Zachary: The term “fresco” refers to paint that has been applied to wet plaster. Once dried, a fresco indelibly preserves the paint that a painter has applied in this way. Unfortunately, additions known to have been made by later painters have obscured the original fresco work done by Michelangelo in the Sistine Chapel. Therefore, in order to restore Michelangelo’s Sistine Chapel paintings to the appearance that Michelangelo intended them to have, everything except the original fresco work must be stripped away.
Stephen: But it was extremely common for painters of Michelangelo’s era to add painted details to their own fresco work after the frescos had dried.
1. Stephen’s response to Zachary proceeds by
(A) calling into question an assumption on which Zachary’s conclusion depends
(B) challenging the definition of a key term in Zachary reaches
(C) drawing a conclusion other than the one that Zachary reaches
(D) denying the truth of one of the stated premises of Zachary’s argument
(E) demonstrating that Zachary’s conclusion is not consistent with the premises he uses to support it
2. Stephen’s response to Zachary, if true, most strongly supports which one of the following?
(A) It is impossible to distinguish the later painted additions made to Michelangelo’s Sistine Chapel paintings from the original fresco work.
(B) Stripping away everything except Michelangelo’s original fresco work from the Sistine Chapel paintings would be unlikely to restore them to the appearance Michelangelo intended them to have.
(C) The painted details that painters of Michelangelo’s era added to their own fresco work were not an integral part of the completed paintings’ overall design.
(D) None of the painters of Michelangelo’s era who made additions to the Sistine Chapel paintings was important artist in his or her own right.
(E) Michelangelo was rarely satisfied with the appearance of his finished works.