Question: Who designed the Hereford Screen?

Answer: Sir George Gilbert Scott

There are over 10,000 objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–97. Silversmiths' whose work is represented in the collection include Paul de Lamerie and Paul Storr whose Castlereagh Inkstand dated 1817–19 is one of his finest works. The main iron work gallery covers European wrought and cast iron from the mediaeval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. <hl> One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by Sir George Gilbert Scott in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. <hl> It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.

There are over 10,000 objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–97. Silversmiths' whose work is represented in the collection include Paul de Lamerie and Paul Storr whose Castlereagh Inkstand dated 1817–19 is one of his finest works. The main iron work gallery covers European wrought and cast iron from the mediaeval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by <hl> Sir George Gilbert Scott <hl> in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.


Question: Approximately how many silver and gold objects does the V&A have it its collection?

There are over 10,000 objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–97. Silversmiths' whose work is represented in the collection include Paul de Lamerie and Paul Storr whose Castlereagh Inkstand dated 1817–19 is one of his finest works. The main iron work gallery covers European wrought and cast iron from the mediaeval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by Sir George Gilbert Scott in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.

Answer: over 10,000

<hl> There are over 10,000 objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. <hl> The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–97. Silversmiths' whose work is represented in the collection include Paul de Lamerie and Paul Storr whose Castlereagh Inkstand dated 1817–19 is one of his finest works. The main iron work gallery covers European wrought and cast iron from the mediaeval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by Sir George Gilbert Scott in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.

There are <hl> over 10,000 <hl> objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–97. Silversmiths' whose work is represented in the collection include Paul de Lamerie and Paul Storr whose Castlereagh Inkstand dated 1817–19 is one of his finest works. The main iron work gallery covers European wrought and cast iron from the mediaeval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by Sir George Gilbert Scott in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.


Question: To which year is the Gloucester Candlestick dated?

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

Answer: c1110

<hl> One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110 , made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. <hl> Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to <hl> c1110 <hl>, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to <hl> c1110 <hl> , made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting.


Question: Which material is the Gloucester Candlestick made from?

Answer: gilt bronze

<hl> One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze ; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. <hl> Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from <hl> gilt bronze <hl>; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from <hl> gilt bronze <hl> ; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting.


Question: Whose relics reside in the Becket Casket?

Answer: St Thomas Becket

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. <hl> Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket , made from gilt copper, with enamelled scenes of the saint's martyrdom. <hl> Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of <hl> St Thomas Becket <hl>, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

Also of importance is the Becket Casket dated c1180 to contain relics of <hl> St Thomas Becket <hl> , made from gilt copper, with enamelled scenes of the saint's martyrdom.


Question: To which year is the Becket Casket dated?

Answer: c1180

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. <hl> Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. <hl> Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated <hl> c1180 <hl> to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.


Question: Which material is the Becket Casket made from?

Answer: gilt copper

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. <hl> Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper , with enamelled scenes of the saint's martyrdom. <hl> Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

One of the rarest items in the collection is the 58 cm high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from <hl> gilt copper <hl>, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–28, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.

Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from <hl> gilt copper <hl> , with enamelled scenes of the saint's martyrdom.


Question: Approximately how many names were signed on an online petition on the Parliamentary website in response to the closing of the Musical Instruments gallery?

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

Answer: over 5,100

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. <hl> An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. <hl> The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of <hl> over 5,100 <hl> names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.


Question: Which Member of Parliament explained how the museum would preserve the collection and keep it available to the public?

Answer: Bryan Davies

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. <hl> The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. <hl> The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from <hl> Bryan Davies <hl> was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.


Question: Which museum would receive items on loans from the Musical Instruments gallery?

Answer: Horniman Museum

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and <hl> that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. <hl> The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the <hl> Horniman Museum <hl> and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.


Question: Approximately how many musical instruments were loaned to the Horniman Museum?

Answer: 35

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. <hl> The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum. <hl>

The Musical Instruments gallery closed 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of <hl> 35 <hl> instruments from the museum.


Question: In which year was the Musical Instruments gallery closed?

Answer: 2010

<hl> The Musical Instruments gallery closed 25 February 2010 , a decision which was highly controversial. <hl> An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

The Musical Instruments gallery closed 25 February <hl> 2010 <hl>, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking Parliament about the future of the collection. The answer, from Bryan Davies was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.

The Musical Instruments gallery closed 25 February <hl> 2010 <hl> , a decision which was highly controversial.


Question: Approximately how many British oil paintings does the museum have?

The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

Answer: 1130

<hl> The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. <hl> Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

The collection includes about <hl> 1130 <hl> British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.


Question: Approximately how many European oil paintings does the museum have?

Answer: 650

<hl> The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. <hl> Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

The collection includes about 1130 British and <hl> 650 <hl> European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.


Question: Approximately how many British watercolours are in the V&A collection?

Answer: 6800

<hl> The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. <hl> Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

The collection includes about 1130 British and 650 European oil paintings, <hl> 6800 <hl> British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.


Question: Who has loaned the Raphael Cartoons to the museum?

Answer: Queen Elizabeth II

The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty <hl> the Queen Elizabeth II , are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. <hl> There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the <hl> Queen Elizabeth II <hl>, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.

the <hl> Queen Elizabeth II <hl> , are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles.


Question: Who painted the retable of St. George that is in the V&A collection?

Answer: Andrés Marzal De Sax

The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. <hl> One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia. <hl>

The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino dated 1522 from the church of Castello at Fontignano (Perugia) and is amongst the painter's last works. One of the largest objects in the collection is the Spanish tempera on wood, 670 x 486 cm, retable of St George, c. 1400, consisting of numerous scenes and painted by <hl> Andrés Marzal De Sax <hl> in Valencia.


Question: In which year did John Sheepshanks donated a large collection of paintings?

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

Answer: 1857

<hl> In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. <hl> Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In <hl> 1857 <hl> John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.


Question: How many paintings did John Sheeshanks give to the museum?

Answer: 233

<hl> In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. <hl> Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In 1857 John Sheepshanks donated <hl> 233 <hl> paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.


Question: What was the goal of John Sheepshanks considerable bequest to the museum?

Answer: forming a 'A National Gallery of British Art'

<hl> In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art' , a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. <hl> Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of <hl> forming a 'A National Gallery of British Art' <hl>, a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of <hl> forming a 'A National Gallery of British Art' <hl> , a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche.


Question: An 1821 full size oil sketch of which famous British painting was donated by John Sheepshank's daughter in 1888?

Answer: The Hay Wain

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. <hl> Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain . <hl> Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for <hl> The Hay Wain <hl>. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for <hl> The Hay Wain <hl> .


Question: The paintings donated by John Sheepshanks were by artists of which nationality?

Answer: British

<hl> In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. <hl> Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.

In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary <hl> British <hl> artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for The Hay Wain. Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.


Question: In which galleries are the French paintings donated by Jones displayed?

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.

Answer: continental art 1600–1800

<hl> Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800 , including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries. <hl>

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of <hl> continental art 1600–1800 <hl>, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of <hl> continental art 1600–1800 <hl> , including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.


Question: Whose 1758 portrait by François Boucher was part of Jones bequest?

Answer: Madame de Pompadour

<hl> Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries. <hl>

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of <hl> Madame de Pompadour <hl> dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.


Question: What was one example of a non-French painting was included in the Jones bequest of 1882?

Answer: Carlo Crivelli's Virgin and Child

<hl> Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child ) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries. <hl>

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example <hl> Carlo Crivelli's Virgin and Child <hl>) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example <hl> Carlo Crivelli's Virgin and Child <hl> ) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.


Question: Whose portrait by François Clouet was included in the Jones bequest of 1882?

Answer: François, Duc d'Alençon

<hl> Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries. <hl>

Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's Virgin and Child) that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of <hl> François, Duc d'Alençon <hl> by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.


Question: Who created the photographic series titled Animal Locomotion?

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

Answer: Eadweard Muybridge

<hl> One of the more unusual collections is that of Eadweard Muybridge 's photographs of Animal Locomotion of 1887 <hl> , this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of <hl> Eadweard Muybridge <hl>'s photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of <hl> Eadweard Muybridge <hl> 's photographs of Animal Locomotion of 1887


Question: In which year was the Animal Locomotion collection created?

Answer: 1887

<hl> One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887 , this consists of 781 plates. <hl> These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of <hl> 1887 <hl>, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of <hl> 1887 <hl> , this consists of 781 plates.


Question: How many photographic plates comprise the Animal Locomotion collection?

Answer: 781

<hl> One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. <hl> These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of <hl> 781 <hl> plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.


Question: What do the Animal Locomotion photographs capture?

Answer: animals and humans performimg various actions

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. <hl> These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions . <hl> There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different <hl> animals and humans performimg various actions <hl>. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

These sequences of photographs taken a fraction of a second apart capture images of different <hl> animals and humans performimg various actions <hl> .


Question: Whose society portraits from the late 19th to early 20th centuries does the V&A hold?

Answer: James Lafayette

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. <hl> The museum also holds James Lafayette 's <hl> society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performimg various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds <hl> James Lafayette <hl>'s society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.

The museum also holds <hl> James Lafayette <hl> 's


Question: The V&A has the world's most comprehensive collection of sculptures from which period?

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

Answer: post-classical European

<hl> The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. <hl> There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

The sculpture collection at the V&A is the most comprehensive holding of <hl> post-classical European <hl> sculpture in the world. There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.


Question: Approximately how many objects are in the V&A sculpture collection?

Answer: 22,000

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. <hl> There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. <hl> This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately <hl> 22,000 <hl> objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.


Question: Which time period does the sculpture collection cover?

Answer: from about 400 AD to 1914

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. <hl> There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914 . <hl> This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately 22,000 objects in the collection that cover the period <hl> from about 400 AD to 1914 <hl>. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

There are approximately 22,000 objects in the collection that cover the period <hl> from about 400 AD to 1914 <hl> .


Question: Which uses of sculpture are represented in the collection?

Answer: All

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. <hl> All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. <hl> Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.

The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. <hl> All <hl> uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.


Question: With which museum does the V&A co-owns Canova's The Three Graces?

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

Answer: National Galleries of Scotland

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. <hl> It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland . <hl> Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with <hl> National Galleries of Scotland <hl>. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

It includes Canova's The Three Graces, which the museum jointly owns with <hl> National Galleries of Scotland <hl> .


Question: Which c1622-23 sculpture by Bernini are included in the sculpture collection?

Answer: Neptune and Triton

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. <hl> Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini ( Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. <hl> An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (<hl> Neptune and Triton <hl> c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini ( <hl> Neptune and Triton <hl> c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti.


Question: What is the largest item from Italy that is part of the sculpture collection?

Answer: Chancel Chapel

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. <hl> The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration. <hl>

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the <hl> Chancel Chapel <hl> from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.


Question: Who designed the largest item from Italy that is part of the V&A sculpture collection?

Answer: Giuliano da Sangallo

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. <hl> The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration. <hl>

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by <hl> Giuliano da Sangallo <hl> it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.


Question: To which period is the largest item from Italy that is included in the sculpture collection dated?

Answer: 1493–1500

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. <hl> The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500 , designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration. <hl>

The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's The Three Graces, which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine (Giambologna) c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello, Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated <hl> 1493–1500 <hl>, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.

The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated <hl> 1493–1500 <hl> , designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.