Q: Which characters spit out the food the man mixed together?  Answer the above question based on the context below:  An agricultural farm is giving prizes for the person who makes the largest homegrown project. Porky and a rival neighbor both plan to win the agricultural farm prize, Porky with his garden and the neighbor with his chickens. Porky carefully plans a box of seeds, one by one while the man is busy mixing a bunch of bottles of items together. Porky goes to retrieve something as the man feeds the brand new mixture into the feeding bin for his chickens. But when they try it out, they spit the food out in disgust and seek food elsewhere. Porky grabs his bottle of quick grow, a hair tonic he hopes would work on his garden. To his amazement, it does. But he says nothing of it and heads inside his house. The neighbor checks out his handy work and comments on it, allowing his chickens to come over and eat all of his fruits and vegetables. A little chick and a bigger chicken fight over a watermelon until it flings the chick away. The chick sadly retreats until it sees a bunch of spinach and decides to munch on it instead. The chick then comes back and punches the mean chicken before finishing the watermelon. (The chick eating spinach and then changing is a thinly-veiled Popeye reference). When his garden has almost entirely been eaten, Porky finally notices the chickens and tries to get rid of them. But alas no luck, so he yells at the neighbor to get them back into his yard but the neighbor claims he doesn't know how they got on Porky's property, then attempts to "try" and make them return. He then leaves while a sad Porky heads to his door, only to find a long vine and follow it to a giant pumpkin.
A: chickens

Q: What is the full name of Dürer's father who wears a dark shirt, russet coat and a black hat lined with fur?  Answer the above question based on the context below:  Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period. Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking  ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in...
A: Albrecht the Elder

Q: What is the full name of the person from whom the couple inherited the Brownlow estates?  Answer the above question based on the context below:  The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £1.35 million in present-day terms) and £20,000 in cash (equivalent to about £3.01 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton.Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons.
A:
John Brownlow I