input: Please answer the following: What was the two names of the large 18-century star fort built by the French in norther New York?  Answer the above question based on the context below:  Fort Ticonderoga (), formerly Fort Carillon, is a large 18th-century star fort built by the French at a narrows near the south end of Lake Champlain, in northern New York, in the United States. It was constructed by Canadian-born French military engineer Michel Chartier de Lotbinière, Marquis de Lotbinière between October 1755 and 1757, during the action in the "North American theater" of the Seven Years' War, often referred to in the US as the French and Indian War. The fort was of strategic importance during the 18th-century colonial conflicts between Great Britain and France, and again played an important role during the American Revolutionary War. The site controlled a river portage alongside the mouth of the rapids-infested La Chute River, in the 3.5 miles (5.6 km) between Lake Champlain and Lake George. It was thus strategically placed for the competition over trade routes between the British-controlled Hudson River Valley and the French-controlled Saint Lawrence River Valley. The terrain amplified the importance of the site. Both lakes were long and narrow and oriented north–south, as were the many ridge lines of the Appalachian Mountains, which extended as far south as Georgia. The mountains created nearly impassable terrains to the east and west of the Great Appalachian Valley that the site commanded. The name "Ticonderoga" comes from the Iroquois word tekontaró:ken, meaning "it is at the junction of two waterways".During the 1758 Battle of Carillon, 4,000 French defenders were able to repel an attack by 16,000 British troops near the fort. In 1759, the British returned and drove a token French garrison from the fort. During the American Revolutionary War, when the British controlled the fort, it was attacked in May 1775 in the Capture of Fort Ticonderoga by the  Green Mountain Boys and other state militia under the command of Ethan Allen and Benedict Arnold, who captured it in the surprise attack.  Cannons taken from the fort were transported to Boston to lift its siege by the British, who evacuated...
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output: Fort Carillon
Please answer this: What did the court scribe document?  Answer the above question based on the context below:  The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference.Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense. Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgment by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon.
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Answer: verdict
input question: What is the modern name of the photograph by the commercial photographer that inspired an 1888 oil painting?  Answer the above question based on the context below:  Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryō "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijō-dōri, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...???
output answer:
View of Shijō-dōri, Kyoto