Introduction: Welcome to the fourth and final part of our deep dive into the June 2022 Literacy I Explanation for the EST Test Writing Section. If you're determined to ace the EST exam, you've found your ally! This blog is crafted to be your comprehensive guide, brimming with expert insights, practical strategies, and invaluable tips to help you master the EST test.

In this series finale, we'll explore the intricacies of the EST Writing Section, empowering you with a thorough understanding essential for excelling in the exam. Whether you're piecing together the EST schedule for 2024, unraveling the complexities of the EST exam, or seeking effective methods to calculate your EST test score, we're here to assist.

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Join us as we dissect the June 2022 Literacy I passage, breaking down its key components to offer straightforward explanations and practical advice. Whether you're inquiring about the EST score in Egypt, looking for a comprehensive كورس EST, or eager to delve into the EST June 2022 answers in English, this blog is your go-to resource for all things EST. Let's embark on this educational journey together, ensuring you're fully prepared and confident to tackle the EST 2024 and beyond!

Questions 34 through 44 are based on the following passage.

The Florentine Painters of the Renaissance By Bernard Berenson

Florentine painting between Giotto and Michelangelo contains the names of such (34) artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo, V errocchio, and Leonardo, and Botticelli. Put beside these the greatest names in Venetian art, the Vivarini, the Bellini, Giorgione, Titian, and Tintoret. The difference is (35) striking and significant. The significance of the Venetian names is exhausted with their significance as painters (36) (not so with the Florentines). Forget that they were painters, they remain great sculptors; forget that they were sculptors, and still they remain architects, poets, and even men of science. They left no form of expression (37) unclear, and to none could they say, “This will perfectly convey my meaning.” Painting, therefore, offers but a partial and not always the most adequate manifestation of their personality, and we feel the artist as greater than his work, and the man as soaring above the artist.

34.A. NO CHANGE

B. artistsasOrcagna,Masaccio,Fra Filippo, and Pollaiuolo, Verrocchio, Leonardo, and Botticelli.

C. artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo, Verrocchio, Leonardo, and Botticelli.

D. artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo, Verrocchio, Leonardo, Botticelli.

Explanation: In this EST question testing punctuation in a list, option C correctly uses commas to separate each artist's name, with "and" only before the final name. This matches standard list format. Option A's extra "and" before "Leonardo" breaks the pattern, while B and D omit necessary commas, reducing clarity. When preparing for EST exams or other writing, always double-check comma usage in lists to ensure consistency.

EST Shortcut: In a list of three or more, use commas between each item, with "and" only before the last one.

EST Tip: Read list items aloud, inserting brief pauses. Wherever you pause, there should usually be a comma.

35. Which choice best matches the other quality the author mentions?

A. NO CHANGE

B. unimportant

C. unworthy

D. shocking

Explanation: "NO CHANGE" is the correct answer choice for this EST question because "striking" and "significant" effectively convey the author's point about the stark, meaningful contrast between Florentine and Venetian artists. "Striking" emphasizes the visual or conceptual impact of the difference, while "significant" stresses its deeper importance. The other options lack this specificity and impact. In EST passages, pay close attention to paired adjectives and how they reinforce the main idea.

EST Shortcut: When two adjectives are used together, they often build on each other to drive home a key point.

EST Tip: If a two-adjective phrase sounds powerful and clear, it's likely the right choice. Substitute in other options to check if they maintain the intended emphasis.

36. What should be done with the parentheses?

A. Keep them. The information within the parentheses is nonrestrictive.

B. Keep them. The parentheses offer a change in tone.

C. Delete them. The parentheses do not match the author’s writing style.

D. Delete them. Parentheses can only be placed in the middle of a sentence, not the end.

Explanation: Option A is correct in this EST question because the parenthetical phrase "not so with the Florentines" adds extra, nonessential information to the main point. Removing it would not change the core meaning that Venetian artists are significant primarily as painters. The parentheses set this detail apart, almost as an aside to the reader. Retaining them matches the passage's somewhat conversational tone, as though the author is interjecting a brief commentary. For EST success, know when parentheses are appropriate for nonrestrictive elements.

EST Shortcut: Use parentheses to set off extra information or asides that could be removed without changing the main idea.

EST Tip: If you can read the sentence without the parenthetical phrase and it still makes sense, keep the parentheses.

 37. The author wants to express something unventured. Which choice best accomplishes this goal?

A. NO CHANGE

B. untried

C. unimportant

D. unyielding

Explanation: "Untried" is the best choice in this EST question because it reinforces the idea of the Florentine artists as versatile innovators who boldly explored and attempted every mode of expression. Unlike the more generic "unclear," "untried" specifies that these creators ventured into new artistic territories. "Unyielding" and "unimportant" don't fit logically, as the artists adapted flexibly ("yield") to each art form, seeing them all as significant. Precise word choice is vital on EST; always aim for answers that capture the nuance of the given context.

EST Shortcut: The most specific answer that fits the context is often correct, rather than more general options.

EST Tip: Plug in each word to check if it makes sense in the full sentence. Eliminate options that don't quite work or align with the main idea.

(38) It would be absurd, therefore, to treat the Florentine painter as a mere link between two points in a necessary evolution. The history of the art of Florence never can be, as that of Venice, the study of a placid development. Each man of genius brought to bear upon his art a great intellect, which, never condescending merely to please, was tirelessly striving to reincarnate what it comprehended of life in forms that would fitly convey it to others; and in this endeavour each man of genius was necessarily compelled to create forms essentially his own. But because Florentine painting was pre-eminently an art formed by great personalities, it grappled with problems of the highest interest, and offered solutions that can never lose their value.

38. Which choice best introduces the paragraph and matches the author’s writing style?

A.     The immense superiority of the artist even to his greatest achievement in any one art form means that his personality was but slightly determined by the particular art in question, that he tended to mould it rather than let it shape him. 


B.      Thisishiseverlastingclaimto greatness, and it is this which will make him a source of highest æsthetic delight for a period at least as long as decipherable traces of his handiwork remain on mouldering panel or crumbling wall. 


C.      Well, it was of the power to stimulate the tactile consciousness—of the essential, as I have ventured to call it, in the art of painting—that Giotto was supreme master. 


D.     At the risk of seeming to wander off into the boundless domain of æsthetics, we must stop at this point for a moment to make sure that we are of one mind regarding the meaning of the phrase “artistic pleasure,” in so far at least as it is used in connection with painting. 


Explanation: Option A best introduces this paragraph in the EST passage because it logically connects to and expands on the previous paragraph's point about the Florentine artists' multifaceted genius. The phrasing "immense superiority of the artist even to his greatest achievement" echoes the prior paragraph's closing line, "we feel the artist as greater than his work, and the man as soaring above the artist." This creates a smooth transition and flow, which is crucial in EST writing. The other options introduce new, less directly relevant ideas about aesthetic pleasure or specific techniques, which would feel more abrupt and disconnected here.

EST Shortcut: The best paragraph opener picks up on key ideas from the previous paragraph while still moving the discussion forward.

EST Tip: To choose a topic sentence, ask yourself, "Which option most logically builds on the main point that came right before?

 (39) In the same unconscious years we learn to make of touch, of the third dimension, the test of reality. The first of the great personalities in Florentine painting was Giotto. Although he affords no exception to the rule that the great Florentines (40) exploited all the arts in the endeavour to express themselves, he, Giotto, renowned as architect and sculptor, reputed as wit and versifier, differed from most of his Tuscan successors in having peculiar aptitude for the essential in painting as an art.

39. Which of the following best concludes the paragraph and transitions to the next section?

A. NO CHANGE

B. The painter must, therefore, do

consciously what we all do unconsciously,—construct his third dimension.

C. I beg the reader to observe—is somehow to stimulate our consciousness of tactile values, so that the picture shall have at least as much power as the object represented, to appeal to our tactile imagination.

D. What they aimed at, and what they attained, is the subject of the following essay.

Explanation: Option D concludes this EST paragraph most effectively by zooming out to preview the overarching purpose and topic of the full essay. The phrase "what they aimed at, and what they attained" succinctly captures the Florentine artists' lofty goals and impressive achievements, which the preceding lines have hinted at. This broad thesis statement creates anticipation for the upcoming in-depth analysis. In contrast, the other options dive into specific technical details about perspective and tactile values, which would narrow the focus too much and disrupt the cohesion of the paragraph. Strong EST conclusions often establish the "big picture" framework that the rest of the piece will flesh out.

EST Shortcut: An effective paragraph conclusion can serve as a mini-thesis, giving readers a clear idea of the key points to be discussed in the following section.

EST Tip: After closely reading the full paragraph, step back and ask, "What central idea is this all leading up to, and where might the author go next?" The correct concluding line should feel like a natural "zooming out" that sets the stage for what's to come.

 40.A. NO CHANGE

B. used

C. burned

D. displayed

 Explanation: In this EST question about word choice, "exploited" is the most vivid and precise fit for describing how the Florentine artists took full, intentional advantage of every art form to express themselves. While "used" or "displayed" could work technically, they lack the connotation of determined, purposeful effort that "exploited" carries. This intense verb aligns with the passage's admiring tone regarding these artists' tireless striving "to reincarnate what [they] comprehended of life in forms that would fitly convey it to others." "Burned," meanwhile, diverges too far, conjuring destructive rather than productive passion. Powerful word choice is essential to convey tone and meaning on EST.

EST Shortcut: When considering verb options, choose the one with the strongest, clearest connotation that matches the overall tone of the passage.

EST Tip: Don't just settle for the most familiar or simplest verb. Stretch yourself to find the option that most precisely and vividly captures the action and emotion being described.

 (41) 1. But before we can appreciate his real value, we must come to an agreement as to what in the art of figure-painting—the craft has its own altogether diverse laws—is the essential. 2. For figure-painting, we may say at once, was not only the one pre-occupation of Giotto. 3. Psychology has ascertained that sight alone gives (42) anyone no accurate sense of the third dimension. (43) 4. In our infancy, long before we are conscious of the process, the sense of touch, helped on by muscular sensations of movement, teaches us to appreciate depth, the third dimension, both in objects and (44) in space; an extraordinary sense indeed.

41. The author would like to insert this sentence to provide further support to his argument in this paragraph.

 “It was also the dominant interest of the entire Florentine school.”

The best placement for this sentence is

A. before sentence 1.

B. beforesentence2.

C. before sentence 3.

D. after sentence 3.

 Explanation: In this EST question about sentence insertion and flow, the given sentence, "It was also the dominant interest of the entire Florentine school," would fit most smoothly between sentences 1 and 2. Sentence 1 establishes the general topic of what is "essential" in figure painting, while the inserted sentence and sentence 2 both elaborate on how figure painting was a primary focus for Giotto and the Florentine school as a whole. Placing the new line after sentence 1 allows it to harmonize with the main idea, and transitioning from it into sentence 2's "not only" structure creates a logical progression. The other options would either separate this connected pair of statements or stray into the unrelated territory of visual perception. Cohesion and clear relationships between ideas are key in EST writing.

EST Shortcut: When inserting a new sentence into a paragraph, put it where it builds on the preceding point while still flowing logically into the next idea.

EST Tip: Read the original paragraph and the added sentence aloud to yourself. Pause at each suggested spot and ask, "Would the new information fit naturally here, or would it feel disjointed?" Let your ear guide you to the most seamless placement.

 42.A. NO CHANGE

B. someone

C. something

D. everything

Explanation: The correct pronoun choice in this EST question is "anyone," as it reinforces the idea that this statement about visual perception applies universally. "Anyone" suggests an all-encompassing scope, while "someone" would refer to a single unspecified individual, which doesn't fit the general nature of this psychological principle. "Something" and "everything" stray even further, illogically assigning this visual limitation to inanimate objects rather than people. When tackling pronoun questions on EST, always consider how each option would shape the meaning and accuracy of the larger claim.

EST Shortcut: For sweeping statements that apply to all people, "anyone" is usually the most appropriate pronoun.

EST Tip: Plug in each pronoun option and ask yourself, "Would this apply the idea to all people, to one unspecified person, or to a thing?" This will help you identify the pronoun that creates the most logical and precise meaning.

43.A. NO CHANGE

B. In our infancy, the sense of touch, helped on by muscular sensations of movement, long before we are conscious of the process, teaches us to appreciate depth, the third dimension, both in objects and

C. In our infancy, long before we are conscious of the process, helped on by muscular sensations of movement, the sense of touch, teaches us to appreciate depth, the third dimension, both in objects and

D. Long before we are conscious of the process, the sense of touch, helped on by muscular sensations of movement, teaches us to appreciate depth, the third dimension, both in objects and

Explanation: Option D offers the clearest, most effective word order and punctuation in this EST question. By leading with the prepositional phrase "Long before we are conscious of the process," this version immediately clarifies the timeline and relationship between our unconscious learning and our conscious understanding. The original phrasing in A and the rearrangements in B and C bury this key context in the middle of the sentence, making the logic harder to follow. D's structure also keeps the central focus on the "sense of touch" and its role in teaching us depth perception, with the phrase "helped on by muscular sensations of movement" serving as a helpful but not disruptive aside. Strong EST responses prioritize clarity through strategic word order and smooth incorporation of modifying phrases.

EST Shortcut: In a complex sentence with multiple modifying phrases, put the most important information in the main clause and the background details in the dependent phrases.

EST Tip: To check for the clearest phrasing, try reading the sentence aloud, emphasizing the main subject and verb. If a modifying phrase disrupts that core idea, try moving it to the beginning or end of the sentence.

44.A. NO CHANGE

B. in space—an extraordinary sense indeed

C. in space. An extraordinary sense indeed

D. in space, and an extraordinary sense indeed

 A and C and D are all fragments because the second idea is dependent. A works best “Independent — dependent or independent or list”

Explanation: The strongest conclusion for this EST paragraph is the original phrasing: "in space; an extraordinary sense indeed." This punctuation, with a semicolon linking two related but separate clauses, emphasizes the remarkable nature of the kinesthetic spatial awareness being described. Ending with the emphatic "extraordinary sense indeed" sums up the significance of this unconscious perceptive ability, closing the paragraph with an air of wonder. In contrast, the other options either connect the clauses too loosely with only a dash (B), chop them up with a period (C), or imply that the "sense" itself exists "in space" (D), undercutting the impact. When weighing final punctuation in EST, consider which choice will leave the reader with the most powerful and memorable impression.

EST Shortcut: For a strong paragraph conclusion, aim for punctuation that will emphasize your most important idea and leave a lasting impact. Semicolons, dashes, and colons can add impact to final statements when used carefully.

EST Tip: Read each conclusion option aloud, paying attention to your tone and inflection. Which one creates a sense of conviction, awe, or curiosity that will stick with your reader? That's likely the most effective choice.

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