Q: Read the following paragraph and extract the answer for the question: What weighs a little less than 5 kilos? Apart from pieces purely in metal, a number are centred on either hardstone carvings or organic objects such as horns, seashells, ostrich eggshells, and exotic plant seeds. These "curiosities" are typical of the taste of the Renaissance "age of discovery" and show the schatzkammer and the cabinet of curiosities overlapping. A different form of novelty is represented by a table-ornament of a silver-gilt foot-high figure of a huntsman with a dog and brandishing a spear. There is a clockwork mechanism in his base which propels him along the table, and his head lifts off to show a cup, and he would have been used in drinking games. There are separate figures of a boar and stags for him to pursue, though not making a set; these can also function as cups.One of the most important objects in the collection is the Ghisi Shield, a parade shield never intended for use in battle, made by Giorgio Ghisi, who was both a goldsmith and an important printmaker. It is signed and dated 1554. With a sword hilt, dated 1570 and now in at the Hungarian National Museum in Budapest, this is the only surviving damascened metalwork by Ghisi. The shield is made of iron hammered in relief, then damascened with gold and partly plated with silver. It has an intricate design with a scene of battling horseman in the centre, within a frame, around which are four further frames containing allegorical female figures, the frames themselves incorporating minute and crowded subjects on a much smaller scale from the Iliad and ancient mythology, inlaid in gold.Other major pieces are sets of a ewer and basin, basin in this context meaning a large dish or salver, which when used were carried round by pairs of servants for guests to wash their hands without leaving the table. However the examples in the collection were probably hardly ever used for this, but were intended purely for display on sideboards; typically the basins are rather shallow for actual use. These were perhaps the grandest type of plate, with large surfaces where Mannerist...
A: The Aspremont-Lynden set

Q: Read the following paragraph and extract the answer for the question: What is the first name of the person in charge of many men who were killed unnecessarily? Wedge Donovan is a tough construction boss, building airstrips in the Pacific for the U.S. Navy during World War II. He clashes with his liaison officer, Lieutenant Commander Robert Yarrow, over the fact that his men are not allowed to arm themselves against the Japanese. When the enemy lands in force on the island, he finally takes matters into his own hands, leading his men into the fray. This prevents Yarrow from springing a carefully devised trap that would have wiped out the invaders in a murderous machinegun crossfire, with minimal American losses. Instead, many of Donovan's men are killed unnecessarily. As a result of this tragedy, Yarrow finally convinces the US Navy to form Construction Battalions (CBs, or the more familiar "Seabees") with Donovan's assistance, despite their mutual romantic interest in war correspondent Constance Chesley. Donovan and many of his men enlist and receive formal military training. The two men are teamed together on yet another island. The Japanese launch a major attack, which the Seabees barely manage to hold off, sometimes using heavy construction machinery such as bulldozers and a clamshell bucket. When word reaches Donovan of another approaching enemy column, there are no sailors left to oppose this new threat. In desperation, he rigs a bulldozer with explosives on its blade, intending to ram it into a petroleum storage tank. The plan works, sending a cascade of burning liquid into the path of the Japanese, who retreat in panic, right into the sights of waiting machine guns. However, Wedge is shot in the process and dies in the explosion.
A: Wedge

Q: Read the following paragraph and extract the answer for the question: What's the pedestrian's name? Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
A: Reginald Church

Q: Read the following paragraph and extract the answer for the question: What was one of Lissitzky's first major steps away from Malevich's non-objective suprematism? At this point Lissitzky subscribed fully to suprematism and, under the guidance of Malevich, helped further develop the movement. In 19191920 Lissitzky was a head of Architectural department at the People's Art School where with his students, primarily Lazar Khidekel, he was working on transition from plane to volumetric suprematism. Lissitzky designed On the New System of Art by Malevich, who responded in December 1919: "Lazar Markovich, I salute you on the publication of this little book". Perhaps the most famous work by Lissitzky from the same period was the 1919 propaganda poster "Beat the Whites with the Red Wedge". Russia was going through a civil war at the time, which was mainly fought between the "Reds" (communists, socialists and revolutionaries) and the "Whites" (monarchists, conservatives, liberals and other socialists who opposed the Bolshevik Revolution). The image of the red wedge shattering the white form, simple as it was, communicated a powerful message that left no doubt in the viewer's mind of its intention. The piece is often seen as alluding to the similar shapes used on military maps and, along with its political symbolism, was one of Lissitzky's first major steps away from Malevich's non-objective suprematism into a style his own. He stated: "The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything that is already finished, already made, or already existent in the world it is a symbol of a new world, which is being built upon and which exists by the way of the people."In January 17, 1920, Malevich and Lissitzky co-founded the short-lived Molposnovis (Young followers of a new art), a proto-suprematist association of students, professors, and other artists. After a brief and stormy dispute between "old" and "young" generations, and two rounds of renaming, the group reemerged as UNOVIS (Exponents of the new art) in February. Under the leadership of Malevich the group worked on a "suprematist ballet", choreographed by Nina Kogan and on the...
A:
Beat the Whites with the Red Wedge