Q: What is the precise name of the church into which the escaped political prisoner, Angelotti, runs? Answer the above question based on the context below: Inside the church of Sant'Andrea della Valle Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using...
A: Sant'Andrea della Valle

Q: What is the last name of the man who wrote the devotional, gospel style song on the album released in the United Kingdom on Polydor? Answer the above question based on the context below: Odyssey Number Five was released on 4 September 2000, on the Grudge/Universal record labels. The album was released in the United Kingdom on Polydor, with 15 minutes of video and an additional track Nature Boy, at a later date. A sampler version was released in the United States in 2001, containing five tracks.Four singles were released from the album. "My Kind of Scene" was the first; released as a promotional single in June 2000. The track was written for the 2000 film Mission: Impossible 2, and appeared on its soundtrack. Collins and Middleton recalled that the song was written and produced with photos of Tom Cruise and Nicole Kidman on the wall of the band's studio "as inspiration". They noted that the band made three songs in response to the Mission: Impossible 2 request, and that "My Kind of Scene" was chosen over "Up & Down & Back Again" and "Whatever Makes You Happy".The second single from the album was "My Happiness", released on 14 August 2000 in Australia. "My Happiness" entered the ARIA Singles Chart at #4, and spent 24 weeks on the chart, making it Powderfinger's highest charting single in Australia. It peaked at #7 on the New Zealand singles chart, and spent 23 weeks in the top 50. Furthermore, "My Happiness" was Powderfinger's first single to chart in the USA, reaching #23 on the Modern Rock Tracks chart."Like a Dog" was released as the third single on 15 January 2001. The song was heavy in political sentiment, akin to "The Day You Come" on Internationalist. The riff for the song was written by Ian Haug, and the song's music video featured Australian Aboriginal boxer Anthony Mundine, and was based on the 1980 Martin Scorsese film Raging Bull. Drummer Jon Coghill said the song revolved around the question of "why the hell won't John Howard say sorry to the Aboriginal people!" "Like a Dog" spent one week on the ARIA Singles Chart, at #40.Two songs from the album, "The Metre" and "Waiting for the Sun", were released as a double A-side to form the final single. The single was released on 21...
A: Fanning

Q: What is the name of the painting whose general influence was long delayed? Answer the above question based on the context below: In part because he was overlooked until the mid-19th century, Velazquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velazquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history. Velazquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velazquez displays the female nudewithout jewellery or any of the goddess's usual accessorieswas echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velazquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velazquez's Venus, only through the reflection of the mirror.
A:
Rokeby Venus