In this part of the Reading section, you will read 2 passages. You will have 40 minutes to read the passages and answer the questions. Most questions in the Reading section are worth 1 point, but the last question for each passage is worth more than 1 point. The directions for the last question include the point value of the question. Some passages will include a word or phrase that is underlined. You can see its definition or an explanation in the Glossary box. Within each part in the real test, you can go on to the next question by clicking the Next icon. You may skip questions and go back to them later. If you want to go back to previous questions, click the Back icon. You may click the Review icon at any time and the review screen will show you which questions you have answered and which you have not. From the review screen, you can go directly to any question you have already seen in the Reading section. Mannerism In the wake of the High Renaissance, European art seemed to have no frontiers left to explore. Mannerism, the style. characteristic of the Late Renaissance, filled the gap between the Renaissance and Baroque periods. The style. broke from the balanced beauty of the Renaissance and reflected the turmoil and confusion of Europe during the 16th century. At that time the Reformation threatened the authority of the Catholic Church, and the Churchs rigorous response cast a suspicious eye toward anything new. The uniqueness of Mannerist art may be seen as an attempt by the artists of Rome, Florence, and Mantua to free themselves of not only political and religious oppression but also the oppression of the Renaissance masters perfection. While the artists of the High Renaissance pursued grace, beauty, and harmony, Mannerist artists did not seem to be interested in their predecessors sensibilities. Using Renaissance techniques and materials, the mannerists rendered contorted and exaggerated figures often in improbable poses. They used strange colors in deliberately unrealistic perspective with themes that included both Christianity and bizarre mythological symbolism. While neither explicitly heretical nor abstract by modern standards, Mannerist art suggested an odd spirit and became popular not only in Italy but in many parts of Europe. Rosso Fiorentino typifies Mannerist art in his subtly disturbing style. For example, saints who are gracefully depicted in High Renaissance art often seem tired in Rossos work. (A) His choices in composition, form, and color also seem unsettling compared to typical Renaissance work. In Rossos masterpiece, The Descent from the Cross, the wind blows across the clothing of frantic figures as they bring down the body of Christ. (B) In the foreground, however, there is no evidence of wind at all on the mourners calm, stiff clothing. (C) Notably, all of these figures avert their gaze from the viewer except one woman. (D) Rossos contemporary, Jacopo da Pontormo, executed the same theme in a somewhat less dramatic fashion. The Deposition from the Cross, which is considered one of his best works, features oddly posed figures clothed in vividly contrasting blues and reds. Pontormo depicts impossible perspective, spatial depth and lighting in the painting. The lighting from the right does not seem especially unusual until one considers a cloud in the sky, which is lit from the left. Such peculiar visual devices of modeling, color, perspective, and lighting characterize Pontormos work as well as Mannerist art in general. Perhaps the best-known Mannerist, El Greco departed the most from the Renaissance periods clarity, harmony, and beauty. His brushwork was not as sharp as that of the High Renaissance masters, evoking more primitive as well as more modern styles. El Greco is known for his fantastical compositions, including distorted figures and colors that seemed to leap off the painting surface. His work was so strange that people wondered if he was visually impaired or mentally disturbed. El Grecos work was sometimes moving, but it was also troubling with the intense religious themes and mysterious symbolism. Mannerist art was not just a reflection of the 16th-century Europes troubles; it was considered a response to the seemingly unsurpassable idealism of the High Renaissance. The Mannerists subtly sought to stimulate the mind, not to inspire religious feelings and actions as most Renaissance art did. The style. produced exciting manipulation of form, color, light, perspective, and theme that was indeed appreciated by contemporary intellectuals. Although it was and still is criticized by some as a corruption of Renaissance classicism, Mannerism in fact inspired the emotion of the Baroque period that followed. Moreover, the Mannerists deliberate movement away from observed reality was the first step toward the abstraction of later styles such as Surrealism, Fauvism, and Cubism. According to paragraph 1, why were Ceratopsians horns probably not used for hunting?