[Q]: Given the below context:  John Michael Wright, who at the height of his career would interchangeably sign himself "Anglus" or "Scotus", is of uncertain origin. The diarist John Evelyn called him a Scotsman, an epithet repeated by Horace Walpole and tentatively accepted by his later biographer, Verne. However, writing in 1700, the English antiquarian Thomas Hearne claims Wright was born in Shoe Lane, London and, after an adolescent conversion to Roman Catholicism, was taken to Scotland by a priest.  A London birth certainly seems supported by a baptismal record, dated 25 May 1617, for a "Mighell Wryghtt", son of James Wright, described as a tailor and a citizen of London, in St Bride's Church, Fleet Street, London.What is known is that, on 6 April 1636, the 19-year-old Wright was apprenticed to George Jamesone, an Edinburgh portrait painter of some repute. The Edinburgh Register of Apprentices records him as "Michaell, son to James W(right), tailor, citizen of London". The reasons for this move to Scotland are unclear, but may have to do with familial connections (his parents may have been London Scots) or the advent of plague in London. During his apprenticeship, Wright is likely to have lodged at the High Street tenement near the Netherbow Gate that served as Jameson's workplace. The apprenticeship was contracted for five years, but may have been curtailed by Jameson's imprisonment in late 1639. There is no record of any independent work by Wright from this period (his earliest known painting being a small portrait of Robert Bruce, 1st Earl of Ailesbury, painted in the early 1640s during his time in Rome).It is also possible that Wright met his wife during his Scottish residency. Nothing is known of her, except from a statement of thirty years later which describes her as "related to the most noble and distinguished families of Scotland." If this is accurate, it may explain how Wright was later able to find aristocratic patronage. All that is known for certain is that Wright had at least one child by her, a son, Thomas.  Guess a valid title for it!
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[A]: John Michael Wright


[Q]: Given the below context:  The Broadmead shopping centre was redeveloped in the early years of the century, involving the demolition of one the city's tallest mid-century towers, Tollgate House, in the construction of Cabot Circus. The former Bristol and West Tower was reworked into a glass skyscraper with glass panels in place of its concrete outer cladding. In 2005, the city council undertook extensive consultations about the future of tall buildings in Bristol, and identified support for new tall buildings so long as they are well designed, sustainable, distinctive and 'fit' into the existing urban landscape.In May 2007, proposals were announced to build approximately 753,000 square feet (70,000 m²) net of homes, offices, and business premises in the St Pauls area. The development, if it had been approved, would have included a 600 feet (183 m), 40-storey tower next to the M32 motorway, acting as a new entrance to the city. The tower would have been a similar shape to the Swiss Re "Gherkin" tower in London. Planning for the large Finzels Reach development across the Floating Harbour from Castle Park, including the old Georges Brewery buildings, was first granted in 2006 but progress was hampered by the recession and the developers went into receivership. By 2015 the development is part complete with the historic waterfront facade still awaiting regeneration. Since 2013, Bristol has seen an increase in buildings being built or office blocks being converted for student accommodation. These include Froomsgate House, St. Lawrence House (a former office block) in Broad Street, the former Magistrates Court site and New Bridewell Tower.  Guess a valid title for it!
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[A]: Buildings and architecture of Bristol


[Q]: Given the below context:  Drama critic John Earl observes a piece of artwork in a museum, gazing at it reverently. He asks the museum curator how much it costs, and the curator says that it is not for sale. The artist, James Harlan Corbin [Lederer], does not wish to sell the painting. Nonplussed, Earl returns to his office and phones Corbin with his proposal to sell. Again, Corbin refuses. Earl continues his pursuit to find out who the model for the painting was. He learns it is Helen North, a young woman who looks nothing like the woman in the painting. He visits with her to learn his location, but she refuses, telling him that she will be singing at a local nightclub, where Corbin frequents. Earl finds both of them in the museum, and again confronts Corbin. Becoming clearly annoyed, Corbin invites the singer out for a night in his yacht. She agrees, but is later found washed ashore. Although Police Lt. Roberts initially questions Helen's suitor Hunt Mason, Mason implicates Corbin as the last person who saw Helen North. John Earl works with the police department to arrange for Helen's sister Linda to apply for modeling, in order to spy on Corbin. The two return to Corbin's boathouse. While there, Linda calls for Earl and tells his chef that she is in danger and to notify the police. There, she learns that Corbin did not murder her sister. Thereafter, she falls in love with Corbin and agrees to support him against the district attorney's allegations he killed both Helen and another model, Madonna. Although Corbin has visions that he did so, Linda tells him to make sure he is telling the truth before confessing such heinous crimes. Linda returns home with Corbin's mother, who poisons her tea and tries to inject her with a lethal substance before police shoot. Corbin had suddenly recognized who it was that had planted evidence at the boathouse to implicate him. Police arrive just in time to save Linda from death but not Mrs. Corbin, who dies in her son's arms.  Guess a valid title for it!
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[A]:
The Madonna's Secret