Please answer this: Found the following article online, use it to answer the question: What is the name of the room that contains a bust of Aelius Verus? Inside the house, the Palladian form reaches a height and grandeur seldom seen in any other house in England. It has, in fact, been described as "The finest Palladian interior in England." The grandeur of the interior is obtained with an absence of excessive ornament, and reflects Kent's career-long taste for "the eloquence of a plain surface". Work on the interiors ran from 1739 to 1773. The first habitable rooms were in the family wing and were in use from 1740, the Long Library being the first major interior completed in 1741. Among the last to be completed and entirely under Lady Leicester's supervision is the Chapel with its alabaster reredos. The house is entered through the Marble Hall (though the chief building fabric is in fact pink Derbyshire alabaster), modelled by Kent on a Roman basilica. The room is over 50 feet (15 m) from floor to ceiling and is dominated by the broad white marble flight of steps leading to the surrounding gallery, or peristyle: here alabaster Ionic columns support the coffered, gilded ceiling, copied from a design by Inigo Jones, inspired by the Pantheon in Rome. The fluted columns are thought to be replicas of those in the Temple of Fortuna Virilis, also in Rome. Around the hall are statues in niches; these are predominantly plaster copies of classical deities. The hall's flight of steps lead to the piano nobile and state rooms. The grandest, the Saloon, is situated immediately behind the great portico, with its walls lined with patterned red caffoy (a mixture of wool, linen and silk) and a coffered, gilded ceiling. In this room hangs Rubens's Return from Egypt. On his Grand Tour, the Earl acquired a collection of Roman copies of Greek and Roman sculpture which is contained in the extensive Statue Gallery, which runs the full length of the house north to south. The North Dining Room, a cube room of 27 feet (8.2 m) contains an Axminster carpet that perfectly mirrors the pattern of the ceiling above. A bust of Aelius Verus, set in a niche in the wall of this room, was found...
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Answer: The North Dining Room,

Please answer this: Found the following article online, use it to answer the question: What is the last name of the person who it is known why they decided to build in Beaune? Nicolas Rolin was appointed Chancellor of Burgundy by Philip the Good in 1422, a position he held for the next 33 years. His tenure with the duke made him a wealthy man, and he donated a large portion of his fortune for the foundation of the Hotel-Dieu in Beaune. It is not known why he decided to build in Beaune rather than in his birthplace of Autun. He may have chosen Beaune because it lacked a hospital and an outbreak of the plague decimated the population between 1438 and 1440. Furthermore, when in 1435 the Treaty of Arras failed to bring a cessation to the longstanding hostility and animosity between Burgundy and France, the town suffered brutal ravages and famine from ecorcheurs (marauding bands) who roamed the countryside during the late 1430s and early 1440s. The hospice was built after Rolin gained permission from Pope Eugene IV in 1441, and it was eventually consecrated on 31 December 1452. In conjunction, Rolin established the religious order of "Les surs hospitalieres de Beaune". Rolin dedicated the hospice to St Anthony Abbot, who was commonly associated with sickness and healing during the Middle Ages. In the hospice's founding charter, signed in August 1443, Rolin wrote that "disregarding all human concerns and in the interest of my salvation, desiring by a favourable trade to exchange for celestial goods temporal ones, that I might from divine goodness render those goods which are perishable for ones which are eternal ... in gratitude for the goods which the Lord, source of all wealth, has heaped upon me, from now on and for always, I found a hospital." In the late 1450s, only a few years before he died, he added a provision to the hospital charter stipulating that the Mass for the Dead be offered twice daily. Rolin's wife, Guigone de Salins, played a major role in the foundation, as probably did his nephew Jan Rolin. De Salins lived and served at the hospice until her own death in 1470.Documents regarding the artwork's commissioning survive and, unusually for a Netherlandish altarpiece,...
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Answer: Rolin

Please answer this: Found the following article online, use it to answer the question: What year was the first published score of the piece that was completed in 24 days issued? The music for Messiah was completed in 24 days of swift composition. Having received Jennens's text some time after 10 July 1741, Handel began work on it on 22 August. His records show that he had completed Part I in outline by 28 August, Part II by 6 September and Part III by 12 September, followed by two days of "filling up" to produce the finished work on 14 September. The autograph score's 259 pages show some signs of haste such as blots, scratchings-out, unfilled bars and other uncorrected errors, but according to the music scholar Richard Luckett the number of errors is remarkably small in a document of this length. The original manuscript for Messiah is now held in the British Library's music collection. It is scored for 2 trumpets, timpani, 2 oboes, 2 violins, viola, and basso continuo (cello, double bass, and harpsichord). At the end of his manuscript Handel wrote the letters "SDG"Soli Deo Gloria, "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the "Hallelujah" chorus, "he saw all heaven before him". Burrows points out that many of Handel's operas, of comparable length and structure to Messiah, were composed within similar timescales between theatrical seasons. The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, Samson, within a week of finishing Messiah, and completed his draft of this new work in a month. In accordance with his frequent practice when writing new works, Handel adapted existing compositions for use in Messiah, in this case drawing on two recently completed Italian duets and one written twenty years previously. Thus, Se tu non-lasci amore from 1722 became the basis of "O Death, where is thy sting?"; "His yoke is easy" and "And he shall purify" were drawn from Quel fior che alla'ride (July 1741), "Unto us a child is born" and "All we...
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Answer:
1767