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Passage 1 is adapted from Gardner's Art Through the Ages. © 1991 by Harcourt Brace Jovanovich, Inc. Passage 2 is adapted from John Boardman, "The Parthenon Frieze—Another View." © 1977 by John Boardman. Both passages discuss the Parthenon Frieze, a band of sculpture that once encircled all four walls of the Parthenon, a temple to the goddess Athena. The naos is the inner sanctuary of the temple.

Passage 1




Passage 2





1. The author of Passage 1 references a quote from Heraclitus (lines 29-35) primarily to

  • A. reinforce the sense of the passage of time present in the frieze.
  • B. suggest that opposing qualities of the carving present a sense of overall balance.
  • C. prove that the style of the frieze is characteristically Greek.
  • D. emphasize the contrast between the men in the procession and the goddess Athena at its end.

2. Which of the following best describes the structure of Passage 1?

  • A. A purpose for the frieze is proposed, and then a description is given.
  • B. An interpretation of the frieze is questioned and a new solution is offered.
  • C. The frieze is described in detail, with emphasis on its unique qualities.
  • D. A historical overview is given that helps explain the layout of the frieze.

3. As used in line 44, "unparalleled" most nearly means

  • A. crooked.
  • B. normal.
  • C. unsurpassed.
  • D. unprecedented.

4. The first two paragraphs of Passage 2 primarily serve to

  • A. reject the idea that the frieze depicts the Panathenaic procession.
  • B. argue against the idea that the frieze represents the passage of time.
  • C. suggest that the frieze represents the heroes of Marathon.
  • D. outline problems in the traditional interpretation of the frieze.

5. As used in line 59, "mortal" most nearly means

  • A. human.
  • B. deadly.
  • C. terrible.
  • D. common.

6. In the context of the passage, the author's use of the phrase "there I go" (lines 57-58) is primarily meant to convey the idea that

  • A. figures in the frieze were not meant to be portraits of individual citizens.
  • B. the frieze cannot be a representation of a human event.
  • C. the citizens of Athens did not participate in the Panathenaic procession.
  • D. the subject of the frieze should be obvious to modern viewers.

7. Which choice provides the best evidence for the answer to the previous question?

  • A. Lines 46-49 ("And here…the procession")
  • B. Lines 54-55 ("The flagrant…explanation")
  • C. Lines 62-64 ("Moreover…background")
  • D. Lines 66-69 ("We must…Athens")

8. The author of Passage 2 would most likely argue that the "youths" (line 21) described in Passage 1 are

  • A. citizens of Athens from around the time the Parthenon was built.
  • B. Athenian men who died in battle at Marathon.
  • C. people of Marathon who were worshipped as heroes in Athens.
  • D. purely divine participants in the celebration of a festival of Athena.

9. Passage 2 differs from Passage 1 in that Passage 1

  • A. focuses on determining the subject of the frieze.
  • B. gives a detailed description of the figures in the frieze.
  • C. considers how Greek citizens might have viewed the frieze.
  • D. entirely rejects the traditional interpretation of the frieze.

10. Which choice provides the best evidence for the answer to the previous question?

  • A. Lines 4-10 ("Though its subject…Parthenon")
  • B. Lines 13-14 ("This is the…reliefs")
  • C. Lines 15-17 ("The Panathenaic frieze…time")
  • D. Lines 19-25 ("In the part…turn")