nc33/multispan_quoref huggingface dataset:
Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.

Question: Whose patron was George Robinson?
Answer: Burges
Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.

Question: Whose brother-in-law was murdered by Greek bandits?
Answer: George Robinson, 1st Marquess of Ripon
Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.

Question: What were the names of the churches built as memorial churches for Frederick Grantham Vyner?
Answer: the Church of Christ the Consoler, Skelton-on-Ure, St Mary's, Studley Royal
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked?
Answer: Lawrence
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who undertook significant work at Waltham Abbey with Edward ?
Answer: Burges
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person whose work there was destroyed in the Blitz?
Answer: Burges
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who deep knowledge of the history and techniques of glass manufacture?
Answer: Burges
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who was said to be a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration?
Answer: Burges
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who designed stained glass for his secular buildings?
Answer: Burges
Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Question: What is the last name of the person who undertook significant work at Waltham Abbey with Edward?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What was the last name of the person who caught a chill and returned to London?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What was the last name of the person who was buried in a tomb designed for their mother?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What was the last name of the person that this quote was about... "He was almost all the world to me."?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: In what city did Burges get sick?
Answer: Cardiff
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person Oscar Wilde visited on their death bed?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person that James Whistler visited on their death bed?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person buried in the tomb that he designed for his mother?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the full name of the person that wrote Burges was almost all the world to him?
Answer: John Starling Chapple
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person that designed the plaque at Saint Fin Barre?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person that wrote a letter to the Bishop of Cork?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person that James Whistler visited?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person buried at West Norwood, London?
Answer: Burges
Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."

Question: What is the name of the person that designed a tomb for his mother?
Answer: Burges