# Topic Correct Answer/Why is it Correct? Why Missed 1. Aggregate Supply E= A schedule indicating the level of real output that will be produced at each possible price level A-D are obviously incorrect as they deal with purchasing (D), expenditures (A), inflation and unemployment (C), and inputs (B). Supply indicates production Not enough studying Never understood Stupid Mistake Did not miss 2. Aggregate Demand Curve C= Consumer wealth Energy prices (A) would not effect demand. The prices of inputs (D) would not effect demand. Productivity rates (B) would not effect demand. How much it costs of how quickly a product is made is not going to change how much the product is demanded. What you are left with if either consumer wealth or prices. While a change in prices might effect the demand curve, consumer wealth is what will cause it to shift. The more money the consumer have the more they will purchase, increasing demand Not enough studying Never understood Stupid Mistake Did not miss 3. Short-Run Aggregate Supply Curve C=Prices of inputs decrease The graph set up with real output on the X axis and interest rates on the Y axis. When the prices of inputs decrease we will have in increase in output as we purchase more materials needed for our output, moving the curve to the right. Not enough studying Never understood Stupid Mistake Did not miss 4. Aggregate Demand Curve vs. Aggregate Supply Curve C= Employment increase & Price level has no change Not enough studying Never understood Stupid Mistake Did not miss 5. Capital Stock D=Long-run aggregate supply curve to shift rightward Not enough studying Never understood Stupid Mistake Did not miss 6. Inflationary gap B=Increase in money supply Inflationary gaps can be depleted with the usage of contractionary fiscal policy or minimizing the money supply. Not enough studying Never understood Stupid Mistake Did not miss 7. Effect on GDP and Price Level B= Real GDP increase & Price Level Decrease With an increase in labor GDP would increase since you would now not only be producing more but there would be more individuals with a source on income and that income would then be used for purchases. Price level would decrease because you are now producing more and therefore have an excess supply of the product, so price levels would drop. Not enough studying Never understood Stupid Mistake Did not miss 8. Marginal Propensity A=Consume is 0.8 The problem gives you the information to find the marginal propensity to consume. The equation is: MPC=Change in consumption/change in income x=40/50 x=0.8 Not enough studying Never understood Stupid Mistake Did not miss 9. Keynesian Aggregate-Expenditure Model D= $24 billion Not enough studying Never understood Stupid Mistake Did not miss 10. Keynesian Aggregate-Expenditure Model B=The change in real GDP by the initial change in spending Not enough studying Never understood Stupid Mistake Did not miss 11. Change in Consumption Schedule D= An expectation of future shortages of essential consumer goods Not enough studying Never understood Stupid Mistake Did not miss 12. Investment Demand Curve C=Businesses becoming more optimistic with respect to future business conditions The investment demand curve lies on a graph with the Y axis being represented by the rate of return and interest while the X axis is represented by investment. The curve would move to the right along the X axis as investment increases. Investment would increase as a result of 'businesses becoming more optimistic' Not enough studying Never understood Stupid Mistake Did not miss 13. Automatic Stabilizers D=I & II only Congressional action is not included in the list of automatic stabilizers because it requires the action of the government and takes time for any actions discussed by congress to be approved and put to work in the economy. Income tax and unemployment compensation are built into our economy to keep the money supply under control. Not enough studying Never understood Stupid Mistake Did not miss 14. Automatic Stabilizers B= Decrease & Increase Automatic stabilizers really work for the economy during extreme periods such as during recessions and inflationary times. During a recession we need taxes to decrease so not as much money is being taken out of circulation. During inflationary periods we need taxes to increase to get some of the dollars out of the hands of consumer. Depleting the money supply will bring the economy back to equilibrium Not enough studying Never understood Stupid Mistake Did not miss 15. Long & Short Run Graph C= An increase in wages Not enough studying Never understood Stupid Mistake Did not miss 16. Short-Run Aggregate Supply B=Decrease in price level & decrease in unemployment When you have an increase in supply price will drop as there is now excess of a product that needs to be get rid off. Unemployment will also decrease because an increase in supply means that there are more employees are needed to create this increase of produce Not enough studying Never understood Stupid Mistake Did not miss 17. Aggregate Supply Curve A=Increase in price level & increase in real GDP Real GDP would increase because of the excess governmental spending. Price level would decrease because _______ Not enough studying Never understood Stupid Mistake Did not miss 18. Total Income E= II & III only Not enough studying Never understood Stupid Mistake Did not miss 19. Full-Employment GDP C= $50 billion Not enough studying Never understood Stupid Mistake Did not miss 20. Crowding Out C=Higher interest rates decrease private sector investment Crowding out is defined as a rise in interest rates and a resulting decrease in planned investment caused by the Federal government's increased borrowing in the money market Not enough studying Never understood Stupid Mistake Did not miss 21. Fiscal Policy B=$25 billion decrease in government & $25 billion increase in taxes spending Not enough studying Never understood Stupid Mistake Did not miss 22. Fiscal Policy D= I & III only During an inflation we want to implement contractionary fiscal policy. Therefore, we want to reduce government spending to help decrease the money supply and to increase income taxes, once again, to get some of the money out of the hands of the consumers Not enough studying Never understood Stupid Mistake Did not miss 23. Classical Economics A=A market economy is self-correcting and thus will not remain in a recession indefinitely Classical, unlike Keynesian, supports a self correcting economy and a government that gives gentle nudges here and there, but over all leaves the economy to straighten itself. Classical economists believe that the economy is self-correcting and won't stay, permanently in a recession and inflation. Not enough studying Never understood Stupid Mistake Did not miss 24. Short & Long-Run Supply and Production Possibilities Curves C=Decrease in S-R Supply, Decrease in L-R Supply, and inward shift in Production Possibilities Curve Not enough studying Never understood Stupid Mistake Did not miss 25. Personal Income Taxes B= II only Not enough studying Never understood Stupid Mistake Did not miss 26. Phillips Curve D=Low unemployment rates When the actual rate of inflation is higher than expected, profits temporarily rise and the unemployment rate temporarily falls Not enough studying Never understood Stupid Mistake Did not miss 27. Personal Income Taxes D=A Decrease in consumption of $67 and an increase in savings of $33 We currently consume two-thirds of what we have available. With the new income tax we have $100 less available for consumption or savings. Therefore there is a decrease in consumption by $67, which is two-thirds of the $100 lost, and a decrease in savings by $33, which is the remain third of the $100. Not enough studying Never understood Stupid Mistake Did not miss 28. Personal Income Taxes A=Decrease in real GDP & decrease in Price level With a rise in incomes taxes we have less money available to consume. Less to consume means a lower GDP. Also with less money available we will not only be consuming less, but also producing less which less lower the price level. Not enough studying Never understood Stupid Mistake Did not miss 29. Automatic Stabilizers in Fiscal Policy D=Go into effect without passage of new legislation Automatic stabilizers are a good thing to have built into the economy since they go into effect almost immediately without any new legislation needed. Should they require a new legislation being passed by congress it would require a great deal of time. The immediate reaction of the built-stabilizers is what gives them a major advantage. Not enough studying Never understood Stupid Mistake Did not miss 30. Marginal Propensity to Consume/GDP D=It could increase by up to $9 billion Equation for finding the marginal propensity to consume: MPC= Change in consumption/change in income. $0.9Billion=$1Billion/x .9x=1 x=1.1111 Not enough studying Never understood Stupid Mistake Did not miss
Sunday, December 30, 2007
Economics –Unit 3 Test Corrections (Almost Done) -{Not Answered: 4,5,9,10,11,15,18,19,21,24,25}
Tuesday, December 25, 2007
Physiology -Notes- Bone Growth
Bone Growth ~3 Different Zones~ 1.) Growth Zone: cartilage undergoes mitosis, push up on epiphyseal plate 2.) Transformation Zone: older cells begin to break down (hypertrophy) and enlarge -These cells begin to calcify -Cartilage turned into bone 3.) Osteogenic Zone: formation of medullary cavity ~Growth is Dependent on 4 Factors~ 1.) Adequate Minerals: Ca2+, B, Mn 2.) Hormones: thyroid, growth, sex, parathyroid, calcitonin 3.) Vitamins: A, B12, C, D 4.) Exercise: weight bearing stress
AP Calculus -Test- Chapter 3
Name Chapter 3 Test 1. Find the Derivative A. 4x3 + 3x B. 5 C.4Öx D. -1 . E. 1 . G. ln 3x - 7 H. 5x3 sin x I. 26x 6x + 1 K. cos x 3x + 6 A) 5x7 + 3x6 – x5 + 2x4 + 3x2 – 12 B) cos 3x 3. Find the equation of the tangent line at P. 4. Find where the slope of the tangent line to y = x3 - 3x2 is 0. 5. A spherical balloon's radius is increasing as it is inflated. Find how fast its volume is increasing with respect to the radius at r = 10 cm. 6. An athlete's position on a field is determined by the equation 100 + 25t – 5t2. Find when his velocity is 0. 7. You are the director of an action movie. In one scene, a stunt man is launched from a catapult such that his height above ground at any time is given by -16t2 + 48t + 64. You will need to set up the cameras to catch appropriate moments in his flight. Find…
2. Find y',y'', and y'''.
x
x2
Öx
F.
J. 4
3x2
L.
N. Ösin 3x2
O. 5x2 cos x
P.
Q.
R. x6x
Öx
Monday, December 24, 2007
Thursday, December 20, 2007
Chapter 8 study guide
What does the illuminated tugras of Sultan Suleyman represent and what was its political and symbolic meaning?
The illuminated tugra is from a document from an institution in Jerusalem made by Sultana Hurren. It symbolizes the authority of the Sultant and his officials. The were put on seals, coins and buildings.
Style
To what degree is Islamic art non-representational?
They were for anioconic style, they weren't allowed to make images of important religious figures especially Muhammad
Discuss the design of the Dome of the Rock in terms of Byzantine architectural and artistic influences?
It is a central planned mosque, it trakes the octagon with in an octagon from Byzantine tradition. But the exterior is highly decorated inlike christian churchs, it has a Gold DOme on a drum with bright colored mosaics.
What are the distinctly Islamic features of the Dome of the Rock?
It has intricate design made by individualy cutting the peices, and a calligraphic frieze topped by symmetrical vine scrolls and trees
What aspects of carved stone frieze on the exterioe of the Umayad palace of Mshatta are characteristics of Islamic art?
It has a zigzag molding that splits into triangles each containing rosettes in high relief. It has scrolls with animals and birds, it uses the arabesque style common in Islamic art
What aspects of the carved stone frieze on the exterier of the Umayyad of Mshatta relate to Persian and Byzantine motifs?
It has the intricate design and has a rosette that was common in bothe Persian and Byzantine motifs
What characteristics of the desigh of the Great Mosque of Cordoba are unique in mosque architectur ans would become influential in the development of late Islamic architecture?
They ussed the alternating pale and red Vousoirs. It has a double teired design that incresed the hieght of the interior space, with horseshoe arches
What are the stylistic characteristics of Samarkand ware?
WHite pottery with tufic-style letter was influences by Chinese porcalin which is imitated here
What are the distinctive characteristics of the Perisan four-iwan Mosque?
large, rectangular, vaulted hals with monumental arched opening, symbolizes the gateways between the outside and inside, the spiritual and material world.
From what building type did the 4-iwan mosque evolve and what particular need did the form accommodate?
It started from the madrasas that were schools for advanced study
Discuss the style and design of the mosaic mihrab from the Madrasa Inami, Isfahan in of how they represent Islamic artistice traditions?
Made but cutting each peice individually. THe color scheme uses white, turquise and cobalt blue with accents of yellow ans green was common in this type, patterns of organic and geometric forms
What are the distinctive characteristics of the Ottoman cantral plan mosque design, as represented in the Selimye Cami at Edirne?
Domed, raised on a base, truely central planed, dominatd by the large domed uninteruppted space. It has 4 minerats, one on each corner.
What unusual feature is found on the 13th century pen box from Persia which is rarely in other examples of Islamic art?
It is signed by the author
Discuss the design of the Banner of Las Navas de Tolosa in terms of its characteristics Islamic artistic features?
eight-pointed star int center with text surrounding it and intricate arabesque designs
Discuss how geometric, botanical and calligraphic motif anr combined in the design of thw Koran frontispience from 14th century Mamluk Egypt? What other examples of Islamic reveal similar combinations?
resembles court carpets, combines foliage and styleized flowers. has a 16 pointer starburst with calligraphic exteriors like in the Banner of Las Navas de Tolosa
Chapter 14 image
14-12 Palace of Charlamagne
Much of the palace has been replaced or restored. The chapel is octagonal that rises into a clerestory above the gallery level. Surrounding the the central core is an ambulatory aisle forming an outer with sixteen sides. The gallery opens into the central space with arched oprening of corinthian columns. The vault over the Palace chapel rises from the octagonal form in eight curving masonry segments. The vault used to contain a mosaic of the 24 elders of the Apocalypse.
14-15 Page with Mark the Evangelist.
Book of Mark, Godescalc Evangelistary. 781-83. Ink and colors on vellum. 12 1/2 x 8 1/2. Copied by the Frankish scribe Godescals. It lavishly illustrated, including gold and silver letters on purpled-dyed vellum. Each Gospel section has an illustration of the evangelist. The scribes didn't use punctuation marks or word spaces. Depicted is Mark in the act of writing at a tilted lecturn to display his writings. He is near a lion with a halo that Mark is associated with. There is an essence of body beneath his robe and three demensional. It has a classical spiral vine motifs.
14-16 Page with Matthew the Evangelist
Book of Matthew, Ebbo gospel c.816-35. Ink, gold, and colors on vellum, 10 1/4 x 8 3/4. Written by Archbishop Ebbo apointed by Louis the Pious. Uses the medieval expressionism. The landscape almost runs off the page but is cut off by the Golden border. The painted is created to portray his inner beauty with twisted eyebrows. On the corner of the page there is a Angel who is his symbol. There are gold highlights in his hair desk and bench.
14-9 Cross, from the Church if Saint Guilia
bresia, Italy. Late 7th - early 9th century. Gilded silver, wood, jewels, camoes, and gold-glass medallion, 50 x 39". Huge jeweled cross with bight colors and pretty gems. In Byzantine form with eaqual arms widening at the ends with a circle in the middle. A wooden core gilded with silver, christ ins in a mandorla in relief with more than 200 jewls, glass and cameos. Supposedly it was given to the Church of Saint Guilia by the last Langobard king
14-18 Crucifixtion with angels Angels and Mourning Figures
outer cover, Lindau Gospels, c. 870-80 Gold, pearls, and gems, 13 3/4 x 10 3/8". Maybe made at one of the workshops of Chsrles the Bald. It is now the covers of the Lindau gospels. Made in gold Repousee surrounded by a jeweled frame. THe Angels are above the arms of the cross, there are also figures of the moon and the sun with hiden faces. Jesus has wide eyes and straight with outstretched arms.
14-19 Memorial stone, Labro Saint Hammers Gotland
Sweden 8th century. In a mushroom shape. The figure has horizontal registers surrounded by a ribbon interlace. The elaborate patterns have symbolic significance. On one of the registers they have a ritual hanging of a victim to Odin in front of which is a burial mound called the hall of Odin. The symbol of Odin an eagle and a triple knott
Tuesday, December 18, 2007
Chapter 14 Vocabulary
Chapter 14 Vocabulary
33. Charlamagne: "Charles the Great" King of the Franks, then proclaimed himself King of the Langobardian people after killing his father in law. First Christian Emperor
34. Carolingian: Empire started by Charlamagne in the mid 8th century. Made the Carolingian dynasty in 768. They were the Franks who settled in Gual. Under the reign of the Charlamagne the empire was in France, Italy, Germany, Belgium, and Holland.
35. Pope Leo III: (795-816) crowned Charlamagne emporer after Constantine
36. Renovatio Romani imperii: " The revival of the Roman Empire" on Charlamagne's official seal
37. Westwork: A narthex where the church entry faced west (ex: Palace chapel of Charlamagne)
38. Cloister: arcaded courtyards linking the church and the building for the monastic community (ex: Abbey Church of Saint Riquier, Monastery of Centula)
39. Chancel: sanctuary (ex: Church of Saint Riquier)
40. Aachen: Capitol of the Carolingian empire.
41. Benidict of Nursia (St. Benedict): (c. 480-547) wrote Abbot Gozbertof the Benedictine Abbey of Saint Gali near Lake Constance
Wednesday, December 12, 2007
Chapter 8 Vocabulary
Chapter 8 Vocab.
Abbasid Dynasty: 750-1258 replaced the Umayyad dynasty
Aniconic: non figural
Arabesque: scrolling vines
Caliph: “successor” ruler of the Islamic kingdom,
Calligraphy: fancy Arabic writing used as and in art
Hadith: a composite book of what Muhammad did and said
Horseshoe arch: a round arch with an indentation in the middle
Imam: Prayer leader
Islam: Monotheistic religion created by Muhammad the Prophet
Iwan: large rectangular vaulted halls w/ monumental arched openings.
Kaaba: Islam’s holiest structure. One room cube shaped building, when Muslims pray they direct themselves towards the Kaaba. Thought to be built by Ishmael and Abraham over a foundation made by Adam
Khamsa of Nizami: Five poems written by Persian Mystic poet
Kilim: Flat woven carpet
Koran: “Recitation” Holy book of Islam
Kufic: Angular, earliest scripts for the city of Kufa
Madrasas: Schools for advanced study, like modern universities
Mecca: birthplace of Muhammad, place of the major pilgramage
Miniatures: individual small scaled paintings
Minbar: Pulpit
Mirador: Projecting rooms with windows on three sides
Mosque: Muslim place of worship
Muqarnas: Niche-like pointed arch
Naskhi: script used by educated Muslims
Nasrid: last Spanish Muslim Dynasty 1232-1492)
Ogival or Pointed Arch: an arch with a pointed tip and stones outlining
Thuluth:popilar Mamluk cursive scriptTugras: Imperial calligraphic design
Umayyad Dynasty: 661-750. Founded by Uthman. The Umayyads spread from India to Spain and Northern Africa
Warp and Weft: Warp is vertical portion of the wool carpets, wefts are the flat woven horizontal rows that hold the piece together.
Sunday, December 9, 2007
Chapter 8 images part 3
8-14 Qibla wall with minrab and minbar
Main iwar in a mosque, sultan Hasan madras-mausoleum-mosque. Cairo, Egypt. 1356-63. Shows Seljuk influence. Functioned as classrooms with the student housing in the surrounding rooms. Has marble panels and double-arches recessed minrab with thin columns holding up pointed arches. The inlays, marble, have red, white, and blue stripes, minbar made of carved stone instead of the usual wood,
8-15 Sinan. Selimiye Cami (Mosque of selim), Edirne
Turkey. 1570-74. Royal mosque, only royal mosque could have more then two minarets, they usually had more. The dome is more than 102 feet in diameter. The complex has a madrasa, and other educational buildings, a burial ground, a hospital, a covered market and baths, and charity kitchens, the shape of the mosque shifts from square to octagon to circle as it moves up. It is raised up.
8-17 Griffin
Islamic Mediterranean, probably from Fatimid Egypt. 11th century, Bronze, height 42 1/8”. Stylized. Maybe a fountain spout. They made many metal works in the shapes of birds. The piece is incised with feathers, scales, and silk trapping. On the thighs there and animals in medallions. The bands of the chest and back have tufic lettering along with scale and circle patterns.
8-19 bottle
Syria. Mid 14th century. Blown glass with enamel and gilding. 19 ½ x 9 ½”. has a large inscription naming and honoring the Rasulid sultan in thuluth, a mamluk cursive script, it also has the Rasulid insignia, a red rosette with five petals
8-20 Ewer
Kashan, Persia (Iran). Early 13th century. Glazed and painter fritware, height 11 13/16”. Double-walled. Panted and pierced on the outer shell with tangled vines surrounding seated human figures. Glazed with luster (a thin transparent glaze with a metallic sheen, applied over the colored glazes) and translucent turquoise.
8-21 Banner of Las Navas de Tolosa
Detail of center panel, from southern Spain. 1212-50. Silk Tapestry-weave with gilt parchment. 10’9 7/8” x 7’2 5/8”. It has an eight-pointed star in the center. It has calligraphic panels down the sides and across the top. The piece has eight lobes with gold crescents and white inscribed parchment medallions that form the lower edge of the banner.
Art History -Chap 8- Images Parts 1+2
8.3 Cut-Away Drawing of the Dome of the Rock 8-5 Frieze, Detail of Façade 8.6 Prayer Hall, Great Mosque 8-24 Behram Gur Visiting One of His Wives, an Indian Princess 8-26 Illuminated Tugra of Sultan Suleyman 8.2 Dome of the Rock Jerusalem
8.7 Dome in front of the mihrab, Great Mosque
-965
-the melon-shaped, ribbed dome over one bays seems to float over a web of intersecting arches that rise from polylobed
-intersects arches rather than supporting piers
-lushly patterned mosaics w/ inscriptions, geometric motifs, & stylized vegetations clothe the domes in brilliant color and gold
Mosque Plans:
Hypostyle Halls:
-Great Mosque, Cordoba.
-sahn: the courtyard; interior is divided by rows of columns leading, at the far end, to the mihrab niche of a qibla wall, which is orients toward Mecca
Four -iwan Mosque:
-originally associated w/ madrasas (schools for advanced study)
-iwans: monumental barrel-vaulted halls w/ wide-open, arched entrances; faces each other across the sahn
-most were developed in Persia
Central-plan Mosque:
-Selimiye Cami, Edirne: mosque derived from from Istanbul’s Hagia Sophia - typical Ottoman Turkish architecture
-interior is dominated by a large doomed space uninterrupted by structural supports
-worship is directed toward a qibla wall and its mihrab opposite the entrance
8.8. Bowl with kufic border:
-from Samarkand, Uzbekistan; 9th-10th cent; Earthenware w/ slip, pigment, & lead glaze
-a bowl of medium quality, clear lead glaze was applied over a black inscription on a white slip-painted ground
-letters are elongated to fill the rim
-inscriptions translates: ”Knowledge, the beginning of it is bitter to taste, but the end is sweeter than honey”
8.10 Court of the Lions, Palace of the Lions, Alhambra, Granada, Spain
-completed. C. 1370-80
-a private retreat built by Muhammad the fifth (ruled 1362-91) in the late 14th cent.
-a rectangular courtyard named for a marble fountain surrounded by stone lions
-presently sanded
-originally a garden w/ aromatic shrubs, flowers, & small citrus trees between water channels that radiate from the central Lion Fountain
-2nd floor has miradors: projecting rooms w/ windows on 3 sides
8.12 Courtyard, Masjid-I Jami (Great Mosque), Isfahan, Persia (Iran)
-11th-18th cent. View from the northeast
-originally a hypostyle mosque; late 11th cent. Refurbished w/ 2 brick domes; 12th cent. W/ 4 iwans and a monumental gate flanked by paired minarets
-brick masonry on the interior of the iwans is unadorned; facades are sheathed in brilliant blue architectural tilework; typical Islamic feature for why this monument is famous
8.13 Tile mosaic mihrab, from the Madrasa Imami, Isfahan, Persia (Iran)
-c. 1354 (restored). Glazed and painted ceramic
-now in the Metropolitan Museum of Art, New York
-11 ft tall, made by cutting each piece of tile individually, including the pieces making up the letters on the curving surface of the niche
-color scheme (white against turquoise and cobalt blue w/ accents of dark yellow & green) is a typical kind of decoration
Tuesday, December 4, 2007
Art History -Chap 7.2 - Images Part 3
7-9 Reconstruction drawing of Old Saint Peter’s basilica, Roma
c.320-27, atruim added in later 4th century, about 394’ long and 210’ wide
Had double aisles instead of the one on each side of the nave
It was built over where they thought Saint Peter was buried, Christ named Peter the head of the church so the church was thought to protect the tomb
IT was called “old” because it was later replaced with a new one in the 16th century
Narthex across the width of the building protects 5 doorways a large central portal into the nave and 2 portals on each sides opening to 4 side aisles
Had a T form made of the aisles
7-13 Plan of the Church of Santa Costanza, Rome
C.338-50
Built like a tholos
Was a central plan church
Built right outside of Rome, mausoleum for Constantine
Made into a church in 1256 for Santa Costanza, meaning christian princess
Tall rotunda with a barrel-vaulted passageway
A ring of paired columns with composite capitols
7-21 Sarcophagus of Junius Bassus
c.359, marble, 4’x8’, Grottoes of Saint Peter
Junius Bassus was a Roman official
Inscription says that he was newly baptized and he was 42 when he died
Has 2 registers, divided by column in equal length, each has an earthly scene
Christ shows up with Peter and Paul, giving them the Christian law, like God gave to Moses
Has typological exegesis, combining Old and New testaments
7-33 Archangle Michael
Panel of a diptych, probably from the court workshop at Constantinople, Early 6th century ivory 17”x5½
Missing the other half which completes the inscription
The angel is shown as a divine messenger holding a staff in his left hand and a spear in the right symbolizing worldly powers
Has an orb below the arch, framed by a wreath, on scallop sled
He is floating in mid air
7-35 Page with Rebecca at the well
From Book of Genesis, either from Syria of Palestine, early 6th century. Tempera, gold and silver paint on purple-dyed vellum, 13 ½ x 9 7/8”
May have been made for imperial patron because purple dye is very costly
Is in codex form written in Greek with picture at bottom
It depicts the story where Rebecca at the Well, it shows a continuous narrative
7-49 archangel Michael, icon
Late 10th or early. Silver with enamel 19x 14”
Blessing viewers with upraised hands
The head and hands are in relief with more intricate relief and enamel decoration. The halo and wings are made with jewels, colored glass, and cloisonné
He always appears in same frontal pose with idealized youthfulness
7-50 Page with David the Psalmist
From Paris Psalter, second half of the 10th century paint on vellum 14x10 ½”
Version of Psalms, a scene with out text
Shows Daviv (author of Psalma)
Based the illustration on classical illustration
3-D figures in receding space with lush foliage and a stream perhaps from ancient Rome
Uses atmospheric prospective
Econ -Unit 4- Chap 15 Notes
Monetary Policy:
Art History -Chap 7.2 - Images Parts 2/3
7-31: Church of Sant' Apollinare in Classe Consecrated in 549 by Bishop Maximus. There is no atrium and its simple exterior reflects the interior space. There is a narthes entrance that spans the width of the ground floor, a tall nave with clerestory ends in a semi-circle apse 7-32: The transfiguration of Christ With Saint Apollinaris, First Bishop of Ravenna Nothing interferes visually with the movement forward from the entrance to the raised sanctuary which extends from a triumphal-arch opening into the semi-circular apse. The mosaic depicts an array of men and sheep in a stylized landscape. The jeweled cross and head of Christ in the center represent the Transfiguration of Christ's divinity 7-38: Virgin and Child with Saints and Angels Mary is viewed as the powerful, ever-forgiving intercessor, appealing to her Divine Son on behalf of repentant worshipers. She was also called the Seat of Wisdom and many images depict Mary holding Jesus on her lap in a way that suggests she represents the throne of Solomon. The men standing beside the Virgin Mary on either side are the warrior-saints Theodore and George (said to have slain dragons, representing the triumph of the church over the 'evil serpent' of paganism). The saints are the most stylized of the figures depicted. 7-39: Cathedral of Saint Mark, Venice Saint Mark's domed compartments produce a complex space with five separate vertical axes. Marble covers the lower walls and golden mosaics glimmer above, covering the vaults, pendentives, and domes. Barrel vaults with domed intersections 7-42: Virgin of Vladimir Distinctly humanized approach suggests the growing desire reflected in Byzantine art for a more immediate and personal religion. Paintings like this known as the Virgin of Compassion depict the Virgin and Christ Child pressing their cheeks together and gazing tenderly towards each other. 7-44: Christ Pantokrator This bust length mosaic portray Christ carrying the bible. It fills the central dome of the Church of the Cormition. Hovers in a golden glory, combines two persons of the Trinity- Father and Son, Judge and savior. 7-52: Funerary Chapel Church of the Monastery of Christ in Chora The funerary chapel was added by Theodore Metochites to the west side of the church. It is entirely painted with themes appropriate to such a setting, the last judgment is painted on the vault of the nave, and Anastasis, Christ's descent into limbo to rescue Adam, Eve, and other virtuous people from Satan 7.4 Jonah Swallowed and Jonah Cast Up: -two statuettes of a group from the eastern Mediterranean, probably Asia Minor, probably 3rd cent. Marble -Function is unknown -Illustrate the biblical story w/ the same literalness and enthusiasm as the paintings on the catacomb ceiling 4.10 Church of Santa Sabina, Rome: 422-32 -constructed by Bishop Peter of Illyria -most early Christian churches have been rebuilt but this one still looks as much as it did the 5th cent. -shows basic elements of a basilica: nave w/ side aisles, lit by clerestory windows, ending in a round apse 7.11 Interior, Church of Santa Sabina -exterior is brickwork; interior is marble veneer and fluted marble columns w/ Corinthian capitals -columns support round arches, creating a nave arcade, in contrast to a nave colonnade -spandrels are inlaid w/ marble images of the chalice and paten (plate that holds the bread) , the essential equipment for the Eucharistic rite that took place at the altar -décor of the upper wall between is lost, and a paneled ceiling covers the rafter roof -the triforium (the blind wall between the arcade and the clerestory) typically had painting or mosaics w/ scenes from the Old Testament or the Gospels 7.20 Resurrection and Angel w/ Two Marys at the Tomb: -panel of a diptych, found in Rome, c. 400, ivory -top register shows the moment of Christ's resurrection in both symbolic and narrative terms. As the soldiers guard his tomb sleep, the evangelists Luke (ox) and Matthew (man in the upper right) acknowledge the event from the clouds -bottom register shows the moment when Mary, mother of the apostle James, and Mary Magdalen learn from a young man that the tomb is empty -top panels of the carved doors of the tomb show the Raising of Lazarus, the Gospel story in which Jesus brings a man back to life to prove his divine power -Christian theme: varied natural poses, soled modeling, architectural details of the tomb, decorative framing patterns 7.25 Transfiguration of Christ: -mosaic in the apse, Church of the Virgin, Monastery of Saint Catherine, Mount Sinai, Egypt. C. 548-65 -shows the transfigured Christ in a triple blue mandorla (an almond-shaped halo that surrounds Christ's whole figure) against a golden sky that fills the half dome of the apse -the figure of Christ emits rays of life, & the standing Old Testament prophets Moses & Elijah affirm his divinity -apostles feel to the ground w/ fear & amazement while Christ is relaxed -Shows Peter below, John at the left, and James at the right -Mount tabor is represented as a narrow strip at the bottom, half green & half reflecting the golden light -abstract contrasts w/ the continuing classical influence 7.29 Emperor Justinian and his attendants -mosaic on north wall of the apse, Church of San Vitale, Ravenna, Italy. C. 547 -Justinian carries a large golden paten for the Host and stands next to Maximianus, who holds a golden, jewel-encrusted cross -priestly celebrants at the right carry the Gospels, encased in a golden, jeweled book cover, symbolizing the coming of the Word, and a censer containing burning incense to purify the altar prior to the Mass 7.30 Empress Theodora and her attendants -mosaic on south wall of the apse, Church of San Vitale. C. 547 -Theodora stands beneath a fluted shell canopy & singled out by a gold halo-like disk and elaborate crown, carries a huge golden chalice studded w/ jewels -presents the chalice both as an offering for th Mass and as a gift of great value for Christ -w/ it she emulates the Magi, depicted at the bottom of her purple robe, who brought valuable gifts to the infant Jesus -courtyard fountain stand to the left of the panel and patterned draperies adorn the openings at the left and right 7.54 Barma and Postnik. Cathedral of Saint Basil the Blessed, Moscow. 1555-61 -Russian preference for complexity and verticality combined with Byzantine architecture in a spectacular style epitomized by the Cathedral of Saint Basil the Blassed in Moscow -First Russian Czar, Ivan the 4th, "the Terrible", commissioned the church and the architects (Barma and Postnik) -Instead of a central dome, the architects employed a typical Russian form called a shater -surrounded by 8 chapels, each w/ its own dome seeming to grow budlike from the slender stalk of a very tall drum -plan: a nine-bay, cross-in-square, or quincunx, design surrounded by four more chapels, all on a podium approached by a covered stair
Thursday, November 29, 2007
AP Lit- Hamlet-Act/Scene Notes
ACT 1 SCENE 1: Bernardo, Marcellus, Horatio see the ghost of Hamlet's father and decide to tell Hamlet what they've seen ACT 1 SCENE 2: Claudius and Gertrude decide that Hamlet has gone mad. Horatio, Marcellus, and Bernardo tell Hamlet about the ghost they saw and how they thought it was Hamlet's father and Hamlet tells them that he will meet them at midnight to see the ghost himself. ACT 1 SCENE 3: Ophelia tells her brother Laertes about Hamlet's supposed advances towards her. She then tells her father, Polonius who gets really upset. ACT 1 SCENE 4: Hamlet, Horatio, and Marcellus meet at midnight and wait for the ghost to appear. When the ghost does appear and Hamlet speaks to it the ghost doesn't answer, only beckons for Hamlet to follow. Hamlet follows against Horatio and Marcellus' advice to not. After they leave Marcellus and Horatio decide to follow in case Hamlet should need help. ACT 1 SCENE 5: Hamlet follows the ghost and finally the ghost speaks when Hamlet demands that he won't follow anymore unless he answers. The ghost says that he doesn't have much time to explain. He is Hamlet's father. He says that Hamlet must solve his murder. The ghost tells him that his uncle, who is now the king, was the one who killed him. He says that his uncle killed him and married his widowed wife to become king. The ghost then leaves right before Horatio and Marcellus enter. They ask what happened, but Hamlet refuses to tell, but makes them swear (with the ghosts help) to never repeat what happened/what they saw that night. ACT 2 SCENE 1: ACT 2 SCENE 2: ACT 3 SCENE 1: ACT 3 SCENE 2 ACT 3 SCENE 3 ACT 3 SCENE 4 ACT 4 SCENE 1 ACT 4 SCENE 2 ACT 4 SCENE 3 ACT 4 SCENE 4 ACT 4 SCENE 5 ACT 4 SCENE 6 ACT 4 SCENE 7 AC 5 SCENE 1