Q: Given the following context: In mid-1917 nine-year-old Frances Griffiths and her motherboth newly arrived in the UK from South Africawere staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic. Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the... answer the following question: What is the last name of the person who noticed the pictures after they were displayed in Harrogate?
A: Gardner

Question: Given the following context: "A symphony in subtle shades of white and green", the White Garden is considered the "most renowned" and most influential of all of Sissinghurst's garden rooms. Planned before the war, it was completed in the winter of 19491950. Using a palette of white, silver, grey, and green, it has been called "one of Vita and Harold's most beautiful and romantic visions". Sackville-West recorded her original inspiration in a letter to Nicolson dated 12 December 1939: "I have got what I hope will be a lovely scheme for it: all white flowers, with some clumps of very pale pink". The concept of single-colour gardens had enjoyed some popularity at the end of the 19th century, but few such gardens remained when Sissinghurst was designed. Influences for the White Garden include Hidcote and Phyllis Reiss's garden at Tintinhull, both of which Vita had seen. Gertrude Jekyll had discussed the concept, but argued for varying the white palette with the use of blue or yellow plants, advice followed by Reiss. But neither Hidcote nor Tintinhull equals the "full-scale symphony" of the White Garden at Sissinghurst. A more prosaic motivation for the colour scheme was to provide reflected illumination for Sackville-West and Nicolson as they made their way from their bedrooms at the South Cottage to the Priest's House for dinner. The focal point of the garden was originally four almond trees, encased in a canopy of the white rose, Rosa mulliganii. By the 1960s, the weight of the roses had severely weakened the trees, and they were replaced with an iron arbour designed by Nigel Nicolson. Beneath the arbour is sited a Ming dynasty vase bought in Cairo. A lead statue of a Vestal Virgin, cast by Toma Rosandic from the wooden original which is in the Big Room, presides over the garden. Sackville-West intended that the statue should be enveloped by a weeping pear tree, Pyrus salicifolia 'Pendula', and the present tree was planted after her original was destroyed in the Great Storm of 1987. Lord considers the White Garden "the most ambitious and... answer the following question: What is the last name of the person that created the arbour that is above a Ming dynasty vase?
Answer: Nicolson

Question: Given the following context: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about 24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century. Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and... answer the following question: What is the name of the person that painted the painting that was transferred in 1910 to the National Gallery of Scotland?
Answer:
Etty