Тест 53. 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. For adventurous skiers
2. Especially good in autumn
3. For the rich and lazy
4. Not just for gamblers
5. Like an island in heaven
6. Film-makers like it
7. Looking down from up there
8. Probably the best one of five

A. If you go to the Insular Mountain Range of Vancouver Island and face the open Pacific Ocean, be ready to experience the magnificent natural and cultural heritage of Canada’s west coast. If you decide to go deeper into the island, you will find a lush coastal rainforest that gives way to bountiful and diverse intertidal and subtidal areas. And to top it all off, there are breathtaking beaches that make this an island paradise.

B. The resort town of Whistler is about a two-hour drive from Vancouver. Whistler offers visitors fine food and spas, but mostly it is popular among tourists for the opportunities it offers for adventure. Whistler and Blackcomb Mountains make Whistler one of the best destinations in the world for first-class skiing. The passage between the two mountains creates a unique terrain one mile above the village, providing a year-round skiable territory.

C. A prized national treasure, Banff National Park is one of five national parks in the Canadian Rocky Mountains. It attracts millions of visitors each year for camping, hiking, biking, skiing, fishing or just relaxing. A full range of accommodation, restaurants and shops can be found in the resort. Two of the most famous and historic Canadian hotels, the Fairmont Banff Springs and the Chateau Lake Louise, are located in these towns as well.

D. Niagara Falls is maybe the most famous in the world, attracting millions of tourists each year. However, it has a certain reputation for being partly a small-scale Las Vegas and a theme park, because in addition to Niagara Falls the tourists can visit a casino resort with fine hotels and restaurants. Although this area is improving very quickly and everyone can easily find what they like, the Niagara region as a whole is worth deeper exploration.

E. Tourists are naturally drawn to tall buildings where they can get a bird’s eye view of a city. The CN tower, located in downtown Toronto, is the tallest free standing structure in the world. Unfortunately, elevated observation usually comes at an equally elevated price, and the CN Tower is no different. However, tourists love it and the glass elevator takes them to the glass-floored outdoor observation deck which is a real thrill for both kids and grown-ups.

F. The 300 km long Cabot Trail is famous for its panorama views of the Atlantic Ocean. The trail is especially popular in the fall when the views are the most spectacular. Even though the drive into this area usually takes a few hours, once there, tourists can spend a day or two stopping in at one or two of the towns along the trail, relaxing and enjoying the magnificent nature all around.

G. By North American standards, Vancouver is a young city. But what it lacks in history it compensates for with its unique blend of urban and natural features. Thanks to its high-fashion boutiques, it has earned the nickname “North Hollywood.” Vancouver’s breathtaking views are often chosen as the setting for popular television shows and major motion pictures. Often tourists are surprised to recognize landmarks from their favorite films and shows.

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.

Junior Achievement Preparing the workforce of the future, Junior Achievement (JA) of Kentuckiana (USA) is the region’s leading provider of life-changing economics programs for students. JA has made the commitment to serve every student in the region four times in his/her school career. JA evaluated the programs ___ (A), and chose those in grades that got the highest impact results: – in the 3rd grade, in upper elementary grades, in middle school, and in high school.

In these troubled economic times, it is clearer than ever ___ (B) the basics of financial literacy in order to become prosperous and productive citizens. JA is at the forefront of the region’s recovery from the current economic crisis. The recent recession has demonstrated ___ (C). Though JA reaches more than 44,000 students each year in Kentuckiana, there are still countless students ___ (D) that they both need and deserve to succeed in a global economy.

JA is a partnership between the business community, educators and volunteers, ___ (E) succeed. JA’s hands-on, experiential programs teach the key concepts of work readiness and financial literacy. Volunteers embody the heart of JA. By donating 45–60 minutes of time for 5–7 weeks, volunteers help JA become a successful bridge between education and business. Comprehensive classroom materials and a thorough training process prepare volunteers to ___ (F).

1. who grow up without the education
2. that were available at several school levels
3. who works hard to build up one’s career
4. that all members of society need to understand
5. enter the classroom and teach JA programs
6. that there is a vital need for work readiness education
7. who work together to inspire students to dream and

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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

Which statement DOES NOT refer to the content of paragraph 1?
1) The sculpture in the exhibition is rich and diverse.
2) The exhibition pieces come from different countries.
3) The exhibition leaves a positive impression.
4) Art presented is easy to understand.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

The heads make a powerful impact because they are
1) masterfully made.
2) technologically complicated.
3) richly decorated.
4) shocking to look at.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

In paragraph 4 the author argues that
1) the casts were made from female models.
2) the exhibits were discovered by chance.
3) the exhibition leaves many questions to be answered.
4) the heads were made for religious purposes.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

Saying “the neighbouring Benin supplanted inland Ife as a trading centre” the author means that Benin
1) undermined the importance of Ife.
2) bought the casts from Ife.
3) conquered the neighbouring Ife.
4) replaced Ife as a cultural centre.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

According to Leo Frobenius, the terracotta sculptures
1) were brought to Africa from somewhere.
2) were made by Atlantis masters.
3) represented the citizens of Atlantis.
4) were figures from a Greek legend.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

The author’s attitude to Leo Frobenius’ opinion appears to be
1) neutral.
2) positive.
3) negative.
4) unsure.

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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. ⇓

Magnificent mysteries “Dynasty and Divinity”, the first big exhibition devoted to African sculpture from the Kingdom of Ife (in present-day Nigeria), begins an 18-month tour of America. The show, which consists of a number of works in stone, terracotta and metal made between the 9th and 15th centuries, is a genuine revelation and a rare treat. Art from dramatically different cultures is often hard to connect with, as is their languages, traditions and ways, but these sculptures are naturalistic and remarkably accessible.

More than 100 works are on display. Some have been abroad before, some have left Africa for the first time. Text and photo murals on the walls instruct visitors about the ancient kingdom, which had been an unbroken monarchy for more than 800 years.

The background information is interesting but limited. The art itself makes a powerful impact. Some of it is unnerving. A few of the terracotta heads are gagged; others are deformed either by birth defects or disease. A dozen or more heads in copper alloy are exciting in a less complicated way; their faces radiate serenity. Ten of them are life-sized. The three that are somewhat smaller are topped by gorgeous crowns decorated with what appears to be rings of beads. These heads are beautiful, technically sophisticated and compelling.

Some of the objects in the exhibition definitely used to play a part in rituals. But were they made for that purpose? There is no answer as Ife has no written early history. Many of the works were chance discoveries. There is no archaeological record to help scholars find answers to the many questions that they raise. Were the copper-alloy heads the work of a single artist or workshop? Are the heads portraits or idealised images? It is almost impossible to be sure of the sex of one or two.

In the 15th century metal casting in Ife stopped abruptly. The reasons are quite clear. This was when the Portuguese arrived on West Africa’s coast to colonise it. The neighbouring Kingdom of Benin supplanted inland Ife as a trading centre and the metal casters, as other craftsmen, may have moved to where they were more likely to find patrons. For this speaks the fact that the best of Benin’s famous, more stylised samples of bronze were made between the 15th and 18th centuries. But the memory of the greatness survived, and Ife remained and still remains the spiritual home of the Yoruba-speaking people.

In 1910 Leo Frobenius, a German explorer, saw Ife’s superbly modelled terracotta sculptures and a single brass head. He was so stunned that thought they were too good to have been made by Africans and concluded that the sculptors must have been survivors of Atlantis, the submerged island of Greek legend. Along with expressions of excitement, there were echoes of this reaction in 1938 when Europeans first saw a cache of newly unearthed brass heads.

Now these reactions seem shockingly bigoted or, at best, quaintly narrow-minded: the skill and imagination of African artists is generally recognised. Ife sculpture is seen to be sophisticated, not primitive. Appropriately, the show is touring art, rather than ethnographical, institute. Its last stop before returning to Nigeria will be in the handsome new building of New York’s African art museum.

In general, it may be said that the article is about
1) anexciting art show.
2) aprejudiced opinion.
3) the history of Africa.
4) the art of sculpture.

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