Free ACT Test Exam Braindumps (page: 89)

(1) When I first heard the term "illuminated manuscript" and learned of its association with medieval monasteries, I pictured hand-lettered parchment texts actually lighted from within by a kind of benevolent, supernatural light. I soon discovered, however, that the adjective illuminated" in this case had nothing to do with light, nor did it always have to do with the Christian church or with medieval times. Rather, "to illuminate" simply meant "to adorn" the pages of a manuscript, usually with brilliant colors and sometimes even with precious metals or stones.

(2) Although illuminated manuscripts reached their apogee in the Middle Ages and are best known as a product of the medieval Christian church, they actually had their origins in Egypt, nearly four thousand years ago. The first known illuminated manuscript was the Egyptian Book of the Dead, which contained instructions for the ceremonies for burial of the dead and the prayers to be said by those left behind. Originally, those books were commissioned by royalty, nobility, and others of high rank, but eventually even ordinary people could purchase them. Among the scenes commonly contained in the Egyptian Book of the Dead were the funeral cortege and the mummification process, as well as depictions of the deceased in the afterlife. Thanks to the dry climate in Egypt, a number of these ancient manuscripts have survived.

(3) The practice of illuminating manuscripts flourished in Europe. The Vatican Library houses two manuscripts by Virgil, and a copy of the Iliad by Homer resides in the Biblioteca Ambrosiana in Milan. A few Bibles and religious storybooks have survived also. Hellenistic and Roman wall painting influenced the illustrations in these texts, and as the age progressed, the artwork came to be more influenced by classical art with biblical themes. By the seventh century, the most important illuminated manuscripts were the prayer books being produced in monasteries in England and Ireland. The illustrators were greatly influenced by Celtic metalwork from previous centuries, and the works are beautiful and impressive (though they may look slightly primitive to modern eyes as the artists have made no effort to give a sense of perspective).

(4) By the tenth and eleventh centuries, monasteries in England moved away from their Celtic influence and embraced the Carolingian style. The pictures in these manuscripts, drawn for royals and other wealthy patrons, became more interpretive, actually illustrating passages from the book, with stylized figures looking rather severely out at the reader. By the twelfth century, these English illuminators were integrating illustration and decoration into the text. Bibles made in England at this time contained entire scenes. Many of these manuscripts also presented mythical figures, like dragons or part-human, part-animal figures that did not relate directly to the text.

(5) By the Gothic period, the urbanization of Europe led to increasing numbers of illuminated manuscripts. The illustrations became more realistic: The figures wore the clothes of the day and were shown in contemporary settings. The artists also began to be concerned with balance and perspective. The handwritten books and scrolls were embellished with decorations and illustrations intended to enhance the text, and the paints used were made from natural materials such as minerals and stones. Red, brown, orange, and yellow were derived from ochers and metals; blue came from lapis lazulim azurite, or indigo. In Europe, artists also applied gold leaf.

(6) During the Middle Ages, the illumination of manuscripts was an important art form, and illuminations employed a variety of decorations and enhancements. Although most of the books began with an imaginary portrait of the book's author or its patron, in some the first page contained abstract designs that were reminiscent of the Oriental carpet, and thus, the first page later came to be known as the carpet page. Texts of this time usually had enlarged and embellished initial letters ­ sometimes shaped like animals, birds, or flowers. Some particularly important texts religious, literary, or historical ­ might have full-page illustrations, which would be placed either at the appropriate point in the text or grouped together at the beginning.

(7) During the Renaissance, patrons continued to order these hand-illuminated manuscripts even though the printing press (c. 1450) made mass production of manuscripts by machine possible. This was not true in the Middle East, however. Consequently, the illuminated manuscript kept its influential role and many exquisite examples survive to this day. Although the invention of the printing press could be said to mark the beginning of the end for illuminated manuscripts in Europe and elsewhere, they performed an invaluable service during their long history. Because of widespread illiteracy throughout history, pictures have always been an important source of information. Even people who could not read ­ whether in ancient Egypt or medieval Europe could glean information from the illustrated pages. Perhaps the image of a page lighted from within is not such a far- fetched description of the illuminated manuscript, after all.

A main idea of paragraph 4 is that between the tenth and twelfth centuries in Europe, illumination was used more and more often to:

(1) When I first heard the term "illuminated manuscript" and learned of its association with medieval monasteries, I pictured hand-lettered parchment texts actually lighted from within by a kind of benevolent, supernatural light. I soon discovered, however, that the adjective illuminated" in this case had nothing to do with light, nor did it always have to do with the Christian church or with medieval times. Rather, "to illuminate" simply meant "to adorn" the pages of a manuscript, usually with brilliant colors and sometimes even with precious metals or stones.

(2) Although illuminated manuscripts reached their apogee in the Middle Ages and are best known as a product of the medieval Christian church, they actually had their origins in Egypt, nearly four thousand years ago. The first known illuminated manuscript was the Egyptian Book of the Dead, which contained instructions for the ceremonies for burial of the dead and the prayers to be said by those left behind. Originally, those books were commissioned by royalty, nobility, and others of high rank, but eventually even ordinary people could purchase them. Among the scenes commonly contained in the Egyptian Book of the Dead were the funeral cortege and the mummification process, as well as depictions of the deceased in the afterlife. Thanks to the dry climate in Egypt, a number of these ancient manuscripts have survived.

(3) The practice of illuminating manuscripts flourished in Europe. The Vatican Library houses two manuscripts by Virgil, and a copy of the Iliad by Homer resides in the Biblioteca Ambrosiana in Milan. A few Bibles and religious storybooks have survived also. Hellenistic and Roman wall painting influenced the illustrations in these texts, and as the age progressed, the artwork came to be more influenced by classical art with biblical themes. By the seventh century, the most important illuminated manuscripts were the prayer books being produced in monasteries in England and Ireland. The illustrators were greatly influenced by Celtic metalwork from previous centuries, and the works are beautiful and impressive (though they may look slightly primitive to modern eyes as the artists have made no effort to give a sense of perspective).

(4) By the tenth and eleventh centuries, monasteries in England moved away from their Celtic influence and embraced the Carolingian style. The pictures in these manuscripts, drawn for royals and other wealthy patrons, became more interpretive, actually illustrating passages from the book, with stylized figures looking rather severely out at the reader. By the twelfth century, these English illuminators were integrating illustration and decoration into the text. Bibles made in England at this time contained entire scenes. Many of these manuscripts also presented mythical figures, like dragons or part-human, part-animal figures that did not relate directly to the text.

(5) By the Gothic period, the urbanization of Europe led to increasing numbers of illuminated manuscripts. The illustrations became more realistic: The figures wore the clothes of the day and were shown in contemporary settings. The artists also began to be concerned with balance and perspective. The handwritten books and scrolls were embellished with decorations and illustrations intended to enhance the text, and the paints used were made from natural materials such as minerals and stones. Red, brown, orange, and yellow were derived from ochers and metals; blue came from lapis lazulim azurite, or indigo. In Europe, artists also applied gold leaf.

(6) During the Middle Ages, the illumination of manuscripts was an important art form, and illuminations employed a variety of decorations and enhancements. Although most of the books began with an imaginary portrait of the book's author or its patron, in some the first page contained abstract designs that were reminiscent of the Oriental carpet, and thus, the first page later came to be known as the carpet page. Texts of this time usually had enlarged and embellished initial letters ­ sometimes shaped like animals, birds, or flowers. Some particularly important texts religious, literary, or historical ­ might have full-page illustrations, which would be placed either at the appropriate point in the text or grouped together at the beginning.

(7) During the Renaissance, patrons continued to order these hand-illuminated manuscripts even though the printing press (c. 1450) made mass production of manuscripts by machine possible. This was not true in the Middle East, however. Consequently, the illuminated manuscript kept its influential role and many exquisite examples survive to this day. Although the invention of the printing press could be said to mark the beginning of the end for illuminated manuscripts in Europe and elsewhere, they performed an invaluable service during their long history. Because of widespread illiteracy throughout history, pictures have always been an important source of information. Even people who could not read ­ whether in ancient Egypt or medieval Europe could glean information from the illustrated pages. Perhaps the image of a page lighted from within is not such a far- fetched description of the illuminated manuscript, after all.

Based on the passage, one can conclude that most illuminated manuscripts pertain to:

(1) When I first heard the term "illuminated manuscript" and learned of its association with medieval monasteries, I pictured hand-lettered parchment texts actually lighted from within by a kind of benevolent, supernatural light. I soon discovered, however, that the adjective illuminated" in this case had nothing to do with light, nor did it always have to do with the Christian church or with medieval times. Rather, "to illuminate" simply meant "to adorn" the pages of a manuscript, usually with brilliant colors and sometimes even with precious metals or stones.

(2) Although illuminated manuscripts reached their apogee in the Middle Ages and are best known as a product of the medieval Christian church, they actually had their origins in Egypt, nearly four thousand years ago. The first known illuminated manuscript was the Egyptian Book of the Dead, which contained instructions for the ceremonies for burial of the dead and the prayers to be said by those left behind. Originally, those books were commissioned by royalty, nobility, and others of high rank, but eventually even ordinary people could purchase them. Among the scenes commonly contained in the Egyptian Book of the Dead were the funeral cortege and the mummification process, as well as depictions of the deceased in the afterlife. Thanks to the dry climate in Egypt, a number of these ancient manuscripts have survived.

(3) The practice of illuminating manuscripts flourished in Europe. The Vatican Library houses two manuscripts by Virgil, and a copy of the Iliad by Homer resides in the Biblioteca Ambrosiana in Milan. A few Bibles and religious storybooks have survived also. Hellenistic and Roman wall painting influenced the illustrations in these texts, and as the age progressed, the artwork came to be more influenced by classical art with biblical themes. By the seventh century, the most important illuminated manuscripts were the prayer books being produced in monasteries in England and Ireland. The illustrators were greatly influenced by Celtic metalwork from previous centuries, and the works are beautiful and impressive (though they may look slightly primitive to modern eyes as the artists have made no effort to give a sense of perspective).

(4) By the tenth and eleventh centuries, monasteries in England moved away from their Celtic influence and embraced the Carolingian style. The pictures in these manuscripts, drawn for royals and other wealthy patrons, became more interpretive, actually illustrating passages from the book, with stylized figures looking rather severely out at the reader. By the twelfth century, these English illuminators were integrating illustration and decoration into the text. Bibles made in England at this time contained entire scenes. Many of these manuscripts also presented mythical figures, like dragons or part-human, part-animal figures that did not relate directly to the text.

(5) By the Gothic period, the urbanization of Europe led to increasing numbers of illuminated manuscripts. The illustrations became more realistic: The figures wore the clothes of the day and were shown in contemporary settings. The artists also began to be concerned with balance and perspective. The handwritten books and scrolls were embellished with decorations and illustrations intended to enhance the text, and the paints used were made from natural materials such as minerals and stones. Red, brown, orange, and yellow were derived from ochers and metals; blue came from lapis lazulim azurite, or indigo. In Europe, artists also applied gold leaf.

(6) During the Middle Ages, the illumination of manuscripts was an important art form, and illuminations employed a variety of decorations and enhancements. Although most of the books began with an imaginary portrait of the book's author or its patron, in some the first page contained abstract designs that were reminiscent of the Oriental carpet, and thus, the first page later came to be known as the carpet page. Texts of this time usually had enlarged and embellished initial letters ­ sometimes shaped like animals, birds, or flowers. Some particularly important texts religious, literary, or historical ­ might have full-page illustrations, which would be placed either at the appropriate point in the text or grouped together at the beginning.

(7) During the Renaissance, patrons continued to order these hand-illuminated manuscripts even though the printing press (c. 1450) made mass production of manuscripts by machine possible. This was not true in the Middle East, however. Consequently, the illuminated manuscript kept its influential role and many exquisite examples survive to this day. Although the invention of the printing press could be said to mark the beginning of the end for illuminated manuscripts in Europe and elsewhere, they performed an invaluable service during their long history. Because of widespread illiteracy throughout history, pictures have always been an important source of information. Even people who could not read ­ whether in ancient Egypt or medieval Europe could glean information from the illustrated pages. Perhaps the image of a page lighted from within is not such a far- fetched description of the illuminated manuscript, after all.

It can be reasonably inferred that a person who studied history of the illuminated manuscript would also learn the most about which of the following?

(1) When I first heard the term "illuminated manuscript" and learned of its association with medieval monasteries, I pictured hand-lettered parchment texts actually lighted from within by a kind of benevolent, supernatural light. I soon discovered, however, that the adjective illuminated" in this case had nothing to do with light, nor did it always have to do with the Christian church or with medieval times. Rather, "to illuminate" simply meant "to adorn" the pages of a manuscript, usually with brilliant colors and sometimes even with precious metals or stones.

(2) Although illuminated manuscripts reached their apogee in the Middle Ages and are best known as a product of the medieval Christian church, they actually had their origins in Egypt, nearly four thousand years ago. The first known illuminated manuscript was the Egyptian Book of the Dead, which contained instructions for the ceremonies for burial of the dead and the prayers to be said by those left behind. Originally, those books were commissioned by royalty, nobility, and others of high rank, but eventually even ordinary people could purchase them. Among the scenes commonly contained in the Egyptian Book of the Dead were the funeral cortege and the mummification process, as well as depictions of the deceased in the afterlife. Thanks to the dry climate in Egypt, a number of these ancient manuscripts have survived.

(3) The practice of illuminating manuscripts flourished in Europe. The Vatican Library houses two manuscripts by Virgil, and a copy of the Iliad by Homer resides in the Biblioteca Ambrosiana in Milan. A few Bibles and religious storybooks have survived also. Hellenistic and Roman wall painting influenced the illustrations in these texts, and as the age progressed, the artwork came to be more influenced by classical art with biblical themes. By the seventh century, the most important illuminated manuscripts were the prayer books being produced in monasteries in England and Ireland. The illustrators were greatly influenced by Celtic metalwork from previous centuries, and the works are beautiful and impressive (though they may look slightly primitive to modern eyes as the artists have made no effort to give a sense of perspective).

(4) By the tenth and eleventh centuries, monasteries in England moved away from their Celtic influence and embraced the Carolingian style. The pictures in these manuscripts, drawn for royals and other wealthy patrons, became more interpretive, actually illustrating passages from the book, with stylized figures looking rather severely out at the reader. By the twelfth century, these English illuminators were integrating illustration and decoration into the text. Bibles made in England at this time contained entire scenes. Many of these manuscripts also presented mythical figures, like dragons or part-human, part-animal figures that did not relate directly to the text.

(5) By the Gothic period, the urbanization of Europe led to increasing numbers of illuminated manuscripts. The illustrations became more realistic: The figures wore the clothes of the day and were shown in contemporary settings. The artists also began to be concerned with balance and perspective. The handwritten books and scrolls were embellished with decorations and illustrations intended to enhance the text, and the paints used were made from natural materials such as minerals and stones. Red, brown, orange, and yellow were derived from ochers and metals; blue came from lapis lazulim azurite, or indigo. In Europe, artists also applied gold leaf.

(6) During the Middle Ages, the illumination of manuscripts was an important art form, and illuminations employed a variety of decorations and enhancements. Although most of the books began with an imaginary portrait of the book's author or its patron, in some the first page contained abstract designs that were reminiscent of the Oriental carpet, and thus, the first page later came to be known as the carpet page. Texts of this time usually had enlarged and embellished initial letters ­ sometimes shaped like animals, birds, or flowers. Some particularly important texts religious, literary, or historical ­ might have full-page illustrations, which would be placed either at the appropriate point in the text or grouped together at the beginning.

(7) During the Renaissance, patrons continued to order these hand-illuminated manuscripts even though the printing press (c. 1450) made mass production of manuscripts by machine possible. This was not true in the Middle East, however. Consequently, the illuminated manuscript kept its influential role and many exquisite examples survive to this day. Although the invention of the printing press could be said to mark the beginning of the end for illuminated manuscripts in Europe and elsewhere, they performed an invaluable service during their long history. Because of widespread illiteracy throughout history, pictures have always been an important source of information. Even people who could not read ­ whether in ancient Egypt or medieval Europe could glean information from the illustrated pages. Perhaps the image of a page lighted from within is not such a far- fetched description of the illuminated manuscript, after all.

It can be inferred from the passage that the printing press "marked the beginning of the end for the illuminated manuscript" because: