input question: This article: Having been tried and found guilty of murder, Nero has now been hanged and his body taken for the ignominious process of public dissection. The year after the prints were issued, the Murder Act 1752 would ensure that the bodies of murderers could be delivered to the surgeons so they could be "dissected and anatomised". It was hoped this further punishment on the body and denial of burial would act as a deterrent. At the time Hogarth made the engravings, this right was not enshrined in law, but the surgeons still removed bodies when they could.A tattoo on his arm identifies Tom Nero, and the rope still around his neck shows his method of execution. The dissectors, their hearts hardened after years of working with cadavers, are shown to have as much feeling for the body as Nero had for his victims; his eye is put out just as his horse's was, and a dog feeds on his heart, taking a poetic revenge for the torture inflicted on one of its kind in the first plate. Nero's face appears contorted in agony and although this depiction is not realistic, Hogarth meant it to heighten the fear for the audience. Just as his murdered mistress's finger pointed to Nero's destiny in Cruelty in Perfection, in this print Nero's finger points to the boiled bones being prepared for display, indicating his ultimate fate. While the surgeons working on the body are observed by the mortar-boarded academics in the front row, the physicians, who can be identified by their wigs and canes, largely ignore the dissection and consult among themselves. The president has been identified as John Freke, president of the Royal College of Surgeons at the time. Freke had been involved in the high-profile attempt to secure the body of condemned rioter Bosavern Penlez for dissection in 1749. Aside from the over-enthusiastic dissection of the body and the boiling of the bones in situ, the image portrays the procedure as it would have been carried out.Two skeletons to the rear left and right of the print are labelled as James Field, a well-known boxer who... contains an answer for the question: What is the name of the highwayman whose skeleton was shown in the image of the dissection, what is it ????
output answer: Macleane

This article: Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryo "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijo-dori, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the... contains an answer for the question: What is the modern name of the photograph by the commercial photographer that inspired an 1888 oil painting?, what is it ?
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Answer: View of Shijo-dori, Kyoto

Problem: Given the question: This article: In the last game of the American Football Federation regular season between the Boston Rebels and the New York Dukes, Rebels quarterback Joe Kingman scores a touchdown after ignoring an open wide receiver, Travis Sanders. The next morning, an 8-year-old girl named Peyton Kelly arrives on Joe's doorstep saying that she is his biological daughter, and that his divorced wife sent her there to meet him. His agent, Stella Peck, thinks this will be bad for his image and distracts him with the upcoming playoffs. At the opening of his own restaurant, Joe inadvertently leaves without Peyton, and is on the cover of a tabloid the next day. Stella decides Joe needs a new fatherly image. At a later press conference, the reporters make Joe miserable, until Peyton comes to his defense, saying that he is new to this and trying the best he can, and that she thinks he is the best father in the world. Peyton then says that Joe has to repay her, so she has him take her to a ballet academy run by Monique Vasquez. Monique has Joe join their ballet performance to show him that ballet takes just as much athletic ability as football. Joe and Peyton begin their relationship after Peyton calls his arrogant and selfish behavior to his attention. Joe takes Peyton and her new friends to the mall where he begins to develop romantic feelings for Monique. contains an answer for the question: What is the full name of the man who has a divorced wife who sent their daughter to meet her father?, what is it ?
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The answer is:
Joe Kingman