[Q]: I have a test where I am given the following article, what is an answer for the question: What is the full name of the man who was attacked in 1679 next to the pub known for bare-knuckle fights? ? The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA's National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp's awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2010. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It was eventually purchased by the landlady Binnie Walsh around 2010 then subsequently sold by her to Fuller's Brewery in 2014. It continues to win regular CAMRA pub awards under its new owners. The Lamb and Flag in Rose Street is possibly the oldest pub in the area. The first mention of a pub on the site is 1772 (when it was called the Cooper's Arms the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638. The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.The Salisbury in St Martin's Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt's Head; it is both Grade II listed, and on CAMRA's National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siecle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1863; however, the meetings took place at The Freemason's Tavern on Great Queen Street, which was replaced in 1909 by the...
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[A]: John Dryden

input: Please answer the following: I have a test where I am given the following article, what is an answer for the question: What is the full name of the person whose father had a folly building? ? In 1754, Belton was inherited by Sir John Cust, the son of previous owner Viscount Tyrconnel's widowed sister. Cust was a distinguished politician active during the politically turbulent 1760s, and his monument at Belton blames his death at the age of 51 to the "unusual fatigues of his office". His heir was created Lord Brownlow in 1776, and Belton was owned by successive Lords Brownlow for the next 200 years.In the last three decades of the 19th century the 3rd Earl Brownlow spent much time and money restoring Belton, and consequently the house entered the 20th century in a good state of repair and preservation. However, the 20th century was to present Belton and its estate with serious problems. These included the introduction of income tax and death duties which would leave the finances of the Brownlow family severely depleted.At the beginning of World War I, like many other British landowners, the 3rd Earl Brownlow offered his house and park to the Government for war service. The offer was accepted, and the largest and most drastic changes were made in the park since the time of Viscount Tyrconnel's folly building. In August 1914, the house and park were used as the assembly point for the 11th (Northern) Division before its deployment. In 1915, the home depot and training ground of the Machine Gun Corps were established in the southern part of Belton park. The lie of the land there, where the River Witham passes between the Lower Lincolnshire Limestone and the Upper Lias mudstone, lent itself to the development of the necessary firing ranges close to good communications by way of the Great North Road and Grantham railway station on the East Coast Main Line. The depot was closed in 1919, the site cleared and the land restored to Lord Brownlow in 1920. Little sign of the Machine Gun Corps's stay remains in the park, but plaques and inscriptions can be followed from the south gate of Belton park to the memorial gate on the way from there to the town centre and in the north aisle of Grantham parish...
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output: Sir John Cust

Problem: I have a test where I am given the following article, what is an answer for the question: In addition to rejecting bombastic heroes, what did Goya turn away from in the prints that was more traditional painters to use? ? The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (17461828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 180814 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. The name by which the series is known today is not Goya's own. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Spanish: Fatales consequencias de la sangrienta guerra en Espana con Buonaparte, Y otros caprichos enfaticos). Aside from the titles or captions given to each print, these are Goya's only known words on the series. With these works, he breaks from a number of painterly traditions. He rejects the bombastic heroics of most previous Spanish war art to show the effect of conflict on individuals. In addition he abandons colour in favour of a more direct truth he found in shadow and shade.

A:
colour