Given the following context: 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... answer the following question: What is the full name of the person who had the Virgin and Child with two saints appear before him?
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Answer: Canon van der Paele

Given the following context: Tom is sleeping near the fireplace, and Jerry carefully sneaks past him. He goes up onto the dinner table and tries to reach for the food, but Tom attempts to slice him with a knife and he retreats, running up the staircase. Tom pulls the carpet off the staircase to catch Jerry, but also pulls down a large upright piano. While Jerry gets out of the piano's path, the piano crushes Tom to death. Tom's spirit ascends to the "Heavenly Express", a steam train that sends dead cats to Heaven. Several cats are waiting to enter and the gatekeeper goes though their lives. The cats include Butch, who has lost a fight with a bulldog. Frankie, who was struck with a flat iron while singing on a backyard fence. Aloysius, who was run over and flattened by a steamroller. Even Fluff, Muff and Puff, a trio of kittens who were drowned after being thrown into a river. The gatekeeper allows them all through, as their deaths were untimely. However, he catches Tom trying to sneak past him to board the train and tells him to stand in line. The gatekeeper looks through his personal records and is disappointed by what he sees in it. Having learned that the main cause of Tom's death has been attributed to him persecuting "an innocent little mouse" all of his life and not from an accidental crushing of the piano, the gatekeeper refuses has entry to him for that action alone. He apologizes for this inconvenience, but the gatekeeper gives him a chance for a reprieve; should Tom have Jerry sign a certificate of forgiveness, he will be able to board the "Heavenly Express", which leaves in one hour. If he fails, Tom will be banished to hell where the hellhound devil awaits. answer the following question: Who must get a letter to enter the Heavenly Express?
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Answer: Tom

Given the following context: The film is set in Australia 1919, just a year after World War I. Australia begins to question the value of continuing as an outpost to the British Empire. Since his sister's death years ago, Jack Dickens has raised his niece Sally, aided by his sharp-tongued maid Hannah. Sally's father, Alexander Voysey, abandoned her after her mother's death and took off for the bright lights of the city, ostensibly making a name for himself as a literary critic and writer in London. Jack and Sally have sacrificed their own hopes and dreams to run the farm while Voysey disports himself in the city. Despite the claims of success, Voysey is a self-centered, self-aggrandizing, pompous windbag with no visible means of support beyond leeching off his brother-in-law's labor on the farm. Voysey has remarried a younger woman, Deborah, who has come to regret her marriage. Voysey subjects Deborah to cruel behavior from him, such as fetching things he's dropped at his whim and making advances to other women right in front of her. Deborah is deeply unhappy, and feels that she has wasted her youth and squandered her life in marrying Voysey. Both Jack and the town doctor are soon smitten by Deborah, while Sally pines for the town doctor herself. The true natures, characters, and hopes and dreams within the family are revealed as things fall apart. answer the following question: What is the full name of the person whose labor is leeched off off by their brother-in-law?
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Answer:
Jack Dickens