[Q]: What is the last name of the person who hosted a banquet for his captors on 2 February 1101? Answer the above question based on the context below: Most of the early Norman castles were built from timber, but by the end of the 11th century a few, including the Tower of London, had been renovated or replaced with stone. Work on the White Tower which gives the whole castle its name is usually considered to have begun in 1078, however the exact date is uncertain. William made Gundulf, Bishop of Rochester, responsible for its construction, although it may not have been completed until after William's death in 1087. The White Tower is the earliest stone keep in England, and was the strongest point of the early castle. It also contained grand accommodation for the king. At the latest, it was probably finished by 1100 when Bishop Ranulf Flambard was imprisoned there. Flambard was loathed by the English for exacting harsh taxes. Although he is the first recorded prisoner held in the Tower, he was also the first person to escape from it, using a smuggled rope secreted in a butt of wine. He was held in luxury and permitted servants, but on 2 February 1101 he hosted a banquet for his captors. After plying them with drink, when no one was looking he lowered himself from a secluded chamber, and out of the Tower. The escape came as such a surprise that one contemporary chronicler accused the bishop of witchcraft.The Anglo-Saxon Chronicle records that in 1097 King William II ordered a wall to be built around the Tower of London; it was probably built from stone as a replacement for the timber palisade that arced around the north and west sides of the castle, between the Roman wall and the Thames. The Norman Conquest of London manifested itself not only with a new ruling class, but in the way the city was structured. Land was confiscated and redistributed amongst the Normans, who also brought over hundreds of Jews, for financial reasons. The Jews arrived under the direct protection of the Crown, as a result of which Jewish communities were often found close to castles. The Jews used the Tower as a retreat, when threatened by anti-Jewish violence.The death in 1135 of...
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[A]: Flambard

[Q]: What was the name of the partnership the designed the Abbeystead House? Answer the above question based on the context below: In 188587 the partnership designed Abbeystead House for the 4th Earl of Sefton in North Lancashire. Hubbard describes this as "the finest of Douglas's Elizabethan houses, and one of the largest which he ever designed". During this time additions were made to Jodrell Hall in Cheshire and Halkyn Castle in Flintshire. In 1885 the Castle Hotel at Conwy, Caernarfonshire, was remodelled, and in 188788 a strongroom was added to Hawarden Castle, followed by a porch in 1890. During this period more buildings were added to the Eaton Hall estate, and these included houses and cottages, such as Eccleston Hill, and Eccleston Ferry House, and farms such as Saighton Lane Farm. In 189091 an obelisk was built in the Belgrave Avenue approach to Eaton Hall. The last house designed by Douglas on a large scale was Brocksford Hall (1893) in Derbyshire. This was a country house in Elizabethan style using diapered brick and stone dressings with a clock tower. In Chester city centre, 38 Bridge Street (1897) is a timber-framed shop that incorporates a section of Chester Rows and contains heavily decorated carving. From 1892 the partnership designed houses and cottages in Port Sunlight for Lever Brothers. Also in the village they designed the Dell Bridge (1894), and the school (189496), which is now called the Lyceum. In 1896 Douglas designed a house for himself, Walmoor Hill in Dee Banks, Chester, in Elizabethan style. Between 1895 and 1897 he designed a range of buildings on the east side of St Werburgh Street in the centre of Chester. At its south end, on the corner of Eastgate Street, is a bank whose ground storey is built in stone, and behind this leading up St Werburgh Street, the ground storey consists of shop fronts. Above this the range consists of two storeys plus an attic, which are covered in highly ornamented timber-framing. On the first floor is a series of oriel windows, the second floor is jettied, and at the top are eleven gables. Pevsner considers that this range of buildings is "Douglas at his best (though also...
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[A]: Douglas

[Q]: What is the full name of the person that thought they had purchased an oil sketch prepared by Velazquez? Answer the above question based on the context below: In 1692, the Neapolitan painter Luca Giordano became one of the few allowed to view paintings held in Philip IV's private apartments, and was greatly impressed by Las Meninas. Giordano described the work as the "theology of painting", and was inspired to paint A Homage to Velazquez (National Gallery, London). By the early 18th century his oeuvre was gaining international recognition, and later in the century British collectors ventured to Spain in search of acquisitions. Since the popularity of Italian art was then at its height among British connoisseurs, they concentrated on paintings that showed obvious Italian influence, largely ignoring others such as Las Meninas.An almost immediate influence can be seen in the two portraits by Mazo of subjects depicted in Las Meninas, which in some ways reverse the motif of that painting. Ten years later, in 1666, Mazo painted Infanta Margaret Theresa, who was then 15 and just about to leave Madrid to marry the Holy Roman Emperor. In the background are figures in two further receding doorways, one of which was the new King Charles (Margaret Theresa's brother), and another the dwarf Maribarbola. A Mazo portrait of the widowed Queen Mariana again shows, through a doorway in the Alcazar, the young king with dwarfs, possibly including Maribarbola, and attendants who offer him a drink. Mazo's painting of The Family of the Artist also shows a composition similar to that of Las Meninas. Francisco Goya etched a print of Las Meninas in 1778, and later used Velazquez's painting as the model for his Charles IV of Spain and His Family. As in Las Meninas, the royal family in Goya's work is apparently visiting the artist's studio. In both paintings the artist is shown working on a canvas, of which only the rear is visible. Goya, however, replaces the atmospheric and warm perspective of Las Meninas with what Pierre Gassier calls a sense of "imminent suffocation". Goya's royal family is presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim...
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[A]:
William John Bankes