Problem: Given the question: A friend asked me to answer this question: What animals were placed within a wooden statue after death?, using the article: Herodotus documents that in ancient Persia dogs were protected animals, held in the highest esteem during their lifetime. According to the ancient Greeks, dogs in ancient Egypt were treated with the same respect as they were in Persia, and were commonly mummified after death before being buried in family tombs. The ancient Egyptians and others of the Near East believed that dogs were spiritual beings, similar to humans, and they were "often associated with particular deities and the powers they wield". A number of the early dynastic royal burial grounds contain the graves of dogs, along with women and servants of the royal household. Ashkelon cemetery in the Southern District of Israel is perhaps the best-documented dog cemetery in the ancient world, but dog mummies have been unearthed en masse in sites across Egypt including Rhoda in Upper Egypt, Thebes, Abydos, and near Maghagha.The ancient Egyptians mummified many animal species, from cats and gazelles to crocodiles, baboons, and birds. Typically, many animal species were consumed as meat after death, but it is highly unlikely that dogs would have been eaten. Radiographs of exhumed dogs in the ancient world have revealed that the mummification process involved wrapping the embalmed bones together with bandages and placing them within a wooden statue of Anubis, the jackal-headed deity associated with mummification and the afterlife in ancient Egyptian religion., what would be the answer ?
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The answer is:
dogs
input question: A friend asked me to answer this question: What is the name of the person that depicted Hope for St Margaret's Church, using the article: Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless. In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that..., what would be the answer ????
output answer: Edward Burne-Jones
A friend asked me to answer this question: Who added to the American inventor's design for the Challenger?, using the article: Arising form a moribund aviation company, in the 1970s, the new Canadair Challenger business jet on the drawing board was a risky proposition. Derived from a design by American inventor and aircraft developer Bill Lear, Canadair Chief Designer Harry Halton married a wide-body fuselage with a high performance ("supercritical") wing and state-of-the-art engines. With banks and the then federal Minister of Industry, Trade and Commerce Jean Chretien requiring 50 "firm orders", a Canadair sales team was dispatched to sell a "paper aircraft" with only sales brochures, scale models and a wooden mock-up to go on. The innovative Challenger design boasted industry-leading performance. It promised to be faster, cheaper to fly, and more comfortable than any other business jet. With orders of 56 aircraft from North America, Europe and the Middle East, Canadair's top management, headed by Frederick Kearns, gave a "go" to the Challenger project. As the first prototype was completed, competitors touted their "off-the shelf" availability. Although months late, the Challenger was finally unveiled and prepared for its maiden flight, piloted by Canadair Chief Test Pilot Doug Adkins. After successful tests at the company plant in Montreal, the Challenger was flown to Mojave, California, to complete its arduous flight testing in order to obtain its certification for worldwide operation., what would be the answer ?
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Answer: Harry Halton
Please answer this: A friend asked me to answer this question: What is the name of the band that Philipp Stolzl directed The World In Not Enough for?, using the article: The music video for "The World Is Not Enough" was directed by Philipp Stolzl for Oil Factory Films and filmed on a London sound stage on September 2324, 1999. Manson's android shots (the laboratory, kissing and driving scenes) were filmed on the first day, with the pyrotechnic scenes shot on the second. For her "death", Manson kissed a lookalike model. The University of London's Senate House was the exterior for the fictional New Globe Theatre. Post-production and editing were completed two weeks later.In the video (set in 1964) terrorists build an android replica of Shirley Manson, who can kill her targets with a kiss, on an unnamed Pacific island. The android is fitted with a bomb, primed before it leaves on its mission. The android makes its way to Chicago's New Globe Theater and lets itself into Shirley Manson's dressing room, killing Manson and assuming her identity to perform the coda of a song on a large steel globe. As the android and the band receive a standing ovation from the audience, the bomb counts down. Smiling, the android Manson thrusts its arms in the air; the screen blacks out as the timer reaches zero, and an explosion is heard. Stolzl (chosen by Garbage) drew up a treatment liked by the band, but MGM and Eon (who commissioned the video) did not consider it "Bond enough". Stolzl's reworked storyboard featured Manson as an android clone who kills her human counterpart, a concept the band also liked. He provided a special-effects company with sketches of the android, and a replica was constructed with aircraft and missile parts, tubing, metal and plastic. The android was combined with Manson in post-production to show its mechanical interior. "It reminds me of The Man Who Knew Too Much. Some of the shots look like Stanley Kubrick", recalled Vig. "For us it was just important that the music video was also a Garbage video." "[It's] like a mini-Bond action-packed film, where an android removes evil from the world and sacrifices herself in the process like a kamikaze warrior. That's as close..., what would be the answer ?
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Answer:
Garbage