Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 24 to 30.
Duncan Phyfe made some of the most beautiful furniture found in America. His family name was originally Fife, and he was born in Scotland in 1768. In 1784, the Fife family immigrated to Albany, New York where Duncan’s father opened a cabinetmaking shop. Duncan followed his father’s footsteps and was apprenticed to a cabinetmaker. After completing his training, Duncan moved to New York City.
Duncan Fife was first mentioned in the 1792 NYC Directory as a furniture “joiner” in business at 2 Broad Street. Two years later, he moved, expanded his business, and changed his name to Phyfe. He was a quiet-living, God-fearing young man who felt his new name would probably appeal to potential customers who were definitely anti-British in this post-Revolutionary War period.
Duncan Phyfe’s name distinguished him from his contemporaries. Although the new spelling helped him better compete with French emigrant craftsmen, his new name had more to do with hanging it on a sign over his door stoop.
The artisans and merchants who came to America discovered a unique kind of freedom. They were no longer restricted by class and guild traditions of Europe. For the first time in history, a man learned that by working hard, he could build his business based on his own name and reputation and quality of work.
Phyfe’s workshop apparently took off immediately. At the peak of his success, Phyfe employed 100 craftsmen. Some economic historians point to Phyfe as having employed division of labor and an assembly line. What his workshop produced shows Phyfe’s absolute dedication to quality in workmanship. Each piece of furniture was made of the best available materials. He was reported to have paid $1,000 for a single Santo Domingo mahogany log.
Phyfe did not create new designs. Rather, he borrowed from a broad range of the period’s classical styles, Empire, Sheraton, Regency, and French Classical among them. Nevertheless, Phyfe’s high quality craftsmanship established him as America’s patriotic interpreter of European design in the late eighteenth and early nineteenth centuries.
Although the number of pieces produced by Duncan Phyfe’s workshop is enormous, comparatively few marked or labeled pieces have been found extant. In antiques shops and auctions, collectors have paid $11,000 for a card table, $24,200 for a tea table, and $93,500 for a sewing table
The author implies that ______.
A. furniture from Duncan Phyfe’s workshop no longer exists
B. furniture from Duncan Phyfe’s workshop costs a lot of money today
C. furniture from Duncan Phyfe’s workshop was ignored by New Yorkers
D. furniture from Duncan Phyfe’s workshop was made by his father
Đáp án B
Tác giả ám chỉ rằng ______.
A. đồ nột thất từ xưởng của Duncan Phyfe không còn tồn tại.
B. đồ nột thất từ xưởng của Duncan Phyfe có giá rất cao ngày nay.
C. đồ nột thất từ xưởng của Duncan Phyfe bị người dân New York ngó lơ.
D. đồ nột thất từ xưởng của Duncan Phyfe được làm ra bởi cha của ông.
Dẫn chứng ở câu cuối cùng: “In antiques shops and auctions, collectors have paid $11,000 for a card table, $24,200 for a tea table, and $93,500 for a sewing table” – (Trong các cửa hàng bán đồ cổ và những cuộc đấu giá, có những nhà sưu tầm đã trả 11.000 đô la cho một chiếc bàn đánh bài, 24.200 đô la cho một chiếc bàn trà và 93.500 đô la cho một chiếc bàn mây) => giá trị những đồ nội thất được làm ra từ xưởng của Phyfe ngày nay có giá rất cao