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 Kaplan: Clinical Chemistry, 5th Edition
Chapter 7: Immunological Reactions

Test Bank

MULTIPLE CHOICE

1. The most potent antigens are macromolecules with molecular weights greater than:
a. 1000 daltons
b. 10,000 daltons
c. 50,000 daltons
d. 100,000 daltons
ANS: D
There is no absolute size requirement for determining antigenicity of a molecule, but the
most potent antigens are macromolecules with a molecular weight of greater than
100,000 daltons.

DIF: 1 REF: 152

2. Haptens are:
a. low-molecular-weight compounds that are unable to induce an antibody response
alone
b. low-molecular-weight compounds that can induce an immune response when
coupled to higher-molecular-weight immunogenic carriers
c. low-molecular-weight compounds that can react with antibodies
d. all of the above
ANS: D
A hapten is defined as a low-molecular-weight substance that can induce an immune
response only when coupled to high-molecular-weight immunogenic molecules. The low-
molecular-weight component of the larger complex reacts with the antibody. Examples of
haptens include lipids, hormones, and drugs.

DIF: 1 REF: 152

3. The portion of an antigen involved in a reaction with an antibody is known as the ____
site, and the number of these sites on an antigen is known as the antigen’s _______.
a. equivalence, valency
b. equivalence, complexity
c. antigenic determinant, valency
d. antigenic determinant, complexity
ANS: C

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-2

The portion of the antigen involved in the reaction with the antibody is known as the
antigenic determinant site. An antigen may have more than one antigenic determinant
site. The number of antigenic determinant sites on an antigen is known as the antigen’s
valency. The valency is the number of antibody molecules that can be bound to the
antigen.

DIF: 1 REF: 152

4. Which of the following antigenic determinants would be the most reactive?

a. an antigenic determinant located in the core of a spatially folded molecule
b. a sequential antigenic determinant
c. an antigenic determinant located on the surface of a spatially folded molecule
d. the exposed antigenic determinant of a denatured protein
ANS: C
The reactivity of an antigenic determinant is based on many factors. Two of the factors
include conformation and accessibility. A molecule’s three-dimensional shape and spatial
folding relate to the molecule’s conformation, which is a significant factor in
immunogenicity. In addition, accessibility of the antigenic determinant for interaction
with the antibody is also an important factor. The more accessible the antigenic
determinant site, the greater the antigen-antibody reactivity.

DIF: 2 REF: 153

5. Antibodies are ______ that are produced by the _______.

a. lipids, adipose cells
b. carbohydrates, bone marrow cells
c. nucleic acids, hepatocytes
d. proteins, B lymphocytes
ANS: D
Antibodies are primarily protein (82% to 96%) and are chiefly produced by a subset of
lymphocytes known as B lymphocytes.

DIF: 1 REF: 154

6. The portion of the immunoglobulin molecule that binds to antigens is:

a. the Fab-fragment portion
b. the Fc-fragment portion
c. the hinge portion
d. the disulfide-linkage portion
ANS: A
The Fab (fragment antigen binding) fragment is the portion of the immunoglobulin
molecule that binds to antigens.

DIF: 1 REF: 154

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-3

7. Which of the following statements best describes the region of the immunoglobulin
molecule that is responsible for specific binding to the antigen?
a. The constant regions of the heavy and light chains in the Fab fragment interact to
form a specific antigen-combining site.
b. The variable regions of the light and heavy chains in the Fab fragment interact to
form a specific antigen-combining site.
c. The constant regions of the heavy and light chains in the Fc fragment interact to
form a specific antigen-combining site.
d. The variable regions of the light and heavy chains in the Fc fragment interact to
form a specific antigen-combining site.
ANS: B
It is the interactions of variable regions of light and heavy chains that form a specific
antigen-combining site. The remainder of the polypeptide is composed of polypeptide
segments that are similar among other immunoglobulins. These polypeptide segments are
known as constant regions.

DIF: 2 REF: 155

8. Is the following statement true or false? If false, identify the part of the statement that
causes it to be false.
Kappa and lambda light chains differ in the amino-acid sequence of their constant
regions. A given antibody always has two identical kappa light chains or two identical
lambda light chains. An antibody molecule can never have both a kappa and a lambda
chain.
a. true
b. false, light chains have the same amino-acid sequence in their constant regions
c. false, a given antibody can have different kappa or lambda light chains in the same
molecule
d. false, an antibody can have both a kappa and lambda light chain in the same
molecule
ANS: A
All three components of the statement are correct.

DIF: 1 REF: 155

9. Which immunoglobulin can cross the placental membrane?

a. IgA
b. IgD
c. IgM
d. IgG
ANS: D
IgG molecules can cross the placental membrane and are responsible for the
immunological defense of the newborn.

DIF: 1 REF: 155

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-4

10. Which immunoglobulin exists primarily as a pentamer and is the predominate

immunoglobulin in the initial immune response to an antigen?
a. IgM
b. IgE
c. IgA
d. IgD
ANS: A
IgM exists primarily as a pentamer, with five immunoglobulin monomers held together
by disulfide bonds. IgM is also the predominate immunoglobulin in the initial immune
response to an antigen.

DIF: 1 REF: 156

11. Which immunoglobulin is the predominant immunoglobulin in body secretions such as

saliva and sweat?
a. IgE
b. IgA
c. IgD
d. IgG
ANS: B
IgA is the predominant immunoglobulin in body secretions. Secretory IgA provides the
first line of defense against local infections and is important in processing food antigens
in the gut.

DIF: 1 REF: 156

12. Which immunoglobulin may be associated with lymphocyte differentiation?

a. IgM
b. IgA
c. IgG
d. IgD
ANS: D
The main function of IgD is not known. However, it is believed to be involved in
lymphocyte differentiation.

DIF: 1 REF: 156

13. Which immunoglobulin is associated with the physiological manifestations of allergy?

a. IgG
b. IgA
c. IgE
d. IgM
ANS: C
IgE is normally present in very low concentration in the blood stream and has been very
closely associated with allergy symptoms.

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-5

DIF: 1 REF: 156

14. IgG is known to fix complement, which aids in the lysis or elimination of foreign
materials. Molecules in the IgG subclasses differ in their ability to fix complement.
Which IgG subclass is the most active in complement fixation?
a. IgG-1
b. IgG-2
c. IgG-3
d. IgG-4
ANS: C
IgG-3 has been found to be the most active in complement fixation. IgG-3 is followed by
IgG-1, IgG-2, and IgG-4.

DIF: 1 REF: 156

15. Considering the noncovalent forces that contribute to antigen and antibody attraction,
________ are the strongest and most important contributors to antigen and antibody
attraction, whereas ________ are the weakest contributors to this attraction.
a. electrostatic forces, van der Waals forces
b. hydrogen bonds, electrostatic forces
c. van der Waals forces, hydrogen bonds
d. electrostatic forces, hydrogen bonds
ANS: A
The electrostatic forces between charged polar groups can create a strong attraction and
are considered to be the strongest noncovalent attractive forces between antigens and
antibodies. Hydrogen bonds are weaker than electrostatic forces. However, the numbers
of hydrogen bonds cause these attractive forces to play a significant role in antigen and
antibody interaction. Van der Waals forces are very weak and are only functional over
small distances.

DIF: 2 REF: 157

16. When comparing an IgG molecule with a Fab fragment obtained from the same clonal
population, the affinity for the antigen of interest would be ________, and the avidity of
the two for the antigen of interest would be ________.
a. greater for the Fab fragment, the same
b. the same, greater for the IgG molecule
c. greater for the IgG molecule, greater for the Fab fragment
d. the same, greater for the Fab fragment
ANS: B

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-6

Affinity refers to the strength of the binding of a single antibody-binding site and its
corresponding antigenic determinant. Avidity refers to the overall binding of one antibody
molecule to the corresponding antigen and includes the sum of binding sites for the whole
antibody molecule. Thus the Fab fragment and the IgG molecule would have the same
affinity for the antigen, but the IgG molecule would have a greater avidity because it has
two binding sites, whereas the Fab fragment has only one binding site.

DIF: 2 REF: 157-158

17. In the laboratory analysis for amphetamine using antigen and antibody interactions as the
basis for measurement, there is concern of cross-reactivity with the over-the-counter drug
pseudoephedrine. What is the basis for this concern?
a. Pseudoephedrine may have a similar antigenic determinant site as amphetamine,
since their chemical structures have some similarity.
b. Pseudoephedrine may block the weak, noncovalent forces that operate between
antigen and antibody.
c. Pseudoephedrine may react with amphetamine to produce a product that is not
recognized by the antibody.
d. Pseudoephedrine and amphetamine will not fit into the antibody-binding site at the
same time.
ANS: A
The concern is that amphetamine and pseudoephedrine may carry a similar antigenic
determinant site. Although the antibody reactivity with amphetamine may be very high,
the antibody may cross-react with pseudoephedrine, resulting in a falsely elevated result
for amphetamine.

DIF: 2 REF: 158

18. Considering the precipitation curve shown in Figure 7-5, which phase could result in
reporting falsely low results?
a. the antibody excess phase
b. the antigen-antibody equivalence phase
c. the antigen excess phase
d. none of the above; all phases would result in accurate laboratory analysis
ANS: C
As the amount of antigen increases beyond the amount of antibody present to bind to the
antigen, the precipitation curve turns downward. This is because the cross-linking of the
lattice network decreases when there is enough antigen to bind with each antibody-
binding site separately.

DIF: 2 REF: 159

19. In gel precipitation methods, the rate of diffusion is ________ to molecular size and
_______ to concentration.
a. inversely proportional, inversely proportional
b. directly proportional, inversely proportional

Mosby items and derived items © 2010 by Mosby, Inc., an affiliate of Elsevier Inc.
 Test Bank 7-7

c. inversely proportional, directly proportional

d. directly proportional, directly proportional
ANS: C
The rate of diffusion is inversely proportional to the molecular size, because the larger
molecules will diffuse more slowly through the gel. The rate of diffusion is directly
proportional to the concentration.

DIF: 1 REF: 160

20. In radial immunodiffusion, calibrators of known concentration are analyzed along with
the patient sample to allow for the quantification of antigens as illustrated in Figure 7-9.
Suppose the diameter of the precipitation ring for the highest calibrator was less than the
diameter for the next highest calibrator. Which of the following statements describes the
likely cause for this problem?
a. The incubation temperature was not kept constant.
b. The concentration of the antibody in the gel was too high for the concentration of
the highest calibrator.
c. Because the concentration of the highest calibrator is so high, diffusion through the
pores of the gel was restricted.
d. The concentration of the highest calibrator was greater than the concentration of
the antibody in the gel.
ANS: D
The concentration of the antigen in the highest calibrator exceeded the concentration of
the antibody in the gel, causing a downturn in the precipitation curve, as illustrated in
Figure 7-9, where the antigen is in excess. As a result, the cross-linking of the lattice
network which causes precipitation decreases because in the highest concentration
calibrator, there is enough antigen to bind with each antibody-binding site separately.

DIF: 3 REF: 161, Figure 7-9

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The Project Gutenberg eBook of The meaning of
pictures
This ebook is for the use of anyone anywhere in the United
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Title: The meaning of pictures

Six lectures given for Columbia University at the
Metropolitan Museum of Art

Author: John C. Van Dyke

Release date: January 2, 2024 [eBook #72598]

Language: English

Original publication: New York: Charles Scribner's Sons, 1903

Credits: Charlene Taylor and the Online Distributed

Proofreading Team at https://www.pgdp.net (This file
was produced from images generously made available
by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE

MEANING OF PICTURES ***
BOOKS BY PROF. JOHN C. VAN
DYKE

Art for Art’s $1.50

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Lectures on the
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The Meaning of net $1.25

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40 Illustrations.
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What is Art? net $1.00

Studies in the
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Masters. With
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Masters.
 Written by
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and Edited by
Prof. Van Dyke.
With 66 Full-
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Nature for Its $1.50

Own Sake. First
Studies in
Natural
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With Portrait.
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The Desert. net $1.25

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Continued
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 Chapters of
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PALMA VECCHIO, Santa Barbara (detail) S. M. Formosa, Venice.
 THE MEANING OF PICTURES

SIX LECTURES GIVEN FOR COLUMBIA

UNIVERSITY
AT THE METROPOLITAN
MUSEUM OF ART

BY

JOHN C. VAN DYKE

AUTHOR OF “ART FOR ART’S SAKE,” “NATURE FOR ITS OWN
SAKE,” ETC.

WITH ILLUSTRATIONS

NEW YORK
CHARLES SCRIBNER’S SONS
1911
 Copyright, 1908, by
CHARLES SCRIBNER’S SONS
───
Published, February, 1908
 To

WILLIAM CRARY BROWNELL

 PREFACE

Just how we should look at pictures, just how we should judge of

them, is not for any one person to say. We all have our different
ways of estimating art; and art is capable of being estimated in
different ways. In these lectures I have endeavored to set forth the
various points of view. The painter’s conception has received
perhaps the primary attention, but I have given the public’s
conception of the picture also. Nor do I mean to apologize for
arguing both sides of the case. Art might be better understood, if
there were less special pleading and theorizing about it. It is so
largely dependent upon the individual make-up of the artist, that any
precise theory about it must fall short of the mark. Instead of
quarrelling over terms and trying to put the opposition in the wrong, it
would be better frankly to examine the product in the light of the
producer’s intention and draw our conclusions from that. We should
not always agree, but that is all the more reason for tolerance and
liberality.
J. C. V. D.

Rutgers College,
November, 1902
 CONTENTS

Chapter I. Truth in Painting.—Theory of realism—The 1

old masters as realists—And the Dutch painters—
Absolute realism impossible—The real and truth
defined—Art a series of signs—Recognizing the
convention—In poetry, music, and painting—
Grasping the artist’s intention—Realism merely the
elaboration of the sign—Millet vs. Meissonier—
Attitude of the realists—Kinds of truth—The camera
vs. the human eye—Individual truths—National
truths—Universal truths—Great art universal in
scope—Greatness as shown in Rembrandt, Titian,
and Velasquez—Art truths both great and small—
Millet vs. Gérôme—Truth by suggestion—Michael
Angelo and Shakespeare—The truth of history—
And of archæology—The truth of art—The law of
sacrifice, Velasquez vs. Bonnat—Realism not the
sum-total of art—But its value not to be denied

Chapter II. Individuality or the Personal Element.— 31

The personal equation—Variations in handwritings
—Different points of view—Different views of
landscape—Sketches of the model in the class-
room—Variations in portraiture—Difference between
the camera and our eyes—Individual styles in
literature—And in art—Personal qualities of the
painter in his work—Carpaccio and Bellini—Michael
 Angelo in the Sistine—Rembrandt in his pictures—
Giorgione, Correggio, Corot, Raphael, Titian—
Dürer’s “Christ on the Cross”—The disagreeable
personality in art—Vulgarity, brutality, and insipidity
—Conceit in painting—The insistent personality—
Eccentricity vs. individuality—The lost individuality—
The copyist and the realist—The academic pattern
—Impersonal art—Great art above laws and
formulas—Something more to painting than
individuality and realism

Chapter III. Imagination of the Artist.—The act of 60

seeing—Perception—Unconscious seeing—Colors
as seen by the ancients—Seeing the model—
Necessity of imaginative seeing—The imagination
as ordinarily employed—As employed in portrait
painting—The distorted view—The camera vs. the
eye of the artist—Michael Angelo in the Sistine
again—Tintoretto’s distortions—Claude Monet’s
lights—Impossibility of creating anew—The
imagination separating a part from the whole—In
poetry and painting—In coins, marble, and bronzes
—The combining imagination—Inspiration vs.
composition—All the great masterpieces have been
composed and labored over—Goethe’s
“Faust”—“The Ancient Mariner”—Turner’s marines
and Venetian scenes as flights of imagination—
Imagination of Paolo Veronese—Tintoretto’s
“Ariadne and Bacchus”—His Scuola San Rocco
pictures—Ruskin’s explanation of them—Fancy—
The serious vs. the clever in painting—The fantastic
—The bizarre—Caricature and the grotesque—The
bombastic and baroque

Chapter IV. Pictorial Poetry.—The argument for 87

poetry in art—Ideas suitable for different arts—
 Confusion of mediums of expression—Pictorial
poetry not literary poetry—Painting deals with forms
and colors, not sound—Millet’s “Angelus”—The
division of the arts—The time limit in painting—The
picture cannot disclose time—What is pictorial
poetry—Literary and pictorial themes—Writers who
paint with words—Spenser, Shakespeare, Scott,
Matthew Arnold—Limits of pictorial expression
—“Feeling” in art—Sentiment and emotion, how
suggested—Feeling in literary poetry and in music—
Also in painting—Religious feeling of early Italians—
Fra Angelico, (Benozzo) Gozzoli, Botticelli—
Sincerity of Carpaccio and Bellini—Feeling for life,
light, and color with Giorgione and Correggio—The
pathos of Rembrandt—And of Millet—The peasants
of France and Holland—Their beauty of character—
The poetry of landscapes, of sea views, of interiors
—Indefiniteness of the pictorial thought—The
picture not a good vehicle for abstract ideas—But
well fitted for emotional expression—Poetry in the
means of expression

Chapter V. The Decorative Quality.—Disagreement 114

between the painter and the public—The “average
person” in the gallery—The painter in the gallery—
Art as representation vs. art as decoration—The
artist devoted to the decorative—Art has always
been decorative—Origin of painting—In the Stone
Age—Primitive man as artist—The artist in Egypt—
In Assyria and Greece—Filling of space on Greek
coins—The Gothic Age and decoration—Giotto,
Masaccio—Line-composition with Raphael and
Michael Angelo—Light-and-shade composition with
Leonardo, Correggio, Giorgione—Color-composition
with Titian and Paolo Veronese—Art history
explained on purely technical grounds—Titian and
his ideas in art—The Decadence and why it came—