Read the text and translate it into Ukrainian.

2. Answer the following questions:

1. What mark did Gaudi leave on the city of Barcelona according to Joan Bassegoda Nonell?

2. Where does a Gaudi itinerary through Barcelona usually begin?

3. What architecture does Figueras House in Barcelona represent?

4. What place in Barcelona is regarded as one of the marvels of Gaudi?

5. How does Park Guell in Barcelona look like?

6. What is one of the first works of Gaudi?

7. In which of Gaudi’s work is his personal vision of architecture made manifest?

8. Where can a tour of the works of Gaudi in Barcelona terminate?

9. What style in architecture did Gaudi inherit designing the Temple of the Sagrada Familia?

10. How does the Temple of the Sagrada Familia look like?

3. Give Ukrainian equivalents of the following words and phrases:

to leave the mark on the city

peculiar vision

to keep aloof

itinerary

family estate

marvel

to prosper

to stir imagination

to support tiny spherical cupolas

to integrate with natural surroundings

straight lines

vertical tendencies

a masterpiece of undulating artistry

to terminate

redemption

an advanced stage of completion

awesome vision

tremendous undertaking

4. Give English equivalents of the following words and phrases:

розрізнятися

триматися осторонь

завдяки

особняк

чітко нагадувати

аскетичний прояв

природне середовище

завершити

стояти навпроти

прощення та милосердя

спокутувати гріхи

віддавати поклоніння

передавати нащадкам

справлятися

підстава для суперечок

неф

апсида

вражаюче відчуття

воскресіння

спалах війни

підземна усипальня

Make up sentences of your own with the given words and phrases.

Match a line in A with a line in B.

Summarize the text in English.

Unit 53

TEXT

The Belated Arrival and Sombre Glories of Russian Art

Part I

There are important parallels between the two great emerging powers of the nineteenth century, the United States and Russia—their infinite vastness, consciousness of immanent strength, and nervousness in confronting omni-triumphant European culture. Both produced great art during this period, but whereas American achievements are at last beginning to be understood, in all their magnitude, the process of exploring Russian painting has scarcely started. This is all the more surprising in that the great Russian writers of the century, like Turgenev, Tolstoy and Dostoevsky, were read and recognised at the time, and composers like Mussorgsky, Tchaikovsky and Rimsky-Korsakov quickly became part of the international repertoire.

Although an academy was established at St Petersburg in 1757, it was primarily a place where neo-classical sculpture of the most derivative kind, and portraiture with lingering elements of iconism, were taught and practised. Russia was a country with a long and terrible past, but no history in the sense of a heritage being consciously studied and commented upon. The Americans had the heritage of Europe, above all of Britain, to cherish, argue with and repudiate. Russia merely had a 'dark backward and abysm of time'. It needed a great history painter to illuminate it, and by bringing certain specimens into the harsh light of modern vision, to encourage the nation to explore the rest of the forest. That is exactly what was done by Vasily Surikov (1848-1916). He came from Siberia, and he brought to academic life in the capital, and formal society in Moscow (where he received his first major commission to decorate the cathedral, in 1876), a sense of the illimitable space of Russia, reflected in the size, depth and heroism of his canvases. His work is mainly to be seen at the Tretyakov Gallery in Moscow, and shows that, right from the start, he was obsessed by the past: the Christian past, as in Saint Paul Explains the Faith to

35 Morning of the Execution of the Strel’tsy (1881)