Εικόνες σελίδας
PDF
Ηλεκτρ. έκδοση

3. Give an account of the structure of the soft parts of the Radiolaria, and of the various forms of skeleton formed by them.

4. Classify the Anthozoa, with brief diagnoses of the included groups. What are the chief variations in

the structure and mode of formation of the hard skeleton in that group?

5. Describe the structure of the appendages in Insecta Hexapoda, taking one example for special description, and comparing it with the modifications presented by the various orders included in the class.

6. What are the facts of structure and development which have led to the association of the Ascidians with the Vertebrata in zoological classification?

7. State what you know as to the affinities and geological horizon of the following extinct organisms:Palæophonus, Goniatites, Calceola, Melonites, Orthis, Belemnites, Aptychus, Pteraspis, Plagiaulax, Hyperodapedon, Dicynodon, Dinoceras, Mososaurus, Holoptychius, Favosites.

In this subject there was also a practical
examination.

HISTORY OF RENAISSANCE AND MODERN ART, WITH QUESTIONS ON ENGRAVING.

Time allowed, 3 hours.

[Not more than nine of these questions to be answered.]

1. At what dates, and through the achievements of what masters, have the following cities chiefly flourished as art-centres :-Siena, Ferrara, Padua, Milan, Bologna, Augsburg, Augsburg, Cologne, Bruges, Antwerp, Norwich?

2. Compare briefly the status and character of the art of painting in Italy and in the Netherlands, either (1) about 1450, or (2) about 1650.

3. Give some account of the processes of engraving on wood and copper employed in Europe before the year 1520, and of the earliest development of these

arts.

4. State briefly what you know of the works and position in the history of art, of any two of the following masters:-E S, W, Martin Schongauer, Jacopo de' Barbari, Mantegna, Marcantonio.

5. What is the meaning of the term peintre-graveur? Cite the names of any six of the chief artists, or of any one artist in each century from the 15th to the 19th, to whom this designation applies, with the dates and titles of their principal works.

6. Describe briefly the nature of the following artistic processes-fresco, tempera, silver-point, etching, dry point, mezzotint, aquatint, lithography.

7. Narrate briefly the origin and development of Dürer's style as an engraver on metal. Give a dated list of some of his principal paintings, engravings, and woodcuts, and of some of the chief events of his life.

[ocr errors]

8. Assign the following works to the artist or artists, date, and class of workmanship to which they generally belong:-" The Adoration of the Lamb," "the Madonna im Rosenhag," "Virgin of Einsiedeln," "the Madonna of Castelfranco," "the Battle of the Standard," "the Knight and Death,” the Sacred and Profane Love," "the Madonna del Gran Duca," "the Dance of Death," "the Bridgewater Madonna," the Eulenspiegel," "the Rospigliosi Aurora," "the Surrender of Breda," "the Hundred Guilder-piece," "the Voyage to Cythera," "the Fighting Téméraire," "the March to Finchley," "the Angelus."

9. "Never was the influence of a painter on engraving so direct or so potent as that of Rubens.' Explain and illustrate this statement.

10. Who were the Little Masters, and in what branch or branches of art did they work? Give the best account you can of any one among them. 11. Give a short account (1) of Rembrandt as an etcher, and (2) of any other important contemporary etcher or group of etchers in Holland.

12. What are the chief collections of prints and drawings in Europe? Mention any particular works or classes of work for which each or any of them may be individually remarkable.

13. State briefly what you know of the portrait painters and portrait engravers of France under Louis XIV. 14. What were the approximate dates of Francis Delaram, William Faithorne, Wencelaus Hollar, William Roger, Sir R. Strange, and William Woolett? Describe briefly the character of the work produced by each.

15. Write a brief history of mezzotint in England. 16. Write a short account of the position and influence of the most eminent foreign artists working in England either (1) under the Tudors, or (2) under the Stuarts.

FREEHAND DRAWING.

Time allowed, 3 hours.

[N.B.-The drawing must be entirely freehand; no instrument or mechanical aid of any kind is allowed.

In making drawings from models, or any kind of solids, you will necessarily have to deal with cross-lights; all such objects must be drawn just as they happen to be lighted.

The paper supplied must not be torn, nor must any other be used, and the drawing must be executed on one side only of the paper. No drawing whatever is

allowed on the printed paper of questions, or on the
blotting paper. Use a separate sheet of paper for
each question; if you cancel a drawing and require
fresh paper, you can have more, but
every sheet
issued to you must be returned by you with your
name written upon it.]

1. Make a pencil drawing, in light and shade, and half the actual size, of the flower-pot placed in front of you, so that you can see portions of both inside and outside.

As the chief object of this exercise is to test your knowledge of the distinction between the shading of a convex or concave surface, rough and rapid work is all that is needed.

2. Make a pen and ink sketch of the piece of old woodwork before you, the drawing to be about six inches long.

3. Make a finished full size drawing with the brush of the obverse of the coin placed before you.

CLASSICAL NUMISMATICS.

Time allowed, 3 hours.

[Only nine questions to be answered.]

1. Explain the following terms:-stater, drachma, hecté, as, sestertius, denarius.

2. Give the normal weights, in grains, of the stater in the Phoenician, Eginetan, and Attic metrological systems respectively. In what parts of the Greek world did these systems severally obtain ?

3. "It is of course generally recognised that in many cases the type (on Greek coins) is of religious meaning. But we may go beyond this admission and assert that all the types of early Greek coins are religious." Discuss this opinión.

4. In the absence of direct historical information what criteria exist for the classification of the Greek autonomous coins in order of date? What are the periods into which these coins are usually divided? 5. Translate and comment upon the following pas

sages:-

(1) Βοῦς ἐπὶ γλώσση βέβηκε.

(2) Λύδοι πρώτοι ἀνθρώπων, τῶν ἡμεῖς ἴδμεν, νόμισμα χρυσοῦ καὶ ἀργύρου κοψάμενοι ἐχρήσαντο.

(3) Pecuniam probant veterem et diu notam, serratos, bigatosque.

6. What are types parlants? Give any examples of such types which may occur to you.

7. Describe (or sketch if you prefer it) the normal types of the following coins:-Daric, tetradrachm of Athens, Corinthian_stater, gold coin of Philip of Macedon, as, early Roman denarius.

8. On the coins of what cities do the following types occur :-tortoise, eagle, buckler, triquetra, biga, prow?

9. What is a Cyzicene stater? What a cistophorus ? What special points of interest attach to these two classes of coins?

10. In what ways may the series known as the Greek Imperial coins be used to illustrate (1) the geography, (2) the history, (3) the art, and (4) the religion of antiquity? Give examples.

11. At what time did gold coins become a regular currency among the Romans? the Romans? What is the significance of the letters "S C" on Roman coins, and to what class of coins is it confined?

12. Mention the most remarkable instances of the copying by a barbarous people of the coinage of the Greeks or Romans.

(Wt. 23138 250 3 | 96-H & S 4000)

4

« ΠροηγούμενηΣυνέχεια »