知我心者度英语专业八级考试真题及答案(不包括听力)(4)
关于桂花的诗句
end是哪个键怎么在家做蛋糕“muum”is a slippery word. it first meant (in greek) anything concrated to the mus:a hill,a shrine,a garden,a festival or even a textbook.both plato s academy and aristotle s lyceum had a mouion,a mus shrine.although the greeks already collected detached works of art,many temples—notably that of hera at olympia (before which the olympic flame is still lit)—had collections of objects,some of which were works of art by well known masters,while paintings and sculptures in the alexandrian muum were incidental to its main purpo. the romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,animals; and they plundered sculptures and paintings (mostly greek) anwhile,the greek word had slipped into latin by transliteration (though not to signify picture galleries,which were called pinacothecae) and muum still more or less meant“mus- shrine”. the inspirational collections of precious and mi-precious objects were kept in larger churches and monasteries—which focud on the gold-enshrined,bejewelled relics of saints and martyrs.princes,and later merchants,had similar collections,which became the deposits of natural curiosities:large lu
mps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,fossil bones and so on.they also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.as they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined. at the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles; they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.however,during the revival of antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,so that displays of antiquities would inspire artists to imitation,or even better,to emulation; and so could be considered mus- shrines in the former n.the medici garden near san marco in florence,the belvedere and the capitol in rome were the most famous of such early“inspirational”collections.soon they multiplied,and,gradually,exemplary “modern”works were also added to such galleries. in the venteenth century,scientific and prestige collecting became so widespread that thre乐的作文
e or four collectors independently published directories to muums all over the known world.but it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the mue des monuments francais was the most famous.then,in the first half of the nineteenth century,muum funding took off,allied to the ri of new wealth:london acquired the national gallery and the british muum,the louvre was organized,the muum-inl was begun in berlin,and the munich galleries were built.in vienna,the huge kunsthistorisches and naturhistorisches muums took over much of the anwhile,the decline of craftsmanship (and of public taste with it) inspired the creation of “improving”collections.the victoria and albert muum in london was the most famous,as well as perhaps the largest of them. 25. the ntence“muum is a slippery word”in the first paragraph means that [a] the meaning of the word didn韩国学校’总之英文t change until after the 15th century. [b] the meaning of the word had changed over the years. [c] the greeks held different concepts from the romans. [d] princes and merchants added paintings to their
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collections. 26. the idea that muum could mean a mountain or an object originates from [a] the romans. [b] florence. [c] olympia. [d] greek. 27. “...the skill of the fakers grew increasingly refined” in the third paragraph means that [a] there was a great demand for fakers. [b] fakers grew rapidly in number. [c] fakers became more skillful. [d] fakers became more polite. 28. paintings and sculptures on display in churches in the 15th century were [a] collected from elwhere. [b] made part of the buildings. [c] donated by people. [d] bought by churches. 29. modern muums came into existence in order to [a] protect royal and church treasures. [b] improve existing collections. [c] stimulate public interest. [d] rai more funds. 30. which is the main idea of the passage? [a] collection and collectors. [b] the evolution of muums. [c] modern muums and their functions. [d] the birth of muums.
