficulty Level: Moderate
Skill Level: Understand the Concepts
6. In his Cornaro Chapel’s sculptural program, Bernini equated Teresa of Ávila’s religious visions
with
a. spiritual rebirth.
b. chastity.
c. sexual orgasm.
d. dancing.
Answer: c
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Sculpture and Architecture: Bernini and His Followers
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It

3
7. On each side of his Cornaro Chapel sculptural program, Gianlorenzo Bernini included theater
boxes to
a. allow visitors to have a better view of Saint Teresa.
b. create preferential seating for the Cornaro family.
c. emphasize his design’s high drama.
d. provide extra seating for churchgoers.
Answer: c
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Sculpture and Architecture: Bernini and His Followers
Difficulty Level: Easy
Skill Level: Understand the Concepts
8. In the Four Rivers Fountain, Gianlorenzo Bernini intended the obelisk to represent
a. the triumph of the Roman Catholic Church over the world’s rivers.
b. Holy Roman Emperor Ferdinand III’s defeat of Egypt.
c. the domination of the Roman Catholic Church over paganism.
d. the Roman Catholic Church’s position as the center of the world.
Answer: a
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Sculpture and Architecture: Bernini and His Followers
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It
9. Giacomo della Porta’s façade for the church of Il Gesù is considered by many to be the first
architectural manifestation of the Baroque style because of its
a. ornate ceiling painting.
b. classic proportions.
c. dramatic jamb statues.
d. added dimensionality.
Answer: d
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Materials and Techniques: The Façade from Renaissance to Baroque
Difficulty Level: Easy
Skill Level: Remember the Facts

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4
10. Fra Andrea Pozzo illustrates a highly dramatic space in Triumph of Saint Ignatius of Loyola using
a. chiaroscuro.
b. foreshortening.
c. tenebrism.
d. an invisible complement.
Answer: b
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Closer Look: Andrea Pozzo’s Triumph of Saint Ignatius of Loyola
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It
11. The Church of San Carlo alle Quattro Fontane, attributed to Francesco Borromini, best illustrates
what principle of Baroque style?
a. surprise
b. grandiose character
c. elaborate design
d. the ornate
Answer: a
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: San Carlo alle Quattro Fontane
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It
12. In The Calling of Saint Matthew, Caravaggio portrayed some of his subjects in contemporary
Baroque attire
a. so that he could use richer colors and brushstrokes.
b. to conform with other paintings in the series.
c. to enable the audience to identify with them.
d. to portray the painting’s patrons realistically.
Answer: c
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Master of Light and Dark: Caravaggio
Difficulty Level: Easy
Skill Level: Understand the Concepts
13. Caravaggio uses light in The Calling of Saint Matthew to illustrate
a. a transformation of the calling into a miracle.
b. and identify which of the subjects is Matthew.
c. Matthew’s conversion as a threatening subject matter.
d. Jesus’ entrance as threatening.
Answer: a
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Master of Light and Dark: Caravaggio
Difficulty Level: Moderate
Skill Level: Understand the Concepts

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5
14. Which technique uses large areas of dark that contrast sharply with smaller brightly illuminated
areas?
a. atmospheric perspective
b. tenebrism
c. foreshortening
d. invisible complement
Answer: b
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Master of Light and Dark: Caravaggio
Difficulty Level: Moderate
Skill Level: Understand the Concepts
15. What thematic interest do Caravaggio’s Conversion of St. Paul and John Donne’s sonnet “Batter
My Heart” share?
a. a celebration of the physical appetite
b. a tension between the sacred and the secular
c. a conversion imagined as physical ravishment
d. a light revealing faith’s transformative power
Answer: c
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: The Baroque and Sexuality: Caravaggio and the Metaphysical Poetry of John Donne.
Difficulty Level: Easy
Skill Level: Remember the Facts
16. Elisabetta Sirani’s Virgin and Child illustrate Christianity’s miracles as
a. everyday events.
b. mythological events.
c. sexual experiences.
d. dramas of harmony.
Answer: a
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women.
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
17. What might account for Artemisia Gentileschi’s painting five versions of the biblical story of
Judith beheading Holofernes including a-portrait of herself as Judith?
a. Gentileschi was of Jewish descent.
b. Gentileschi’s mother was named Judith.
c. Judith was a female artist.
d. Gentileschi had been raped and understood revenge.
Answer: d
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women.
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It

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6
18. Divisions between secular and religious music were less pronounced in Venice because the city
a. had traditionally ignored papal authority.
b. had a large Protestant population.
c. was too far from Rome for anyone to notice.
d. was not part of the Holy Roman Empire.
Answer: a
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Venice and Baroque Music
Difficulty Level: Easy
Skill Level: Remember the Facts
19. As a response to Counter-Reformation doctrine, Giovanni Gabrieli aimed to make church music
a. a distance spiritual experience.
b. a more widely accepted genre.
c. a more emotionally engaging experience.
d. an improved genre through various percussion instruments.
Answer: c
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Giovanni Gabriele and the Drama of Harmony
Difficulty Level: Moderate
Skill Level: Understand the Concepts
20. The canzona’s dominant rhythm is
a. short-long.
b. long-short-short.
c. long-long.
d. short-long-long.
Answer: b
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Giovanni Gabriele and the Drama of Harmony
Difficulty Level: Easy
Skill Level: Remember the Facts
21. Giovanni Gabrieli organized his compositions around a single note—the tonic note—to
a. heighten the sense of harmonic drama.
b. allow more pitch for the voices.
c. create effects of sonority in a cathedral.
d. enable words to be heard over the music.
Answer: a
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Giovanni Gabriele and the Drama of Harmony
Difficulty Level: Easy
Skill Level: Remember the Facts

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7
22. The first operas were inspired by
a. Giovanni Gabrieli’s compositions.
b. Gianlorenzo Bernini’s sculptures.
c. Venetian street processions.
d. ancient Greek drama.
Answer: d
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Claudio Monteverdi and the Birth of Opera
Difficulty Level: Easy
Skill Level: Remember the Facts
23. The libretto for Claudio Monteverdi’s opera Orfeo was inspired by the Greek myth of
a. Prometheus and Pandora.
b. Orpheus and Eurydice.
c. Paris and Helen of Troy.
d. Zeus and Leda.
Answer: b
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Claudio Monteverdi and the Birth of Opera
Difficulty Level: Easy
Skill Level: Understand the Concepts
24. Which style of singing imitates the rhythms of speech?
a. basso continuo
b. recitativo
c. monody
d. tonality
Answer: b
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Claudio Monteverdi and the Birth of Opera
Difficulty Level: Easy
Skill Level: Remember the Facts
25. Why were only girls in Venice’s orphanages given music instruction?
a. Girls would handle the delicate instruments more gently.
b. Girls required musical skill to secure a good marriage.
c. It was assumed that boys would enter the labor force.
d. Venetian orphanages housed only girls.
Answer: c
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Antonio Vivaldi and the Concerto
Difficulty Level: Easy
Skill Level: Remember the Facts

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8
26. Orphanage directors hoped that audiences would be dazzled by the orphans’ musical
performances so that they would
a. adopt the talented children.
b. buy tickets to their performances.
c. help find jobs for the orphans.
d. donate money to the orphanages.
Answer: d
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Antonio Vivaldi and the Concerto
Difficulty Level: Easy
Skill Level: Understand the Concepts
27. Why is Antonio Vivaldi’s The Four Seasons known as program music?
a. He composed it for one of the orphans’ performances, or programs.
b. Its purely instrumental music is connected to a story or idea.
c. Its episodes contrast back and forth with the musical score.
d. The music follows the program and rhythms of speech.
Answer: b
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Antonio Vivaldi and the Concerto
Difficulty Level: Easy
Skill Level: Remember the Facts
28. Baroque music distinguishes itself from former Renaissance compositions due to the process of
a. balanced rhythms.
b. compositions in which all voices are of equal importance.
c. modulation.
d. flowing rhythms.
Answer: c
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Antonio Vivaldi and the Concerto
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It
29. Sant’Alessio, a Roman opera performed for Pope Urban VIII, convinced the Church
a. that only sacred music should be performed.
b that sung theatre could illustrate a moral and spiritual ideal.
c. that sung theater should be performed with elaborate staging.
d. that sung theater should be performed with dazzling costumes.
Answer: b
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Antonio Vivaldi and the Concerto
Difficulty Level: Moderate
Skill Level: Apply What You Know and Analyze It

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9
30. Louis XIV rejected Gianlorenzo Bernini’s Baroque design for a new façade for the Louvre,
finding it too
a. similar to the Vatican colonnade.
b. simple and classical.
c. expensive to build.
d. elaborate and ornate.
Answer: d
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Continuity & Change: The End of Italian Ascendancy
Difficulty Level: Easy
Skill Level: Remember the Facts
Essay Questions
31. Identify and describe three elements of Bernini’s Cornaro Chapel sculptural program that
illustrate the high drama of the Baroque.
Answer: The ideal response would include the following:
1. The high drama is illustrated with the sculptural centerpiece of Saint Teresa, her erotic swoon
and head back in ecstasy, and the angel with arrow in hand which has just been removed from
Saint Teresa’s entrails.
2. Teresa and the angel are framed by a marble canopy with gilded rays of light behind the
figures, illustrating what appears to be a light coming from above.
3. Life-sized marble figures of the Cornaro family, looking on from either side in theater boxes.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Sculpture and Architecture: Bernini and His Followers
Difficulty Level: Moderate
Skill Level: Understand the Concepts
32. Compare Bernini’s Baroque David to Michelangelo’s Renaissance David (Chap. 14), explaining
how each is representative of its respective period.
Answer: The ideal response would include the following:
Bernini’s figure of David is in action. The body of the main subject matter twists in an elaborate
spiral, which creates a dramatic contrast of light and dark. With clenched teeth and strained
muscles, Bernini creates an intense interpretation that makes the viewer feel as if he or she is
present at the moment of the battle. Michelangelo’s David, on the other hand, is restrained, at rest
and in calm anticipation before the confrontation with Goliath. Bernini’s is an intentional contrast
and best exhibits the Baroque style witnessed in the dramatic nature of his David.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Bernini’s David
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It

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10
33. Compare and contrast the differences seen in the Renaissance façade of Leon Battista Alberti’s
Santa Maria Novella with that of the Baroque façade of Giacomo della Porta’s Il Gesù.
Answer: The ideal response would include the following:
1. The Renaissance design of Santa Maria Novella is organized and symmetrical, whereas the
Baroque Il Gesù illustrates a great deal of line and curvature, creating an illusion of
movement or motion.
2. Alberti’s design incorporates three squares, two flanking the portal and one above, separated
by a mezzanine, a low intermediate story. He uses four large Corinthian columns engaged to
the façade to break up the space. The most innovative element illustrated with the design is
the addition of two scrolled volutes, which hide the clerestory behind them.
3. Porta’s design retains a majority of the structure and organization of the Classical seen in
Santa Maria Novella. The emphasis of curved lines distinguishes it as an example of the
Baroque. Porta replaced the engaged columns with pilasters that add three-dimensionality to
the structure, drawing the viewer’s eye to the portal. He added the aedicule to mimic the
portal below, creating a repetition.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Materials & Techniques: The Façade from Renaissance to Baroque
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
34. Discuss the Baroque nature of illusion as exhibited in Andrea Pozzo’s Triumph of Saint Ignatius
of Loyola.
Answer: The ideal response would include the following:
Baroque painters widely used foreshortening to create a three-dimensionality to the subject
matter, therefore creating an illusion of space. Pozzo created an illusionary space above the
viewer, making it difficult to interpret the space as a barreled vault. The inclusion of
foreshortened figures and architectural elements make it appear to extend the architecture beyond
the viewer in a most dramatic manner.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation.
Topic: Closer Look: Andrea Pozzo’s Triumph of Saint Ignatius of Loyola
Difficulty Level: Difficult
Skill Level: Understand the Concepts

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11
35. Define tenebrism, and explain Caravaggio’s use of it to provide drama in two of his works.
Answer: The ideal response would include the following:
Tenebrism makes use of large areas of dark that are contrasted sharply with smaller brightly
illuminated areas. Caravaggio incorporated this technique to illustrate the dramatic element of
light, as found in his Calling of Saint Matthew, in which the use of light takes on the aspect of a
miracle similar to the miracle of creation. Light in Caravaggio’s Calling of Saint Matthew creates
a psychological drama in which the world is revealed in its detail equivalent to faith and its
transformative powers. In his Conversion of Paul, light shows the viewer the moment of
conversion when the Roman legionnaire Saul hears the words of Christ.
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: The Drama of Painting: Caravaggio and the Caravaggisti
Difficulty Level: Difficult
Skill Level: Understand the Concepts
36. Compare the sensual elements of Bernini’s Ecstasy of Saint Teresa to Caravaggio’s Conversion of
Saint Paul and Donne’s “Batter My Heart.”
Answer: The ideal response would include the following:
1. All three of these works demonstrate pursuit of a communion or identity with the divine
through direct experience and a belief that this experience is the ultimate source of
knowledge. Each seeks to convey the ecstasy of conversion and an acknowledgement of that
knowledge.
2. Bernini’s Ecstasy of Saint Teresa is a sculptural program illustrating feeling and emotion,
allowing the viewer to experience the events of Teresa’s life; the viewer sees sensuality
through sexual ecstasy.
3. Caravaggio’s painting, Conversion of Saint Paul, uses light to convey sensuality and illustrate
the conversion and knowledge on Paul’s religious journey. Light plays a comparative role in
4. Donne’s poem, “Batter My Heart,” in which the light associated with conversion seen in
Caravaggio’s work becomes the word of God heard by Saul. Again, the sensual is manifested
in the physical as the writer interprets this conversion.
5. All of these works share this concept of sexual ecstasy and sensuality in a similar nature.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation; 21.2 Discuss how the Baroque style manifests
itself in painting.
Topic: Sculpture and Architecture: Bernini and His Followers; The Baroque and Sexuality:
Caravaggio and the Metaphysical Poetry of John Donne
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It

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12
37. List and analyze at least two reasons for Artemisia Gentileschi’s use of her self-portrait for Judith
in her five paintings of the Jewish heroine’s story.
Answer: The ideal response would include the following:
1. It was a popular subject matter in the city of Florence, where she moved and found patronage
for her work.
2. Her own biography, which included having been raped at 19 and going through her father’s
lawsuit against her rapist, gave her personal investment in the subject matter. Revenge as
illustrated in this context and in the context of Judith’s narrative becomes the focus of
Gentileschi’s content.
Learning Objective: 21.2 Discuss how the Baroque style manifests itself in painting.
Topic: Elisabetta Sirani and Artemesia Gentileschi: Caravaggisti Women
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
38. List and explain two ways Giovanni Gabrieli made church music more emotionally engaging.
Answer: The ideal response would include the following:
1. Gabrieli located and alternated bodies of sound in different areas of the cathedral to add
drama as well as to engage the listener.
2. He also utilized four choirs—boys’, women’s ensemble, basses and baritones, and tenors—
singing from separate balconies above the nave to engage the listener.
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Giovanni Gabrieli and the Drama of Harmony
Difficulty Level: Moderate
Skill Level: Understand the Concepts
39. Provide a detailed explanation of how opera developed during the Italian Baroque period.
Answer: The ideal response would include the following:
1. The Camerata of Florence, a group dedicated to discovering the style of singing used by the
ancient Greeks in their dramas, first developed the form of opera.
2. Claudio Monteverdi, musical director at Saint Mark’s in Venice, proposed new relationship
between text and music. His contemporaries saw music as being dominant over text, whereas
Monteverdi thought that text could play a larger role in the compositions, leading him to
master a new, text-based musical form, the opera.
3. In his first opera, Orfeo, Monteverdi united these concepts and the ancient Greek ideal of
music in the drama through the narrative of the Greek myth of Orpheus and Eurydice. The
operatic form united poetry and music. Although not the first opera, Orfeo is considered the
first to successfully integrate music and drama.
Learning Objective: 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Claudio Monteverdi and the Birth of Opera
Difficulty Level: Moderate
Skill Level: Understand the Concepts

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40. Using one sculpture, one painting, and one musical composition, explain the artists’ achievement
of Baroque drama—the sense of action, excitement, and sensuality.
Answer: The ideal response would include the following:
1. Bernini’s Ecstasy of Saint Teresa illustrates a sense of action through the organization of
space, motion and movement, where the excitement is to understand the moment of mystical
vision in a thinly veiled description of sexual orgasm.
2. In Caravaggio’s Bacchus, Bacchus offers a glass of wine to the viewer while appearing to
undo his robe. The painting exhibits the pleasures of indulging the sensual appetites and, with
them.
3. Monteverdi’s Orfeo illustrates the achievements of Baroque drama through the use of a large
accompanying orchestra and elaborate staging to achieve a musically and dramatically
satisfying opera, exhibiting a sense of action, excitement, and sensuality.
Learning Objective: 21.1 Discuss how the Baroque style, especially in sculpture and architecture,
furthered the agenda of the Counter-Reformation; 21.2 Discuss how the Baroque style manifests
itself in painting; 21.3 Examine how the Baroque style developed musically in Venice.
Topic: Sculpture and Architecture: Bernini and His Followers; The Baroque and Sexuality:
Caravaggio and the Metaphysical Poetry of John Donne; Claudio Monteverdi and the Birth of
Opera
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It

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