V. Find ONE mistake in each sentence, underline and correct it :

1. Does she fancy to read a book to the younger children ?               ...........................        

2. Life in the country is more convenient than life in the city.                      ...........................

3. Dogs are gooder than human beings at detecting smells.               ...........................

4. We’re all addicted to skate.                                                            ...........................

Choose the correct answer in each sentence.

1.      Are you interested for/ in photography.

2.      This is my best/ favourite book. It’s David Copperfield, by Dickens.

3.      I’ve decided to make/ join the local swimming club.

4.      Kate usually passes/ spends most of her time reading.

5.      Tim has a very interesting fun/ hobby. He builds small boats.

6.      What do you like doing in your empty/ spare time?

7.      Wendy is a member/ team of the drama club.

8.      Anna likes going to the cinema/ cinema.

Read the text carefully, then answer the questions.
Many people enjoy living in a big city because they think life is more exciting there. However, I come from
a small village and in my view, there are lots of benefits. The main reason I prefer village life is because it’s
very quiet, so I always feel calm when I’m here. Another reason is that the air is so fresh and clean. We have
more green spaces and bigger gardens, too. In addition, I think the people here are friendlier. Personally, I’m
interested in wildlife photography, so the countryside is perfect for me.
The only downside is transport. I have an early start for a long Journey to school in Faro and the school bus
is always stopping to pick up more people. Also, it’s boring sometimes, but I enjoy chatting to my friends.
Fortunately, I’m learning to ride a moped. On balance, I disagree that city life is better, as I think my village
lifestyle is healthier and more relaxing. In spite of that, some of my friends couldn’t cope with life in the
country, so it comes down to personal opinion.
1. Where does the writer come from?
2. Does he like living in a big city?
3. Why does he prefer village life?
4. How does he think about the people in his village?
5. According to the writer, what is the disadvantage of living in the village?
6. How does he go to school?
7. Does he think city life is better than village life?
8. What is he interested in?

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

     The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

     The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

     In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

     The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

        The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs 

B. people who produce handmade glass objects 

C. operators of machines that automatically cut legs, for furniture 

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The word “extolled” in the third paragraph is closest in meaning to ________.

A. exposed

B. praised

C. believed 

D. accepted