Problem: Given the below context:  Frances died in 1986, and Elsie in 1988. Prints of their photographs of the fairies, along with a few other items including a first edition of Doyle's book The Coming of the Fairies, were sold at auction in London for £21,620 in 1998. That same year, Geoffrey Crawley sold his Cottingley Fairy material to the National Museum of Film, Photography and Television in Bradford (now the National Science and Media Museum), where it is on display. The collection included prints of the photographs, two of the cameras used by the girls, watercolours of fairies painted by Elsie, and a nine-page letter from Elsie admitting to the hoax. The glass photographic plates were bought for £6,000 by an unnamed buyer at a London auction held in 2001.Frances' daughter, Christine Lynch, appeared in an episode of the television programme Antiques Roadshow in Belfast, broadcast on BBC One in January 2009, with the photographs and one of the cameras given to the girls by Doyle. Christine told the expert, Paul Atterbury, that she believed, as her mother had done, that the fairies in the fifth photograph were genuine. Atterbury estimated the value of the items at between £25,000 and £30,000. The first edition of Frances' memoirs was published a few months later, under the title Reflections on the Cottingley Fairies. The book contains correspondence, sometimes "bitter", between Elsie and Frances. In one letter, dated 1983, Frances wrote: I hated those photographs from the age of 16 when Mr Gardner presented me with a bunch of flowers and wanted me to sit on the platform [at a Theosophical Society meeting] with him. I realised what I was in for if I did not keep myself hidden. The 1997 films FairyTale: A True Story and Photographing Fairies were inspired by the events surrounding the Cottingley Fairies. The photographs were parodied in a 1994 book written by Terry Jones and Brian Froud, Lady Cottington's Pressed Fairy Book.In 2017 a further two fairy photographs were presented as evidence that the girls' parents were part of the conspiracy....  Guess a valid title for it!

A: Cottingley Fairies


Problem: Given the below context:  James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century. Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844. In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict. In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic...  Guess a valid title for it!

A: James B. Longacre


Problem: Given the below context:  From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach...  Guess a valid title for it!

A:
Camille Saint-Saëns