Scholars generally agree that the Maesta, the high altarpiece painted

Question

Scholars generally agree that the Maesta, the high altarpiece painted by Duccio for the Cathedral of Siena, is one of the greatest panel paintings ever produced. Some scholars have argued that the painting was commissioned in 1308 and completed by the summer of 1311, but the former date seems improbable for two reasons. First, the argument that the painting was commissioned in 1308 is based on a dubious interpretation of a  document . The one bona fide Duccio commission in existence, for the Rucellai Madonna in the Uffizi Gallery, stipulates the form and subject of the painting. That part of the Siena document that concerns the Maesta itself mentions only Duccio’s role in its execution.

Second, scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years. White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted. But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel. Stubblebine attempts to explain the rapidity of the production of the altarpiece by arguing somewhat more plausibly that while Duccio himself painted the main panel and the predella beneath it, he assigned the design and execution of the back of the altarpiece to six other painters, including Simone Martini and the brothers Lorenzetti, who attained prominence later in the century. Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop, it is doubtful that in a commission of such solemnity Duccio would have allowed his disciples to undertake such a large portion of the work on their own. True, the narrative scenes on the back show intermittent evidence of studio intervention, but the absolute narrative consistency of the whole cycle of paintings in the altarpiece would be inexplicable if all the panels were not at least designed by Duccio himself and painted under his close supervision.    1 
 1. Which of the following titles best summarizes the content of the passage?

(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting
(B) New Theories on How the Maesta Came into Being
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute.
(D) When Work on the Maesta Was Begun? : An Unresolved Question
(E) The Maesta: Duccio’s Masterpiece?

2 
 2. According to the passage, the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?

(A) The complexity of the painting on the main panel
(B) The evidence of studio intervention on the back panels
(C) The terms of the commission for the Rucellai Madonna
(D) The work of Simone Martini and the Lorenzetti brothers
(E) The comparison of Duccio’s work with that of other artists

3 
 3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings.
II. Wall frescoes were generally painted more quickly than panels of comparable size.
III. Artists in fourteenth-century Italy preferred them to panel paintings.

(A) I only
(B) II only
(C) I and II only
(D) II and III only
(E) I, II, and III

4 
 4. According to the passage, the commission for the Rucelfai Madonna differs from the document  highlighted  in line (8) in that the former

(A) specified the date by which the painting was to be completed
(B) specified what the painting was to represent
(C) indicated how much Duccio was to be paid when the painting was completed
(D) indicated which artists would assist Duccio in completing the painting
(E) specified Duccio’s role in the execution of the painting

5 
 5. According to the passage, the practice by masters of relying on the members of their shops to help complete a work was

(A) unusual in the case of Duccio
(B) put into effect when the commission was a the Maesta
(C) the only way to explain the narrative consistency of the Maesta
(D) common when the work was a large altarpiece
(E) the cause of a dispute between Duccio and those who commissioned the painting.

6 
 6. The author assumes which of the following in analysing White’s and Stubblebine’s arguments?

(A) Duccio often carefully supervised the work of his assistants.
(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was actually commissioned.
(C) The narrative consistency of the Maesta can be explained by the short time it took Duccio to complete it.
(D) Duccio’s work on the Rucellai Madonna made it impossible for him to devote full time to the Maesta.
(E) The Maesta must have been completed by the summer of 1311.

7 
 7. According to the passage, the practice by masters of relying on the members of their shops to help complete a work was

(A) unusual in the case of Duccio 
(B) put into effect when the commission was a particularly solemn one 
(C) the only way to explain the narrative consistency of the Muesli) 
(D) common when the work was a large altarpiece 
(E) the cause of a dispute between Duccio and the Opera del Duomo

8 
 8. The author assumes which of the following in analyzing White's and Stubblebine's arguments?

(A) Duccio often carefully supervised the work of his assistants. 
(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was actually commissioned. 
(C) The narrative consistency of the Maesta can be explained by the short time it took Duccio to complete it. 
(D) Duccio's work on the Rucellai Madonna made it impossible for him to devote full time to the Maestri. 
(E) The Maesta must have been completed by the summer of 1311.

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ElninoEffect · Answer

1. Which of the following titles best summarizes the content of the passage? 
The entire passage is about the question of whether the work on the Mista began in 1308 and if did how it was completed so fast.?
(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting
(B) New Theories on How the Maesta Came into Being
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute.
 (D) When Work on the Maesta Was Begun? : An Unresolved Question 
(E) The Maesta: Duccio’s Masterpiece?

2. According to the passage, the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?

(A) The complexity of the painting on the main panel 
 But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel 
(B) The evidence of studio intervention on the back panels
Vague
(C) The terms of the commission for the Rucellai Madonna
Vague
(D) The work of Simone Martini and the Lorenzetti brothers
Vague and Irrelevant
(E) The comparison of Duccio’s work with that of other artists
Vague

3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings.
Just the opposite.
II. Wall frescoes were generally painted more quickly than panels of comparable size.
Since it is used to define how Mista was done so quickly. It should be correct.
III. Artists in fourteenth-century Italy preferred them to panel paintings.
We can not infer that.

(A) I only
 (B) II only 
(C) I and II only
(D) II and III only
(E) I, II, and III

4. According to the passage, the commission for the Rucelfai Madonna differs from the document  highlighted  in line (8) in that the former

(A) specified the date by which the painting was to be completed
We cannot infer that.
 (B) specified what the painting was to represent 
(C) indicated how much Duccio was to be paid when the painting was completed
Not mentioned anywhere.
(D) indicated which artists would assist Duccio in completing the painting
Not mentioned anywhere.
(E) specified Duccio’s role in the execution of the painting
That was a part of the Siena document

5. According to the passage, the practice by masters of relying on the members of their shops to help complete a work was

(A) unusual in the case of Duccio
Nowhere it has been mentioned.
(B) put into effect when the commission was a the Maesta
We cannot infer that.
(C) the only way to explain the narrative consistency of the Maesta
There already are three ways that have been discussed for the same.
 (D) common when the work was a large altarpiece 
 Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop 
(E) the cause of a dispute between Duccio and those who commissioned the painting.
We cannot infer that.

6. The author assumes which of the following in analysing White’s and Stubblebine’s arguments?

(A) Duccio often carefully supervised the work of his assistants.
(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was actually commissioned.
(C) The narrative consistency of the Maesta ‘can be explained by the short time it took Duccio to complete it.
(D) Duccio’s work on the Rucellai Madonna made it impossible for him to devote full time to the Maesta.
 (E) The Maesta must have been completed by the summer of 1311. 
Since both the people are trying to justify the work began at 1308 and author is questioning them on the basis that how come than the work was completed in less than 3 years i.e summer of 1311. He is assuming the work was completed by 1311.

When we look at all the other options it doesn't need to be true for the conclusion to hold true.

zhanbo · Answer

In question 6: (C) The narrative consistency of the Maesta  ‘can be  explained by the short time it took Duccio to complete it.

Is it "can be explained" or "can't be explained"?

waseem31 · Answer

1. Which of the following titles best summarizes the content of the passage?

(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting - Incorrect. Duccio's influence on 14th century Italian painting is never discussed.
(B) New Theories on How the Maesta Came into Being - Incorrect. No such theories are discussed about how Maesta came in existence.
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute. - Incorrect. Although it is suggested that Duccio might have painted the Maesta as a fresco is, this is not the overall summary of the passage.
(D) When Work on the Maesta Was Begun? : An Unresolved Question - Correct. The passage discusses in the first para on when the work would have been commissioned and second para further elaborates that if work was commissioned in 1308, by when would it have been completed.
(E) The Maesta: Duccio’s Masterpiece? - Incorrect. There is no question on whether The Maesta was Duccio's masterpiece. It was painted by him.

2. According to the passage, the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?

(A) The complexity of the painting on the main panel - Correct. Answer is in this part of the para - White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted. But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel.
(B) The evidence of studio intervention on the back panels
(C) The terms of the commission for the Rucellai Madonna
(D) The work of Simone Martini and the Lorenzetti brothers
(E) The comparison of Duccio’s work with that of other artists

3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings. - Incorrect. The quickness with which they were painted does not suggest that they were more intricate.
II. Wall frescoes were generally painted more quickly than panels of comparable size. - This is implied in passage.
III. Artists in fourteenth-century Italy preferred them to panel paintings. - We can't imply preference compared to panel paintings.

(A) I only
(B) II only - Correct 
(C) I and II only
(D) II and III only
(E) I, II, and III

4. According to the passage, the commission for the Rucelfai Madonna differs from the document highlighted in line (8) in that the former

(A) specified the date by which the painting was to be completed - Does not differ on this aspect.
(B) specified what the painting was to represent - Correct. This is what the form and subject of the painting means.
(C) indicated how much Duccio was to be paid when the painting was completed - Does not differ on this aspect.
(D) indicated which artists would assist Duccio in completing the painting - Does not differ on this aspect.
(E) specified Duccio’s role in the execution of the painting - Incorrect. the former, Rucellai Madonna, does not specify Duccio's role in the execution of the painting. It is the Siena document that does specify his role.

The answer is in the lines "The one bona fide Duccio commission in existence, for the Rucellai Madonna in the Uffizi Gallery, stipulates the form and subject of the painting. That part of the Siena document that concerns the Maesta itself mentions only Duccio’s role in its execution."

zhanbo · Answer

Here are my answers:

Question 1 : My answer is  (D) .
(A) Not discussed
(B) Not discussed, especially the  new  part. 
(C) The only thing in dispute in this article is the start year of the Maesta.
(D) Exactly the topic of the passage. 
(E) No question mark. Scholars generally agree that the Maesta is one of the greatest panel paintings ever produced.

Question 2 : My answer is  (A) . 
The answer is given in this sentence: But this appears a wildly improbable thesis, given  the intricate design and complexity of the painting on the main panel . 
(BD) are mentioned in the author's response to Stubblebine's explanation.
(E) is never discussed. 
As for (C), it is mentioned in the first paragraph with no relevance here.

Question 3 : My answer is  (B) 
White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted. But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel.
From the above two sentences, we know (I) is false and (II) is true. 
(III) is never discussed in the article.

Question 4 : My answer is  B .
"The one bona fide Duccio commission in existence, for the Rucellai Madonna in the Uffizi Gallery, stipulates the form and subject of the painting. " This sentence directly supports (B)

In this question, "the former" refers to the commission, not the highlighted "document", which actually appears in the article before the commission. If we are not careful, we may misunderstand this question.

Question 5 : My answer is  (D) . 
"Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop,..." This sentence directly supports (D).

Question 6 : My answer is  (E) . 
The author just could not believe that the painting could be completed with such rapidity. "scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years." The author is doubtful about the start date of 1308, but never questions the completion date of 1311. Certainly the completion date must be well established. So (E) is the assumption of the author. 
(A) The author agree that, if his assistants were indeed playing a role, Duccio must carefully supervise them. But the author have no problem to believe that Duccio decided to undertake this important project all by himself.
(B) This would give Duccio plenty of time to finish the project. It could explain how Duccio managed to complete the altarpiece. If author assumed this, the author would put forward this explanation rather than question the others.
(C) The author do not think so. 
(D) The author believes that even with full devotion by Duccio, he was still unable to finish the project in less than three years. Also, did Duccio work on both Rucellai Madonna and Maesta simultaneously? It was never discussed, and test takers should not be expected to know the outside knowledge.

Sajjad1994 · Answer

Competition mode is off now

OAs are:

DABBDE

zhanbo  excellent 9/10

ElninoEffect  7/10

waseem31  5.5/10

100mitra · Answer

Words:   361
  Read Time:   4 mins 30 sec
  Paragraph structure:    Controversial “Maesta” painting based on two reason .
  Paraphrasing:  
 Para 1:  Scholars doubt date of early commission and early completion of painting “Maesta” painted by Duccio by two reasons.
 Reason 1:  dubious interpretation of document
 Para 2: 
 Reason 2:  the painting would have completed in less than 3 years (1308 to 1311), assumption
• might be frescoing a wall, but it appears to be wildly improbable thesis (white’s) or
• would be carried out by his disciples, under Duccio supervision. (Stubblebine)

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1. Which of the following titles best summarizes the content of the passage?  
(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting
  Wrong –   passage highlights more on conterversial doubt about painting date of completion and commission, not the views
(B) New Theories on How the Maesta Came into Being
  Wrong –   No Theories discussed
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute.
  Wrong –   assumed techniques mentioned in the passage, which can indicate the completion of the painting, but assumed techniques are attempt to understand, when the painting got completed.
  (D) When Work on the Maesta Was Begun? : An Unresolved Question
Correct -   As mentioned in the passage,”  Some scholars have argued that the painting was commissioned in 1308 and completed by the summer of 1311, but the former date seems improbable for two reasons ”
(E) The Maesta: Duccio’s Masterpiece? 
  Wrong –  always avoid open ended question in the remarks, it drives you to no conclusion.

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2. According to the passage, 
the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?  
as mentioned in the passage,  “White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” 
thus, implying that the panel was painted by Duccio as quickly as a fresco would be painted.
But this appears a wildly improbable thesis, 
given the intricate design and complexity of the painting on the main panel.”

(A) The complexity of the painting on the main panel 
– Correct, as mentioned above.  
(B) The evidence of studio intervention on the back panels 
  Wrong –   as mentioned in the passage, it is for “ the narrative scenes on the back show intermittent evidence of studio intervention ”
(C) The terms of the commission for the Rucellai Madonna 
  Wrong –   as mentioned in the passage, it is for “on a dubious interpretation of a document”
(D) The work of Simone Martini and the Lorenzetti brothers 
  Wrong –   as mentioned in the passage, it is for “ Stubblebine attempts to explain the rapidity of the production ”
(E) The comparison of Duccio’s work with that of other artists
  Wrong –  , Irrelevant

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3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings.
   II. Wall frescoes were generally painted more quickly than panels of comparable size .  
III. Artists in fourteenth-century Italy preferred them to panel paintings.

As mentioned in the passage, White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted.” 
Correct Option (B) II only

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4. According to the passage, the commission for the Rucelfai Madonna differs from the document  highlighted in line (8)  in that the former  
As mentioned in the passage, “ First, the argument that the painting was commissioned in 1308 is based on a dubious interpretation of a document .”
(A) specified the ( date by which the painting ) was to be completed   Wrong –  
  (B) specified what the (painting was to represent) – Correct, as mentioned above  
(C) indicated how much ( Duccio was to be paid ) when the painting was completed   Wrong –  
(D) indicated ( which artists would assist ) Duccio in completing the painting   Wrong –  
(E) ( specified Duccio’s role ) in the execution of the painting   Wrong –

-----------------------------------------------------------------------------------------------------------------------------------------------------------

5. According to the passage, 
the practice by masters of relying on the members of their shops 
to help complete a work was  
as mentioned in the passage,  “Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop, it is doubtful that in a commission of such solemnity Duccio would have allowed his disciples to undertake such a large portion of the work on their own ”

(A) unusual in the case of Duccio  Wrong –   and a trap! (it’s a doubtfull)
(B) put into effect when the commission was a the Maesta   Wrong –   irrelevant
(C) the only way to explain the narrative consistency of the Maesta   Wrong –   Irrelevant
  (D)  common when the work was a large altarpiece  – Correct, as mentioned above  
(E) the cause of a dispute between Duccio and those who commissioned the painting   Wrong –   and a Trap! 
Its not about “those who commissioned the painting” but about “those who painted the painting”

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6. The author assumes which of the following in analysing 
White’s and Stubblebine’s arguments?  
As mentioned in passage, “ Second, scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years ”

Eliminate, A, B and D – Out of scope or irrelevant, no infer from the passage  
(A) Duccio often carefully supervised the work of his assistants
(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was commissioned
(D) Duccio’s work on the Rucellai Madonna made it impossible for him to devote full time to the Maesta.

(C) The narrative consistency of the Maesta can be explained 
by the short time it took Duccio to complete it.
  Wrong –   Trap! It’s a authors assumption, 
" the absolute narrative consistency of the whole cycle of paintings in the altarpiece would be inexplicable ”

(E) The Maesta must have been completed by the summer of 1311 – Correct, as mentioned above

tkorzhan1995 · Answer

GMATNinja , could you please clarify whether Q5 is asking about the intention of the author? 
I did not select (D) for Q5 since Stubblebine has the view about relying on the work of others, and not author.

vickytvn · Answer

tkorzhan1995 
I share my thought on about this question- 
The question is about practice of assigning work to members of shop by master painter and something about that practice.

Author mentioned in passage that such practice was often followed for large paintings, but in case of Maesta painting author's view was atleast Duccio designed and supervised ( means not relying on members of work) while making Maesta.
 Thus eliminated B and correct answer D.

Namangupta1997 · Answer

Hi  AndrewN

If we think question 6 as a CR question, which it actually is, the completion of year of the painting is one of the premise of the argument. I didn't choose option E as it seems to be questioning the validity of the premise. Isn't that wrong on assumption based questions? Maybe I confused it with weakening questions in which any option that weakens the premise is not really a weakening option?

AndrewN · Answer

As much as possible, Namangupta1997 , aim not to tell a question what it is or needs to be. Just approach the task of answering it objectively. Notice that the completion date of 1311 is not a stated fact, but a claim. The first paragraph of the passage tells us that {s}ome scholars have argued that the painting was commissioned in 1308 and completed by the summer of 1311, but the former date seems improbable for two reasons . The author of the passage does not question the completion date, but keep in mind, that date has only been proposed by some scholars . That is different from a consensus or an established fact, what we might think of as a premise. The author asserts in the topic sentence of the second paragraph that scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years , and goes on to critique the views of White and Stubblevine. But notice that it is the author who is placing these time constraints—this three-year window—and this absolute condition— must explain —on the execution of the Maesta, so it should be clear from both paragraphs that the author believes that the work was completed by the summer of 1311. Only answer choice (E) is reasonable. Thank you for thinking to ask. (I enjoyed this passage when I came across it on 7 May.) Screen Shot 2022-07-24 at 07.09.19.png - Andrew

Sajjad1994 · Answer

Added two more questions (7 and 8).

ChandlerBong · Answer

Hi KarishmaB , 6. The author assumes which of the following in analyzing White’s and Stubblebine’s arguments? (E) The Maesta must have been completed by the summer of 1311. Can you please share your reasoning for option E? Reference -"Second, scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years...." Thanks in advance.

siddhantvarma · Answer

The questions are just repetitions of questions 5 and 6. Can you please delete them? They seem to be redundant.

siddhantvarma · Answer

Hey  ChandlerBong  
Let me take a shot at this. 
 
  6. The author assumes which of the following in analysing White’s and Stubblebine’s arguments?

We need to find an assumption based on which the entire argument of author holds valid. But first, let's pin point what the author's argument actually is.

The author says that the former date, ie, 1308 seems  improbable  (or highly unlikely). Okay so the author's trying to argue that the painting was commissioned older than 1308.

Here, we can confirm that the author bases his argument on the fact that it's impossible to commission and then complete such a painting in 3 years. It will definitely take more time than that.

With that in mind, we know the author's argument can be vaguely translated to "The painting cannot be completed in 3 years" or "The painting had to be commissioned before 1308". Let's address the answer choices:

(A) Duccio often carefully supervised the work of his assistants.  
 This is just a restatement of the fact that the author uses to explain why even if Duccio did have other painters help him finish the work, he closely supervised them so it ought to have taken more time. This isn't an assumption on which the author's argument is based. It may be an assumption based on which a part of the argument, that "Duccio couldn't have got the painting done with help even in 3 years" maybe based, but it isn't complete. Rule out A.

(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was actually commissioned.
  This is too broad of a generalisation that is neither stated anywhere in the passage nor it can be inferred. Rule out B.

(C) The narrative consistency of the Maesta can be explained by the short time it took Duccio to complete it.  
 Author's argument is based around the point that Maesta  can't  be explained by the short time it took Duccio to complete it. This says the complete opposite, eliminate C.

(D) Duccio’s work on the Rucellai Madonna made it impossible for him to devote full time to the Maesta.  
 We know nothing about Ducio's work on Rucellai Madonna and how it can be linked to Maesta. This is out of scope.

(E) The Maesta must have been completed by the summer of 1311.  
 Oh yeah, for the argument "The painting cannot be completed in 3 years" or "The painting had to be commissioned before 1308" holds true only if the author assumed that Maesta must have been completed by the summer of 1311. We know that the author says that the former date, ie, 1308 seems    improbable    (or highly unlikely). Then he says the painting can't be completed within 3 years, so for the argument to hold, the author needs to assume that the end date is actually correct.  
 You can also arrive on the same results using the negation technique. If the Maesta wasn't completed by 1311, it took longer than 3 years to be painted. So author's arguments are invalid.

Hence    (E)    is the correct assumption here. Hope this helps!

Scholars generally agree that the Maesta, the high altarpiece painted

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Scholars generally agree that the Maesta, the high altarpiece painted

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