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1. The highly dispersed nature of Panzaleo pottery throughout present-day Ecuador has led archaeologists to speculate about the pottery's origins and significance. Jijon y Caamano attributed the pottery's distribution to trade, and based on the large quantities of pottery recovered in the Ambato-Latacunga region of the central Ecuadorian highlands, he proposed that region as the probable locus of production. However. Porras suggests that inhabitants of the subtropical eastern Andean slopes, or montaria. were the original producers of Panzaleo.
Ponas" theory involves the forced migration of the montaria population from then homeland in the Quijos River valley into the Ecuadorian highlands. The gradual exodus and ensuing dispersal of the makers of this ware could account for the diffuse distribution of the materials.
It can be inferred from the passage that Jijon y Caamano would probably agree with which of the following statements about the distribution of Panzaleo pottery throughout Ecuador?

A) This distribution is not primarily the result of the relocation of the original makers of the pottery
B) This distribution indicates that the Ambato-Latacunga region was known primarily as a trading center
C) This distribution was largely limited to the Ambato-Latacunga region.
D) This distribution could not have occurred without the forced migration of certain peoples
E) This distribution originally took place over a relatively short period of time.

2. 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 Crofts* manner of dress in the Pom-ait was appropriate for a formal portrait
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 the clothing worn by the subjects in the Portrait contributes to an atmosphere of intimacy in the painting

3. A car service charges S5 for the first mile of a trip and S2 for each additional mile or part thereof. If the car service charges SI01 for an //-mile trip, where // is an integer, what is the value of n ?

A) 51
B) 47
C) 50
D) 49
E) 48

4.
In the circle with center O, if the length of minor arc MP is 3, what is the area of square region MOPQ ?