input question: A friend asked me to answer this question: What is the full name of the person who promises to give Tommy the St. Bernard if it wins?, using the article: Travel agency clerk Tommy Bradford delivers tickets to wealthy J. Westley Piermont at the lavish wedding of his daughter. Piermont introduces him to model June Evans, but neglects to mention neither one is a guest. June is there to help the daughter with her wedding dress. Both pretend to be rich. Tommy gives June his telephone number, but neither expects anything to come of their momentary attraction to each other. That night, after she tells her family about her adventure, her obnoxious, younger, musician brother Chick phones Tommy, pretending to be June's servant, and forces his sister to continue the charade. Tommy is pressured to maintain the masquerade as well by his roommate Al, an insurance salesman who dreams of making contacts in New York high society. They begin seeing each other. Their first date is at the Westminster Dog Show, where they run into Piermont again. He has two dogs entered in the competition. Piermont insists his Pomeranian will win, but Tommy champions his other entry, a St. Bernard. Sure of himself, the millionaire promises to give the St. Bernard to Tommy if it wins. It does, and he does. With no place to keep it, Tommy makes a present of it to June. Their second date is at a movie theater where another of June's brothers works. By this point, June's family is anxious to meet her boyfriend. Her aunt Lucy is the housekeeper for a wealthy family, so while her employers are away, she borrows their home to host a dinner. Afterward, Tommy tries to confess to June, but she misunderstands and thinks he has found her out instead. Outraged by what she thinks are insults aimed at her family, she breaks up with him., what would be the answer ????
output answer: J. Westley Piermont
A friend asked me to answer this question: What was Massenet elected to that was a prestigious honor?, using the article: Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saens, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saens a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saens cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson,..., what would be the answer ?
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Answer: the Institut de France
Problem: Given the question: A friend asked me to answer this question: What is the first name of the subject whose identification with the cathedral itself is emphasized by her monumental stature?, using the 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..., what would be the answer ?
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The answer is:
Mary