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Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word “eternal” in line 3 is closest in meaning to

A. timeless

B. infinite  

C. frequent  

D. rare

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 40 to 49.

On 26^th May 1828, the people of Nuremberg in Germany found a teenage boy who waswandering alone through the streets. When they came across him, he had no possessions except for two old letters. Because of his behavior and appearance, they took him to the police station. Kaspar spent the next two months in prison, where he hardly spoke and refused all food except for bread and water. Some people assumed that Kaspar had grown up alone in the forest, like a wild animal. But gradually, a different picture emerged.

Kaspar said he had spent his whole childhood in a small dark cell. He had never seen the world outside or left his cell. He had never met or spoken to another human being. The cell was empty apart from a small bed and one toy-a wooden horse. He claimed that he had found bread and water in his cell every morning. According to Kaspar’s account, a mysterious man had begun to call on him shortly before his release. The man never showed his face.

Kaspar became well-known throughout Germany and in other countries too, and people found his ascinating. Some suggested that Kaspar was the son of a rich and powerful man-a prince perhaps-who wanted to keep his identity secret. A schoolteacher called Friedrich Daumer met Kaspar and agreed to look after him. Daumer taught him various subjects and encouraged Kaspar’s talent for drawing.

One day in 1829, Kaspar was found with a knife wound to his head. He claimed that a man with a hood over his face had attacked him-the same man who had brought him to Nuremberg. It wasn’t a serious injury, and Kaspar got over it. But in 1833, Hauser came home with a deep knife wound in his chest, saying someone had attacked him in a garden. Three days later, Kaspar died from the wound. Just before he died, Kaspar told the police that his attacker had given him a bag, so the police went to the garden and looked for it. They found it, with a note inside. The note was in mirror writing and said in German: “I want to tell you about myself. I come from the Bavarian border, on the river.”

Over the years, books have been written about Kaspar’s stories and various historians have looked into them. Most have concluded that the stories were untrue and that Kaspar Hauser was a liar who killed himself (possibly by mistake). But for some people, Kaspar Hauser’s life and death remain one of the most mysterious stories in history.

Police found a mysterious letter inside a bag .

A. in Kaspar Hauser’s room, after his death      

B. in the place where Kaspar Hauser died

C. near a river in Baravia                           

D. in the place where Kaspar Hauser was attacked