Q:Given the following context:  The Netherlands provided William Bruce with many of his influences. He was in the Low Countries at a time when Italian Classicism was the height of fashion, and similarities have been observed between Bruce's work, particularly Holyroodhouse, and such buildings as the Amsterdam City Hall (1648–65), the work of Jacob van Campen, and Maastricht's City Hall (1659–64), by Pieter Post. Alexander Bruce had married a Dutch woman with family ties to the House of Orange, and it seems likely that he provided links to the Dutch artisans who worked on some of Bruce's projects.Bruce was certainly familiar with northern France, and in 1663 he made a further "foreign journey" at the behest of Lauderdale, although his itinerary is unknown. Whether by visit or through studying engravings, he knew several notable French houses including Vaux-le-Vicomte, Blérancourt, and the Chateau de Balleroy, the last the work of French architect François Mansart. These modern French designs, incorporating features then unknown in Scotland, such as the double-pile of major rooms in two enfilades, ranged back-to-back, were also influential on Bruce's designs.English influence is also visible in his work. His country houses took the compact Anglo-Dutch type as their model, as introduced into England by Hugh May and Sir Roger Pratt, but with Continental detailing, such as the rustication on the facade at Mertoun. Roger Pratt's Coleshill House of 1660 is often cited as a model for Bruce's Kinross House. Konrad Ottenheym concludes that Bruce employed an "international style", which was fashionable in France, Holland, and England, and that he was pivotal in disseminating this style in Scotland.  answer the following question:  What is the last name of the person who, in 1663, made a further "foreign journey" at the behest of Lauderdale was pivotal in disseminating this style in Scotland?
A:
Bruce