Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42  

     The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.  

     On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.  

          The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century

The word “they” in the passage refers to ____________ 

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34  

          When drawing human figures, children often make the head too large for the rest of the body. A recent study offers some insights into this common disproportion in children's illustrations. As part of the study, researchers asked children between 4 and 7 years old to make several drawings of men. When they drew front views of male figures, the size of the heads was markedly enlarged. However, when the children drew rear views of men, the size of the heads was not so exaggerated. The researchers suggested that children drew bigger heads when they know they must leave room for facial details. Therefore, the odd head size in children's illustrations is a form of planning ahead and not an indication of a poor sense of scale

The main subject of the passage is ____________ 

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42  

     The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.  

     On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.  

     The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century.  

How did the work of American carvers in 1776 differ from that of contemporary sculptors?

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42  

     The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.  

     On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.  

          The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century

What can be inferred about the importation of marble memorials from England? 

Mark the letter A, B, C, or D to indicate the correct answer to each of the following questions

We____________for a cottage to rent while we ____________ our relatives in France next summer

Mark the letter A, B, C, or D to indicate the correct answer to each of the following questions

If people ____________ after their houses properly, the police wouldn't have so much work to do

Mark the letter A, B, C or D to indicate the sentence that is closest in meaning to each of the following questions

I find myself at a loss to understand Harold's behavior

Mark the letter A, B, C, or D to indicate the correct answer to each of the following questions

The object of a siege is to starve the defenders into ____________ by cutting off their food supplies

Mark the letter A, B, C, or D to indicate the sentence that best combines each pair of sentences in the following questions

She received the exam results. She immediately phoned her mom. 

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34  

          When drawing human figures, children often make the head too large for the rest of the body. A recent study offers some insights into this common disproportion in children's illustrations. As part of the study, researchers asked children between 4 and 7 years old to make several drawings of men. When they drew front views of male figures, the size of the heads was markedly enlarged. However, when the children drew rear views of men, the size of the heads was not so exaggerated. The researchers suggested that children drew bigger heads when they know they must leave room for facial details. Therefore, the odd head size in children's illustrations is a form of planning ahead and not an indication of a poor sense of scale

Which of the following is true?  

Mark the letter A, B, C, or D to indicate the correct answer to each of the following questions

The plumber couldn't remember where he'd left the box ____________ he kept his tools

Mark the letter A, B, C or D to indicate the most suitable response to complete each of the following exchanges

Jenny: "I think higher living standard is one of the reasons that many people want to be a city dweller."  

     Mark: “____________” 

Mark the letter A, B, C, or D to indicate the word that differs from the other three in the position of the primary stress in each of the following questions 

Mark the letter A, B, C, or D to indicate the correct answer to each of the following questions

The ways in which Europeans used to ____________ archaeological treasures from other countries would probably be better described as theft.  

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42  

     The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.  

     On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.  

          The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century

It is stated in the first paragraph that the sculptural legacy that the new United States had from colonial times was____________ 

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34  

          When drawing human figures, children often make the head too large for the rest of the body. A recent study offers some insights into this common disproportion in children's illustrations. As part of the study, researchers asked children between 4 and 7 years old to make several drawings of men. When they drew front views of male figures, the size of the heads was markedly enlarged. However, when the children drew rear views of men, the size of the heads was not so exaggerated. The researchers suggested that children drew bigger heads when they know they must leave room for facial details. Therefore, the odd head size in children's illustrations is a form of planning ahead and not an indication of a poor sense of scale

The word odd' is closest in meaning to____________