input question: The answer to the question: What is the last name of the person who was transferred to a special "escape-proof" cell? is inside the article: Joseph Bolitho Johns, better known as Moondyne Joe, was Western Australia's best known bushranger. In July 1865, Johns was sentenced to ten years penal servitude for killing a steer. He and another prisoner absconded from a work party in early November, and were on the run for nearly a month, during which time Johns adopted the nickname Moondyne Joe. For absconding and for being in possession of a firearm, Moondyne Joe was sentenced to twelve months in irons, and transferred to Fremantle Prison. In July 1866 he received a further six months in irons for trying to cut the lock out of his door, but in August Moondyne Joe succeeded in escaping again. Moondyne Joe formulated a plan to escape the colony by travelling overland to South Australia, but was captured on 29 September about 300 kilometres (190 mi) north-east of Perth.As punishment for escaping and for the robberies committed while on the run, Moondyne Joe received five years hard labour on top of his remaining sentence. Extraordinary measures were taken to ensure that he did not escape again. He was transferred to Fremantle Prison where a special "escape-proof" cell was made for him, built from stone, lined with jarrah sleepers and over 1000 nails. In early 1867 Moondyne Joe was set to work breaking stone, but rather than permit him to leave the prison, the acting comptroller-general ordered that the stone be brought in and dumped in a corner of the prison yard, where Moondyne Joe worked under the constant supervision of a warder. Governor John Hampton was so confident of the arrangements, he was heard to say to Moondyne Joe: "If you get out again, I'll forgive you". However, the rock broken by Moondyne Joe was not removed regularly, and eventually a pile grew up until it obscured the guard's view of him below the waist. Partially hidden behind the pile of rocks, he occasionally swung his sledgehammer at the limestone wall of the prison. On 7 March 1867, Moondyne Joe escaped through a hole he had made in the prison wall. A few days before the second..., can you guess it ????
output answer: Johns

input question: The answer to the question: Whose competition was Etty disqualified from? is inside the article: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Academie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymedeat the time thought to be by Titianin one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his..., can you guess it ????
output answer: the Royal Academy's

input question: The answer to the question: What is the last name of the music historian that said the manuscript discovered in Udine in 1997 "bristles with the immediacy of a performance"? is inside the article: The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 6162 of Dio Cassius's Roman History; and an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people and events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous formstwo printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript,..., can you guess it ????
output answer:
Rosand