Тест 54. Чтение. ЕГЭ по английскому языку

1) Установите соответствие между заголовками 1 — 8 и текстами A — G. Используйте каждую цифру только один раз. В задании один заголовок лишний.

1. How we got that mark
2. From a million pounds to thousands of dollars
3. What in a colour
4. Weight of money
5. Size matters
6. Money string changes source
7. Free to choose from
8. Before money comes in

A. In early societies people developed barter as a form of proto-money, when they used the things that everyone agreed to accept in trade. Various items have been used by different societies at different times. Thus, for example, Aztecs used cacao beans, Norwegians used butter, the early U.S. colonists used tobacco leaves, and Roman soldiers were paid a salary of salt. On the island of Nauru, the islanders even used rats for this purpose.

B. The first coins were made in the Kingdom of Lydia, located on the territory of Turkey in the 7th century B.C. The Lydians used weighed lumps of metal and stamped them with pictures to confirm their weight (the shape of the coins was unimportant). The process of stamping was called “minting”. In fact, the stamp on the coin was a seal that identified the person who had guaranteed the weight of that coin.

C. The well-known dollar sign has various explanations. Perhaps one of the most widely accepted is that it was the result of the evolution of the Mexican or Spanish “Ps” which was used for pesos. This theory explains that the “S” gradually came to be written over the “P”, developing a close equivalent to the American dollar “$” mark. It was widely used even before the adoption of the United States dollar in 1785.

D. The largest banknote ever issued by the Bank of England was the £1,000,000 note. Designed for use by the UK government only, the notes were canceled after just a few months, allowing very few to escape into private hands. However, just because the notes are out of service nowadays doesn’t mean that they are valueless. In 2008, one of two known surviving notes was sold at auction for almost $120,000.

E. According to the Guinness Book of World Records, the world’s largest banknote is the 100,000-peso note, which is of the size of a standard sheet of paper. It was created by the government of the Philippines in 1998 to celebrate a century of independence from Spanish rule. The note was offered only to collectors, who could purchase one of the limited-edition notes for 180,000 pesos, or about $3,700.

F. American Indians used to have strings of clamshells, which they called wampum and used as money. The process to make wampum was very labor intensive, which increased their value among the European traders. However, the Dutch colonists began to manufacture wampum themselves and eventually became the primary source of wampum, thereby destroying the system which had functioned for centuries.

G. Why are U.S. notes green? No one is really sure. However, in 1929, when the Bureau of Printing and Engraving began making smaller size currency, green continued to be used because its pigment was readily available in large quantities. Green is also relatively high in its resistance to chemical and physical changes, and it has been psychologically identified with the strong and stable credit of the government.

A	B	C	D	E	F	G

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2) Прочитайте текст и заполните пропуски A — F частями предложений, обозначенными цифрами 1 — 7. Одна из частей в списке 1—7 лишняя.

The languages of integration Every year the European Day of Languages is marked on 26 September. The idea behind the event is to raise public awareness of all the languages spoken in Europe and the importance of language learning in ___ (A). The European Day of Languages celebrates linguistic diversity as one of Europe’s strengths, ___ (B) of school.

The European Union is convinced ___ (C) compared with the professional and personal opportunities lost due to inadequate language skills. That is why many national governments encourage people to learn languages at all educational levels and at all ages during their working life.

Many local authorities provide immigrants with language training, familiarization courses on local society and culture, ___ (D). The latter elements are often provided in the immigrants’ own languages.

One example is from the Flemish city of Ghent in Belgium, ___ (E) including 1200 hours of Dutch, plus 75 hours of civic orientation courses. Hungary developed its national integration policy on the basis of a six-month pilot project called Matra ___ (F), 700 hours of cultural and legal orientation, and financial assistance with living expenses. The Finnish education system supports the maintenance and development of the mother tongues of immigrants to ensure what it calls functional bilingualism.

1. and assistance in finding jobs in a new country
2. spreading tolerance and mutual understanding
3. upbringing healthier and more athletic children
4. that the cost of promoting language learning is modest
5. that included 1200 hours of language teaching for immigrants
6. and encourages lifelong language learning in and out
7. where immigrants are offered an introductory programme

A	B	C	D	E	F

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3) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

According to the author, the beauty of the exhibited sapphire ring can be fully appreciated
1) in a photograph.
2) at the exhibition.
3) in special light.
4) where it was carved.

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4) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

“It” in “It is a perfect example of the exhibition’s purpose” (paragraph 1) refers to the
1) ring.
2) exhibition’s collection.
3) exhibition’sorigin.
4) exhibition’scatalogue.

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5) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

Saying “they were never meant to be utilitarian” the author means that the exhibits were supposed to be
1) useful.
2) expensive.
3) decorative.
4) unusual.

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6) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

According to the author (paragraph 4), some objects may be seen as
1) common things.
2) poorly manufactured.
3) spoiltin repairs.
4) collected ill-advisedly.

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7) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

“Some” in “some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art” (paragraph 4) refers to the
1) exhibits.
2) visitors.
3) artists.
4) owners.

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8) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

The Monument Trust helped to provide
1) better attendance of the exhibition.
2) better decorated rooms.
3) furniture for the exhibition rooms.
4) better conditions for viewing the exhibits.

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9) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

Imperial treasures from Vienna It is small – it’s just a ring, after all. It is also surprising and breathtaking. The colour and purity of the stone and the shield-like shape that forms the front of the object give the sapphire ring the kind of cool elegance that can, however, be reproduced in photographs. But its amazing hot halo of shooting blue, purple and pink lights is visible only in person. The entire ring is masterfully carved from a single, unbroken hunk of the precious gem. It’s unique – there is nothing quite like it anywhere else. Made in 1400, the ring is the earliest of the 60 treasures on view in “Splendour and Power”, which just opened at the Fitzwilliam Museum in Cambridge. It is a perfect example of the exhibition’s purpose, which is to delight visitors while also explaining why rulers collected these very expensive, ornate and masterfully crafted objects. In this case the collectors were the dynasty of the Habsburgs, who ruled the Holy Roman Empire from their Austrian base for centuries.

Surprisingly, these pieces may occasionally mimic the shapes of useful objects, like drinking cups, but they were never meant to be utilitarian. That is not to say they lacked purpose. Indeed, they were designed to “enchant the senses, delight the eye and inspire the intellect,” writes Sabine Haag, the curator of this show, which was loaned from Vienna’s Kunsthistoriches Museum (KHM), in the excellent catalogue.

Some of the precious objects were prized as exotic messengers from far-off lands. These include a carved, pale jade Ming bowl, mounted with rubies from the Ottoman court (possibly as a diplomatic gift). When it made its way to the Habsburgs it joined other spectacular objects in the Kunstkammer (art chamber), collected to further legitimise and enhance the power of the ambitious owner.

It was only in the 19th century that art was split into “high” and “low". Anything decorative fit into the latter category, regardless of beauty or technical expertise. As a result, some may find it difficult to look at these rock-crystal vessels, jewels and perfume flasks as works of art. The single piece in this exhibition that should succeed in repairing this ill-judged high/low divide is the ivory cup made by Bernhard Strauss in Augsburg around 1660. It is so deeply carved with classical gods and goddesses – Apollo with his lyre, Diana with her alert dog – that the piece has become translucent. It seems Strauss brought Olympus to life.

Elsewhere in the Fitzwilliam paintings and sculpture are exhibited in rooms decorated with fine Oriental rugs, warm wood furniture and tick-tocking Thomas Tompion clocks. But never mind. Benefactions from the Monument Trust have allowed the Fitzwilliam to commission new display cases of non-reflective glass. The welcome illusion is that nothing separates the ogler from the ogled.

The Kunstkammer at the KHM can boast of the greatest surviving princely treasure in the Western world. It has been closed for refurbishment since 2002, making this loan – the largest for half a century – possible. The Kunstkammer is expected to reopen at the end of next year, after which decades will surely pass before its objects leave home again. For those within striking distance of Cambridge, enough said.

The article was written to
1) advertise Vienna’s Kunsthistoriche Museum.
2) prove that the exhibits are works of art.
3) attract more visitors to the exhibition.
4) describe the treasures of the Hapsburgs.

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