Problem: Given the question: Given the following context: Boxwood is a dense hardwood with fine grain, resistant to splitting and chippingideal for wood carving. In the 16th century, woodcut blocks used for woodblock printing were usually made of boxwood. Uses for boxwood were similar to those for ivory in medieval carvings, but boxwood was a far less expensive option than ivory. Designs were overseen by master craftsmen who must have had access to prints and woodcuts of contemporary works of art, and who were apparently influenced by diptych and triptych panel paintings.Boxwood grows slowly, so the trunk remains fairly narrow, a fact that limits the size of any carvings made from any single piece. The wood assumes an even, soft and tactile surface if polished or frequently handled, such as was the case for prayer nuts. The wood loses its tactility when painted, explaining why most of the miniatures are in monochrome. Polychromy reduced the legibility of the carvings, "quite apart from the difficulty of effectively coloring such tiny and complex scenes" as the art historian Frits Scholten has noted.The tools used in production were similar to those used in the production of larger altarpieces; they included saws, planes, card scrapers, chisels, augers, braces, and gimlets. Wood was cut into the required dimensions as blocks, after which the joints were carved out. Prayer beads were turned on a lathe. The woodcutters carved a single block of boxwood into a sphere, cut it in half, hollowed it out, and attached a fastening hinge and carrying loops. The carvings in the interiors were typically made separately from the smaller hemispheres and later fitted onto an outer shell. In some cases, these wooden shells were placed in silver housing. Because of the diminutive scale of the pieces, magnifying glasses were used in their production. The very small wood pieces were difficult to brace (hold in place) during carving. They were likely positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were... answer the following question: What were the designs for that were overseen by master craftsmen who were influenced by diptych and triptych panel paintings?
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The answer is:
medieval carvings

Problem: Given the question: Given the following context: Gloria Wandrous wakes up in the apartment of wealthy executive Weston Liggett and finds that he has left her $250. An insulted Gloria, whose dress is torn, takes Liggett's wife Emily's (Dina Merrill) mink coat to cover herself and scrawls "No Sale" in lipstick on the mirror, but she orders her telephone answering service, BUtterfield 8, to put Liggett through if he calls. Gloria visits a childhood friend, pianist Steve Carpenter, who chastises her for wasting her life on one-night stands but agrees to ask his girlfriend Norma to lend her a dress. Gloria leaves, and Norma tells Steve to choose between her and Gloria. Liggett takes a train to the countryside where his wife Emily is caring for her mother. A friend, Bingham Smith, advises him to end his adulterous relationships and return to Bing's law firm instead of working for the chemical business of Emily's father. Meanwhile, Gloria lies to her mother Annie, claiming to have spent the night at Norma's. Liggett returns home. Finding the lipstick and money, he phones Gloria to explain the money was meant for her to buy a new dress, to replace the one that he had torn. While drinking later that night, Liggett advises her to ask a high price for her lovemaking talents. She insists she does not take payment from her dates and claims she has been hired as a model to advertise the dress she is wearing at three bistros that night. Liggett follows Gloria, watching her flirt with dozens of men at several clubs. He then drives her to a run-down motel. After sleeping together, Liggett and Gloria decide to explore their relationship further. Together for five days, they grow closer, falling genuinely in love with one another and parting only upon the return of Liggett's wife. answer the following question: What's the last name of the man who Norma demands a choice from?
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The answer is:
Carpenter

Problem: Given the question: Given the following context: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well. In his memoirs, published in 2004, cellist Janos Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day. Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: "He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty. Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion: Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sevres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by... answer the following question: What jury was the respected musician a part of before his death in 1973?
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The answer is:
City of London Carl Flesch Concours