nc33/multispan_quoref huggingface dataset:
The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection.
The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical mythology, and took place in brightly lit Mediterranean settings. The Seasons, by contrast, was seen as an explicitly English work, requiring a more muted palette to deal with the typical lighting conditions of Yorkshire.

Question: What is the first name of the person whose only large nude was never exhibited in his lifetime and remained in private hands until 1847?
Answer: Thomas
The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection.
The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical mythology, and took place in brightly lit Mediterranean settings. The Seasons, by contrast, was seen as an explicitly English work, requiring a more muted palette to deal with the typical lighting conditions of Yorkshire.

Question: What is the name of the person to whom Reverend Issac Spencer was a close friend and patron?
Answer: Etty
The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection.
The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical mythology, and took place in brightly lit Mediterranean settings. The Seasons, by contrast, was seen as an explicitly English work, requiring a more muted palette to deal with the typical lighting conditions of Yorkshire.

Question: What is the name of the person who moved away from Rubens, his greatest influence prior to that time?
Answer: Etty
The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection.
The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical mythology, and took place in brightly lit Mediterranean settings. The Seasons, by contrast, was seen as an explicitly English work, requiring a more muted palette to deal with the typical lighting conditions of Yorkshire.

Question: Whose history paintings had primarily been of themes of classical mythology?
Answer: Etty
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the last name of the person who ceased to be a major influence on writers after the death of Wordworth?
Answer: Thomson
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What work was a pretext for nude paintings by English artists?
Answer: Musidora
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the name of the person who was regarded as a pornographer?
Answer: Etty
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the name of the work that was likely influenced by Musidora?
Answer: The Knight Errant
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What were the full names of the two artists who were directly influenced by Etty?
Answer: John Everett Millais, William Edward Frost
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What word became a derogatory term by 1915?
Answer: Victorian
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the name of the book that was one of the few 20-century  academic works to favorably view Musidora?
Answer: The Human Form in Art
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the last name of Etty's admirer?
Answer: Frost
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What was the last name of the artist whose work was titled The Knight Errant?
Answer: Millais
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What is the name of the person in whom interest declined as new movements came to characterise painting in Britain?
Answer: Etty
By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.

Question: What is the name of the person whose paintings had fallen in value by the end of the 19th century?
Answer: Etty
The film begins with an introduction to the documentary from the boys. Nat and Alex Wolff, aged nine and six respectively, are members of the fictional band The Silver Boulders, which also consists of Thomas, David, Josh, and their manager Cooper. The band found success after a music executive signed them to his label, Who's the Man Records. The band performs their new song "Motormouth" at a concert in the Hammerstein Ballroom. After the show, the band members describe how their group started and a clip from their music video "Crazy Car" is shown.
The bandmates get along well until Thomas composes the song "Boys Rule, Girls Drool", which Nat dislikes. Nat writes a song called "Rosalina" that is about Josh's elder half-sister. Thomas and Josh ridicule Nat because the song shows his feelings for her. Moreover, Josh composes another song that Nat also dislikes, titled "I'm the God of Rock and Roll", set to the tune of "Twinkle, Twinkle, Little Star". The band has a food fight in a restaurant, prompting Thomas, David, and Josh to leave and form a new group, The Gold Boulders, managed by the scornful Mort Needleman.
After watching media reports of the band's split on television, Nat and Alex go into a state of depression. Alex begins to binge on lemon-lime soda and falls asleep, while he lies curled in the midst of aluminum cans. Nat simultaneously writes a song by the piano titled "If There Was a Place to Hide" as the band's fans gather outside his apartment, pleading for them to reunite. Despite the absence of the formers, Alex persuades a reluctant Nat to revive the band, and subsequently, they change the band's title to its original, The Naked Brothers Band. Through a line-up of auditions, Nat, Alex, and Cooper select Rosalina as their cellist and Cole Hawkins — a member of the original Naked Brothers Band — as the guitarist.

Question: Which members write songs that Nat doesn't like?
Answer: Thomas, Josh
The film begins with an introduction to the documentary from the boys. Nat and Alex Wolff, aged nine and six respectively, are members of the fictional band The Silver Boulders, which also consists of Thomas, David, Josh, and their manager Cooper. The band found success after a music executive signed them to his label, Who's the Man Records. The band performs their new song "Motormouth" at a concert in the Hammerstein Ballroom. After the show, the band members describe how their group started and a clip from their music video "Crazy Car" is shown.
The bandmates get along well until Thomas composes the song "Boys Rule, Girls Drool", which Nat dislikes. Nat writes a song called "Rosalina" that is about Josh's elder half-sister. Thomas and Josh ridicule Nat because the song shows his feelings for her. Moreover, Josh composes another song that Nat also dislikes, titled "I'm the God of Rock and Roll", set to the tune of "Twinkle, Twinkle, Little Star". The band has a food fight in a restaurant, prompting Thomas, David, and Josh to leave and form a new group, The Gold Boulders, managed by the scornful Mort Needleman.
After watching media reports of the band's split on television, Nat and Alex go into a state of depression. Alex begins to binge on lemon-lime soda and falls asleep, while he lies curled in the midst of aluminum cans. Nat simultaneously writes a song by the piano titled "If There Was a Place to Hide" as the band's fans gather outside his apartment, pleading for them to reunite. Despite the absence of the formers, Alex persuades a reluctant Nat to revive the band, and subsequently, they change the band's title to its original, The Naked Brothers Band. Through a line-up of auditions, Nat, Alex, and Cooper select Rosalina as their cellist and Cole Hawkins — a member of the original Naked Brothers Band — as the guitarist.

Question: Which band's fans gather outside Nat's apartment?
Answer: The Silver Boulders
The film begins with an introduction to the documentary from the boys. Nat and Alex Wolff, aged nine and six respectively, are members of the fictional band The Silver Boulders, which also consists of Thomas, David, Josh, and their manager Cooper. The band found success after a music executive signed them to his label, Who's the Man Records. The band performs their new song "Motormouth" at a concert in the Hammerstein Ballroom. After the show, the band members describe how their group started and a clip from their music video "Crazy Car" is shown.
The bandmates get along well until Thomas composes the song "Boys Rule, Girls Drool", which Nat dislikes. Nat writes a song called "Rosalina" that is about Josh's elder half-sister. Thomas and Josh ridicule Nat because the song shows his feelings for her. Moreover, Josh composes another song that Nat also dislikes, titled "I'm the God of Rock and Roll", set to the tune of "Twinkle, Twinkle, Little Star". The band has a food fight in a restaurant, prompting Thomas, David, and Josh to leave and form a new group, The Gold Boulders, managed by the scornful Mort Needleman.
After watching media reports of the band's split on television, Nat and Alex go into a state of depression. Alex begins to binge on lemon-lime soda and falls asleep, while he lies curled in the midst of aluminum cans. Nat simultaneously writes a song by the piano titled "If There Was a Place to Hide" as the band's fans gather outside his apartment, pleading for them to reunite. Despite the absence of the formers, Alex persuades a reluctant Nat to revive the band, and subsequently, they change the band's title to its original, The Naked Brothers Band. Through a line-up of auditions, Nat, Alex, and Cooper select Rosalina as their cellist and Cole Hawkins — a member of the original Naked Brothers Band — as the guitarist.

Question: Whose younger brother left The Silver Boulders to start his own band?
Answer: Josh
The film begins with an introduction to the documentary from the boys. Nat and Alex Wolff, aged nine and six respectively, are members of the fictional band The Silver Boulders, which also consists of Thomas, David, Josh, and their manager Cooper. The band found success after a music executive signed them to his label, Who's the Man Records. The band performs their new song "Motormouth" at a concert in the Hammerstein Ballroom. After the show, the band members describe how their group started and a clip from their music video "Crazy Car" is shown.
The bandmates get along well until Thomas composes the song "Boys Rule, Girls Drool", which Nat dislikes. Nat writes a song called "Rosalina" that is about Josh's elder half-sister. Thomas and Josh ridicule Nat because the song shows his feelings for her. Moreover, Josh composes another song that Nat also dislikes, titled "I'm the God of Rock and Roll", set to the tune of "Twinkle, Twinkle, Little Star". The band has a food fight in a restaurant, prompting Thomas, David, and Josh to leave and form a new group, The Gold Boulders, managed by the scornful Mort Needleman.
After watching media reports of the band's split on television, Nat and Alex go into a state of depression. Alex begins to binge on lemon-lime soda and falls asleep, while he lies curled in the midst of aluminum cans. Nat simultaneously writes a song by the piano titled "If There Was a Place to Hide" as the band's fans gather outside his apartment, pleading for them to reunite. Despite the absence of the formers, Alex persuades a reluctant Nat to revive the band, and subsequently, they change the band's title to its original, The Naked Brothers Band. Through a line-up of auditions, Nat, Alex, and Cooper select Rosalina as their cellist and Cole Hawkins — a member of the original Naked Brothers Band — as the guitarist.

Question: Which member of the Naked Brothers Band has had a song written about her?
Answer: Rosalina
Henry III's reign was in crisis in 1258. He had recently suffered defeat in Wales, there were agricultural problems leading to a famine, and relations with the pope were worsening. Discontent amongst England's magnates led Henry to promise reform, but under continued pressure his authority disintegrated. A royal council of fifteen magnates was formed in June that year, and the rule of the country transferred from the king to the council. With foreign help Henry's reign was restored in 1261 as the council were reluctant to start a civil war. Simon de Montfort, Earl of Leicester, raised a rebellion. In 1264 civil war broke out between those loyal to the king and the baronial forces led by de Montfort.Rochester's constable in 1264, Roger de Leybourne, held the castle in support of Henry. John de Warenne, Earl of Surrey, was the garrison's co-commander. A baronial army led by Gilbert de Clare, Earl of Hertford, laid siege to the castle on 17 April that year. Having marched from the earl's castle to Tonbridge the army attacked from the Rochester side of the river, either the south or west. While the army advanced towards the city the royalist garrison set alight the suburbs. The king's hall within the castle was also burned down, although it is unclear why. An army under Simon de Montfort marched from London with the intention of attacking the city from another direction. The earl's first two attempts to cross the Medway were fought back, but he was successful on 18 April, Good Friday. The method used is uncertain, although it involved a fire-ship. The smoke may have been used as cover for the rebels, or the ship may have been used to burn the bridge while the army travelled by water. In a co-ordinated attack that had been pre-arranged, the armies of de Montfort and de Clare attacked the city. They entered Rochester in the evening and that night the cathedral was raided. The following day the rebels captured the castle's outer enclosure and the royal garrison retreated to the keep. Because the next day was Easter Sunday there was no fighting, though hostilities resumed on the Monday. Siege engines were set up and targeted the keep. As in 1215 the keep proved resistant to missiles, and after a week had not succumbed. According to one contemporary source, the besiegers were about to dig a mine beneath the tower, but the siege was abandoned on 26 April when the earls received news of a relief force led by Henry III and his son, Prince Edward.

Question: What is the full name of the king whose hall within the castle also burned down?
Answer: Henry III
Henry III's reign was in crisis in 1258. He had recently suffered defeat in Wales, there were agricultural problems leading to a famine, and relations with the pope were worsening. Discontent amongst England's magnates led Henry to promise reform, but under continued pressure his authority disintegrated. A royal council of fifteen magnates was formed in June that year, and the rule of the country transferred from the king to the council. With foreign help Henry's reign was restored in 1261 as the council were reluctant to start a civil war. Simon de Montfort, Earl of Leicester, raised a rebellion. In 1264 civil war broke out between those loyal to the king and the baronial forces led by de Montfort.Rochester's constable in 1264, Roger de Leybourne, held the castle in support of Henry. John de Warenne, Earl of Surrey, was the garrison's co-commander. A baronial army led by Gilbert de Clare, Earl of Hertford, laid siege to the castle on 17 April that year. Having marched from the earl's castle to Tonbridge the army attacked from the Rochester side of the river, either the south or west. While the army advanced towards the city the royalist garrison set alight the suburbs. The king's hall within the castle was also burned down, although it is unclear why. An army under Simon de Montfort marched from London with the intention of attacking the city from another direction. The earl's first two attempts to cross the Medway were fought back, but he was successful on 18 April, Good Friday. The method used is uncertain, although it involved a fire-ship. The smoke may have been used as cover for the rebels, or the ship may have been used to burn the bridge while the army travelled by water. In a co-ordinated attack that had been pre-arranged, the armies of de Montfort and de Clare attacked the city. They entered Rochester in the evening and that night the cathedral was raided. The following day the rebels captured the castle's outer enclosure and the royal garrison retreated to the keep. Because the next day was Easter Sunday there was no fighting, though hostilities resumed on the Monday. Siege engines were set up and targeted the keep. As in 1215 the keep proved resistant to missiles, and after a week had not succumbed. According to one contemporary source, the besiegers were about to dig a mine beneath the tower, but the siege was abandoned on 26 April when the earls received news of a relief force led by Henry III and his son, Prince Edward.

Question: What is the name of the king whose loyalists engaged in a civil war with the baronial forces in 1264?
Answer: Henry III
Henry III's reign was in crisis in 1258. He had recently suffered defeat in Wales, there were agricultural problems leading to a famine, and relations with the pope were worsening. Discontent amongst England's magnates led Henry to promise reform, but under continued pressure his authority disintegrated. A royal council of fifteen magnates was formed in June that year, and the rule of the country transferred from the king to the council. With foreign help Henry's reign was restored in 1261 as the council were reluctant to start a civil war. Simon de Montfort, Earl of Leicester, raised a rebellion. In 1264 civil war broke out between those loyal to the king and the baronial forces led by de Montfort.Rochester's constable in 1264, Roger de Leybourne, held the castle in support of Henry. John de Warenne, Earl of Surrey, was the garrison's co-commander. A baronial army led by Gilbert de Clare, Earl of Hertford, laid siege to the castle on 17 April that year. Having marched from the earl's castle to Tonbridge the army attacked from the Rochester side of the river, either the south or west. While the army advanced towards the city the royalist garrison set alight the suburbs. The king's hall within the castle was also burned down, although it is unclear why. An army under Simon de Montfort marched from London with the intention of attacking the city from another direction. The earl's first two attempts to cross the Medway were fought back, but he was successful on 18 April, Good Friday. The method used is uncertain, although it involved a fire-ship. The smoke may have been used as cover for the rebels, or the ship may have been used to burn the bridge while the army travelled by water. In a co-ordinated attack that had been pre-arranged, the armies of de Montfort and de Clare attacked the city. They entered Rochester in the evening and that night the cathedral was raided. The following day the rebels captured the castle's outer enclosure and the royal garrison retreated to the keep. Because the next day was Easter Sunday there was no fighting, though hostilities resumed on the Monday. Siege engines were set up and targeted the keep. As in 1215 the keep proved resistant to missiles, and after a week had not succumbed. According to one contemporary source, the besiegers were about to dig a mine beneath the tower, but the siege was abandoned on 26 April when the earls received news of a relief force led by Henry III and his son, Prince Edward.

Question: What is the first name of the person who led the baronial forces in a civil war against the loyalists of Henry III in 1264?
Answer: Simon