номер 1, страница 70 - гдз по английскому языку 5-11 класс учебник Latham-Koenig, Oxenden

Seven point six.

Part one.

Trafalgar Square in London has a plinth, that is, a stone base for a statue, in each of its four corners.

On three of them there are statues of famous historical figures. The fourth plinth was originally intended to hold a statue of King William the Fourth on a horse, but due to insufficient funds, the statue was never built.

The use of the fourth plinth was debated for over one hundred and fifty years, and finally, in nineteen ninety-eight, the Royal Society for the Encouragement of Arts commissioned three contemporary sculptures to be displayed there temporarily.

Shortly afterwards, the authorities decided to seek opinions from public art commissioners, critics, and members of the public as to the future of the plinth.

Although various proposals were put forward for permanent statues, such as of Nelson Mandela or Margaret Thatcher, it was finally agreed that, rather than having anything permanent, works of art would be commissioned from leading national and international artists and be displayed there on a temporary basis.

In two thousand and five, the first work was unveiled, a sculpture of a pregnant woman by Mark Quinn. And since then, there has been a succession of new works.

It is considered the world's most famous public art commission.

However, it is thought that the reason for not accepting any permanent statue there may be because the fourth plinth is being reserved for a statue of Queen Elizabeth the Second.

Seven point seven.

Part two.

This sculpture, called Nelson's Ship in a Bottle, was unveiled in May two thousand ten, and was the first artwork on the Fourth Plinth to relate directly to Admiral Horatio Nelson, who stands at the top of the column in Trafalgar Square.

It was created by the British artist Yinka Shonibare.

The ship inside is a model of Nelson's ship HMS Victory.

The bottle was made out of glass and was constructed by aquarium specialists in Rome, along with the giant cork.

Unlike Nelson's ship, however, this ship's sails were made of different African cloths.

Shonibare said of his sculpture that it was designed to specifically reflect on the relationship between the birth of the British Empire and Britain's present-day multicultural context.

The sculpture, the fourth work of art to be displayed there, was on show until January two thousand twelve.

And in two thousand fifteen, it was voted by the public to be the best of all the sculptures that have been displayed up to that point.

When the sculpture was removed, money was raised to buy it from the artist.

And it was the first of the Fourth Plinth commissions to be relocated in London.

It is now on permanent display in the National Maritime Museum.

This statue of a boy on a rocking horse is called Powerless Structures, Figure one hundred one.

It was created by two Scandinavian artists, Michael Elmgreen from Denmark and Ingar Dragset from Norway.

It was the fifth work to occupy the Fourth Plinth and was on display from February two thousand twelve to April two thousand thirteen.

The statue, which is four point one meters high, was made entirely of bronze.

The two artists based their concept around the idea of the many memorial statues of men on horseback which celebrate victory in war.

This boy on horseback is vulnerable, unlike traditional heroes, he is not competitive or aggressive.

Rather, he represents the heroism of a child growing up.

Talking about their work, the artists said, "We thought maybe we should celebrate some generations to come and hope that there will be a future where there are not so many war monuments."

Installed in March two thousand eighteen and displayed until March two thousand twenty, the ninth work of public art was by Iraqi-American artist Michael Rakowitz.

In two thousand six, Rakowitz started a project to recreate more than seven thousand objects of Iraqi art which had been lost forever.

Either looted from the Iraq Museum in two thousand three, or destroyed at archaeological sites during the Iraq War.

For the Fourth Plinth commission, Rakowitz created a sculpture that was part of this ongoing project, called The Invisible Enemy Should Not Exist.

It was a life-sized recreation of the Lamassu, the winged god that stood at the entrance to Nergal Gate in Nineveh, in present-day Iraq, from seven hundred BC until it was destroyed in two thousand fifteen.

This Lamassu was made out of ten thousand five hundred empty Iraqi date syrup cans, which symbolize not only how so much art was destroyed during the war, but also how Iraq's date industry, the country's second biggest export after oil, was decimated by the destruction of millions of its date palm trees.

While his sculpture was on display, Rakowitz also set up a pop-up kiosk across the square, which sold small books of recipes using date syrup, as well as small cakes and biscuits.