Q: Found the following article online, use it to answer the question: What is the earliest of the huge stelae that were to characterise Quirigua? Altar M this modest monument is the earliest known monument dedicated by K'ak' Tiliw Chan Yopaat. The importance of this monument lies in its text, in which this preeminent king of Quirigua claimed the title of k'uhul ajaw, holy lord, and began his bid for independence from Copan. This rhyolite sculpture was dedicated on 15 September 734 and has the form of a monstrous head, possibly that of a crocodilian. Altar N is another small rhyolite sculpture stylistically similar to Altar M. This sculpture has the form of a turtle shell with a skeletal head with a mirror on its forehead emerging sideways from one end and an elderly figure from the other. This is a representation of the bicephalic deity Pawatun (God N), a prominent underworld deity. Zoomorph O is a crocodile-mountain hybrid monster, dedicated in 790 by king "Sky Xul". It is accompanied by an altar depicting a lightning god. It is located in the Ballcourt Plaza, just south of the ballcourt itself. Zoomorph P (which explorer Maudslay nicknamed The Great Turtle) was dedicated in 795 by "Sky Xul" and is a masterpiece of Mesoamerican art. It weighs around 20 tons. On one side it depicts a larger-than-life portrait of "Sky Xul" himself seated cross-legged in the open jaws of an enormous crocodile-mountain hybrid monster. The design of this zoomorph is incredibly intricate and the whole monument is covered with skilfully executed sculpture. It is located in the Ballcourt Plaza, just south of the ballcourt. Zoomorph P is accompanied by an altar depicting an unidentified deity leaping from a split in the earth. A hieroglyphic text on the zoomorph describes the founding of Quirigua under the supervision of the king of Copan. Traces of red pigment have been found on this monument, suggesting that it was originally painted red. Altar Q and Altar R are two small rhyolite disks that probably served as ballcourt markers for the earliest ballcourt, the buried Structure 1B-sub.4. Together with a third stone they would have marked the central axis of the ballcourt. They...
A: Stela S

Q: Found the following article online, use it to answer the question: Where is the vampire committing murders? Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
A: Whitechapel

Q: Found the following article online, use it to answer the question: What is the real name of the person who attended weekend art classes in Inverell? Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
A: Bronwyn Gooda

Q: Found the following article online, use it to answer the question: What did legend claim the central pillar was made from? Manjakamiadana was built in two stages. The original palace, built between 1839 and 1840 on the orders of Ranavalona I, was built entirely in wood by Jean Laborde. In 1867, during the reign of Ranavalona II, a stone casing was erected around the original wooden structure. The 30-metre (98 ft) long, 20-metre (66 ft) wide original wooden structure was 37 metres (121 ft) high, including the steeply pitched roof of wooden shingles, itself 15 metres (49 ft) in height. These measurements exclude the two superimposed balconies that extended 4.6 metres (15 ft) from the exterior walls and encircled the entire building, supported by 0.61-metre (2.0 ft) diameter wooden posts. The exterior of the entire building, including the roof, was painted white, with the exception of the balcony railings which were red. The exterior walls were composed of wooden planks tightly fitted together in a repeated chevron pattern reminiscent of traditional thatch walls, while the wood planks of the interior walls were hung vertically. The building could be entered by three doors: the main entrance in the northern wall, another in the southern wall and a third reserved for servants in the eastern wall.An open and spacious ground floor respected the same traditional layout exemplified in Besakana and other Merina homes, including the presence of hearth stones in their customary corner. Following traditional construction practices, the roof three stories above was supported by an enormous andry (central pillar) that was given the name Volamihitsy ("Genuine Silver"). According to popular legend, this was made of a single rosewood tree trunk transported from the eastern rain forests. Recent archaeological excavations of the site during reconstruction have since disproved this account as the pillar was found to be a composite of fitted rosewood pieces rather than a single solid post. According to custom, the north-eastern corner pillar was the first to be erected. Its length necessitated the use of a pulley designed by Jean Laborde, the...
A:
a single rosewood tree trunk