Amedieval manuscript called l contains all eighteen extant tragedies by the greek playwright euripides. of these, ten called the "select plays," are accompanied in l by ancient commentaries and also appear in other medieval manuscripts; this group includes some of euripides’ best-known works, including the medea. the other eight, which appear in alphabetical order, without commentary. the electra is one of the alphabeticals.
which of the following can be reliably concluded on the basis of the statements given?
a. only euripides’ best-known works are accompanied by ancient commentaries in extant medieval manuscripts.
b. the select plays are accompanied by ancient commentaries because they were the best known of euripides’ works.
c. no commentaries were written about euripides’ electra in ancient times.
d. euripides’ medea never appears in medieval manuscripts unaccompanied by ancient commentary.
e. euripides’ electra does not appear accompanied by a commentary in any extant medieval manuscript.
from prep,

The linear perspective changed the quality of art because it gave art a sense of reality. it gave the illusion that the background and surroundings were actually close and/or far and a sense of depth. linear perspective change the quality of art following its birth the renaissance period as they want the art to be more realistic and they believe one way to achieve it is to use the method of linear perspective. it uses the principle of math to realistically portray space and depth in art. 

During the old kingdom (c 2686-c 2160 bce)

Ithink the answer is d) once again don't kill me if i got the answer wrong > _<

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.