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The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
What did Clarke try to find through creating an intelligence analysis center Different organizations raising funds for Al Qaeda
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding Detroit
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding Detroit
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding Detroit
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding Minneapolis
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding Minneapolis
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding Minneapolis
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding Minneapoilis
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding Minneapoilis
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding Minneapoilis
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding San Diego
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding San Diego
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding San Diego
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding New York, Chicago, Detroit, San Diego, and Minneapolis
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding New York, Chicago, Detroit, San Diego, and Minneapolis
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding New York, Chicago, Detroit, San Diego, and Minneapolis
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding Chicago
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding Chicago
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding Chicago
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding New York
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding New York
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding New York
|
The FBI operated a web of informants, conducted electronic surveillance, and had opened significant investigations in a number of field offices, including New York, Chicago, Detroit, San Diego, and Minneapolis. ||||| Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups.
|
Where were field offices opened to investigate al Qaeda funding San Deigo
|
Within the United States, various FBI field offices gathered intelligence on organizations suspected of raising funds for al Qaeda or other terrorist groups. ||||| The officials developed a new theory: al Qaeda was getting its money elsewhere, and the United States needed to focus on other sources of funding, such as charities, wealthy donors, and financial facilitators.
|
Where were field offices opened to investigate al Qaeda funding San Deigo
|
Large-scale scandals, such as the use of the Bank of New York by Russian money launderers to move millions of dollars out of Russia, captured the attention of the Department of the Treasury and of Congress. ||||| By 9/11, FBI agents understood that there were extremist organizations operating within the United States supporting a global jihadist movement and with substantial connections to al Qaeda.
|
Where were field offices opened to investigate al Qaeda funding San Deigo
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The plain centre of the screen is the work of Remigius, the first bishop. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
Is the entire Norman screen the work of Remigius, or did he only begin it No, the relief work was Late Norman and Early English
|
The rest of it is relieved with rich arcading of Late Norman and Early English periods. ||||| The wooden spires which crowned the towers were removed in 1807. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken.
|
Is the entire Norman screen the work of Remigius, or did he only begin it No, the relief work was Late Norman and Early English
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| His successors completed the western transept and began the west end of the nave.
|
Is the entire Norman screen the work of Remigius, or did he only begin it No, the relief work was Late Norman and Early English
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The plain centre of the screen is the work of Remigius, the first bishop. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
Is the entire Norman screen the work of Remigius, or did he only begin it He began it
|
The rest of it is relieved with rich arcading of Late Norman and Early English periods. ||||| The wooden spires which crowned the towers were removed in 1807. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken.
|
Is the entire Norman screen the work of Remigius, or did he only begin it He began it
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| His successors completed the western transept and began the west end of the nave.
|
Is the entire Norman screen the work of Remigius, or did he only begin it He began it
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
Which sculpture is a Gothic masterpiece Angel Choir
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| The wooden spires which crowned the towers were removed in 1807.
|
Which sculpture is a Gothic masterpiece Angel Choir
|
The plain centre of the screen is the work of Remigius, the first bishop. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
Which sculpture is a Gothic masterpiece Angel Choir
|
The plain centre of the screen is the work of Remigius, the first bishop. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
Who is Remigus and what time or period was he around The first bishop, Norman period
|
The plain centre of the screen is the work of Remigius, the first bishop. ||||| His successors completed the western transept and began the west end of the nave.
|
Who is Remigus and what time or period was he around The first bishop, Norman period
|
Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height. ||||| The mighty fane, with its three massive towers, rises majestically over the red roofs of the town.
|
Who is Remigus and what time or period was he around The first bishop, Norman period
|
To him we owe the choir and eastern transept. ||||| His successors completed the western transept and began the west end of the nave.
|
Who created the eastern transept Hugh of Avalon
|
His successors completed the western transept and began the west end of the nave. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
Who created the eastern transept Hugh of Avalon
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height.
|
Who created the eastern transept Hugh of Avalon
|
To him we owe the choir and eastern transept. ||||| His successors completed the western transept and began the west end of the nave.
|
Who created the eastern transept Hugh of Avalon created the eastern transept
|
His successors completed the western transept and began the west end of the nave. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
Who created the eastern transept Hugh of Avalon created the eastern transept
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height.
|
Who created the eastern transept Hugh of Avalon created the eastern transept
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
What architectural style the Angel Choir belongs to Lancet-Gothic
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What architectural style the Angel Choir belongs to Lancet-Gothic
|
The wooden spires which crowned the towers were removed in 1807. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
What architectural style the Angel Choir belongs to Lancet-Gothic
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
What architectural style the Angel Choir belongs to Gothic
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What architectural style the Angel Choir belongs to Gothic
|
The wooden spires which crowned the towers were removed in 1807. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
What architectural style the Angel Choir belongs to Gothic
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
Which feature of the mighty fane has rich arcading of Late Norman and Early English periods The Norman Screen
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The mighty fane, with its three massive towers, rises majestically over the red roofs of the town.
|
Which feature of the mighty fane has rich arcading of Late Norman and Early English periods The Norman Screen
|
So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius. ||||| His successors completed the western transept and began the west end of the nave.
|
Which feature of the mighty fane has rich arcading of Late Norman and Early English periods The Norman Screen
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
|
What object is contained within the fane and what is significant about the design of its center The Norman Screen and its plain centre
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
What object is contained within the fane and what is significant about the design of its center The Norman Screen and its plain centre
|
To him we owe the choir and eastern transept. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
What object is contained within the fane and what is significant about the design of its center The Norman Screen and its plain centre
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
|
What object is contained within the fane and what is significant about the design of its center The work of Remigius
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
What object is contained within the fane and what is significant about the design of its center The work of Remigius
|
To him we owe the choir and eastern transept. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
What object is contained within the fane and what is significant about the design of its center The work of Remigius
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| The wooden spires which crowned the towers were removed in 1807.
|
Which building's spires were removed in 1807 Norman building of Remigius
|
The wooden spires which crowned the towers were removed in 1807. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
Which building's spires were removed in 1807 Norman building of Remigius
|
His successors completed the western transept and began the west end of the nave. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
Which building's spires were removed in 1807 Norman building of Remigius
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| To him we owe the choir and eastern transept.
|
Who is responsible for the rebuilding of the choir and eastern transept Hugh of Avalon
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| The rest of it is relieved with rich arcading of Late Norman and Early English periods.
|
Who is responsible for the rebuilding of the choir and eastern transept Hugh of Avalon
|
So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
Who is responsible for the rebuilding of the choir and eastern transept Hugh of Avalon
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
What is the church's most striking feature Norman screen
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What is the church's most striking feature Norman screen
|
In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
What is the church's most striking feature Norman screen
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
What is the church's most striking feature The great Norman screen
|
Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What is the church's most striking feature The great Norman screen
|
In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
What is the church's most striking feature The great Norman screen
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothi
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothi
|
His successors completed the western transept and began the west end of the nave. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothi
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothic and St. Hugh's design of low vaulting is a serious defect
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothic and St. Hugh's design of low vaulting is a serious defect
|
His successors completed the western transept and began the west end of the nave. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
|
What is the style of the interior cathedral and why is there a problem with the choir Lancet-Gothic and St. Hugh's design of low vaulting is a serious defect
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| To him we owe the choir and eastern transept.
|
To whom do we owe the rebuilding of the Norman building of Remigius Hugh of Avalon
|
To him we owe the choir and eastern transept. ||||| Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height.
|
To whom do we owe the rebuilding of the Norman building of Remigius Hugh of Avalon
|
So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius. ||||| The wooden spires which crowned the towers were removed in 1807.
|
To whom do we owe the rebuilding of the Norman building of Remigius Hugh of Avalon
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
|
How many times the building of Remigius was rebuilt At least 2
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
|
How many times the building of Remigius was rebuilt At least 2
|
To him we owe the choir and eastern transept. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
|
How many times the building of Remigius was rebuilt At least 2
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| To him we owe the choir and eastern transept.
|
Who rebuilt the choir and eastern transept Hugh of Avalon
|
To him we owe the choir and eastern transept. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
Who rebuilt the choir and eastern transept Hugh of Avalon
|
The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness. ||||| The mighty fane, with its three massive towers, rises majestically over the red roofs of the town.
|
Who rebuilt the choir and eastern transept Hugh of Avalon
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
Which building's most striking feature is the great Norman screen The fane
|
The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. ||||| To him we owe the choir and eastern transept.
|
Which building's most striking feature is the great Norman screen The fane
|
The rest of it is relieved with rich arcading of Late Norman and Early English periods. ||||| To him we owe the choir and eastern transept.
|
Which building's most striking feature is the great Norman screen The fane
|
In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. ||||| To him we owe the choir and eastern transept.
|
Who was responsible for initially building the choir and eastern transept and in what year did he start Hugh of Avalon in 1192
|
To him we owe the choir and eastern transept. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
Who was responsible for initially building the choir and eastern transept and in what year did he start Hugh of Avalon in 1192
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height.
|
Who was responsible for initially building the choir and eastern transept and in what year did he start Hugh of Avalon in 1192
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
What has the richness of sculpture and is masterpiece of Gothic style in England The angle Choir which encloses shrine
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In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
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What has the richness of sculpture and is masterpiece of Gothic style in England The angle Choir which encloses shrine
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The rest of it is relieved with rich arcading of Late Norman and Early English periods. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
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What has the richness of sculpture and is masterpiece of Gothic style in England The angle Choir which encloses shrine
|
The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. ||||| In its richness of sculpture it is one of the masterpieces of Gothic architecture in England.
|
What has the richness of sculpture and is masterpiece of Gothic style in England Angel Choir
|
In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
What has the richness of sculpture and is masterpiece of Gothic style in England Angel Choir
|
The rest of it is relieved with rich arcading of Late Norman and Early English periods. ||||| Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front.
|
What has the richness of sculpture and is masterpiece of Gothic style in England Angel Choir
|
Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height. ||||| So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius.
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What is the issue with the nave and why is the axis of the west front conflicting with it The axis of the west front does not correspond to that of the nave, which is too wide for its height
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Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height. ||||| The plain centre of the screen is the work of Remigius, the first bishop.
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What is the issue with the nave and why is the axis of the west front conflicting with it The axis of the west front does not correspond to that of the nave, which is too wide for its height
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To him we owe the choir and eastern transept. ||||| The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
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What is the issue with the nave and why is the axis of the west front conflicting with it The axis of the west front does not correspond to that of the nave, which is too wide for its height
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