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A) apocalyptic images
B) details from court life
C) scenes of tenderness and human interaction
D) aloof and detached facial expressions
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A) emperor
B) as Good Shepherd
C) Pantokrator
D) Apollo
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A) bust-length portraits of saints
B) vegetation inhabited by animals
C) archangel Michael
D) portraits of monks
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A) the emphasis on illusionistic space
B) three-dimensional modeling of the figures
C) the silhouetting of the figures against a gold background
D) the open doorway to the women's gallery
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A) Ravenna
B) Constantinople
C) Greece
D) None of the above
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A) St. Catherine at Mount Sinai
B) Santa Sophia in Kiev
C) Hagios Georgios
D) St. Mark's in Venice
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A) Chora revival
B) Palaeologue Renaissance
C) Macedonian Renaissance
D) Venetian period
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A) Harbaville Triptych
B) Virgin of Vladmir
C) David the Psalmist,
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A) They were used to send messages to their friends.
B) They were portable objects of veneration, similar to painted icons.
C) They recorded the names of people who were to be remembered in prayers.
D) They were used as book covers for manuscripts.
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A) illustrations of key Biblical events
B) intermediaries between worshippers and the holy figures they depicted
C) didactic images that reinforced Christian moral values and beliefs
D) images to be worshipped in churches and private settings
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A) a bishop
B) a woman
C) an imperial patron
D) ritual use
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A) Iconoclasts viewed icons as a threat to the authority of Church clergy
B) Imperial concerns about the rising power of monasteries
C) Fear that the use of images in worship could lead to idolatry
D) Anxiety about the weakening state of the Byzantine Empire in the face of Arab invaders
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A) Basil I
B) Prince Vladimir
C) Alexios Komnenos
D) Romanos II
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A) St. Mark's
B) Hagia Sophia
C) Santa Sophia
D) Hasios Loukas
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