Q: Found the following article online, use it to answer the question: What is the first name of the person who Read refrains from endorsing the attributions to? In a collection of Renaissance metalwork Benvenuto Cellini (150071) represents the ultimate attribution, as his genuine works as a goldsmith are rarer than paintings by Giorgione. In his 1902 catalogue Charles Hercules Read mentions that many of the pendants had been attributed to Cellini, but refrains from endorsing the attributions. A small silver hand-bell (WB.95) had belonged to Horace Walpole, who praised it extravagantly in a letter as "the uniquest thing in the world, a silver bell for an inkstand made by Benvenuto Cellini. It makes one believe all the extravagant encomiums he bestows on himself; indeed so does his Perseus. Well, my bell is in the finest taste, and is swarmed by caterpillars, lizards, grasshoppers, flies, and masques, that you would take it for one of the plagues of Egypt. They are all in altissimo, nay in out-issimo relievo and yet almost invisible but with a glass. Such foliage, such fruitage!" However Baron Ferdinand had realized that it was more likely to be by Wenzel Jamnitzer, goldsmith to the Emperor Rudolf II, to whom it is still attributed. Another piece no longer attributed to Cellini is a large bronze door-knocker, with a figure of Neptune, 40 cm high, and weighing over 11 kilos.One category of the bequest that has seen several demotions is the 16 pieces and sets of highly decorated cutlery (WB.201216). Read dated none of these later than the 17th century, but on the British Museum database in 2014 several were dated to the 19th century, and were recent fraudulent creations when they entered the collection, some made by Reinhold Vasters. Doubts have also been raised over a glass cup and cover bearing the date 1518 (WB.59), which might in fact be 19th-century. Eight pieces of silver plate were redated to the 19th century by Hugh Tait, and some of the jewellery.
A: Benvenuto

Q: Found the following article online, use it to answer the question: What the original name of the church of which the author of "The Legend of Sleepy Hollow" was a parishioner? Briarcliff Manor is home to seven Christian churches and two synagogues; three churches (Holy Innocents Anglican Church, Saint Mary's Church and Scarborough Presbyterian Church) are in Scarborough. Other churches in the village are All Saints' Episcopal Church, St. Theresa's Catholic Church, Faith Lutheran Brethren Church, and Briarcliff Congregational Church (United Church of Christ). Jewish synagogues Congregation Sons of Israel and Chabad Lubavitch of Briarcliff Manor & Ossining are in Chilmark.Saint Mary's Episcopal Church, founded in 1839 by William Creighton as Saint Mary's Church, Beechwood, is Briarcliff Manor's oldest church; it was reincorporated in 1945 as Saint Mary's Church of Scarborough. The granite church was built by local stonemasons and paid for by Creighton's wealthy neighbors, including Commodore Matthew Perry, James Watson Webb, William Aspinwall, and Ambrose Kingsland. The church is in near-original condition, with a design based on the 14th-century Gothic St. Mary's parish church in Scarborough, England and the only church with a complete set of William Jay Bolton stained-glass windows. The church, built in 1851, is a contributing property to the National Register-listed Scarborough Historic District. The 338-acre (137 ha) Sleepy Hollow Country Club surrounds the church grounds on three sides. Notable parishioners included Commodore Matthew C. Perry and Washington Irving. Irving, author of "Rip Van Winkle" and "The Legend of Sleepy Hollow", brought the ivy surrounding the church from Abbotsford (home of Walter Scott). On July 5, 2015, Saint Mary's Episcopal Church closed after 175 years in operation; the Church of South India's Congregation of the Hudson Valley moved in that November.Scarborough Presbyterian Church, given to the community by Margaret Louisa Vanderbilt Shepard and her husband Colonel Elliott Fitch Shepard (who lived on the nearby Woodlea estate), was the first church in the United States with an electric organ. Built in 1895 and designed by Augustus Haydel (a nephew of...
A: Saint Mary's Church, Beechwood

Q: Found the following article online, use it to answer the question: What are the last names of the men depicted in the painting? Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while...
A:
Fox