input question: Given the below context:  Old Mother Riley is sacked from her job as a step cleaner at the office where her daughter Kitty works. She goes home to make steak and kidney pudding for their lodger, Joe, who is vaguely engaged to Kitty, but distractedly pours castor oil into the gravy, with amusing results. Jo is not sure he wants to be tied down to Kitty (or her impossible mother) and arranges for his travel agency employers to post him to Paris for six months, much to Kitty's discomfiture. While changing a light bulb, Old Mother Riley has a fall from a stepladder, resulting in her hospitalisation: keen to claim the maximum amount on her insurance she alters her medical records for the worse, only to be carried off for an emergency operation when the doctors see how much appears to be "wrong" with her. However, the ruse works: just as bailiffs are arriving to remove all Old Mother Riley's furniture, her insurance agent arrives with £250 in cash, which she uses to pay off her rental arrears and treat Kitty and herself to an air flight to Paris, in order to check up on Joe, who has meanwhile become involved with a suspicious young Parisian lady (really a spy with code name "Madame Zero", who believes he is an English agent).  Guess a valid title for it!???
output answer: Old Mother Riley in Paris


Given the below context:  Nigel Reuben Rook Williams (15 July 1944 – 21 April 1992) was an English conservator and expert on the restoration of ceramics and glass. From 1961 until his death he worked at the British Museum, where he became the Chief Conservator of Ceramics and Glass in 1983. There his work included the successful restorations of the Sutton Hoo helmet and the Portland Vase. Joining as an assistant at age 16, Williams spent his entire career, and most of his life, at the British Museum. He was one of the first people to study conservation, not yet recognised as a profession, and from an early age was given responsibility over high-profile objects. In the 1960s he assisted with the re-excavation of the Sutton Hoo ship-burial, and in his early- to mid-twenties he conserved many of the objects found therein: most notably the Sutton Hoo helmet, which occupied a year of his time. He likewise reconstructed other objects from the find, including the shield, drinking horns, and maplewood bottles. The "abiding passion of his life" was ceramics, and the 1970s and 1980s gave Williams ample opportunities in that field. After nearly 31,000 fragments of shattered Greek vases were found in 1974 amidst the wreck of HMS Colossus, Williams set to work piecing them together. The process was televised, and turned him into a television personality. A decade later, in 1988 and 1989, Williams's crowning achievement came when he took to pieces the Portland Vase, one of the most famous glass objects in the world, and put it back together. The reconstruction was again televised for a BBC programme, and as with the Sutton Hoo helmet, took nearly a year to complete. Williams died at age 47 of a heart attack while in Aqaba, Jordan, where he was working on a British Museum excavation. The Ceramics & Glass group of the Institute of Conservation awards a biennial prize in his honour, recognising his significant contributions in the field of conservation.  Guess a valid title for it!
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Answer: Nigel Williams (conservator)


Q: 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!
A: Handel's lost Hamburg operas


Problem: Given the question: 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!
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The answer is:
Belton House