Read the passage and answer the questions:

The sepoys began their action with a signal; in many places it was the firing of the evening gun or the sounding of the bugle. They first seized the bell of arms and plundered the treasury. They then attacked the government buildings-the jail, treasury, telegraph office, record room, bungalows - burning, all recedes. The mutiny in the sepoy ranks quickly became a rebellion.

Match List I with List II.

Choose the correct answer from the options given below:

A-IV, B-II, C-I, D-III

The correct answer is Option (1) → A-IV, B-II, C-I, D-III

Correct Match:

Explanation:

“Relief of Lucknow”, painted by Thomas Jones Barker in 1859, is an example of a painting commemorating the British heroes who saved the English and repressed the rebels. Barker’s painting celebrates the moment of Campbell’s entry. At the centre of the canvas are the British heroes – Campbell, Outram and Havelock. The gestures of the hands of those around lead the spectator’s eyes towards the center.

"Execution of mutinous sepoys in Peshawar", Illustrated London News, 3 October 1857: In this scene of execution 12 rebels hang in a row, with cannons all around them. What you see is not routine punishment: it is the performance of terror. For it to instil fear among people, punishment could not be discreetly meted out in enclosed spaces. It had to be theatrically performed in the open.

"In Memoriam” was painted by Joseph Noel Paton two years after the mutiny. In the painting, one can see English women and children huddled in a circle, looking helpless and innocent, seemingly waiting for the inevitable – dishonour, violence and death. “In Memoriam” does not show gory violence; it only suggests it. It stirs up the spectator’s imagination and seeks to provoke anger and fury. It represents the rebels as violent and brutish, even though they remain invisible in the picture. In the background, you can see the British rescue forces arriving as saviours.

“The Clemency of Canning”, Punch, 24 October 1857: In one of the cartoons published in the pages of Punch, a British journal of comic satire, Canning is shown as a looming father figure, with his protective hand over the head of a sepoy who still holds an unsheathed sword in one hand and a dagger in the other, both dripping with blood – an imagery that recurs in a number of British pictures of the time.