Curator: The decision to restore the cloak of the central
figure in Veronese’s 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
Veronese’s workshop. Hence it appears likely that an
artist other than Veronese tampered with Veronese’s
painting after its completion.
Art critic: But in a copy of Veronese’s 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 Veronese’s death.
9. The assertion that a later artist tampered with Veronese’s
painting serves which one of the following functions in
the curator’s 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
argument’s 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.
10. The art critic’s response to the curator would provide the
strongest support for which one of the following
(A) The copy of Veronese’s painting that was made
soon after the painter’s 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
Veronese’s painting to the appearance it had at
the end of the artist’s lifetime.
(D) The value of an artist’s work is not necessarily
compromised when that work is tampered with
by later artists.
(E) Veronese did not originally intend the central
figure’s cloak to be green.
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