Problem: Given the below context:  The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit...  Guess a valid title for it!

A: Belton House


Problem: Given the question: Given the below context:  "Under the Bridge" has been covered several times since its release in 1992. The song was first transcribed in 1994 by the a cappella group The Flying Pickets from their album The Original Flying Pickets: Volume 1. Notable jazz musician Frank Bennett covered the song by fusing elements of big bands and bebop in his 1996 album Five O'Clock Shadow. Hip hop artist Mos Def included the beginning verse of "Under the Bridge" in the song "Brooklyn," from his 1999 record Black on Both Sides. He, however, changed the line "the city I live in, the City of Angels", which refers to Los Angeles, to "the city I live in is beautiful Brooklyn," to match his song's premise. Tony Hadley covered the song on his 1995 album Obsession. Britain's Royal Philharmonic Orchestra has modified "Under the Bridge" at several concerts—they perform various rock pieces combined into a single orchestral ensemble, often including the Chili Peppers' hit.Alternative hip hop band Gym Class Heroes performed "Under the Bridge" on the 2006 assemblage Punk Goes '90s, an album that compiled popular rock songs from the 1990s being covered by contemporary artists. Gym Class Heroes continued to play "Under the Bridge" during their tour; lead singer Travis McCoy has said that it is "a timeless song. It's one of those songs you hear and are like 'Damn did this shit just come out?'" The All Saints version of "Under the Bridge", released in 1998, was the most successful cover version, reaching number one in the United Kingdom. The cover removed the final verse of the song that discusses drug use.  The 1993 "Weird Al" Yankovic song "Bedrock Anthem", set in the world of The Flintstones, begins with a brief parody of "Under the Bridge", followed by a more extensive parody of "Give It Away". In 2009, the Stanley Clarke Trio covered the song on the album Jazz in the Garden. John Craigie covers the song on his album Leave the Fire Behind.  Guess a valid title for it!
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The answer is:
"Under the Bridge" 2


[Q]: Given the below context:  Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements." The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".  Guess a valid title for it!
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[A]:
William Burges