Passage I: Fendi Restores the Trevi Fountain Practice Test 1 1

Total Page:16

File Type:pdf, Size:1020Kb

Passage I: Fendi Restores the Trevi Fountain Practice Test 1 1 Practice Test: 1 ACT1. Practice Test 1 Passage I: Fendi Restores the Trevi Fountain Rome is famous for the Trevi fountain, which 1. A. NO CHANGE B. the fountain was designed by Nicola Salvi who won a is the largest Baroque fountain in the world. First contest unveiled in 1762, Nicola Salvi designed the fountain C. a contest to design the fountain D. designing the fountain was undertaken by Nicola Salvi, upon winning a contest held by Pope Clement XII in who won a contest 1 the year 1730. As is true of all ancient architecture, 2. If the writer were to delete the preceding sentence, the Trevi fountain has not been immune to the the paragraph would primarily lose: ravages of time. 2 Although the fountain had been A. an indication of how old the fountain is. B. a description of the damages incurred by the fountain. refurbished from time to time, no restoration had C. a reason for why the fountain had been refurbished been as thorough or expensive as the one sponsored from time to time. D. an example of how time had adversely affected the by the luxury fashion house Fendi. fountain. 3. A. NO CHANGE Till 2014, the fountain had only received a few B. 2012; the aftermath C. 2012 the aftermath emergency repairs after the ornamental cornice D. 2012. The aftermath crumbled in 2012, the aftermath of an unusually cold 3 4. A. NO CHANGE winter. Lack of sufficient funds meant that the local B. meant that the local government could no longer afford an government could no longer afford, an extensive extensive restoration of the fountain C. meant that the local government could no longer afford, an restoration, of the fountain to keep it from falling extensive restoration of the fountain, 4 apart. The government turned to local businesses D. meant, that the local government could no longer afford an extensive restoration of the fountain, for help, leading Fendi to launch the ’Fendi for Fountains’ project in January 2013. 5. A. NO CHANGE B. business; Fendi is C. business, it is D. business and Fendi, a local business, and it is a fashion giant, 5 agreed to restore the monument in exchange for placing a branded plaque next to it. 345 [A] In July 2014, Fendi, which was a giant in the 6. A. NO CHANGE B. Fendi, agreeing to restore the fountain, fashion industry, began the restoration of the Trevi C. Fendi, launching the initiative ‘Fendi for Fountains’, 6 Fountain, a project that cost them 2.2 million euros D. Fendi and took 17 months to complete. [B] There was a 7. A. NO CHANGE B. Therefore, brief setback caused by a colony of huge mice (each C. Finally, about 20 centimeters long) invading the scaffolded D. So, fountain and terrorizing tourists. [C] However, 8. Which of the following would be LEAST acceptable 7 tourism thrived even during the renovations due to alternative here? A. a unique Fendi’s efforts; in fact, they even built a plexiglass B. a different bridge above the fountain to offer tourists a new C. an advanced 8 D. a fresh view of the fountain.[D] During the course of the prolonged restoration, over 3 million visitors walked 9. A. NO CHANGE 9 B. of across Fendi’s bridge. 10 C. through D. by [1] Bulgari (also known as ‘BVLGARI’), has 10. The writer wants to divide the paragraph into two in order 11 to separate the challenges faced during the process funded the renovation of the Spanish Steps, while of restoration from a description of tourism during the Tod’s has taken up the refurbishment of the Roman restoration. The best place to begin the new paragraph would be at: Colosseum, a colossal project. [2] Whether it is to A. Point A. give back to Italy, or for the generous tax breaks B. Point B. 12 C. Point C. that these projects bring, what matters is that they D. Point D. preserve history. 11. A. NO CHANGE B. Bulgari, (also known as ‘BVLGARI’), C. Bulgari, also known as ‘BVLGARI, D. Bulgari, also known as BVLGARI 12. The writer is considering revising the underlined portion to the following: tax breaks (worth 65% of the total donation value) Given that the information is accurate, should the writer make this revision? A. Yes, because it clearly specifies how generous the tax breaks are. B. Yes, because it emphasises that tax breaks are the only reason fashion houses have contributed to restorations. No, because the sentence already indicates that the tax C. breaks are generous. No, because it questions the fashion houses’ reasons for D. contributing to restorations. 346 Practice Test: 1 [3] Fendi aside, other Italian luxury fashion houses 13. A. NO CHANGE B. in, and it is have pitched in and making several attempts to save C. in, they are making 13 the crumbling architecture (such as monuments) of D. in by Rome (which is famous for the Trevi Fountain). 15 14. A. NO CHANGE 14 B. (such as monuments) of Rome. C. of Rome (which is famous for the Trevi Fountain) D. of Rome. 15. Which sequence of sentences makes this paragraph most logical? A. NO CHANGE B. 3, 1, 2 C. 2, 1, 3 D. 1, 3, 2 347.
Recommended publications
  • Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy the Architects
    Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy The Architects The Trevi Fountain (Fontana di Trevi) is the most famous and arguably Little of Nicola Salvi’s (1697–1751) work beyond the Trevi Fountain remains the most beautiful fountain in Rome. This impressive Baroque-styled today and relatively little is known of the architect himself. He was monument was completed in 1762 and still dominates the small Trevi admitted to the Roman Academy of Arcadia in 1717 and only became square located in the city’s Quirinale district. an architect after studying mathematics and philosophy. His friend and colleague, the sculptor Pietro Bracci (1700–1773), would eventually go on to complete the fountain. Bracci’s most famous piece of work, the statue of Oceanus, forms the centerpiece of the fountain. 2 History The imposing fountain sits at the junction of three roads, or tre vie, which many believe gave the fountain its name, and marks the terminal point of one of the original aqueducts that supplied water to ancient Rome. Built by Marcu Vipsanius Agrippa in 19 BC, the Aqua Virgo aqueduct was over 13 miles (21 km) long and even then had a fountain at its terminus. The aqueduct and fountain served Rome for over 400 years, but after the invasion of the Goths in AD 537, the aqueduct was cut off and the final portion abandoned, forcing the medieval Romans to draw water from wells and the River Tiber. It would be over 1,000 years, and the advent of the Early Renaissance period, before a fountain would again stand in the location we know today.
    [Show full text]
  • 1568984383.Pdf
    The Architecture of Modern Italy SWITZERLAND AUSTRIA Italy 1750 Simplon Veneto Lombardy Belluno Gallarate Bergamo Possagno Monza Treviso Novara Brescia Verona Trieste Milan Venice Tur in Padua Mantua Piedmont Parma Ferrara Modena Genoa Bologna Liguria Faenza Carrara Pistoia San Marino Florence Urbino Livorno Ancona Tuscany Papal States ADRIATIC SEA Montalcino Follonica Perugia Elba Civitavecchia Tivoli Rome Subiaco Terracina Minturno Gaeta Caserta Naples Kingdom of Portici/Herculaneum Two Sicilies Amalfi SARDINIA Paestum TYRRHENIAN SEA Palermo The Architecture of Modern Italy Volume I:The Challenge of Tradition,1750–1900 Terry Kirk Princeton Architectural Press New York for marcello Published by Princeton Architectural Press 37 East Seventh Street New York,New York 10003 For a free catalog of books, call 1.800.722.6657. Visit our web site at www.papress.com. © 2005 Princeton Architectural Press All rights reserved Printed and bound in Hong Kong 08 07 06 05 5 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Project Coordinator: Mark Lamster Editing: Elizabeth Johnson, Linda Lee, Megan Carey Layout: Jane Sheinman Special thanks to: Nettie Aljian, Dorothy Ball, Nicola Bednarek, Janet Behning, Penny (Yuen Pik) Chu, Russell Fernandez, Clare Jacobson, John King, Nancy Eklund Later, Katharine Myers, Lauren Nelson, Scott Tennent,Jennifer Thompson, and Joseph Weston of Princeton Architectural Press —Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data Kirk,Terry.
    [Show full text]
  • Portugal-Venice: Historical Relations — 27 —
    Portugal-Venice: Historical Relations — 27 — { trafaria praia } portugal-venice: historical relations Francisco Bethencourt portugal’s relations with italy became formalized in the middle ages, thanks to increas- ing maritime trade between the mediterranean and the north atlantic. throughout this period lisbon functioned as a stopping-off point due to its position on the western coast of the iberian peninsula. between the 12th and the 15th centuries, venetians and genovese controlled several different territories and trading posts throughout the mediterra- nean, with their activity stretching as far east as the black sea (at least up until the conquest of constantinople by the ottomans in 1453). the asian luxury trade was one basis of their wealth. The economic importance of Portugal lay fundamentally in the export of salt. Northern France, Flanders, and England had access to the cereals growing in the north of Europe, which were much coveted by southern Europe; at the same time they were developing metallurgy and woolen textiles. In the 16th century, the population of Flanders was 40 percent city-based, and it was by far the most important city population in Europe. This urban concentration brought with it a specialization of functions and diversified markets. This is why Flanders, followed by England, became specialized in maritime transporta- tion, and then competed with the Venetians and the Genovese. The Portuguese kings used the Italians’ maritime experience to create their military fleet. In 1316, King Denis invited the Genovese mariner Pessagno to be admiral of the fleet, 26 > 33 Francisco Bethencourt — 28 — and the latter brought pilots and sailors with him.
    [Show full text]
  • GROSSI, Giovanni Battista by Rosella Carloni - Biographical Dictionary of Italians - Volume 59 (2002)
    GROSSI, Giovanni Battista by Rosella Carloni - Biographical Dictionary of Italians - Volume 59 (2002) We do not know the place and date of birth of this sculptor, documented in Rome in the second half of the eighteenth century, of which we ignore the formation, certainly occurred in the late-baroque tradition, prevailing in the city during the first decades of the century. This is borne out by the analysis of the first decorative cycle attributed to him by the sources and dating back to 1749. They are four bas- reliefs, placed inside the church of S. Nicola dei Lorenesi, then renovated by the architect Pietro Mariotti (Mallory, 1982 , 15, page 147 No. 5052). The stucco squares, worked "with great study and diligence for the copiosity of the Figures" according to the chronicles of the time (ibid.), Represent the prodigious facts of the life of s. Nicola di Bari. Designed according to an ideal point of view, located in the center of the church, and according to a purely baroque theatrical taste, they are arranged in pairs on the opposite walls of the vaulted rectangular hall: the two episodes concerning the Childhood of the saint are at the center, those of maturity at the entrance, thus suggesting a sense of spatial and temporal continuity (Violette, p.499). A series of compositional and formal correspondences also ideally connects scenes illustrating similar periods in the life of the saint on either side of the building. In the bas-relief with S. Nicola, a child who refuses mother's milk on Wednesdays and Fridays , on the second door on the right, and on the second with S.
    [Show full text]
  • The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
    The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR ....
    [Show full text]
  • Giovanni Bottari's Aversion to a Mathematical Assessment of Saint-P
    Epistemological obstacles to the analysis of structures : Giovanni Bottari’s aversion to a mathematical assessment of Saint-Peter’s Dome Pascal Dubourg Glatigny To cite this version: Pascal Dubourg Glatigny. Epistemological obstacles to the analysis of structures : Giovanni Bottari’s aversion to a mathematical assessment of Saint-Peter’s Dome. A. Gerbino. Geometrical Objects : Architecture and the mathematical sciences 1400-1800, pp.203-214, 2014, 10.1007/978-3-319-05998- 3_9. halshs-01191415 HAL Id: halshs-01191415 https://halshs.archives-ouvertes.fr/halshs-01191415 Submitted on 6 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Epistemological Obstacles to the Analysis of Structures: Giovanni Bottari’s Aversion to a Mathematical Assessment of Saint-Peter’s Dome (1743) Pascal Dubourg Glatigny Visible faults in the dome of Saint Peter’s basilica in Rome had raised fears about the structure’s stability ever since its completion in 1593. The most extensively documented episode of this long history erupted in the early 1740s, a few years after Prospero Lambertini was elected Pope Benedict XIV. The debates over the causes of the cracks, the ensuing scientifi c analyses, and the adopted solutions are well known, due to the Memorie istoriche della gran cupola del Tempio vaticano , the magisterial treatise published in 1748 by Giovanni Poleni (1685–1761), the mathematician entrusted with the supervision of the restoration work.
    [Show full text]
  • Architectural Temperance: Spain and Rome, 1700-1759
    Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research.
    [Show full text]
  • Nicola Salvi
    Nicola Salvi Nicola Salvi (Roma, 6 agosto 1697 – Roma, 8 febbraio 1751) è stato un architetto italiano. Ammesso all'Accademia dell'Arcadia nel 1617, Salvi arrivò all'architettura in un momento non precocissimo della sua vita, dopo studi di matematica e filosofia. Suo maestro fu Antonio Canevari, architetto consulente del re di Portogallo, anch'egli arcade, che lo introdusse alla conoscenza dei testi di Vitruvio e lo fece disegnare dall'antico e dai grandi maestri del Rinascimento. La sua carriera di architetto non è costellata da un gran numero di opere, a causa anche di gravi problemi di salute che lo afflissero dal 1744 circa. Nel 1728, partito il suo maestro per Lisbona, Salvi ne ereditò la bottega e le commissioni romane. Inizialmente lavorò ad apparati effimeri, come i fuochi d'artificio in Piazza di Spagna per celebrare i reciproci matrimoni tra le reali corone di Spagna e Portogallo. Nel 1732 partecipò ad entrambi i grandi concorsi architettonici indetti da Clemente XII, quello per la facciata di San Giovanni in Laterano e quello per la Fontana di Trevi. La prima commissione, nonostante le lodi unanimi tributate al progetto di Salvi, andò al fiorentino Alessandro Galilei, conterraneo del papa; il suo disegno per la fontana ebbe invece la meglio su quelli di altri architetti di grido, come Ferdinando Fuga e l'amico Luigi Vanvitelli. Lasciata in uno stato di abbandono, dopo i primi progetti che Gian Lorenzo Bernini aveva eseguito per Urbano VIII, la vasca era stata pensata per diventare la mostra monumentale dell’Acqua Vergine, un condotto idrico di origine antica che era stato restaurato in epoca papale.
    [Show full text]
  • The Trevi Fountain Like You've Never Seen It Before
    The Trevi Fountain Like You’ve Never Seen it Before Published on iItaly.org (http://iitaly.org) The Trevi Fountain Like You’ve Never Seen it Before Roberta Cutillo (January 23, 2020) Rome’s Palazzo Poli opens its doors to visitors, who will be able to enjoy a unique view of the iconic Trevi Fountain from the historic villa’s terrace. Built in the 1500s and renovated during the 1700s and 1800s, Palazzo Poli is located in one of the highest points in Rome and serves as the backdrop of the iconic Trevi Fountain, a symbol of the city which attracts thousands of tourists every day. Part of the National Institute for Graphics, the historical palazzo is being turned into a museum. Visitors will be able to tour its beautifully decorated rooms and then proceed up the spiral staircase leading the main attraction: a glorious terrace with breathtaking views of the city and of the fountain designed by Nicola Salvi in 1762, situated directly below. From this unique perspective, visitors will have the chance to see the Roman landmark, which has been featured in countless films (most famously, La Dolce Vita and Roman Holiday) in a whole new light. They will be able to admire details they’ve never seen before, like the two minutely rendered Page 1 of 2 The Trevi Fountain Like You’ve Never Seen it Before Published on iItaly.org (http://iitaly.org) tuba-playing angels holding up the emblem of Pope Clement XII at the very top. The idea of turning Palazzo Poli into a museum came from Maria Cristina Misiti, the Director of the National Institute for Graphics.
    [Show full text]
  • A Fountain for Memory
    1 A FOUNTAIN FOR MEMORY: The Trevi Flow of Power and Transcultural Performance Pam Krist, PhD Thesis School of Modern Languages, Literature and Culture Royal Holloway, University of London 2015 2 3 Abstract In memory studies much research on monuments focuses on those with traumatic or controversial associations whilst others can be overlooked. The thesis explores this gap and seeks to supplement the critical understanding of a populist monument as a nexus for cultural remembering. The Trevi Fountain in Rome is chosen because it is a conduit for the flow of multivalent imagery, ideological manipulation, and ever-evolving performances of memory, from design plans to mediated representations. The thesis begins by locating the historical pre-material and material presences of the Fountain, establishing this contextual consideration as contributory to memory studies. It then surveys the field of theory to build a necessarily flexible conceptual framework for researching the Fountain which, given the movement and sound of water and the coin-throwing ritual, differs from a static monument in its memorial connotations. The interpretations of the illusory Trevi design and its myths are explored before employing a cross-disciplinary approach to the intertextuality of its presences and its performative potential in art, literature, film, music, advertising and on the Internet. The thesis concludes with questions about the digital Trevi and dilution of memory. Gathering strength throughout is the premise of the Fountain as a transcultural vehicle for dominant ideologies ‒ from the papal to commercial, the Grand Tour to cyber tourism ‒ seeking to control remembering and forgetting. Sometimes these are undermined by the social and inventive practices of memory.
    [Show full text]
  • Designing Rome's Trevi Fountain
    George Doyle ARCH 2111, Dr. Laura Hollengreen October 24, 2013 Designing Rome’s Trevi Fountain On October 2, 2013, the Museum of Design Atlanta had a design conversation on the history and historical significance of Rome’s Trevi Fountain. I attended the lecture, which was given to the general public by Katherine Rinne, who received the M. Arch degree from UC Burkeley and specializes in urban water history. She spent much of her academic life studying the aqueducts of Rome, Roman fountains, and the Baroque urbanization of the city. She even stated in the lecture that, “The Trevi is arguably the most famous fountain in the world; noted for its gigantic scale, magnificent sculptures, complex iconography, dramatic water display, and embracing piazza.” After attending and recording the lecture, I have to say that her statement is absolute. Throughout the eras of the classical, medieval, baroque, and late-renaissance periods, cities and their subdivisions had local water sources open to the public. Many of these fountains and wells can still be seen today, whether it is in Lucerne, Krakow, Madrid, Cologne, or Rome. With Europe’s geologically complex terrain, there are many different obstacles that the Romans had to face concerning water transportation into cities from outside locations and resources. Roman aqueducts transported water from local springs as well as from distant bodies of water. In the case of Rome, the local fountains were powered and distributed hydraulically by the Acqua Vergine, a natural spring located 26 meters above sea level. In Italy, there is a low pressure in these fountains compared other highly pressured fountains located throughout Europe.
    [Show full text]
  • Adelina Ditullio
    Ellie the Traveling Elephant WRITTEN BY Adelina DiTullio Ellie in Italy Hi friends and welcome to my travels! I am so excited you could join me! Today, we will be exploring the breathtaking sites of Rome, Italy! C'mon, let's go! First, Let's Talk Facts Before we can visit Italy, we need to know some facts about the country! Location: On the Meditteranean coastline of Europe Language: Italian Population: 60.48 million Rome, Italy Rome is the largest city in Italy and is the capital of the country! Rome is located in the middle of the Italian peninsula. Italian Flag The Italian Flag is one of the most recognizable flags in the world! The beautiful green, white, and red can be spotted hanging all around the city of Rome! When in Rome... Be sure to grab a yummy dish of pasta! It is common to find homemade pasta noodles and sauce. Pasta has been a staple meal in Italy for centuries! Finish your meal with some delicious gelato for dessert! Food is an importance aspect of Italian culture. Euroean Euros In Europe, they use the Euro for currency. The European Euro is worth more money than the American Dollar! The Euro is worth $1.11. Did You Know? Roughly 700,000 euros are thrown into the Trevi Fountain yearly by tourists! Tourism in Rome Rome houses many attractions that tourists visit every year. It is estimated that over 4 million tourist visit Rome yearly! Lets go visit some! Let's Explore! Now that we are experts on Italy, let's see all the wonderful sites that Rome has to offer! Get ready to explore friends because..
    [Show full text]