Pearson Edexcel Level 3 Advanced GCE
in History of Art (9HT0)
Paper 02 Periods
,
,General Marking Guidance
All candidates must receive the same
treatment. Examiners must mark the first candidate in exactly
the same way as they mark the last.
Mark schemes should be applied positively. Candidates
must be rewarded for what they have shown they can do rather
than penalised for omissions.
Examiners should mark according to the mark scheme not
according to their perception of where the grade boundaries may
lie.
There is no ceiling on achievement. All marks on the mark
scheme should be used appropriately.
All the marks on the mark scheme are designed to be
awarded. Examiners should always award full marks if deserved,
i.e. if the answer matches the mark scheme. Examiners should
also be prepared to award zero marks if the candidate’s response
is not worthy of credit according to the mark scheme.
Where some judgement is required, mark schemes will
provide the principles by which marks will be awarded and
exemplification may be limited.
When examiners are in doubt regarding the application of
the mark scheme to a candidate’s response, the team leader must
be consulted.
Crossed out work should be marked UNLESS the
candidate has replaced it with an alternative response.
, Invention and illusion: the Renaissance in Italy (1420–1520)
Question Indicative content
1(a) AO targeting
AO1: 3 marks; AO2: 2 marks.
Marking instructions
Answers must apply the level descriptors in line with the general marking guidance.
Markers should note that Level 1 contains no reward for AO2, and so is restricted to
AO1.
Indicative content guidance
The indicative content below exemplifies points that candidates may make, but this
does not imply that any of these points must be included. Other relevant points
must also be credited.
Explain the ways in which the appearance of one Florentine painting produced
during this period has been affected by the materials and techniques used.
Indicative content
Example: Gentile da Fabriano Adoration of the Magi (1423), Uffizi Gallery, 2.03
x 2.82m, tempera and gold leaf on panel
Gentile’s use of egg tempera paint and gold on panel for this large
altarpiece for the Strozzi Chapel, Sta. Trinita, Florence enabled him to
produce a sumptuous, jewel-like painting
The preparation of the panel to a mirror- like smoothness (using gesso)
allowed the artist to create a highly decorative and detailed surface
finish. Applying the fast-drying egg tempera paint in layers of small,
hatched strokes created the depth of colour within the controlled bounds
of a predetermined outline
Gentile’s prolific use of gold leaf gives the altarpiece greater richness and
reflective qualities in several ways: the technique of pastiglia (e.g. spurs on
the youngest Magi), gold leaf layered underneath some painted areas to lend
brightly lit surfaces an added glow, tooled gold leaf surface to give even
greater reflective qualities (haloes).
Level Mark Descriptor
0 No rewardable material.
Level 1 1 Knowledge and understanding are basic. [AO1]
No meaningful analysis or interpretation related to selected work. [AO2]
Level 2 2–3 Knowledge and understanding are competent. [AO1]
Competent analytical and interpretative comments, linking to selected work.
[AO2]
Level 3 4–5 Knowledge and understanding are excellent, detailed and precise. [AO1]
Excellent analytical and interpretative comments, linking to selected work.
[AO2]
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