Curator: The decision to restore the cloak of the central
figure in VeroneseтАЩs painting from its present red to
the green found underneath is fully justified.
Reliable x-ray and chemical tests show that the red
pigment was applied after the painting had been
completed, and that the red paint was not mixed in
VeroneseтАЩs workshop. Hence it appears likely that an
artist other than Veronese tampered with VeroneseтАЩs
painting after its completion.
Art critic: But in a copy of VeroneseтАЩs painting made shortly
after Veronese died, the cloak is red. It is highly
unlikely that a copyist would have made so major
a change so soon after VeroneseтАЩs death.
Q 1. The assertion that a later artist tampered with VeroneseтАЩs
painting serves which one of the following functions in
the curatorтАЩs argument?
(A) It is the main point toward which the argument as
a whole is directed.
(B) It is a subsidiary conclusion that supports the
argumentтАЩs main conclusion.
(C) It is a clarification of a key term of the argument.
(D) It is a particular instance of the general position to
(E) It is a reiteration of the main point that is made
for the sake of emphasis.
Q 2. The art criticтАЩs response to the curator would provide the
strongest support for which one of the following
(A) The copy of VeroneseтАЩs painting that was made
soon after the painterтАЩs death is indistinguishable
from the original.
(B) No painting should be restored before the
painting is tested with technologically
(C) The proposed restoration will fail to restore
VeroneseтАЩs painting to the appearance it had at
the end of the artistтАЩs lifetime.
(D) The value of an artistтАЩs work is not necessarily
compromised when that work is tampered with
by later artists.
(E) Veronese did not originally intend the central
figureтАЩs cloak to be green.