TF阅读真题第843篇The Sistine Ceiling

The Sistine Ceiling

The term fresco refers to a number of techniques for painting images on a room surface. In buon fresco, pigments (mineral colors) are mixed with water and then applied to a layer of wet, lime-based (alkaline)plaster. Because the pigments become embedded in the plaster as it dries, no glue or other binder is needed to hold them in place and buon frescoes are very durable. However, some pigments, especially shades of blue, cannot be used in combination with wet plaster, and since pigments can be applied only as long as the plaster remains damp, mistakes can be corrected only by replastering and then repainting the affected area. In contrast, a secco fresco is done on a dry surface, thus requiring a binder. Sometimes artists combined the two techniques, beginning a work in buon and then, once the plaster dried, using a secco to correct mistakes or add colors that could not be applied using buon.

The biblical scenes created by Michelangelo for the ceiling of the Sistine Chapel in the Vatican City are among the world’s most famous frescoes. Commissioned in 1508， Michelangelo began his work reluctantly, considering himself more of a sculptor than a painter, and spent four years perched on scaffolding, painting some 300 figures across about 5,000 square feet of ceiling. Despite his initial hesitation, Michelangelo followed the purest fresco tradition of the time, applying his pigments mixed in water directly to fresh lime plaster and choosing only those that are chemically compatible, avoiding azurite, vermilion, and lead-based colors, all of which deteriorate under the alkaline conditions of the lime. The incredible scale of the task required him to execute each scene in patchwork, with about five square meters worth of wet plaster applied per giornata, or “day’s work.” The use of plaster relatively low in lime, which dries more slowly, bought him some extra time, but it is clear that Michelangelo painted each giornata extremely quickly-rarely, if ever, resorting to finishing a section with touch-up paint containing binder.

Over the years following their completion, the Vatican frescoes accumulated a coating of soot and dirt that dulled and darkened the images. In 1787 the German writer Goethe made the following observation: “On 2nd February we went to the Sistine Chapel to witness the ceremony of the blessing of the candles. I thought it is precisely these candles that over three centuries have blackened these splendid frescoes; this is the incense that has not only with its smoke covered over the sun itself of art, but with every year continues to dirty it and will finally engulf it in darkness.”

While Goethe’s dire prediction did not come completely to pass, the slow darkening of the frescoes led to a characterization of Michelangelo as a relatively somber artist with little appreciation for color. Deposits of salt from rainwater let in by the leaking roof and from within the building materials themselves compounded the decline, leading to blistering of the paint. Eventually, a full-time restorer was appointed to maintain the frescoes. Salt crystals and dirt were removed by scrubbing with sponges dipped in wine, paints containing binder were used to touch up sections, and varnish was applied to “renew” the colors.

The net effect of several hundred years of this cosmetic maintenance was a dark film consisting of layers of dust, soot, and varnish entirely covering the frescoes. In 1980 a massive effort began to restore Michelangelo’s work to its original glory. Restorers painstakingly removed the layers of grime and varnish, the touch-up paint, and the salt deposits with solutions appropriate for each layer. A dilute solution of acrylic paint was applied only when absolutely necessary to reinforce the existing paint.

Over the course of the next fourteen years, the bright colors that emerged were almost shocking to those accustomed to the dull earth tones that had been the status quo for centuries. Indeed, the work at the Sistine Chapel has led to vigorous debate about the role of restoration. Restorers often cast themselves in the role of interpreting the original artist’s intent, using modern materials to override the effects of time. However, some critics believe that aging is part of the natural evolution of art and, therefore, new is not necessarily better.

 

 

 

 

 

 

1

The term fresco refers to a number of techniques for painting images on a room surface. In buon fresco, pigments (mineral colors) are mixed with water and then applied to a layer of wet, lime-based (alkaline)plaster. Because the pigments become embedded in the plaster as it dries, no glue or other binder is needed to hold them in place and buon frescoes are very durable. However, some pigments, especially shades of blue, cannot be used in combination with wet plaster, and since pigments can be applied only as long as the plaster remains damp, mistakes can be corrected only by replastering and then repainting the affected area. In contrast, a secco fresco is done on a dry surface, thus requiring a binder. Sometimes artists combined the two techniques, beginning a work in buon and then, once the plaster dried, using a secco to correct mistakes or add colors that could not be applied using buon.

Paragraph 1 supports which of the following statements about a secco frescoes?

AImages in them are easier to change than are images in buon frescoes

BThey cannot be painted on a surface containing alkaline materials.

CThey are more difficult to paint on an uneven surface than are buon frescoes

DThey use a smaller range of colors than can be used in buon frescoes.

2

The biblical scenes created by Michelangelo for the ceiling of the Sistine Chapel in the Vatican City are among the world’s most famous frescoes. Commissioned in 1508， Michelangelo began his work reluctantly, considering himself more of a sculptor than a painter, and spent four years perched on scaffolding, painting some 300 figures across about 5,000 square feet of ceiling. Despite his initial hesitation, Michelangelo followed the purest fresco tradition of the time, applying his pigments mixed in water directly to fresh lime plaster and choosing only those that are chemically compatible, avoiding azurite, vermilion, and lead-based colors, all of which deteriorate under the alkaline conditions of the lime. The incredible scale of the task required him to execute each scene in patchwork, with about five square meters worth of wet plaster applied per giornata, or “day’s work.” The use of plaster relatively low in lime, which dries more slowly, bought him some extra time, but it is clear that Michelangelo painted each giornata extremely quickly-rarely, if ever, resorting to finishing a section with touch-up paint containing binder.

The word “reluctantly” in the passage is closest in meaning to

Anervously

Bcarefully

Cwith little experience

Dunwillingly

 

3

The biblical scenes created by Michelangelo for the ceiling of the Sistine Chapel in the Vatican City are among the world’s most famous frescoes. Commissioned in 1508， Michelangelo began his work reluctantly, considering himself more of a sculptor than a painter, and spent four years perched on scaffolding, painting some 300 figures across about 5,000 square feet of ceiling. Despite his initial hesitation, Michelangelo followed the purest fresco tradition of the time, applying his pigments mixed in water directly to fresh lime plaster and choosing only those that are chemically compatible, avoiding azurite, vermilion, and lead-based colors, all of which deteriorate under the alkaline conditions of the lime. The incredible scale of the task required him to execute each scene in patchwork, with about five square meters worth of wet plaster applied per giornata, or “day’s work.” The use of plaster relatively low in lime, which dries more slowly, bought him some extra time, but it is clear that Michelangelo painted each giornata extremely quickly-rarely, if ever, resorting to finishing a section with touch-up paint containing binder.

According to paragraph 2, how did Michelangelo maximize the amount of work he could accomplish in a day while painting the Sistine ceiling?

AHe used touch-up paint to finish sections

BHe sometimes worked at night to gain extra time

CHe used a type of plaster that dried comparatively slowly.

DHe eliminated some figures originally planned for inclusion in scenes.

 

4

Over the years following their completion, the Vatican frescoes accumulated a coating of soot and dirt that dulled and darkened the images. In 1787 the German writer Goethe made the following observation: “On 2nd February we went to the Sistine Chapel to witness the ceremony of the blessing of the candles. I thought it is precisely these candles that over three centuries have blackened these splendid frescoes; this is the incense that has not only with its smoke covered over the sun itself of art, but with every year continues to dirty it and will finally engulf it in darkness.”

In paragraph 3, why does the author include Goethe’s observations in 1787 about the Sistine frescoes?

ATo explain how Goethe became interested in efforts to restore the frescoes

BTo identify the year in which efforts to restore the frescoes began

CTo describe the ceremonial function of the frescoes

DTo support the claim that the frescoes darkened over time

 

5

Over the years following their completion, the Vatican frescoes accumulated a coating of soot and dirt that dulled and darkened the images. In 1787 the German writer Goethe made the following observation: “On 2nd February we went to the Sistine Chapel to witness the ceremony of the blessing of the candles. I thought it is precisely these candles that over three centuries have blackened these splendid frescoes; this is the incense that has not only with its smoke covered over the sun itself of art, but with every year continues to dirty it and will finally engulf it in darkness.”

While Goethe’s dire prediction did not come completely to pass, the slow darkening of the frescoes led to a characterization of Michelangelo as a relatively somber artist with little appreciation for color. Deposits of salt from rainwater let in by the leaking roof and from within the building materials themselves compounded the decline, leading to blistering of the paint. Eventually, a full-time restorer was appointed to maintain the frescoes. Salt crystals and dirt were removed by scrubbing with sponges dipped in wine, paints containing binder were used to touch up sections, and varnish was applied to “renew” the colors.

According to paragraphs 3 and 4, all of the following contributed to the deterioration of the Sistine ceiling frescoes EXCEPT

Athe burning of candles

Bthe removal of salt crystals on the frescoes

Cthe leaking of the roof

Dthe images’ exposure to salt from building materials

 

6

While Goethe’s dire prediction did not come completely to pass, the slow darkening of the frescoes led to a characterization of Michelangelo as a relatively somber artist with little appreciation for color. Deposits of salt from rainwater let in by the leaking roof and from within the building materials themselves compounded the decline, leading to blistering of the paint. Eventually, a full-time restorer was appointed to maintain the frescoes. Salt crystals and dirt were removed by scrubbing with sponges dipped in wine, paints containing binder were used to touch up sections, and varnish was applied to “renew” the colors.

According to paragraph 4, why did some people conclude that Michelangelo had “little appreciation for color”?

AGoethe had characterized Michelangelo’s frescoes as dull.

BMichelangelo was known to have had a somber personality.

CMichelangelo sometimes darkened colors by adding certain pigments to them.

DThe buildup of layers of dark material made the fresco colors beneath seem dull.

 

7

The net effect of several hundred years of this cosmetic maintenance was a dark film consisting of layers of dust, soot, and varnish entirely covering the frescoes. In 1980 a massive effort began to restore Michelangelo’s work to its original glory. Restorers painstakingly removed the layers of grime and varnish, the touch-up paint, and the salt deposits with solutions appropriate for each layer. A dilute solution of acrylic paint was applied only when absolutely necessary to reinforce the existing paint.

The word “net” in the passage is closest in meaning to

Apractical

Bfinal

Cnegative

Dvisual

 

8

Over the course of the next fourteen years, the bright colors that emerged were almost shocking to those accustomed to the dull earth tones that had been the status quo for centuries. Indeed, the work at the Sistine Chapel has led to vigorous debate about the role of restoration. Restorers often cast themselves in the role of interpreting the original artist’s intent, using modern materials to override the effects of time. However, some critics believe that aging is part of the natural evolution of art and, therefore, new is not necessarily better.

Which of the following most accurately reflects the reason presented in paragraph 6 for not restoring older artworks?

ARestorers often lack the training and experience needed to determine the original artist’s intent.

BA work of art cannot be properly appreciated if its aging process is interrupted by restoration efforts.

COlder artworks can be physically damaged as a result of restoration processes, even though these processes are intended to help preserve artworks.

DIdeas about an artist’s intentions are necessarily shaped by the restorers’ experience, so restored works often reflect modern ideas

 

9

The term fresco refers to a number of techniques for painting images on a room surface. [■]In buon fresco, pigments (mineral colors) are mixed with water and then applied to a layer of wet, lime-based (alkaline)plaster. [■]Because the pigments become embedded in the plaster as it dries, no glue or other binder is needed to hold them in place and buon frescoes are very durable. [■]However, some pigments, especially shades of blue, cannot be used in combination with wet plaster, and since pigments can be applied only as long as the plaster remains damp, mistakes can be corrected only by replastering and then repainting the affected area. [■]In contrast, a secco fresco is done on a dry surface, thus requiring a binder. Sometimes artists combined the two techniques, beginning a work in buon and then, once the plaster dried, using a secco to correct mistakes or add colors that could not be applied using buon.

Look at the four squaresthat indicate where the following sentence could be added to the passage

Two methods of applying pigments, each with distinct advantages, were popular in the 1500s.

Where would the sentence best fit？Click on a square  sentence to the passage.

10

The Sistine ceiling frescoes were painted in the early 1500s by Michelangelo.

AMichelangelo used the purest fresco technique to cover the ceiling with images, working quickly to complete as much work as possible each day.

BEarly restorers used dull colors to touch up areas when making repairs to the Sistine frescoes, mistakenly believing that Michelangelo had used such colors.

CRestorers undertook detailed work to make the ceiling look as it did when first completed, and this led to disagreement among critics over the appropriateness of restoring old works of art.

DAlthough Michelangelo was very knowledgeable about fresco technique, the pigments in his images quickly began to lighten, with the result that many figures were no longer visible by Goethe’s time.

EThe original colors revealed by the restoration beginning in 1980 had become obscured as a result of accumulations of soot and dirt damage to the building, and other problems

FThe restoration of the ceiling started a debate about using certain types of material in art restorations and the difficulty of knowing what an artist working centuries ago intended.