Q: Given the below context:  Nicolas Rolin was appointed Chancellor of Burgundy by Philip the Good in 1422, a position he held for the next 33 years. His tenure with the duke made him a wealthy man, and he donated a large portion of his fortune for the foundation of the Hôtel-Dieu in Beaune.  It is not known why he decided to build in Beaune rather than in his birthplace of Autun. He may have chosen Beaune because it lacked a hospital and an outbreak of the plague decimated the population between 1438 and 1440.  Furthermore,  when in 1435 the Treaty of Arras failed to bring a cessation to the longstanding hostility and animosity between Burgundy and France, the town suffered brutal ravages and famine from écorcheurs (marauding bands) who roamed the countryside during the late 1430s and early 1440s.  The hospice was built after Rolin gained permission from Pope Eugene IV in 1441, and it was eventually consecrated on 31 December 1452. In conjunction, Rolin established the religious order of "Les sœurs hospitalières de Beaune". Rolin dedicated the hospice to St Anthony Abbot, who was commonly associated with sickness and healing during the Middle Ages. In the hospice's founding charter, signed in August 1443, Rolin wrote that "disregarding all human concerns and in the interest of my salvation, desiring by a favourable trade to exchange for celestial goods temporal ones, that I might from divine goodness render those goods which are perishable for ones which are eternal ... in gratitude for the goods which the Lord, source of all wealth, has heaped upon me, from now on and for always, I found a hospital." In the late 1450s, only a few years before he died, he added a provision to the hospital charter stipulating that the Mass for the Dead be offered twice daily.  Rolin's wife, Guigone de Salins, played a major role in the foundation, as probably did his nephew Jan Rolin. De Salins lived and served at the hospice until her own death in 1470.Documents regarding the artwork's commissioning survive and, unusually for a Netherlandish altarpiece,...  Guess a valid title for it!
A: Beaune Altarpiece 1

Q: Given the below context:  The location of the Acra is important for understanding how events unfolded in Jerusalem during the struggle between Maccabean and Seleucid forces. This has been the subject of debate among modern scholars. The most detailed ancient description of the nature and location of the Acra is found in Josephus' Antiquities of the Jews, where it is described as residing in the Lower City, upon a hill overlooking the Temple enclosure: ...and when he had overthrown the city walls, he built a citadel [Greek: Acra] in the lower part of the city, for the place was high, and overlooked the temple; on which account he fortified it with high walls and towers, and put into it a garrison of Macedonians. However, in that citadel dwelt the impious and wicked part of the multitude, from whom it proved that the citizens suffered many and sore calamities. The location of the "lower part of the city", elsewhere referred to as the "Lower City", at the time of Josephus (1st century CE) is accepted to be Jerusalem's south-eastern hill, the original urban center traditionally known as the City of David. Lying to the south of the Temple Mount, however, the area exposed today is significantly lower than the Mount itself. The top of the Mount is approximately 30 metres (98 ft) above the ground level at the southern retaining wall of the later Herodian-era expansion of the Temple enclosure. The elevation decreases to the south of this point. Josephus, a native of Jerusalem, would have been well aware of this discrepancy, yet is nevertheless able to explain it away by describing how Simon had razed both the Acra and the hill on which it had stood. Archaeological research south of the Temple Mount, however, has failed to locate any evidence for such large-scale quarrying. On the contrary, excavations in the region have uncovered substantial evidence of habitation from the beginning of the first millennium BCE down to Roman times, casting doubt on the suggestion that during Hellenistic times the area was significantly higher than it was at the...  Guess a valid title for it!
A: Acra (fortress)

Q: Given the below context:  Will Rodman, a scientist at the San Francisco biotech company Gen-Sys, is testing the viral-based drug ALZ-112 on chimpanzees to find a cure for Alzheimer's disease. ALZ-112 is given to a chimp named Bright Eyes, greatly increasing her intelligence. But then, during Will's presentation for the drug, Bright Eyes is forced from her cage, goes on a rampage and is shot to death. Will's boss Steven Jacobs terminates the project and has the chimps slaughtered. However, Will's assistant Robert Franklin discovers that the reason for Bright Eyes' rampage was that she had recently given birth to an infant chimp. Will reluctantly agrees to take in the chimp, who is named Caesar. Will learns that Caesar has his mother's intelligence, through being exposed to ALZ-112 in her womb, and decides to raise him. Three years later, Will introduces Caesar to the redwood forest at Muir Woods National Monument. Meanwhile, Will treats his dementia-suffering father Charles with ALZ-112, which seems to restore his cognitive ability.  Guess a valid title for it!
A: Rise of the Planet of the Apes

Q: Given the below context:  Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon...  Guess a valid title for it!
A:
Olivier Messiaen