Q: What is the answer for the question: What is the first name of the king who occupied the "best bedchamber"? from the following article ? The plan of the rooms at Belton was passe for a grand house of its time. Following the Restoration and the influx of European ideas, it had become popular for large houses to follow the continental fashion of a suite of state rooms consisting of a withdrawing room, dressing room, and bedroom proceeding from either side of a central saloon or hall. These rooms were permanently reserved for use by a high ranking guest, such as a visiting monarch. While Belton does have a saloon at its centre, enfilades of state rooms of lessening grandeur do not flank it. The possible reason for this unusual layout is that, while the Brownlows possessed great wealth, their title was only a baronetcy, and their fortune was barely a century old. They would have been regarded as gentry, not aristocracy. As a result, building a suite of state rooms would have been in hope rather than anticipation of a royal guest. However, the lack of a fashionable and formal suite of state apartments coupled with the Brownlows' lack of social credentials did not prevent a visit from King William III to the newly completed house in 1695. The King occupied the "Best bedchamber", a large room with an adjoining closet, directly above the saloon, that led directly from the second floor Great Dining Chamber.This design followed the older style of having reception rooms and bedrooms scattered over the two main floors. The layout used followed Roger Pratt's theory that guest and family rooms should be quite separate. As a consequence of this philosophy, the family occupied the rooms on the first and second floors of the west and east wings, with the state rooms in the centre. The great staircase, designed to be grand and imposing, rose to the east side of the house, and formed part of the guest's state route from the Hall and Saloon on the first floor to the principal dining room and bedroom on the second.The principal entrance hall, reception and family bedrooms were placed on the ground and first floors above a low semi-basement containing service...
A: William

Q: What is the answer for the question: What is the name of the artist who later altered the traces of earlier working? from the following article ? The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velazquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcazar in 1734, and was restored by court painter Juan Garcia de Miranda (16771749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 174748, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of Lopez-Rey, the...
A: Velazquez's

Q: What is the answer for the question: What is the type of sheep that was left during evacuations by the people who had up to 2,000 different types of sheep? from the following article ? On the inaccessible island of Soay are sheep of a unique type, which lived as feral animals and belonged to the owner of the islands, not to the islanders. These Soay sheep are believed to be remnants of the earliest sheep kept in Europe in the Neolithic Era, and are small, short-tailed, usually brown with white bellies, and have naturally moulting fleeces. About 200 Soay sheep remain on Soay itself, and soon after the evacuation a second feral population of them was established on Hirta, which at that time had no sheep; these now number between 600 and 1,700. A few Soays have been exported to form breeding populations in other parts of the world, where they are valued for their hardiness, small size and unusual appearance. On Hirta and Soay, the sheep prefer the Plantago pastures, which grow well in locations exposed to sea spray and include red fescue (Festuca rubra), sea plantain (Plantago maritima) and sea pink (Armeria maritima).The St Kildans kept up to 2,000 of a different type of sheep on the islands of Hirta and Boreray. These were a Hebridean variety of the Scottish Dunface, a primitive sheep probably similar to those kept throughout Britain during the Iron Age. At the time of the evacuation all the islanders' sheep were removed from Hirta, but those on Boreray were left to become feral, and these are now regarded as a breed in their own right, the Boreray. The Boreray is one of the rarest British sheep, and is one of the few remaining descendants of the Dunface (although some Scottish Blackface blood was introduced in the nineteenth century).
A:
Boreray