The answer to the question: What is the last name of the person who designed stained glass for his secular buildings? is inside the article: Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements." The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal."., can you guess it ?
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Answer: Burges
Q: The answer to the question: What is the last name of the person who had concerts renamed in his honor after he died? is inside the article: Sir Henry Joseph Wood (3 March 1869 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms. He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms". Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company. He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892. From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music. When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall. Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood..., can you guess it ?
A: Wood
Question: The answer to the question: What city was expecting to have an economic boon? is inside the article: When Scranton agreed to take on Steamtown, U.S.A., it was estimated that the museum and excursion business would attract 200,000 to 400,000 visitors to the city every year. In anticipation of this economic boon, the city and a private developer spent $13 million to renovate the Delaware, Lackawanna and Western Railroad (DL&W) station and transform it into a Hilton hotel, at a time when the unemployment rate in the city was 13 percent. Only 60,000 visitors showed up at Steamtown in 1987, and the 1988 excursions were canceled. After only three years, it was $2.2 million in debt and facing bankruptcy. Part of the problem was the cost of restoration of the new property and the deteriorating equipment. In addition, while the tourists in Vermont had enjoyed the sights of cornfields, farms, covered bridges, a waterfall and a gorge on a Steamtown excursion, the Scranton trip to Moscow, Pennsylvania, cut through one of the nation's largest junkyards, an eyesore described by Ralph Nader as "the eighth wonder of the world".In 1986, the U.S. House of Representatives, under the urging of Scranton native, Representative Joseph M. McDade, voted to approve the spending of $8 million to study the collection and to begin the process of making it a National Historic Site. By 1995, Steamtown was acquired and developed by the National Park Service (NPS) at a total cost of $66 million, and opened as Steamtown National Historic Site the same year. In preparation for its acquisition of the collection, the NPS had conducted historical research during 1987 and 1988 on the equipment that still remained in the foundation's possession. This research was used for a Scope of Collections Statement for Steamtown National Historic Site and was published in 1991 under the title Steamtown Special History Study. Aside from providing concise histories of the equipment, the report also made recommendations as to whether or not each piece belonged in the now government-funded collection. Historical significance to the United States was a..., can you guess it ?
Answer: Scranton
The answer to the question: What had long, pillar-like appendages and a 4.3-foot-long head? is inside the article: Paraceratherium is an extinct genus of hornless rhinoceros, and one of the largest terrestrial mammals that has ever existed. It lived from the early to late Oligocene epoch (3423 million years ago); its remains have been found across Eurasia between China and the Balkans. It is classified as a member of the hyracodont subfamily Indricotheriinae. Paraceratherium means "near the hornless beast", in reference to Aceratherium, the genus in which the type species P. bugtiense was originally placed. The exact size of Paraceratherium is unknown because of the incompleteness of the fossils. Its weight is estimated to have been 15 to 20 tonnes (33,000 to 44,000 lb) at most; the shoulder height was about 4.8 metres (15.7 feet), and the length about 7.4 metres (24.3 feet). The legs were long and pillar-like. The long neck supported a skull that was about 1.3 metres (4.3 ft) long. It had large, tusk-like incisors and a nasal incision that suggests it had a prehensile upper lip or proboscis (trunk). The lifestyle of Paraceratherium may have been similar to that of modern large mammals such as the elephants and extant rhinoceroses. Because of its size, it would have had few predators and a slow rate of reproduction. It was a browser, eating mainly leaves, soft plants, and shrubs. It lived in habitats ranging from arid deserts with a few scattered trees to subtropical forests. The reasons for the animal's extinction are unknown, but various factors have been proposed., can you guess it ?
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Answer:
Paraceratherium