input: Please answer the following: Given the below context:  By the mid-1960s Harrison had become an admirer of Indian culture and mysticism, introducing it to the other Beatles. During the filming of Help! in the Bahamas, they met the founder of Sivananda Yoga, Swami Vishnu-devananda, who gave each of them a signed copy of his book, The Complete Illustrated Book of Yoga. Between the end of the last Beatles tour in 1966 and the beginning of the Sgt Pepper recording sessions, he made a pilgrimage to India with his wife Pattie; there, he studied sitar with Ravi Shankar, met several gurus, and visited various holy places. In 1968 he travelled to Rishikesh in northern India with the other Beatles to study meditation with Maharishi Mahesh Yogi. Harrison's use of psychedelic drugs encouraged his path to meditation and Hinduism. He commented: "For me, it was like a flash. The first time I had acid, it just opened up something in my head that was inside of me, and I realized a lot of things. I didn't learn them because I already knew them, but that happened to be the key that opened the door to reveal them. From the moment I had that, I wanted to have it all the time – these thoughts about the yogis and the Himalayas, and Ravi's music."In line with the Hindu yoga tradition, Harrison became a vegetarian in the late 1960s. After being given various religious texts by Shankar in 1966, he remained a lifelong advocate of the teachings of Swami Vivekananda and Paramahansa Yogananda – yogis and authors, respectively, of Raja Yoga and Autobiography of a Yogi. In mid-1969, he produced the single "Hare Krishna Mantra", performed by members of the London Radha Krishna Temple. Having also helped the Temple devotees become established in Britain, Harrison then met their leader, A.C. Bhaktivedanta Swami Prabhupada, whom he described as "my friend ... my master" and "a perfect example of everything he preached". Harrison embraced the Hare Krishna tradition, particularly japa-yoga chanting with beads, and became a lifelong devotee.Regarding other faiths he once remarked: "All religions are...  Guess a valid title for it!
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output: George Harrison


input: Please answer the following: Given the below context:  Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling...  Guess a valid title for it!
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output: Madonna in the Church


input: Please answer the following: Given the below context:  Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of...  Guess a valid title for it!
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output:
Postman's Park