Read the following paragraph and extract the answer for the question: Where does Martha live? Helen and Jackson live together in New York City. At the beginning of the film, the two are driving towards the Kentucky farmhouse, Kilronan, where Jackson grew up, primarily to introduce Helen to Jackson's mother, Martha. After returning to New York, Helen discovers she is pregnant. When she informs Jackson of this, he asks her to marry him and she accepts. The wedding is held at Kilronan, where Helen meets Jackson's paternal grandmother, Alice, who tells Helen she doesn't trust Martha. After returning to New York apartment, Helen is assaulted by a man who steals her locket. When Helen says she's pregnant, he cuts her abdomen and leaves. The fetus was not injured. Martha arrives and says she wants to sell Kilronan because she cannot run it alone. Helen tells Jackson she wants to move to Kentucky and in with Martha for a year and help renovate the land. Jackson tells Helen his father died in that house when he was seven and he blames himself because he ran into his father pushing him down the stairs. Jackson also tells Helen that his father had been cheating on Martha with Robin Hayes. Helen says they should go back so Jackson can face his "old ghosts". The couple move in with Martha who attempts to divide the couple. Suspicious, Helen talks to Alice who tells her that Jackson is wrong about his father's death. The father landed on a nail puller at the bottom of the stairs, crushing his sternum, which, according to news reports was a freak accident. Helen tells Jackson that Martha is tearing their marriage apart. He agrees to go back to New York and tells his mother. That evening, Martha bakes a cake for Helen laced with pitocin, a labor inducer. Helen wakes up the next morning, feeling strange. She discovers a baby room set up by Martha and finds the locket that was stolen from her in New York. When Martha unexpectedly enters the room, Helen tries unsuccessfully to escape.
Ans: Kilronan

Read the following paragraph and extract the answer for the question: What group of people were the most abundant in Brazil in 1872? White Brazilians descended from the original Portuguese settlers. From the 1870s onwards this ethnic group also included other European immigrants: mainly Italians, Spaniards and Germans. Although whites could be found throughout the country, they were the majority group in the southern region and in Sao Paulo province. Whites also comprised a significant proportion (40%) of the population in the northeastern provinces of Ceara, Paraiba and Rio Grande do Norte. Black Brazilians of Sub-Saharan African ancestry inhabited the same areas as mulattoes. The majority of the population of Rio de Janeiro, Minas Gerais, Espirito Santo, Bahia, Sergipe, Alagoas and Pernambuco provinces (the last four having the smallest percentages of whites in the whole countryless than 30% in each) were black or brown. The Indians, the indigenous peoples of Brazil, were found mainly in Piaui, Maranhao, Para and Amazonas.Because of the existence of distinct racial and cultural communities, 19th century Brazil developed as a multi-ethnic nation. However the data is problematic as no reliable information is available for the years prior to 1872. The first official national census was compiled by the government in 1872 showing that out of 9,930,479 inhabitants there were 38.1% whites, 38.3% browns, 19.7% blacks and 3.9% Indians. The second official national census in 1890 revealed that in a population of 14,333,915, 44% were whites, 32.4% browns, 14.6% blacks and 9% Indians.
Ans: browns

Read the following paragraph and extract the answer for the question: What is the last name of the man who carved the chimneypiece in the house with the Hondecoeter room? The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (16361695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit...
Ans: Westmacott

Read the following paragraph and extract the answer for the question: What are the names of the missionaries of Britain that the sculptures in the north represent and are identifiable by their attributes?? The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger, and together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower. In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.According to Cockerell, the side of the facade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel...
Ans: Augustine of Canterbury