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Admission Tests GRE General Test Sample Questions:

1. When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.
Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.
At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss-he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire; Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.
Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's
"undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.
The author of the passage suggests that if the cited "art historians" had taken account of seventeenth-century fashion, they would have been more likely to

A) recognize that the clothing worn by the subjects in the Portrait contributes to an atmosphere of intimacy in the painting
B) conclude that the doublet worn bv Crofts in the Portrait is not made of satin
C) be able to distinguish between the significance of the unbuttoned doublet depicted in the Portrait and that of the one depicted in a fashion print by Bosse
D) recognize the extent to which Van Dyck"s approach to portraiture represented a departure from the practices of other artists
E) recognize that Crofts* manner of dress in the Pom-ait was appropriate for a formal portrait

2. In the late eighteenth and early nineteenth centuries, during the period of the American Revolution and the early republic, political poems appeared regularly in newspapers and pamphlets. commenting on the issues and controversies engaging the new nation. Given the sheer number of poems that engaged explicitly with politics, one might wonder why the form has remained largely ignored by scholars of early American literature even as many other once obscure forms-sentimental novels, diaries, travelogues, belles letters-have enjoyed unprecedented scholarly interest in recent decades. Part of the reason may stem from frustrations involved with reading poems that are so highly topical-often requiring, even as a condition of first-level comprehension, a familiarity with names and references that, while wholly recognizable in their own time, are obscure to modem readers. Yet beyond this is the fact that American political verse from the eighteenth and early nineteenth centuries has never fully shaken off the verdict, delivered by its earliest generation of scholarly readers. that it is simply unworthy of serious attention as literature. Even the term commonly used to describe it-"verse." as opposed to "poetry"- suggests an occasional or forgettable, rather than enduring, form of expression, not quite deserving the designation of poetry. Nor was such verse considered by early critics as worthy of the designation "American." as the tendency of eighteenth-century American poets to model their works on those of British precursors suggested an unforgivable failure, as one critic described it. to declare their "literary independence" from Britain.
The passage suggests which of the following about the "earliest generation**?

A) Its attitude toward a particular type of verse was generally more favorable than that of later generations.
B) Its views on a particular issue have not generally been superseded by significantly different ones today.
C) Its influence on the development of American literature has been overestimated by some scholars.
D) Its literary- preferences were largely shaped by an affinity for literature written in Great Britain.
E) Its literary tastes were less heterogeneous than most scholarship has acknowledged.

3. One reason researchers have long believed that Mars never enjoyed an extensive period of warm and wet climate is that much of the surface not covered by wind-borne dust appears to be composed of unweathered material. If water flowed for an extended period, researchers reasoned, it should have altered and weathered the volcanic minerals, creating clays or other oxidized, hydrated phases (minerals that incorporate water molecules in their crystal structure).
It turns out. though, that the scientists were not looking closely enough. New high-resolution mapping data and close-up surface studies have revealed clays and other hydrated minerals in many regions The clay deposits are scattered all over, in ancient volcanic surfaces and heavily cratered highland regions, some of which have apparently been exposed by erosion only recently.
Consider each of the choices separately and select all that apply.
The passage indicates which of the following about the clay deposits an Mars?

A) They are not the only hydrated minerals on Mars.
B) They are widely distributed.
C) They have only recently been detected.

4. If n is a positive integer such that 51 is a factor of //. which of the following could be the units digit of n ?
Indicate all such digits.

A) 2
B) 6
C) 3
D) 8
9
E) 4
F) 5
G) 7
H) 0
I) 1

5.
In the figure above, h is the height of triangle ABC from vertex B to base AC. What is the value of//?
Give your answer as a fraction-

Solutions: