Problem: Given the question: Read the following paragraph and extract the answer for the question: What was the name of the place that took almost three years to clear, but by 1939 the garden was largely complete? Sackville-West and Nicolson found Sissinghurst in April 1930, after Dorothy Wellesley, their near neighbour and a former lover of Sackville-West's, saw the estate for sale. They had become increasingly concerned about encroaching development near their property Long Barn, near Sevenoaks, Kent. Their offer on Sissinghurst was accepted on 6 May and the castle and the farm around it were bought for 12,375, using only Sackville-West's money rather than Nicolson's. The property was 450 acres (1.8 km2) in total. The house had no electricity, running water, or drains, and the garden was in disarray. Anne Scott-James notes their "planting inheritance" as "a grove of nut-trees, some apple trees, a quince [and] a tangle of [old roses]". The physical assets on the site were "four buildings of beautiful mellow brick, part of a moat [and] various fine walls". Clearing the ground took almost three years, but by 1939 the garden was largely complete, with the exception of the White Garden. Nicolson was responsible for the design and layout, while Sackville-West, at the head of her team of gardeners, undertook the planting. Simon Jenkins, the architectural writer, describes Nicolson's design as "post-Picturesque, a garden not as an imitation of nature but as imitation of a house", and suggests his thinking was much influenced by Lawrence Johnston's garden at Hidcote. Sackville-West's approach was plant-centred, within the constraints of her husband's plan, "profusion, even extravagance and exuberance, within confines of the utmost linear severity".
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The answer is:
Sissinghurst

Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the name of the specific suite of rooms that briefly became the private apartments of the palace when they were occupied by King Edward VIII? Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle epoque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state...
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The answer is:
Belgian Suite

Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the name of the person who observes Etude en forme de valse still attracts pianists eager to display their left-hand technique? Nichols comments that, although as a famous pianist Saint-Saens wrote for the piano throughout his life, "this part of his oeuvre has made curiously little mark". Nichols excepts the Etude en forme de valse (1912), which he observes still attracts pianists eager to display their left-hand technique. Although Saint-Saens was dubbed "the French Beethoven", and his Variations on a Theme of Beethoven in E (1874) is his most extended work for unaccompanied piano, he did not emulate his predecessor in composing piano sonatas. He is not known even to have contemplated writing one. There are sets of bagatelles (1855), etudes (two sets 1899 and 1912) and fugues (1920), but in general Saint-Saens's works for the piano are single short pieces. In addition to established forms such as the song without words (1871) and the mazurka (1862, 1871 and 1882) popularised by Mendelssohn and Chopin, respectively, he wrote descriptive pieces such as "Souvenir d'Italie" (1887), "Les cloches du soir" ("Evening bells", 1889) and "Souvenir d'Ismailia" (1895). Unlike his pupil, Faure, whose long career as a reluctant organist left no legacy of works for the instrument, Saint-Saens published a modest number of pieces for organ solo. Some of them were written for use in church services "Offertoire" (1853), "Benediction nuptiale" (1859), "Communion" (1859) and others. After he left the Madeleine in 1877 Saint-Saens wrote ten more pieces for organ, mostly for concert use, including two sets of preludes and fugues (1894 and 1898). Some of the earlier works were written to be played on either the harmonium or the organ, and a few were primarily intended for the former.
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The answer is:
Nichols