Problem: Background: The Macedonians (Greek: Makedones, Makedones) were an ancient tribe that lived on the alluvial plain around the rivers Haliacmon and lower Axios in the northeastern part of mainland Greece. Essentially an ancient Greek people, they gradually expanded from their homeland along the Haliacmon valley on the northern edge of the Greek world, absorbing or driving out neighbouring non-Greek tribes, primarily Thracian and Illyrian. They spoke Ancient Macedonian, a language closely related to Ancient Greek, perhaps a dialect, although the prestige language of the region was at first Attic and then Koine Greek. Their religious beliefs mirrored those of other Greeks, following the main deities of the Greek pantheon, although the Macedonians continued Archaic burial practices that had ceased in other parts of Greece after the 6th century BC.
Context: By the reign of Archelaus I of Macedon, the Macedonian elite started importing significantly greater customs, artwork, and art traditions from other regions of Greece. However, they still retained more archaic, perhaps Homeric funerary rites connected with the symposium and drinking rites that were typified with items such as decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs. Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had a military career. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6th century BC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.  Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the Alexander Sarcophagus. Macedonian paintings have allowed historians to investigate the clothing fashions as well as military gear worn by ancient Macedonians, such as the brightly-colored tomb paintings of Agios Athanasios, Thessaloniki showing figures wearing headgear ranging from feathered helmets to kausia and petasos caps.  Aside from metalwork and painting, mosaics serve as another significant form of surviving Macedonian artwork, especially those discovered at Pella dating to the 4th century BC. The Stag Hunt Mosaic of Pella, with its three dimensional qualities and illusionist style, show clear influence from painted artwork and wider Hellenistic art trends, although the rustic theme of hunting was tailored for Macedonian tastes. The similar Lion Hunt Mosaic of Pella illustrates either a scene of Alexander the Great with his companion Craterus, or simply a conventional illustration of the generic royal diversion of hunting. Mosaics with mythological themes include scenes of Dionysus riding a panther and Helen of Troy being abducted by Theseus, the latter of which employs illusionist qualities and realistic shading similar to Macedonian paintings. Common themes of Macedonian paintings and mosaics include warfare, hunting and aggressive masculine sexuality (i.e. abduction of women for rape or marriage). In some instances these themes are combined within the same work, indicating a metaphorical connection that seems to be affirmed by later Byzantine Greek literature.
Question: Where were some of the art found?
Answer: Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs.

Problem: Background: Juan Ponce de Leon (Spanish pronunciation: ['xwan 'ponthe de le'on]; 1474 - July 1521) was a Spanish explorer and conquistador born in Santervas de Campos, Valladolid, Spain in 1474. Though little is known about his family, he was of noble birth and served in the Spanish military from a young age. He first came to the Americas as a "gentlemen volunteer" with Christopher Columbus's second expedition in 1493. By the early 1500s, Ponce de Leon was a top military official in the colonial government of Hispaniola, where he helped crush a rebellion of the native Taino people.
Context: Juan Ponce de Leon was born in the village of Santervas de Campos in the northern part of what is now the Spanish province of Valladolid. Although early historians placed his birth in 1460, and this date has been used traditionally, more recent evidence shows he was likely born in 1474. The surname Ponce de Leon dates from the 13th century. The Ponce de Leon lineage began with Ponce Velaz de Cabrera, descendant of count Bermudo Nunez, and Sancha Ponce de Cabrera, daughter of Ponce Giraldo de Cabrera. Before October 1235, a son of Ponce Vela de Cabrera and his wife Teresa Rodriguez Giron named Pedro Ponce de Cabrera married Aldonza Alfonso, an illegitimate daughter of King Alfonso IX of Leon. The descendants of this marriage added the "de Leon" to their patronymic and were known henceforth as the Ponce de Leon.  The identity of his parents is still unknown, but he appears to have been a member of a distinguished and influential noble family. His relatives included Rodrigo Ponce de Leon, Marquis of Cadiz, a celebrated figure in the Moorish wars.  Ponce de Leon was related to another notable family, the Nunez de Guzmans, and as a young man he served as squire to Pedro Nunez de Guzman, Knight Commander of the Order of Calatrava. A contemporary chronicler, Gonzalo Fernandez de Oviedo y Valdes, states that Ponce de Leon gained his experience as a soldier fighting in the Spanish campaigns that defeated the Moors in Granada and completed the re-conquest of Spain in 1492.
Question: was he an only child?
Answer: