I have a test where I am given the following article, what is an answer for the question: What were the last names of the men Cleland and Southcott indicated had suffered hypervitaminosis A? ? The Aurora arrived at Cape Denison on 13 January 1913. When Mawson's party failed to return, Davis sailed her east along the coast as far as the Mertz Glacier tongue, searching for the party. Finding no sign and reaching the end of the navigable ice-free water, they returned to Cape Denison. The oncoming winter concerned Davis, and on 8 Februaryjust hours before Mawson's return to the hutthe ship departed Commonwealth Bay, leaving six men behind as a relief party. Upon Mawson's return, the Aurora was recalled by wireless radio, but powerful katabatic winds sweeping down from the plateau prevented the ship's boat from reaching the shore to collect the men.The Aurora returned to Cape Denison the following summer, in mid-December, to take the men home. The delay may have saved Mawson's life; he later told Phillip Law, then-director of Australian National Antarctic Research Expeditions (ANARE), that he did not believe he could have survived the sea journey so soon after his ordeal.The cause of Mawson and Mertz's illnesses remains in part a mystery. At the time, McLeanthe expedition's chief surgeon and one of the men who had remained at Cape Denisonattributed their sickness to colitis; Mawson wrote in The Home of the Blizzard, his official account of the expedition, that Mertz died of fever and appendicitis. A 1969 study by Sir John Cleland and R. V. Southcott of the University of Adelaide concluded that the symptoms Mawson describedhair, skin and weight loss, depression, dysentery and persistent skin infectionsindicated the men had suffered hypervitaminosis A, an excessive intake of vitamin A. This is found in unusually high quantities in the livers of Greenland Huskies, of which both Mertz and Mawson consumed large amounts.While hypervitaminosis A is the generally accepted medical diagnosis for Mertz's death and Mawson's illness, the theory has its detractors. Law believed it was "completely unproven ... The symptoms that were described are exactly the ones you get from cold exposure. You don't have to...
Ans: Mertz

I have a test where I am given the following article, what is an answer for the question: What types of figures are included in the finest display of medieval carving in England ? The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger, and together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower. In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.According to Cockerell, the side of the facade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel...
Ans: seated figures

I have a test where I am given the following article, what is an answer for the question: Which artist painted the artwork owned by the Radziwill family until 1920? ? The painting's known provenance begins in the 1830s when it was in the possession of the Radziwi family. According to art historian Sulpiz Boisseree, who saw the painting in 1832, Antoni Radziwi found the painting in an estate his father owned. Waagen speculated that may have belonged to Mikolai Radziwill (15491616) who might have inherited it from his brother Jerzy Radziwill, (15561600), who was a cardinal. The family kept it until 1920 when Princess Radziwill sold it to the Duveen Brothers in Paris. Philip Lehman bought it in October 1920; it is now held in the Robert Lehman collection at the Metropolitan Museum of Art, in New York.Generally the condition is good. Memling painted the work on two panels of about 28 cm each. The dated and inscribed frame, probably the original, was discarded in 1830. There have been three documented restorations. The painting had been pierced by an arrow when Anton Radziwill found it; he had it restored and the damage repaired. At that time the Virgin's mantle and the flesh tones sustained heavy overpainting. The original frame was discarded, but its inscription was inserted into the new frame. A description of the original frame suggests it carried a coat-of-arms, perhaps belonging to Jerzy Radziwill. The second restoration was after its exhibition in Bruges in 1902; and the third when Lehman had it restored and transferred to canvas sometime after 1928. The painting survived the transfer without significant damage. A late-19th century photograph shows wood on all four sides of the painted surface, which suggests the edges may have been extended during the transfer. Areas that suffered paint loss and overpainting are Gabriel's cope and the vase holding the flowers.When Boisseree saw the painting he recorded the inscription's date as 1480. The last digit of the inscription was faded and difficult to read and had become illegible by 1899. Waagen suggested the date could have been 1482, and art historian Dirk de Vos suggested 1489. Memling's style does not lend itself...
Ans: Memling