user: Question: Given the following context:  The equestrian statue of Edward Horner stands inside St Andrew's Church in the village of Mells in Somerset, south-western England. It was designed by the architect Sir Edwin Lutyens, as a memorial to Edward Horner, who died of wounds in the First World War. The sculpture was executed by Alfred Munnings. Edward Horner was the only surviving son and heir of Sir John and Lady Frances Horner of Mells Manor and a member of an extended upper-class social group known as the Coterie, many of whom were killed in the war; the group included his fiancée and his future brother-in-law. Shortly after the war broke out, he was a yeomanry officer in the part-time Territorial Force but he was keen to join the fighting on the Western Front and obtained a transfer to a cavalry regiment through his family's connections. He was wounded in May 1915 and did not return to the war until early 1917. He was assigned a staff post but again secured a transfer to the front line. Shortly after his return to the fighting, on 21 November 1917, he was wounded again; he died the same day. Lutyens was a friend of the Horner family, having designed multiple buildings and structures for them since the beginning of the 20th century. As well as Horner's memorial, he designed a memorial to Raymond Asquith (also in St Andrew's Church), and Mells War Memorial in the centre of the village. For Horner's memorial, Lutyens designed the plinth himself, and engaged the renowned equestrian painter and war artist Alfred Munnings for the latter's first public work of sculpture. The plinth is in Portland stone and set into it is Horner's original grave marker; the family's coat of arms is carved into the front, while the sides bear various dedicatory inscriptions. The statue is a bronze of a cavalry officer on horseback, bare-headed, with his helmet and sword on the horse's saddle. Lutyens was known for abstract and ecumenical themes in his war memorial designs, but the statue of Horner is an example of his use of more conventional imagery to commemorate an...  answer the following question:  What is the first name of the person who was a friend of the Horner family?
Answer: Edwin

Question: Given the following context:  William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra 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, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. 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.  answer the following question:  What is the last name of the person who was elected a full Royal Academician in 1828?
Answer: Etty

Question: Given the following context:  Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state...  answer the following question:  What is the precise name of the specific interior space that has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton?
Answer:

assistant: Principal Corridor