The room in hotel was so ______ that I have to shift to another hotel.

Lion hearted

Begrime

To have hollow legs

I have not been given the documents by Ramesh.

Censure

P: A page can have multiple lines.
Q: A page is better measure of length of a book.
R: This is with respect to a line.
S: It is important to differentiate a line from a page.

The jury ______ deciding how they want to judge.

It will be ludicrous not (1)/to acknowledge the real threats (2)/the  World is facing right now (3)/.No error (4)

He called to help if nobody came.

Chemistry in ancient times

Here the rocks
P: So smooth that in places they
Q: Resemble rolls of silk
R: By Ice and water
S: Are carved and polished

She said that (1)/ she had never (2)/tried that chocolate (3)/. No error (4)

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.