nc33/multispan_quoref huggingface dataset:
William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who exhibited 15 paintings at the Summer Exhibition in the 1820s?
Answer: Etty
William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the English artist whose repeated depictions of female nudity were condemned as indecent by many critics?
Answer: Etty
William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the English artist whose portraits of male nudes were generally well received?
Answer: Etty
William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who moved to London on completing his seven-year indenture?
Answer: Etty
William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who moved to London with the aim of emulating the Old Masters and becoming a history painter?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person whose clothes fall from their shoulders as they struggle?
Answer: Amoret
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person who had an aversion to "the offensive and revolting butchery, some have delighted and even reveled in"?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person who disliked depictions of gratuitous violence?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person that Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on their part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood"?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person whose letters strongly suggested that they had a sexual encounter with one of their models?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person who had the belief "To the pure in heart all things are pure"?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person whose composition implies "sadistic torture and occult sexual sorcery"?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person who would visit mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition?
Answer: Etty
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person that is tortured to the point of death?
Answer: Amoret
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person that has their clothes fall from their shoulder?
Answer: Amoret
Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by her ordeal, although his composition implies "sadistic torture and occult sexual sorcery".
Although there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice in 1823–24, Etty was devoutly Christian and famously abstemious. Alison Smith considers the composition of Britomart Redeems Faire Amoret a conscious effort on his part to praise the virtue of chastity by creating a "challenge for the presumably male viewer ... to vanquish lust and cast a pure gaze on vulnerable womanhood". Throughout his career Etty had championed the use of female models in life classes, creating some controversy, and this painting may have been intended to emphasise his belief that "To the pure in heart all things are pure".

Question: What is the name of the person that swings their sword?
Answer: Britomart