Given the following context:  The Palatine Gallery has 28 rooms, among them: Room of Castagnoli: named after the painter of the ceiling frescoes. In this room are exposed Portraits of the Medici and Lorraine ruling families, and the Table of the Muses, a masterwork of stone-inlaid table realized by the Opificio delle Pietre Dure between 1837 and 1851. Room of the Ark: contains a painting by Giovan Battista Caracciolo (17th century). In 1816, the ceiling was frescoed by Luigi Ademollo with Noah entering Jerusalem with the Ark. Room of Psyche: was named after ceiling frescoes by Giuseppe Collignon; it contains paintings by Salvator Rosa from 1640–1650. Hall of Poccetti: The frescoes on the vault were once ascribed to Bernardino Poccetti, but now attributed to Matteo Rosselli. In the center of the hall is a table (1716) commissioned by Cosimo III. In the hall are also some works by Rubens and Pontormo. Room of Prometheus: was named after the subject of the frescoes by Giuseppe Collignon (19th century) and contains a large collection of round-shaped paintings: among them is the Madonna with the Child by Filippino Lippi (15th century), two portraits by Botticelli and paintings by Pontormo and Domenico Beccafumi. Room of Justice: has a ceiling frescoed by Antonio Fedi (1771–1843), and displays portraits (16th century) by Titian, Tintoretto and Paolo Veronese. Room of Ulysses: was frescoed in 1815 by Gaspare Martellini, it contains early works by Filippino Lippi and Raphael. Room of Iliad: contains the Madonna of the Family Panciatichi and the Madonna Passerini (c- 1522-1523 and 1526 respectively) by Andrea del Sarto, and paintings by Artemisia Gentileschi (17th century). Room of Saturn: contains a Portrait of Agnolo Doni (1506), the Madonna of the chair(1516), and Portrait of Cardinal Inghirami (1516) by Raphael; it also contains an Annunciation(1528) by Andrea del Sarto, and Jesus and the Evangelists (1516) by Fra Bartolomeo. Room of Jupiter: contains the Veiled Lady, the famous portrait by Raphael (1516) that, according to Vasari, represents...  answer the following question:  What is the full name of the room with two paintings by Titian: a Magdalen and Portrait of an English Nobleman?
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Answer: Room of Apollo


Given the following context:  Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's. Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding...  answer the following question:  What is the first name of the person who suggested that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies
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Answer: Richard


Given the following context:  The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's...  answer the following question:  Who later expanded their original idea to include a third opera with mystic or religious tones?
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Answer:
Puccini