Read the following paragraph and extract the answer for the question: What was the last name of the family whose trading house in Paris was named after St. Catherine? The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...
----
Answer: Rapondi
Q: Read the following paragraph and extract the answer for the question: What is the first name of the person who used photography in his excavations and publications in the Indian subcontinent? In 1960, Ronald William Clark published a biography titled Sir Mortimer Wheeler. FitzRoy Somerset, 4th Baron Raglan, reviewed the volume for the journal Man, describing "this very readable little book" as being "adulatory" in tone, "but hardly more so than its subject deserves." In 1982, the archaeologist Jacquetta Hawkes published a second biography, Mortimer Wheeler: Adventurer in Archaeology. Hawkes admitted she had developed "a very great liking" for Wheeler, having first met him when she was an archaeology student at the University of Cambridge. She believed that he had "a daemonic energy", with his accomplishments in India being "almost superhuman". Ultimately, she thought of him as being "an epic hero in an anti-heroic age" in which growing social egalitarianism had stifled and condemned aspects of his greatness.In the 2000 film Hey Ram, the lead character, Saket Ram (played by Kamal Haasan) and his friend, Amjad Khan (played by Shah Rukh Khan) are shown as employees of Wheeler, who was portrayed by Lewis K. Elbinger, before the 1947 HinduMuslim riots. In a 2003 volume of the South Asian Studies journal, Sudeshna Gusha published a research article examining Wheeler's use of photography in his excavations and publications in the Indian subcontinent. In 2011, the academic journal Public Archaeology published a research paper by Moshenska and Schadla-Hall that analysed Wheeler's role in presenting archaeology to the British public. Two years later, the Papers from the Institute of Archaeology issued a short comic strip by Moshenska and Alex Salamunovich depicting Wheeler's activities in studying the archaeology of Libya during World War II.
A: Mortimer
Read the following paragraph and extract the answer for the question: What is the full name of the man who supervised the cleaning of the picture provoked "furious protests"? The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velazquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcazar in 1734, and was restored by court painter Juan Garcia de Miranda (16771749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 174748, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of Lopez-Rey, the...
----
Answer:
John Brealey