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  3. A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburb

A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburb

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问题    A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburban town of Merion, Pa. , to a site in Philadelphia’s museum district caused an argument—not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to dismantle a relationship among art, architecture and landscape critical to the Barnes’s success as a museum.
   For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming. What is an architect’s responsibility to Barnes’s vision of a marvelous but odd collection of early Modern artworks housed in a rambling 1920s Beaux-Arts pile? Is it possible to reproduce its spirit in such a changed setting? Or does trying to replicate the Barnes’s unique atmosphere only doom you to failure? The answers of the New York architects taking the commission are not reassuring.
   The new Barnes will include many of the features that have become virtually mandatory in the museum world today—conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe—making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to replicate the peacefulness, if not the fantastic charm, of the old museum.
   But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.
   The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cezanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the country’s most charming exhibition spaces.
   But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate.
What do we know about the old Barnes from the fifth paragraph?
选项 A、It is a good example of the great modern museums.
B、It is downgraded by the mixture of different paintings.
C、The world-famous painters’ works make it a charming place.
D、It is the seeming imperfection that makes it attractive.
答案D
解析 事实细节题。第五段第一句提到，巴恩斯博物馆并非优秀博物馆的典范，[A]项不正确；第二句提到，内部的灯光远称不上完美，藏品既有名家的作品又有不知名画家的二流作品，从灯光到藏品，体现出一种奇特的品位，文中没有提到这些对博物馆造成了不好的影响，故[B]项和[C]项排除；该段最后一句提到，正是这些明显的缺点使巴恩斯博物馆成为这个国家最吸引人的展览馆之一，故[D]项为答案。
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