Please answer this: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who it was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built? ? Since the abolition of bishops within the Scottish Church in 1689, ownership of the abandoned cathedral fell to the crown, but no attempt to halt the decline of the building took place. Acknowledging the necessity to stabilise the structure, the Elgin Town Council initiated the reconstruction of the perimeter wall in 1809 and cleared debris from the surrounding area in about 1815. The Lord Provost of Elgin petitioned the King's Remembrancer for assistance to build a new roof for the chapterhouse and in 1824, 121 was provided to the architect Robert Reid for its construction. Reid was significant in the development of a conservation policy for historical buildings in Scotland and was to become the first Head of the Scottish Office of Works (SOW) in 1827. It was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built.In 1824 John Shanks, an Elgin shoemaker and an important figure in the conservation of the cathedral, started his work. Sponsored by local gentleman Isaac Forsyth, Shanks cleared the grounds of centuries of rubbish dumping and rubble. Shanks was officially appointed the site's Keeper and Watchman in 1826. Although his work was highly valued at the time and brought the cathedral back into public focus, his unscientific clearance work may have resulted in much valuable evidence of the cathedral's history being lost. He died on 14 April 1841, aged 82. A fortnight later, the Inverness Courier published a commemorative piece on Shanks, calling him the "beadle or cicerone of Elgin Cathedral", and writing: Some minor works took place during the remainder of the 19th century and continued into the early 20th century. During the 1930s further maintenance work followed that included a new roof to protect the vaulted ceiling of the south choir aisle. From 1960 onwards the crumbling sandstone blocks were replaced and new windows were fitted in the chapterhouse, which was re-roofed to preserve its vaulted ceiling. From 1988 to 2000, the two western towers...
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Answer: Robert

Please answer this: I have a test where I am given the following article, what is an answer for the question: What is the name of the vessel for which it was still considered possible she could be raised even as late as 1549? ? The "ship portrait" had a long history in maritime art, from medieval seals and coins to early engravings in the 15th century, and the plain side-on view of a ship under sail, often with no crew shown, was well established as the most effective way of recording the build of vessels. The Anthony Roll belongs to a genre of works that was intended to serve a dual role for the king and the military leadership: as reasonably informative overviews listing details of ships or strategic areas of coastlines they could be studied to determine strengths and weaknesses, and as boastful and lively depictions of Tudor military might they could be used to flatter the king, impress courtiers and impose martial authority on foreign ambassadors. Contemporary maps, or "plats", were routinely decorated with detailed pictures of ships, to mark bodies of water as much as to liven up the scenes. Such maps were common at the time, and were even embellished by artists if deemed too simple or drab. The navy was expanded during Henry VIII's reign, and he was known to take an interest in warships, as can be seen by the epic painting Embarkation of Henry VIII at Dover which portrayed, if rather unrealistically, the ships that took the 29-year-old king to the summit meeting with Francis I of France at the Field of the Cloth of Gold in 1520. This painting, recently dated to around 1545, has also been suggested as a likely source of inspiration to Anthony for his illustrations.There are three such plats depicting naval actions and expeditions that are attributed to Anthony: the route of Anne of Cleves from the Low Countries to England (1539), a French attack on a coastal fort (date unknown) and a French raid on Brighton (July 1545). The design of the ships in these paintings, especially that of the Brighton raid, closely match those in the rolls. It is not known exactly when work on the rolls began nor when it was finished. It is only certain that it was presented to the king the year it was dated, 1546. The inclusion of the Mary Rose that...
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Answer: Mary Rose

Please answer this: I have a test where I am given the following article, what is an answer for the question: What are the first names of the people who wore Italian-style clothing? ? In late 1833 Etty was commissioned by Williams-Wynn to paint a portrait of two of his seven children. Preparing for a Fancy Dress Ball depicts Williams-Wynn's daughters Charlotte and Mary, dressing up in lavish Italian-style costume. Although their dress is generally described as Italian, Dennis Farr's 1958 biography of Etty speculates that elements of the costumes were possibly intended to be Russian, based on Charlotte's headdress. The Italian-style clothing likely represents the high level of interest in Italian culture in early 19th-century England. The popularity of the style of music now known as bel canto, widely associated with Italy, was at its peak; likewise, the Italian plays of William Shakespeare had become extremely popular in the period. Etty, who had spent a good deal of time in Venice and other Italian cities, would have been very familiar with Italian clothing designs, and the costumes worn by the Williams-Wynn sisters closely resemble those of women in Venetian scenes painted by Etty, such as 1831's Window in Venice, During a Fiesta. As art historian Leonard Robinson points out, despite the title the sisters are not in fact shown preparing for the ball, but are fully dressed. The style of the work reflects that of Thomas Lawrence, who had been Etty's teacher in 180708, as well as that of Joshua Reynolds, of whom Etty was a great admirer and of whose works Etty had often made copies as an exercise.
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Answer:
Charlotte