colon site-specific preparations
colon site-specific preparations
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“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,afestival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although theGreeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympicflame 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 Museum were incidental to its main purpose.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)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more orless meant“Muses-shrine”.The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—whichfocused 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 lumps 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 ofantiquity 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 Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome werethe most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums 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 Musee des Monuments Francais was the most famous.Then,in the firsthalf of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries werebuilt.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.TheVictoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.Which is the main idea of the passage?A.Collection and collectors.B.The evolution of museums.C.Modern museums and their functions.D.The birth of museums
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,afestival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although theGreeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympicflame 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 Museum were incidental to its main purpose.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)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more orless meant“Muses-shrine”.The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—whichfocused 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 lumps 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 ofantiquity 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 Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome werethe most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums 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 Musee des Monuments Francais was the most famous.Then,in the firsthalf of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries werebuilt.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.TheVictoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.The sentence “Museum is a slippery word” in the first paragraph means thatA.the meaning of the word didn’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 collections.
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,afestival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although theGreeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympicflame 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 Museum were incidental to its main purpose.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)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more orless meant“Muses-shrine”.The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—whichfocused 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 lumps 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 ofantiquity 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 Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome werethe most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums 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 Musee des Monuments Francais was the most famous.Then,in the firsthalf of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries werebuilt.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.TheVictoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.Paintings and sculptures on display in churches in the 15th century were_______.A.collected from elsewhere.B.made part of the buildings.C.donated by people.D.bought by churches.
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,afestival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although theGreeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympicflame 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 Museum were incidental to its main purpose.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)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more orless meant“Muses-shrine”.The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—whichfocused 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 lumps 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 ofantiquity 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 Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome werethe most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums 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 Musee des Monuments Francais was the most famous.Then,in the firsthalf of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries werebuilt.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.TheVictoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.“...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.
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,afestival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although theGreeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympicflame 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 Museum were incidental to its main purpose.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)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more orless meant“Muses-shrine”.The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—whichfocused 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 lumps 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 ofantiquity 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 Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome werethe most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums 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 Musee des Monuments Francais was the most famous.Then,in the firsthalf of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries werebuilt.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.TheVictoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.The idea that museum could mean a mountain or an object originates from ______.A.the Romans.B.Florence.C.Olympia.D.Greek.
She is making__for her education abroad, and has booked__.A.preparations; plane ticketB.a preparation; plane ticketC.preparation ; plane' s ticketD.preparations; ticket of plane
She is making___________for her education abroad, and has bookedA.preparations; plane ticketB.a preparation; plane ticketC.preparation ; plane' s ticketD.preparations ; ticket of plane
共用题干A Special JourneyI am often asked to describe the experience of_______(51)a child with a disability一to try to help people who have not shared that unique experience to understand it,to imagine how it would feel.It's like this…_______(52)you're going to have a baby,it's like planning a fabulous vacation trip to Italy. You buy a bunch of guide books and make your wonderful_______(53).The Coliseum,the Michelangelo,David,the gondolas in Venice.You may learn some handy phrases in Italian. It's all very exciting.After months of eager anticipation,the day finally_______(54).You pack your bags and _______(55)you go.Several hours later,the plane lands.The_______(56)comes in and says,"Welcome to Holland.""Holland?"you say."What do you mean by Holland?I signed up for Italy!I'm supposed to be in Italy. All my life I've dreamed_______(57)going to Italy."But there's been a change in the flight plan.They've landed in Holland and there you must stay.The important thing is that they haven't taken you to a horrible,disgusting,filthy place,full of pestilence,_______(58)and disease.It's just a_______(59)place._______(60)you must go out and buy new guide books.And you must learn a whole new language.And you will meet a whole new group of people you would never have met.It's just a different place.It's slower-paced than Italy,less flashy than Italy. But after you've been there for a while and you catch your breath,you look around…and you begin to_______ (61)that Holland has windmills…and Holland has tulips.Holland even has Rembrandts.But everyone you know is busy coming and going_______(62)Italy…and they're all bragging about_______(63)a wonderful time they had there. And for the rest of your life,you will say"Yes,that's where I was_______(64)to go.That's what I had planned."But if you spend your life_______(65)the fact that you didn't get to Italy,you may never be free to enjoy the very special,the very lovely things about Holland._________(53)A:trips B:toursC:plans D:preparations