[Q]: What is the answer for the question: What is the name of the person that had a renovation of the grotesque animals? from the following article ? In 1859 Burges began work with Ambrose Poynter on the Maison Dieu, Dover, which was completed in 1861. Emulation of the original medieval style can be seen in his renovation of the grotesque animals and in the coats of arms incorporated into his new designs. Burges later designed the Council Chamber, added in 1867, and in 1881 began work on Connaught Hall in Dover, a town meeting and concert hall. The new building contained meeting rooms and mayoral and official offices. Although Burges designed the project, most of it was completed after his death by his partners, Pullan and Chapple. The listed status of the Maison Dieu was reclassified as Grade I in 2017 and Dover District Council, the building's owner, is seeking grant funding to enable a restoration, focussing on Burges's work.In 185960, Burges took over the restoration of Waltham Abbey from Poynter, working with Poynter's son Edward Poynter and with furniture makers Harland and Fisher. He commissioned Edward Burne-Jones of James Powell & Sons to make three stained-glass windows for the east end, representing the Tree of Jesse. The Abbey is a demonstration of Burges's skills as a restorer, with "a profound sensitivity towards medieval architecture." Mordaunt Crook wrote of Burges's interior that, "it meets the Middle Ages as an equal." In 18612, Burges was commissioned by Charles Edward Lefroy, secretary to the Speaker of the House of Commons, to build All Saints Church, Fleet, as a memorial to Lefroy's wife. She was the daughter of James Walker, who established the marine engineering company of Walker and Burges with Burges's father Alfred, and this family connection brought Burges the commission. Pevsner says of Fleet that "it has no shape, nor character nor notable buildings, except one," that one being All Saints. The church is of red brick and Pevsner considered it "astonishingly restrained." The interior too is simply decorated but the massive sculpture, particularly of the tomb of the Lefroys and of the gabled arch below which the tomb originally...
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[A]: Burges

[Q]: What is the answer for the question: What is the last name of the person who moved with the intention of becoming a history painter in the tradition of the Old Masters? from the following article ? William Etty (17871849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
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[A]: Etty

[Q]: What is the answer for the question: What was the full name of the person Dylan played Sad-Eyed Lady of the Lowlands for shortly after recording it? from the following article ? "Sad Eyed Lady of the Lowlands"Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 1516, "Sad Eyed Lady" eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that "Lowlands" hints at "Lownds", and Dylan biographer Robert Shelton wrote that this was a "wedding song" for Sara Lownds, whom Dylan had married just three months earlier. In his paean to his wife, "Sara", written in 1975, Dylan amends history slightly to claim that he stayed "up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you".When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" However, in 1969, Dylan confessed to Rolling Stone's editor, Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."Heard by some listeners as a hymn to an other-worldly woman, for Shelton "her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic." Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's "Tyger", Dylan asks a series of questions about the "Sad Eyed Lady" but never supplies any answers.
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[A]:
Robert Shelton