Mark Scheme (Results)
Summer 2025
Pearson Edexcel Level 3 Advanced GCE
in History of Art (9HT0)
Paper 02 Periods
,Edexcel and BTEC Qualifications
Edexcel and BTEC qualifications are awarded by Pearson, the UK’s largest awarding body.
We provide a wide range of qualifications including academic, vocational, occupational and
specific programmes for employers. For further information visit our qualifications websites
at www.edexcel.com or www.btec.co.uk. Alternatively, you can get in touch with us using the
details on our contact us page at www.edexcel.com/contactus.
Pearson: helping people progress, everywhere
Pearson aspires to be the world’s leading learning company. Our aim is to help everyone progress
in their lives through education. We believe in every kind of learning, for all kinds of people, wherever
they are in the world. We’ve been involved in education for over 150 years, and by working across
70 countries, in 100 languages, we have built an international reputation for our commitment to high
standards and raising achievement through innovation in education. Find out more about how we
can help you and your students at: www.pearson.com/uk
Summer 2025
Question Paper Log Number P73014A
Publications Code 9HT0_02_2506_MS
All the material in this publication is copyright
© Pearson Education Ltd 2025
,General Marking Guidance
• All candidates must receive the same treatment. Exam-
iners 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 candi-
date 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 materials and techniques have been used to convey mean-
ing in one sculpture from this period.
Indicative content
Example: Tullio Lombardo Adam (c1490–95), The Metropolitan Museum of Art,
1.91m, marble
• The white marble of this life-sized figure represents a purity in Adam, before the
sin that sees him expelled from the Garden of Eden. Detailed carving on the hair,
face and torso, contributes a sense of naturalism, encouraging the viewer to believe
in Adam’s existence and his subsequent Fall. Anatomical correctness corresponds to
15th Century artistic interest in Humanist themes.
• Lombardo provides a structural support on Adam’s right side. This takes the form
of a tree trunk, linking to the Tree of Knowledge, integral to the narrative. It also
compensates for Adam’s contrapposto stance on his left foot, a key feature of classi-
cal sculpture that was now inspiring Renaissance artists.
• The surface of Adam’s figure is highly polished, idealising his form and illustrating
the beauty of God’s creation. This is contrasted with the rougher hewn base on which
Adam stands, representing the ‘cursed ground’ which he will walk (Genesis 3:17-19).
Lombardo, a leading sculptor in Venice, completed this figure for the tomb of doge
Andrea Vendramin. By carving his own name into the front of the base, Lombardo
contributes to the emerging importance of the artist as an individual at this time.
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]
Summer 2025
Pearson Edexcel Level 3 Advanced GCE
in History of Art (9HT0)
Paper 02 Periods
,Edexcel and BTEC Qualifications
Edexcel and BTEC qualifications are awarded by Pearson, the UK’s largest awarding body.
We provide a wide range of qualifications including academic, vocational, occupational and
specific programmes for employers. For further information visit our qualifications websites
at www.edexcel.com or www.btec.co.uk. Alternatively, you can get in touch with us using the
details on our contact us page at www.edexcel.com/contactus.
Pearson: helping people progress, everywhere
Pearson aspires to be the world’s leading learning company. Our aim is to help everyone progress
in their lives through education. We believe in every kind of learning, for all kinds of people, wherever
they are in the world. We’ve been involved in education for over 150 years, and by working across
70 countries, in 100 languages, we have built an international reputation for our commitment to high
standards and raising achievement through innovation in education. Find out more about how we
can help you and your students at: www.pearson.com/uk
Summer 2025
Question Paper Log Number P73014A
Publications Code 9HT0_02_2506_MS
All the material in this publication is copyright
© Pearson Education Ltd 2025
,General Marking Guidance
• All candidates must receive the same treatment. Exam-
iners 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 candi-
date 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 materials and techniques have been used to convey mean-
ing in one sculpture from this period.
Indicative content
Example: Tullio Lombardo Adam (c1490–95), The Metropolitan Museum of Art,
1.91m, marble
• The white marble of this life-sized figure represents a purity in Adam, before the
sin that sees him expelled from the Garden of Eden. Detailed carving on the hair,
face and torso, contributes a sense of naturalism, encouraging the viewer to believe
in Adam’s existence and his subsequent Fall. Anatomical correctness corresponds to
15th Century artistic interest in Humanist themes.
• Lombardo provides a structural support on Adam’s right side. This takes the form
of a tree trunk, linking to the Tree of Knowledge, integral to the narrative. It also
compensates for Adam’s contrapposto stance on his left foot, a key feature of classi-
cal sculpture that was now inspiring Renaissance artists.
• The surface of Adam’s figure is highly polished, idealising his form and illustrating
the beauty of God’s creation. This is contrasted with the rougher hewn base on which
Adam stands, representing the ‘cursed ground’ which he will walk (Genesis 3:17-19).
Lombardo, a leading sculptor in Venice, completed this figure for the tomb of doge
Andrea Vendramin. By carving his own name into the front of the base, Lombardo
contributes to the emerging importance of the artist as an individual at this time.
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]
