Given the following context:  Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by...  answer the following question:  What is the name of the person who had an aversion to "the offensive and revolting butchery, some have delighted and even reveled in"?
Ans: Etty

Given the following context:  From the earliest navigations of the Southern Ocean in the 16th century, lands which subsequently proved to be nonexistent had  from time to time been reported.  Robert Headland of the Scott Polar Research Institute has suggested various reasons for these false sightings, ranging from "too much rum" to deliberate hoaxes designed to lure rival ships away from good sealing grounds. Some sightings may have been of large ice masses that were carrying rocks and other glacial debris—dirty ice can appear convincingly similar to land. It is also possible that some of these lands existed, but later became submerged after volcanic eruptions. Other sightings may have been of actual land, the position of which was wrongly fixed through observational errors arising from chronometer failure, adverse weather or simple incompetence.At 2 pm on 15 March, as Wasp cruised north-eastwards, Morrell records: "Land was seen from the masthead, bearing west, distance 3 leagues" (about nine miles, 14 km). He did not at the time consider that he had made a new discovery; he seems to have assumed that he was seeing the east coast of the Antarctic Peninsula, the western coast of which had been explored and given the name New South Greenland in 1821, by Robert Johnson, a former captain of the Wasp.  Johnson's name for this land was never adopted; in 1831 it was named Graham Land. At the time of Morrell's voyage, the geographical character and dimensions of the peninsula were  unknown; Morrell's recorded position was in fact far to the east of the peninsula. Morrell's account reads: "At half past 4 pm we were close on with the body of land to which Captain Johnson had given the name of New South Greenland".  The next few days were spent exploring this supposed coast, which was apparently rich in seal. Some 75 miles (120 km) further south, Morrell thought he could see snow-covered mountains.After three days, Morrell called a halt "because of shortage of water and season far advanced". Wasp turned north, from a position Morrell calculated as...  answer the following question:  The reporting of land masses which later prove to be nonexistent is sometimes called what?
Ans: false sightings

Given the following context:  Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed, occasionally formerly known as The Imprudence of Candaules, is a 45.1 by 55.9 cm (17.8 by 22.0 in) oil painting on canvas by English artist William Etty, first exhibited at the Royal Academy in 1830. It shows a scene from the Histories by Herodotus, in which Candaules, king of Lydia, invites his bodyguard Gyges to hide in the couple's bedroom and watch his wife Nyssia undress, to prove to him her beauty. Nyssia notices Gyges spying and challenges him to either accept his own execution or to kill Candaules as a punishment. Gyges chooses to kill Candaules and take his place as king. The painting shows the moment at which Nyssia, still unaware that she is being watched by anyone other than her husband, removes the last of her clothes. Etty hoped that his audience would take from the painting the moral lesson that women are not chattels and that men infringing on their rights should justly be punished, but he made little effort to explain this to audiences. The painting was immediately controversial and perceived as a cynical combination of a pornographic image and a violent and unpleasant narrative, and it was condemned as an immoral piece of the type one would expect from a foreign, not a British, artist. It was bought by Robert Vernon on its exhibition, and in 1847 was one of a number of paintings given by Vernon to the nation. The work retained its controversial reputation in later years, and when The Art Journal bought the reproduction rights to Vernon's former collection in 1849 they did not distribute reproductions of Candaules. In 1929 it was among several paintings transferred to the newly expanded Tate Gallery, where as of 2018 it remains.  answer the following question:  Where does the painting that not get distribution of reproductions reside today?
Ans: Tate Gallery