[Q]: I have a test where I am given the following article, what is an answer for the question: What is the name of the second Anglican church in Sydney? ? The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history. St James' Church has strong associations with the life and work of: Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have...
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[A]: St James' Church

[Q]: I have a test where I am given the following article, what is an answer for the question: Who is the sister of the woman that the flight sergeant asks to marry him? ? Celia Crowson and her family go on holiday to the south coast of England in the summer of 1939. Soon afterwards the Second World War breaks out and Celia's father joins what was to become the Home Guard and her more confident sister Phyllis joins the Auxiliary Territorial Service. Fearing her father's disapproval if she moves away from home, Celia hesitates about joining up but eventually her call-up papers arrive. Hoping to join the WAAF or one of the other services, Celia instead gets posted to a factory making aircraft components, where she meets her co-workers, including her Welsh room-mate Gwen Price and the vain upper middle class Jennifer Knowles. Knowles dislikes the work they have to do at the factory, causing friction with their supervisor Charlie Forbes which eventually blossoms into a verbally combative romance. A nearby RAF bomber station sends some of its men to a staff dance at the factory, during which Celia meets and falls in love with an equally shy young Scottish flight sergeant Fred Blake. Their relationship encounters a crisis when Fred refuses to tell Celia when he is sent out on his first mission, but soon afterwards they meet and make up, with Fred asking Celia to marry him. After the wedding they spend their honeymoon at the same south coast resort as the Crowsons went to in 1939, finding it much changed with minefields and barbed wire defending against the expected German invasion.
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[A]: Phyllis

[Q]: I have a test where I am given the following article, what is an answer for the question: What is the name of the person whose development was not linear, as indicated by recent dendrochronological examination of attributed works? ? Perhaps influenced by van Eyck's Madonna in the Church, Lochner closely detailed the fall and gradient of light. According to the art historian Brigitte Corley, the clothes of "protagonists change their hues in delicate reaction to the influx of light, reds being transformed through a symphony of pink tonalities to a dusty greyish white, greens to a warm pale yellow, and lemon shading through oranges to a saturated red". Lochner employed the notion of supernatural illumination not just from van Eyck, but also from von Soest's Crucifixion, where light emanating from Christ dissolves around John's red robe, as yellows rays eventually become white. There is a real possibility that a number of the faces of saints are modelled on historical persons, i.e. as donor portraits of the commissioners and their wives. Figures fitting this theory include St Ursula and St Gereon panels from the City Saints altarpiece.Unlike the painters in the Low Countries, Lochner was not so concerned with delineating perspective; his pictures are often set in shallow space, while his backgrounds give little indication of distance and often dissolve into solid gold. Thus, and given his harmonious colour schemes, Lochner is usually described as one of the last exponents of the International Gothic. This is not to say his paintings lack contemporary northern sophistication; his arrangements are often innovative. The worlds he paints are hushed, according to Snyder, achieved with the symmetry of subdued use of colour and the often repeated stylistic element of circles. Angels form circles around the heavenly figures; the heavenly figures' heads are highly circular and they wear round haloes. According to Snyder, the viewer is slowly "drawn into empathy with the revolving forms".Because of the paucity of surviving attributed works, it is difficult to detect any evolution in Lochner's style. Art historians are unsure if his style became progressively more or less influenced by Netherlandish art. Recent dendrochronological examination of...
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[A]:
Lochner