- Thu May 12, 2022 5:11 pm
I'm going to assume that you are talking about the Lesson 4, humanities passage 3, question number 9, because I don't see any humanities passages in lesson 3. If that is an incorrect assumption, please let me know! But for now, I'll assume that's the one you are looking at.
This is one of my weaker topics on reading comp. Where most students dread the science passages, I need more help in the humanities. Luckily, it doesn't matter what the topic is. Whenever I find a topic that I sigh when I see, I turn back to my goals in RC, focusing on the VIEWSTAMP, and the structure in particular.
With this passage, we start off by introducing the topic--the narrative paintings of Venice as analyzed in a new book by Brown. The passage contrasts the Venetian paintings with the Tuscan paintings. It moves into discussing how the Venetian painting style, focusing on side details and glimpses of daily life, was typical of Venetian historical records as well.
The passage then turns to another viewpoint---the author's. If the first paragraph was all about Brown's theory of Venetian art as reflective of general Venetian preferences, the second is about a different theory. This theory says that Venetian art is different from Tuscan art because of climate. The climate in Venice is not suited for frescoes, the large paintings of figures best viewed at a distance. The Venetian paintings took after the secular narrative paintings in the Magistrate's building, paintings that told a story with lots of side narrative detail.
Finally, the passage ends discussing how training focus differed in Venice from Tuscany. The passage uses that to explain the differences in focus of art in Venice. Venetian art focuses on architecture, instead of human figure drawing.
Overall, the passage doesn't focus on Tuscan art as an art itself, but only as a foil to Venetian art. The goal is to explain why Venetian art is the way it is. The passage gives three different reasons for the features of Venetian art. It expands on the original theory in the first paragraph as proposed by Brown, and gives two alternatives. That's well summed up by answer choice (B). We didn't need to discuss Tuscany in our correct answer because the passage was only using Tuscany as a foil for Venice. We did need to discuss more than the narrative history explanation of the art so that we also covered climate and training.
Hope that helps!