Question: From what location did convoys depart under the protection of British cruisers and destroyers?  Answer the above question based on the context below:  Dartmouth lies on the east shore of Halifax Harbour, and Halifax is on the west shore. Halifax and Dartmouth had thrived during times of war; the harbour was one of the British Royal Navy's most important bases in North America, a centre for wartime trade, and a home to privateers who harried the British Empire's enemies during the American Revolution, the Napoleonic Wars, and the War of 1812.The completion of the Intercolonial Railway and its Deep Water Terminal in 1880 allowed for increased steamship trade and led to accelerated development of the port area, but Halifax faced an economic downturn in the 1890s as local factories lost ground to competitors in central Canada.  The British garrison left the city in late 1905 and early 1906. The Canadian government took over the Halifax Dockyard (now CFB Halifax) from the Royal Navy. This dockyard later became the command centre of the Royal Canadian Navy upon its founding in 1910.Just before the First World War, the Canadian government began a determined, costly effort to develop the harbour and waterfront facilities. The outbreak of the war brought Halifax back to prominence. As the Royal Canadian Navy had virtually no seaworthy ships of its own, the Royal Navy assumed responsibility for maintaining Atlantic trade routes by re-adopting Halifax as its North American base of operations. In 1915, management of the harbour fell under the control of the Royal Canadian Navy under the supervision of Captain Superintendent Edward Harrington Martin; by 1917 there was a growing naval fleet in Halifax, including patrol ships, tugboats, and minesweepers.The population of Halifax/Dartmouth had increased to between 60,000 and 65,000 people by 1917. Convoys carried men, animals, and supplies to the European theatre of war. The two main points of departure were in Nova Scotia at Sydney, on Cape Breton Island, and Halifax. Hospital ships brought the wounded to the city, and a new military hospital was constructed in the city.The success of German U-boat attacks on ships...
Answer: Bedford Basin
[Q]: What is the full name of the person who commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks?  Answer the above question based on the context below:  Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death.
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[A]: Frédéric Spitzer
input: Please answer the following: The influence of what can be seen as in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein?  Answer the above question based on the context below:  The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait. Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.
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output:
Bertin portrait