input: Please answer the following: This article: In France during the mid-17th century, Cardinal Richelieu receives a visit from the despicably charming young woman, Milady de Winter. Milady brings the Cardinal information regarding the notorious affair between the queen of France and the English Duke of Buckingham. Outside their window, the queen's seamstress, Constance Bonacieux, stands watching the conversation between the two characters, when she is attacked by Rochefort, one of the Cardinal's loyal men. She is rescued by the young musketeer d'Artagnan and taken away to his abode, where Constance briefly explains her troubles and asks for d'Artagnan's help. Cardinal Richelieu, wanting to convince King Louis XIII that his wife, the queen, is unfaithful to him and in love with the Duke of Buckingham, suggests that he should ask his wife to wear the diamonds he had given her for an upcoming ball. The queen, shocked and dismayed, confesses to Constance that she had sent the diamonds to the Duke of Buckingham, and her confidant goes to d'Artagnan for help. With the help of his companions, three of the finest musketeers in France, Athos, Porthos and Aramis, d'Artagnan makes his way to England to seek the Duke himself, so that he may recover the diamonds and restore the queen's honor. contains an answer for the question: What are the full names of the characters who Constance watches as they have a conversation?, what is it ?
++++++++++
output: Cardinal Richelieu

Please answer this: This article: Arising form a moribund aviation company, in the 1970s, the new Canadair Challenger business jet on the drawing board was a risky proposition. Derived from a design by American inventor and aircraft developer Bill Lear, Canadair Chief Designer Harry Halton married a wide-body fuselage with a high performance ("supercritical") wing and state-of-the-art engines. With banks and the then federal Minister of Industry, Trade and Commerce Jean Chretien requiring 50 "firm orders", a Canadair sales team was dispatched to sell a "paper aircraft" with only sales brochures, scale models and a wooden mock-up to go on. The innovative Challenger design boasted industry-leading performance. It promised to be faster, cheaper to fly, and more comfortable than any other business jet. With orders of 56 aircraft from North America, Europe and the Middle East, Canadair's top management, headed by Frederick Kearns, gave a "go" to the Challenger project. As the first prototype was completed, competitors touted their "off-the shelf" availability. Although months late, the Challenger was finally unveiled and prepared for its maiden flight, piloted by Canadair Chief Test Pilot Doug Adkins. After successful tests at the company plant in Montreal, the Challenger was flown to Mojave, California, to complete its arduous flight testing in order to obtain its certification for worldwide operation. contains an answer for the question: Who added to the American inventor's design for the Challenger?, what is it ?
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Answer: Harry Halton

Problem: This article: On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed 35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August... contains an answer for the question: What is the first name of the wife of the man who was hired to the band without an audition?, what is it ?

A: Deborah

input question: This article: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling... contains an answer for the question: What is the first name of the person whose size represents her embodiment as the church ?, what is it ????
output answer:
Mary