input: Please answer the following: Given the below context:  Jack Dempsey starts out fighting in bars for half the take. He wins his first professional fight.  After a later bout, he and his manager are held up at gunpoint and robbed of the purse. He sees the thieves later and beats them up to recover the cash. Jack meets Maxine Cates, but goes to New York to box. After a bout with John Lester Johnson is a draw, he breaks with his manager and goes back to Salt Lake City and marries Maxine. After money disputes with her Maxine leaves and Dempsey goes to San Francisco.  Kerns becomes his manager. He wins fights goes to New York and divorces Maxine. He beats Jess Willard by a TKO and becomes heavyweight champ. He goes to Hollywood to make films and gets sued for non-support by Maxine. He fights Luis Firpo and is knocked out of the ring, but still wins. He is sick (perhaps poisoned), but still fights Gene Tunney and loses a decision. On September 22, 1927 he fights Tunney again. Dempsey knocks Tunney down, but the count doesn't start until Dempsey goes to a neutral corner. This gives Tunney time to recover and get up when the count reaches 9. In this famous "long count" fight Tunney wins by decision.  Guess a valid title for it!
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output: Dempsey (film)


Please answer this: Given the below context:  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. Pächt 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 1434–36, 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...  Guess a valid title for it!
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Answer: Madonna in the Church


Problem: Given the below context:  Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has...  Guess a valid title for it!

A: Joseph Priestley House


input question: Given the below context:  George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg Händel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded Händel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: "From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil...  Guess a valid title for it!???
output answer:
Handel's lost Hamburg operas